Poem

Cold recycling technology with mineral-cement-emulsion mixtures (MCEM) consists of the milling of worn road asphalt layers and shuffle got crumbled material, called the RAP, with new broken aggregate, cement and asphalt emulsion in stationary devices or by realization of all technological actions on the spot (“in situ”) using the recycler. The aim of the work was the settlement of factors having the influence on durability of bases made of MCEM which were realized by detailed aims such as: the description of structure of MCEM, the assessment of influence of temperature on strength and deformability of samples made of MCEM, the settlement of rheological properties by combined stiffness modulus and loss angle, the assessment of fatigue durability the of samples of the MMCE, the assessment of resistance for low temperature cracking (the TSRST), the analysis and interpretation of surveys in fieldworks (the FWD, the Benkelman’s beam). The main issue of investigations is the application t...

"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160-after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲ h̲ rī Love (AR: al-ḥubb al-ʿud̲ h̲ rī) in Rustaveli's book. The Ghazal (ode) of Ud̲ h̲ rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲ h̲ rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲ h̲ rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲ h̲ rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲ h̲ rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲ h̲ rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲ h̲ rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲ h̲ rī literature and implemented it in his book "The Man in the Panther's Skin".

Tevfik Fikret and Mehmet Akif have been presented as contrary and converse to each other at all points in many studies done so far because of superficial and ideological viewpoints. However, both of them came into the world at the same period and environment as a child of same nation and continued their lives in a similar social, political, literal and cultural ambience. As a natural consequence of it, Both mostly felt similar emotions and gave similar poems to Turkish literature as a gift under influence of these emotions. This study which exclusively predicates “Hasta (ill)” and “Hasta Çocuk (Sick Child)” poems on has shown us that Tevfik Fikret and Mehmet Akif are completely alike in the essentials of their senses of art but are different from each other in the details. In this study, firstly both poems’ stories were summarized and later the analogous and separate aspects in both poems were comparatively analyzed. Finally, It was stated that this study refused the stereotyped opinions and expressions regarding Tevfik Fikret and Mehmet Akif.

Celem pracy jest zbadanie w jaki sposób i w jakim stopniu centralny system wykonawczy przydziela zasoby uwagi zadaniom wymagającym przechowywania. Postawiono dwa problemy badawcze. Pierwszy, dotyczy natury zasobów uwagi wykorzystywanych przez system pamięci roboczej. W kontekście koncepcji zasobów, przyjmuje się założenie o możliwości zaistnienia przetargu o zasoby uwagi między przechowywaniem i przetwarzaniem informacji (Baddeley, 1986). Celem niniejszej pracy jest próba ukazania tego przetargu metodą generowania interwałów losowych. Większość dotychczasowych badań, prowadzonych w paradygmacie podwójnego zadania, wykorzystywało materiał słowny lub wzrokowo-przestrzenny, co mogło mieć wpływ na wyniki. Przetarg mógł być zakłócany przez interferencję przechowywanego materiału (przetwarzane są informacje przechowywane w systemie). Drugi problem dotyczy natury przechowywania. Wykorzystując paradygmat podwójnego zadania można stwierdzić czy przechowywanie pasywne wymaga zaangażowania zasobów uwagi. Przy użyciu metody generowania czasowych interwałów losowych (Piotrowski, 1999) można stwierdzić, czy zasoby przydzielane przez centralny system wykonawczy rzeczywiście nie są zaangażowane w przechowywanie pasywne.

RAHİMÜ RAHMAN BENİM!



“Ben gizli bir hazineydim, bilinmek murat ettim

Âlemleri halk eyledim”, Rahimü Rahman Benim!

Hayır ve şer takdirimdir, imtihana karar verdim

Hüküm de, hikmet de emrim; hakimü Şeytan Benim!



Hücreden canlı cüsseye, kâinat hayat kimin

Milyon çeşit çiçek böcek, nebat hayvanat kimin

Hayret ve hayranlık veren, tabiat sanat kimin

Hepsin yaratıp yürüten, delilü Bürhan Benim!



Ayan oldu sıfatlarım, Zatımı bilmek muhal

İman nurumla çözülür, şifre sır dolu bu hal

Hidayetim yetişince, dalalete kalmaz mahal

Bela da şifa da Benden, her derde derman Benim!



Binbir ismim eylemekte, her mahlûkta tecelli

Halis salih kulum bulur, huzurumla teselli

Benlik dava eden gafil, kovulacak temelli

İzzet azamet hakkımdır, Hannanü Mennan Benim!



Basiretle bak âleme; ağlayan kim, gülen ne

Gören kimdir, görünen ne; doğan kimdir, ölen ne

İman tevhit, küfür şirktir; birleyen kim, bölen ne

Yüz lisanla kelam eden, sahibü insan Benim!



Güzeldeki özellik ne, nedir seni cezb eden

Aşk nedir, vuslat nedir ki; nedir sözü kizb eden

Kim Rahmani, kim şeytani; nedir farklı hizb eden

Celal ve Cemal adımdır, Rıza ve Rıdvan Benim!



Ayet kitap, hadis hikmet; emri tut, nehye sabret

Dikkat nazarıyla seyret, gördüğün her şey ibret

Kalbe türlü ilham gelir; hayra uy, şerre diret

Ölçü mizan ben koymuşum; Kur’an’la ferman Benim!



“Ehed”im, şerikim olmaz; “Ahmed”im, nezirim yok

Tek ve gerçek Sultanım ki, eşim ve vezirim yok

Her kusurdan münezzehim, misalim benzerim yok

“Her dem ayrı bir “şe’n”deyim”[1]; çün dehrü zaman Benim!



Yevm: Her gün, her an, her dem

Şe’n: İlahi icraatlar ve hikmetli işler


[1] Rahman Suresi. 29. ayeti kerimesi

Most of us want to live a simple life. Unfortunately, the world we are living in right now does not readily meet our need for simplicity for we are walking on a path where luxuries offer us the greatest things that life could offer. As we all know, the standards of living varies from time to time and fitting in society really depends on how we perceive the world we are venturing right now and what the world gives us. So, how should we really live our lives? Should we live it on how we want it to be? Or should we live it according to how the world wants it to be? Well, the answer is both. We take all the opportunities and things that the world is throwing at us then, we use those things according to our just. But remember, keep it simple and the life you want will follow.

Author: H. Edgar Hix
Publisher: CBE International

She was one who chose the best, her Lord, and blessed the children with Him. For me she was my gray Rose from God, teaching me that to grow with thorns is still to grow in grace, knowing thorns are temporary, to be borne while letting God spread the sweet scent of His salvation to a scentless world; a world she was moved by, a world she moved in return.

Author: Guest Author
Publisher: CBE International

I’m a one-breasted woman,          I’m Christ’s Amazon, I’m a one-breasted woman,          I’m ready to fight. I’m a one-breasted woman,          my ax is at my side. I’m a one-breasted woman,          I keep attacking the enemy.

Grown up as versatile people, Ottoman intellectuals had holistic views towards science, art and literature, and wrote in a variety of disciplines. It was not uncommon for a mathematician to write in philosophy, for a ḥadīth (report of the words and deeds of the Prophet) scholar to write history books, for a statesman to be busy with calligraphy or for a Shaykh al-Islām (the highest ranking Islamic legal authority) to have a “Dīwān” (a collection of poems). However, possibly due to specialization-based scientific understanding of modern researchers, one side of these people generally came to the fore and some capabilities of them remained unknown. Grown up in Istanbul, capital town of Ottoman Empire, in late 16th and early 17th centuries, Okchuzāde Mehmed Shāhī was also one of these personalities called “hezār-fan” (polymath). Mehmed Shāhī served in top level offices of the State, was busy with art and literature, and became known for inshāʾ (composition) kind of works written with elaborate prose. Mehmed Shāhī earned a deserved fame with these capabilities and he was also a poet. Indeed, due to poems he wrote in his early ages, he was noticed by some biography writers about poets and his poems were mentioned in some anthologies. In addition to poetry anthologies, he had some classical works, and some couplets, quatrains and verses included in his prose works. In the present study, a collection and evaluation of poems by Mehmed Shāhī were presented.

Summary: Ottoman statesman Okchuzāde Mehmed Shāhī was born in 1562 AD (970 AH) in Istanbul. He was son of Okchuzāde Mehmed Pasha (d. 995 AH/1587 AD) and served as Kātib (scribe), Defterdār (treasurer), Reīs-ul-kuttāb (chief of the scribes), Governor General of Cyprus and Aleppo. His real name was Mehmed, but he was mentioned in different sources by names such as Mehmed Bey, Mehmed Shāh, Mehmed Shāhī, Mir Mehmed Shāhī and Okchuzāde Mehmed Shāhī. Starting at a young age, he was well educated in madrasah (college). With his vibrant character and superior genius, he came to the forefront among his peers. He was educated under the supervision of Māʿlūlzāde Nakīb Efendi (d. 993 AH/1585 AD) and graduated in 988 AH/1580 AD at the age of 18. When Nakīb Efendi became Shaykh al-Islām in the same year, he started his official duty as Dīwān-ı Humāyūn (imperial council) secretary. With the duty of Executive Assistant, he became the secretary of Damad İbrahim Pasha who started to his office in 1004 AH/1596 AD. He worked under the patronage of the Pasha until Pasha’s death in 1010 AH/1601 AD. Mehmed Shāhī succeeded Musa Chelebi as Reīs-ul-kuttāb and Basdefterdar (chief treasurer) in 1005 AH/1596 AD, and was appointed as title deed and cadastre director in 1006 AH/1597 AD. However, he was dismissed from this duty and was included among the officials to join military campaign. He was prosecuted and tried for imprisonment for the accusation of coming to Istanbul without permission. He succeeded Hamza Pasha as Nishanci (high-ranking bureaucrat) in 1007 AH/1599 AD and was assigned to military campaign. Mehmed Shāhī was dismissed from his duty in 1008 AH/1600 AD. Although he was reappointed to his duty in the same year, he was dismissed again in 1010 AH/1601 AD. While Hamza Pasha was reappointed to his office, Mehmed Shāhī was not assigned to any duty. He succeeded Murad Efendi as the Defterdar of Egypt in 1013 AH/1605 AD. After this duty, one of the vassal Sanjak (administrative district) Beyliks (principalities) in Egypt was given to him. When vassal Sanjak Beyliks were abolished by Kara Mehmed Pasha, Beylerbeyi (governor) of Egypt, in 1016 AH/1608 AD, he returned to Istanbul. He was not appointed to an office for a long time. In 1029 AH/1620 AD, he was appointed as title deed and cadastre director in 1029 AH/1620 AD, and became Nishanci again in 1030 AH/1621 AD. He served in military campaign to Poland, but was dismissed from this duty during the campaign. He was appointed as Nishanci for the fifth time during the second reign of Sultan Mustafa (1622-1623). He was dismissed in 1033 AH/1624 AD and retired. In early 1039 AH/1630 AD, he died at the age of 69 in Istanbul. His tomb is near Ekmekchioghlu tomb in the vicinity of Sunbul Efendi.

What is known about his family is limited to his son named Vakʿi Ahmed Efendi (d. 1060 AH/1650 AD). Ahmet Efendi learned Naskh, Thuluth and tevkīʿi types of calligraphy styles from his father. He served as anthology writer for Shaykh al-Islām Bahāī Efendi. He died in 1060 AH/1650 AD when he was serving as teacher in Sulaymaniyah Madrasah. His tomb is around Shaykh Vefa tomb.

In addition to his administrative duties, Mehmed Shāhī was also interested in poetry, prose, calligraphy, mysticism, ḥadīth and tafsīr (exegesis). Possibly also due to his dismissal of duties many times in his life, he produced many works. Among them are Aḥsan al-ḥadīth, an-Naẓm al-mubīn fī āyāt al-erbaʿīn, al-Maqām al-Maḥmūd, Tarjuma-i Tuḥfa as-ṣalavāt, Jāmiʿ al-ghāyāt, Mukhtār al-akhyār, Qānūn-i Jadīd-i Arāḍi, Munsheat ve Dīwān. Famed for his prose works, the author was also a poet. With his couplets which he wrote under pseudonym of Zaynī, he managed to get on the anthology of Kınalızāde at his twenties. He was celebrated with the expression of “Arrow of word from his bow of soul has reached the target of approval from masters; he is at a young age (at his twenties)”. Subsequently adopting pseudonym of Shāhī, the poet had some poems published within the works of Beyānī, Nevʿizāde and Mustaqimzāde as well as within his own prose works. Mustaqimzāde even mentioned that Mehmed Shāhī had a dīwān. Nevertheless, this work of him has not been found yet.

A total of 30 poetry works of Mehmed Shāhī were found in various sources, except for his translations of 40 ḥadīth and 40 Qur’ān verses written in poetry. Of his 30 poetry works, 26 were written in Turkish and 4 in Persian. Various sections of ʿarūḍ (meter) were used in these works written as couplets, quatrains and verses. It could be stated that his poems rich in Persian and Arabic words had a rich rhyme frame. In his poetry works in which religious, literary, historical, legendary and mysticism themes were worked, concepts and figures such as Allah, the Lord, Messiah, Messenger, Risālet (messengership), intercession, Kāfūr al-Ikhshīdī (966-968), Mustaʿsim (d. 656 AH/1258 AD), Ibn Alkamī (d. 656 AH/1258 AD), Naṣīr-i Tūsī  (d. 672 AH/1274 AD), Jamshīd, Keyumars, Uftade, Hudāyī, Majūsī, Kizilbash, Bayramī and muftī (jurist capable of giving a formal legal opinion). His poems were about intercession demand from the Messenger (PBUH), sin of serving to Persian, importance of an invention, praise of Uftade Sultan (d. 988 AH/1580 AD), effect of prayer, fate of administrator favoring his relatives, futility of envying the rich, importance of fighting with Zoroastrian, benefits of exhibition of sorrow, value of skillful people, resembling of the world to a bride with a thousand grooms, beauty of eloquence, ignominy of leaving chastity for lust, asking for forgiveness for sins, talent of understanding the words, not giving quarter to enemies, praise of Hz.ʿUmar, humbleness, value of lack of worldly things, sufferance due to the beauty of the beautiful, needing not to wonder why the beloved one is far away, evil of protecting the snot, richness of Arabic language, deeds of Anatolian fāḍils (virtuous), importance of endeavor in succeeding the closeness to God and respectability of ʿAzīz Maḥmūd Hudāyī (d. 1038 AH/1628 AD).

Okchuzāde Mehmed Shāhī was an Ottoman statesman who also earned a well-deserved fame for his works written in inshāʾ (composition) genre of elaborate prose. In addition, he also had poetry works. Praised for the poems which he wrote in his early ages by anthology writers who included his poems in their anthologies, the poet also had some couplets and quatrains scattered among his own prose works. His poems in the form of couplets and quatrains within abovementioned works mostly were about religious, literary, legendary, historical and mysticism themes.

Mehmed Shāhī was knowledgeable in tafsīr, ḥadīth, mysticism and calligraphy, and had good levels of Arabic and Persian. Writing poems in Persian, Mehmed Shāhī was decorated his prose works with Arabic expressions such as Qur’ān verses, ḥadīths and proverbs. It could be stated that such decorations made the language of his poems more difficult. Nevertheless, his poems are plainer and easier compared to his prose works. The poet who also had lyrical poems generally preferred ḥikamī (sapiential) style and wrote genres such as munacaat (prayer to God), shafaatnāme (intercession epistles), historical quatrain, medhiye (panegyric) and hicviye (epigram). His poems in anthologies were lyrical, those in Aḥsan al-ḥadīth and an-Naẓm al-mubīn were didactical and those in Munsheat were epic. Based on an evaluation of these poems, it could be stated that he was a poet with a style, though not a poet of first class.

சங்க கால வரலாற்றை மீட்டெடுக்கும் ஆவணங்களுள் இலக்கியமும் ஒன்று. ஒரு இலக்கியப்பிரதியை தரவாகக்கொண்டு இலக்கியம் உருவான காலத்தில் வாழ்ந்த மக்களின் ஒட்டுமொத்த வாழ்வியற்க் கூறுகளை வரையறைப் படுத்த முடியும். தமிழர்களின் வரலாற்றில் இலக்கியத் தரவுகளில் முதன்மையானதாகவும், இன்றியமையாததாகவும் விளங்குவது சங்க இலக்கியங்கள் ஆகும். எட்டுத்தொகை, பத்துப்பாட்டு என்னும்; சங்க இலக்கியம் எனப் பெயரிடப்பட்டுள்ளன. பொருளிலக்கணத்தை சிறப்பாகக் கொண்ட தமிழரின் சங்க இலக்கியம் அகம், புறம் என்னும் இரு பொருண்மைகளில் பாடப்பட்டுள்ளன சங்ககால மக்களின் அகவாழ்க்கை அகமெனப்பட்டது. இதில் களவு, கற்பு ஆகிய உணர்வுகள் பதிவு செய்யப்பட்டுள்ளன. போர் பற்றியும், காதலில்லாதப் புறவாழ்க்கைப் பற்றியும் புற இலக்கியங்கள் பாடியுள்ளன. மேற் சொன்ன செய்யுள் மரபு அக்கால சமூகச் சூழலைத் தெளிவாக அறிய முடிகிறது
குறிஞ்சி, முல்லை, மருதம், நெய்தல், பாலை என்னும் திணைகள்  அவற்றுக்குரிய முதல்;பொருள் கருப்பொருள் கூறிப் பின்னர் உரிபொருள் கூறினார் தொல்காப்பியர். ஐந்திணைக்கும் உரிய புறதிணைகளையும் சுட்டியுள்ளார்.
“ஐந்திணை மக்கள் நிலம் முதலான சூழலாலும் உணவுமுறை, தொழில், உணர்வுஇ ஒழுக்கங்களாலும்”; வேறுபட்டிருக்கின்றனர். இக்கட்டுரை ஐந்திணை நிலங்களில் வாழும் பெண்களின் தொழில், பொருளாதார செயல்பாடுகளை விவரிக்கும் வேலைப்பாடுகள், உணவு உற்பத்தியில் பெற்றிருந்த முக்கியத்துவம், மேற்கூறிய நடவடிக்கைகளில் குறிஞ்சி நிலப்பெண்களின் பங்களிப்பினை விளக்குவதாக அமைகிறது.
குறிஞ்சி நிலம் மலையும் மலை சார்ந்த இடமும் ஆகும். உணவு தினை. தொழில் தேனெடுத்தல், மூங்கிலரிசி எடுத்தல், கிழங்கு எடுத்தல், தினைக்கதிரை உண்ணும் பறவைகளை ஓட்டுதல், கொடிச்சி, குறமகள், எயிற்றி என்னும் பெயர்களால்; குறிஞ்சி நிலப்பெண்கள் அழைக்கப்பட்டனர். குறிஞ்சி நிலப்பெண்கள் குறித்த பதிவுகளை இருவகைகளில் காணலாம்.
(1)எட்டுத்தொகை நூல்கள்
(2)பத்துப்பாட்டு நூல்கள்.
இத்தொகுப்புகளுள் எட்டுத்தொகையில் உற்பத்தியில் பெரும்பங்கு வகிப்பதாகவும், பத்துப்பாட்டில் வேறொரு பரிமாணத்துடனும் காணப்படுகின்றனர். குறிஞ்சிப்பாட்டு, மலைபடுகடாம் ஆகிய நூல்களில் இப்பதிவு எட்டுத்தொகை நூல்களைப் போன்று அமைந்திருப்பதற்கானக் காரணம் வேறாக உள்ளது. இம்மாற்றம் அரசுடமையாக்கத்தின் விளைவால் நிகழ்ந்த கவிதை மரபாகச் செயல்பட்டுள்ளது.
குறிஞ்சி நிலமக்கள் மலை விவசாயம், தேன், கிழங்கு, பலா சேகரிப்பு, வேட்டையாடுதல் போன்றவற்றை முக்கியத் தொழிலாக கொண்டிருந்தனர். இவற்றில் மலை விவசாய தினைவிதைப்பு பற்றிய குறிப்புகளே மிகுதி. செய்யுள் மரபு களவு வாழ்க்கைக்குரிய குறிஞ்சியை சுட்டியுள்ளது ஆதலால் அதற்கேற்ற வாய்ப்புகளை நல்குவதான தினை விவசாயம் அமைந்துள்ளது