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Öğe Arap dili ve edebiyatının İslâm medeniyeti için önemi(Necmettin Erbakan Üniversitesi, 2020) Dereli, Muhammet VehbiArapça, dünya üzerinde en çok konuşulan birkaç dil arasındadır. Şöhretini de öncelikle son peygamberin Araplar içerisinden seçilmesine ve ona indirilen Kur’an’a borçludur. Arapça, Kur’an-ı Kerim’in dili olması sebebiyle Müslümanlar için herhangi bir dilden çok daha fazlasını ifade eder. Hz. Peygamber’in konuştuğu ve hadisleri vasıtasıyla İslam’ı anlattığı dil de Arapçadır. Ayrıca Kıraat, Tefsir, Hadis, Fıkıh ve Kelâm gibi temel İslam bilimlerinin ana kaynaklarının da Arapça olması bu dilin önemini bir kat daha artırmaktadır. Çünkü bu temel eserleri anlamanın ilk şartı Arapçayı iyi bilmektir. Arapça, namazda okunan Kur’an’ın dili olmasının yanı sıra aynı zamanda namaza çağıran ezanın da dilidir. Bu sayede, rengi, ırkı, milliyeti, kültürü ve yaşadığı coğrafya birbirinden farklı olan milyonlarca insan, dünyanın herhangi bir yerinde aynı camide bir imamın arkasında namaz kılmakta ve ümmet bilinci ile bir arada hareket edebilmektedir. Ayrıca İslam’ı seçen her milletin dil ve kültüründe yer etmiş yüzlerce Arapça kelime, ortak bir kültür mirası oluşturmaktadır. Arap dili ve edebiyatının İslam kültür ve medeniyetine etkisi büyük ölçüde Kur’an sayesinde olmuştur. Dolayısıyla üç bölümden oluşan bu çalışma, Kur’an’ın temel bazı özellikleri ile Arap diline yaptığı katkıya değindikten sonra, Arap dili ve edebiyatının İslam medeniyeti için önemini ve etkisini ortaya koymayı hedeflemektedir.Öğe Arapça’yı doğru kullanmanın Kur’an’ın anlaşılmasına olan etkisi(Necmettin Erbakan Üniversitesi, 2012) Dereli, Muhammet VehbiArapça bir metin olarak indirilen Kur’an, bu dili en kapsamlı şekilde kullanmıştır. İnsanlara yol göstermeyi hedefleyen Kur’an’ın gerçek işlevi, ancak doğru anlaşıldığı takdirde gerçekleşmiş olacaktır. Kur’an’ın doğru anlaşılması ise, her şeyden önce Arap dilini doğru kullanmaya bağlıdır. Bu makale, Arap diline aykırı çeviri ve izahlardan örnekler sunarak, Arapçayı doğru kullanmanın, Kur’an’ın doğru anlaşılması açısından önemini ortaya koymak amacıyla kaleme alınmıştır. Nahiv, sarf ve lugat ilimleri açısından Arap dili ve gramerine uymayan, bunun dışında Arap dilinin üslûbunu ve deyimsel anlam ihtimalini dikkate almayan çeviri ya da izah örnekleri üzerinde durulmuştur. Ayrıca metnin asıl anlamına ve Kur’an’ın indiği dönem Arapçasına riayet etmemekten kaynaklanan yorumlara da dikkat çekmeye çalışılmıştır.Öğe Bedî' İlminde Aks Sanatı ve Kur’an’dan Örnekler(2014) Dereli, Muhammet VehbiBir ilim dalı olarak Bedî, Arap belagatinde kelâmı, lafız ve mana yönünden süsleyip güzelleştirme usûl ve kaidelerini ortaya koyar. Onun incelediği bedî sanatlarından biri de akstır. Aks, manevî sanatlardan biri kabul edilse de aynı zamanda söz ahengi sağlayan bir sanattır. Bir cümlenin sonunu başa, başını da sona alarak yeni bir cümle oluşturmak şeklinde tanımlanır. Tebdîl olarak da bilinir. Arap belagati ve Türk edebiyatının nazım ve nesrinde geçmekle birlikte nazım olarak kullanımı daha yaygındır. Bu sanatın gelişmesinde Ebû Hilâl el-Askerî, İbn Ebil-İsba ve el-Kazvînî gibi âlimlerin önemli katkıları olmuştur. Ancak o, özellikle kalb ve tasdîr gibi sanatlarla karıştırılmaktadır. Bedî ilminde hâlihazırda isimlendirilmemiş üç farklı kullanımı vardır. Bu türlerin ikisi, Kuranda da yer alır. Bundan dolayı bu çalışma, aks sanatını müstakil olarak ele almış, onun türlerine isim önerisinde bulunmuş ve bu türlerin Kurandaki örneklerini ortaya koymuştur. Bunu yaparken de Kuran âyetlerinden yararlanarak, aks sanatını kendisiyle karıştırılan sanatlardan ayırmayı hedeflemiştir.Öğe DICTIONARIES COMBINING ARABIC AND TURKISH IN KHWARAZM-KIPCHAK PERIOD: THE EXAMPLE OF AL-ZAMAKHSHARI'S MUQADDIMAT AL-ADAB(Ilahiyat Bilimleri Arastirma Vakfi, 2018) Dereli, Muhammet VehbiThe history of teaching Turkish to foreigners is based on very old ones. A lot of research, articles and books have been written in this area. With the entry of Turks into Islam, very unique dictionaries have emerged that bring these two languages together. Of course, Islam is the basis of Turkish-Arabic relations. With the acceptance of Muslims by the Turks, many foreign language vocabulary began to be exchanged between these two languages, mainly religious. The foundation of the Turkish literary body is mainly found in the Karakhanids period. With the acceptance of Islam by the Turks, a new culture circle has been formed for the Turks. The dictionaries created in this framework were prepared on the basis of the Arabic dictionary preparation associations. Mahmud al-Kashgari, taking into account the sound structure of the Turkish language, developed the mold and rhyme school which the Turkish Arabic dictionary writer Abu Ibrahim Ishaq b. Ibrahim al-Farabi applied in Divanu'l-Edeb and so he established the first Turkish lexicography. One of these is al-Zamakhshari's Muqaddimat al adab. Khwarazm is a region in the south of Lake Aral where the state called the Khwarezm-Shah is established in the vicinity of the delta where the Ceyhun (Amuderya) river flows into Aral. The Khwarazm region played an important role as a second literary center near Kashgar before the Mongol era. This region has preserved its own structure in the time of the Altinordu, even the Mongolian influxes have not prevented the development of Islamic Turkish literature there. The language spoken in Khwarazm in the early days of Islam was the Khwarazm dialect, which in fact was very different from other Iranian dialects, with being Iranian. Turkicization of the Khwarazm which started in the 11th century continued until the 13th century and the establishment of a new writing language in the Khwarazm and its affiliated regions could be realized after the Turkization of this region. Oghuzs and Kipchaks played a very important role especially in the Turkicization of Khwarazm. The elements of Kipchak, which are close to the Oghuzs and Turkmens close to them and the language of Oghuzs again, have been influential in the formation of Khwarazm Turkic. The influence of the Oghuz language and Hakaniye Turkish in the the Seljuks period was also a factor in the formation of literary Turkic people in Khwarazm. These elements, which play a role in the Turkization of the region, have also formed the region's distinctive dialect. This dialect is Khwarazm Turkish, which is connected with the Karakhanid writing language and formed with a mixture of dialing dials such as Oghuz, Kipchak. This dialect, which developed from Karakhanid Turkish in the 13th century and left its place in Chagatai Turkish in the 15th century, has become an interesting writing language in terms of reflecting dialects of various lengths. The subject of this work, Muqaddimat al-adab, is also rich in Arabic, Persian and Middle Turkic words. Especially important is the fact that the Turkish dialects in Mavera and surrounding areas contain some rare words, which reflects the language of that period. The writer of the verse Jar Allah Abi al-Qasim Mahmud ibn Umar al-Khwarazmi al-Zamakhshari was born in the town of Zamahsher in Khwarazm, located in the territory of Uzbekistan today, 467/1075. Despite not being Arabian, al-Zamakhshari, also known as Arabic grammarian due to his mastery on the ground, is a linguist and a theologian who gives important works in Arabic Language Grammar and Literature, Tafsir, rhetoric, al-ma'ani, al-bayan and even Fiqh (Islamic Law) fields. The Arab and Turkish lexicography is also an account that we owe a lot to him. The author, who prepared Asas al-balaghah which is a very useful Arabic luqat with a system close to the present dictionary understanding, he also wrote Muqaddimat al-adab for the ruler of the State of Khwarezm-Shah who wanted to learn Arabic. This is the only work written in Turkish. The copy of Muqaddimat al-adab written by al-Zamakhshari, which is a practical dictionary in Arabic, has not been found so far. Translated versions of Arabic-Persian-Turkish writing are numerous and are found in various libraries around the world. The dictionary, which consists of Arabic words and short sentences, is almost a treasure in terms of speech. Al-Zamakhshari is probably divided into five parts, which are the works, names, verbs, letters, noun and verb conjugation he wrote several years before his death. The names section constitutes one quarter of the work and the verb section constitutes three quarters. The other sections are a few pages. When the contents of the work are examined, it is possible to find the signs of the life organization of the Central Asian Turks and the state existence of the Turks in general. It is even seen that it is more original than Diwan Lugat at-Turk.Öğe İbn Ebi’l-İsba’ıın Bedî’u’l-Kur’ân adlı eseri bağlamında Kur’an’ın Bedî’ ilmine etkisi(Necmettin Erbakan Üniversitesi, 2019) Dereli, Muhammet VehbiKur’an-ı Kerîm, hitabet ve edebiyatta üstün oldukları iddiasını taşıyan Arap toplumu içerisinden seçilmiş bir peygambere indirilmiştir. Onun edebi inceliklerini en iyi şekilde anlama çabası, zamanla yazılı bir edebiyata dönüşerek Belâgat ilimlerini doğurmuştur. Kur’an, mesajını aktarırken, manevî ve lâfzî birçok sanatı en etkili şekilde kullanmış ve Bedî‘ ilmine büyük katkı sağlamıştır. Kur’an’ın, bir bakıma Arap dilinin süsleyicileri olan bedî‘ sanatlarını yoğun biçimde kullanması, Bedî‘u’l - Kur’ân adında birtakım eserlerin telifine yol açmıştır. Bu eserlerin en meşhuru, bu çalışmanın da konusu olan ve İbn Ebi’l-İṣba‘ (ö. 654/1256) tarafından yazılan Bedî‘u’l-Kur’ân'dır. Müellif, bu eserinde bir diğer kitabıTaḥrîru’t-taḥbîr’in Kur’an’la ilgili edebî sanatlar kısmını yeniden ele almıştır. Yüz dokuz edebî sanatı incelemiş ve bunlara Kur’an’dan örnekler vermiştir. Kur’an’dan örneklerini bulamadığı için zorlama bir yol izlememiş ve Taḥrîru’t-taḥbîr’de geçen yirmi iki sanata bu eserinde değinmemiştir. Eserin önemli özelliklerinden biri de Taḥrîru’t-taḥbîr’de bulunmayan altı sanata yer vermesidir. Ayrıca o, ibdâ‘ sanatını incelerken, sadece on yedi lafızdan oluşan bir âyette yirmi bir sanatın bulunduğunu açıklayarak, sonraki dönemlere önemli ölçüde tesir etmiştir. Bu çalışma, İbn Ebi’l-İṣba‘ ve onun Bedî‘u’l - Kur’ânadlı eserini ele almış; müellifin sadece burada sözünü ettiği altı sanatı ve yirmi bir sanatın bulunduğu âyeti özel olarak inceleyerek, Kur’an’ın bedî‘ ilminin gelişmesine yaptığı katkıyı ortaya koymayı hedeflemiştir.Öğe IBN RASHIQ AL-QAYRAWANI AND EFFECT OF RHETORIC(Ilahiyat Bilimleri Arastirma Vakfi, 2017) Dereli, Muhammet VehbiIbn Rashiq al-Qayravani, who lived in the Hijri 4th and 5th century, is among the scholars who contributed to the systematic structure of rhetoric. As well as being a poet, rhetorician and critic, he is known especially by al-'Umde fi Mehasini's-Si'r. In fact, this work, as a whole, focuses on the notion of eloquence altogether. From this point of view, can be seen as an encyclopedic work of poetry that deals with the nature, language, theme and aesthetic aspects of poetry. In the book, which consists of a hundred and seventeen topics, firstly, information on the culture and the theory of poetry is handled in thirty chapters. The emphasis on poetry's superiority to prose, the rejection of poetry against unwittingly, the benefits and harms of poetry, attacks on poets, earning poetry, old and new poets, and famous poets. Islamic view of poetry is also discussed. Al-'Umde, poetry work on the nature of the process up to Ibn Rashiq, is both extensive and abstract. Ibn Rashiq does not take a particular attitude despite the fact that in many respects he has his own original thoughts. However, after expressing various opinions on one subject, he declares his own opinion. His own internal evaluations are sometimes extremely colorful. Ibn Rashiq, who also has a poetry divan, has made important contributions to the development of literary criticism in poetry. By applying to works written up to its time, literary concepts and criticisms systematically processed in the light of their own rules and had a separate place in the field of literary criticism. Especially in the last period, it is a lot of those who see him as a transplant critic, not an original one, because of the long transfers. But it would not be right to describe it in this way. Because he has been extremely selective in these transfers before anything else. He has introduced many original concepts and has given unique names to certain concepts from time to time. Since his other works are not well known, every work in the field of literary criticism has to resort to al-'Umde. Ibn Rashiq regards ode as the superior verse of Arabic poetry. Although there are different views on how many couplets a poem should have in order to be found in the ostrich, according to Ibn Rashiq, at least seven couplets must be formed in an ode. From the earliest times, many odes have been written that do not respect these stages. However, the number of critics who think that this understanding, which started in the period of the Jahiliyyah, should be maintained is not at all small. Ibn Rashiq comes at the beginning of these. According to him, a person who writes poetry in Arabic language should be able to master Arabic language and culture, as well as the Arabic poetry fiction and order, lyric and meaningful forms of beautification. He must be able to master them. He has thus defended that every poetry will not try it, and that the original must have certain conditions. Ibn Rashiq has divided thirty-nine chapters into rhetoric in al-'Umde, and has been limited to a few issues from the al-ma'ani, al-bayan which have not yet been fully determined, and thus have not become an independent eloquence. However, has contributed originally to the arts of al-badi, a subdivision of rhetoric and has pioneered this discipline to acquire an independent identity. His classification of these matters also differs from today's groupings. For example, metaphor and allegory are considered under the title of al-bayan, while Ibn Rashiq has been assessed in the category of al-badi arts in his period. While Ibn Rashiq explains about sixty literary arts that the previous authors have identified in al-'Umde, at the same time he gave them different names and found some additions. Therefore, the true contribution to rhetoric is mainly for the arts badi and formation of the al-badi. Ibn Rashiq has made some of the additions to the badi arts, and has provided new openings for some. Moreover, has revealed unique relationships among them and contributed to the development of al-badi. It is stated in some sources that Ibn Rashiq has discovered and examined over twenty badi arts himself and assessed the views in this regard. Of course, it is true that some of these arts, such as tafri, tardid and istirak, were first introduced by Ibn Rashiq, or that some of them got new dimensions with it. However, it is not right to say that the first of all the arts that betting has been discovered by him.Öğe İbn Raşîk El-Kayravânî ve Belâgat ilmine etkisi(2017) Dereli, Muhammet VehbiHicrî IV. ve V. asırlarda yaşayan İbn Raşîk el-Kayravânî, belagat ilminin sistematik bir yapıya bürünmesine katkı sağlayan bilginlerden biridir. Şair, edip ve münekkit olmasının yanı sıra, özellikle el-'Umde fî Mehâsini'ş-Şi'r adlı eseriyle bilinir. İbn Raşîk, başlı başına bir münekkit olarak bütün yönleriyle şiir ve şairler üzerinde durmuş, özellikle de bedî' ilmine olan katkılarıyla bu ilim dalının müstakil bir hüviyet kazanmasına öncülük etmiştir. Bir de şiir divanına sahip olan İbn Raşîk, kendi zamanına kadar yazılan eserlere müracaat ederek, edebî kavram ve tenkitleri kendi kuralları ışığında sistematik olarak işlemiş ve edebiyat eleştirisi alanında ayrı bir yere sahip olmuştur. Bu çalışma, onun belagat ilmine etkisini bütüncül bir bakış açısıyla ele almayı hedeflemektedir. Dolayısıyla burada her biri ayrı bir çalışma konusu olabilecek alanlardan sadece şiirin mahiyeti, konusu, amacı, unsurları, nazım türleri ve bunların özellikleri ekseninde onun şiir geleneğine katkısı incelenmiş ve belagat ilminin alt birimlerinden özel olarak bedî' ilmine getirdiği yenilikler üzerinde durulmuştur. Kendine mahsus tarzda incelediği veya kendince farklı isimlerle ifade ettiği bedî' sanatlarına işaret edilmiştir. Zira o, henüz müstakil hale gelmemiş olan meânî ve beyân ilimlerine dair yalnızca birkaç konuyla sınırlı kalmış ve bedî' alanında daha önce değinilmeyen bazı sanatları ele alacağını bizzat ifade etmiştir.Öğe MUSLIM POET LABID B. RABIA, THE OWNER OF THE MU'ALLAKA, AND PRAISE THEMED POEMS(Ilahiyat Bilimleri Arastirma Vakfi, 2020) Dereli, Muhammet VehbiPoetry is the reflection of the inner world of man. It is a style of expressing emotions and thoughts enthusiastic and extraordinary. It has always been one of the most effective means of communication, be it rhythm and rhyme or free scale. Poetry is also a mirror of a person and his period. Because it reflects the literary pleasure of the poet by feeding from the mood, geography and culture. Poetry, which is more or less influential in every society in expressing feelings and thoughts, is the most comprehensive and powerful reflector of life, especially in the pre-Islamic Arab society. What today's media and social networking sites have the same effect as the poem of that day. Poetry contests and poet contests are the most suitable environments where tribes pride themselves against each other and embark on a competition for superiority. The first century of Islam has been a turning point for humanity throughout life, from science to literature, history, law, culture, art and morality. This has been realized by the influence of the Qur'an, which was first sent down to the Messenger of Allah. In this period, the influence of the Qur'an was marked by science, literature, history, art, and the whole life. The Koran, which challenges people and demons, has influenced poetry and literature; the efforts to better understand it, together with many sciences, have also formed the Arab eloquence. Arabic literature in general and Arabic poetry in particular have shown many important changes with the advent of Islam. The change is more about content, rather than form and form. Islam did not approve of every poem in principle with the expression of Surah al-Shuarah. When poetry took a destructive nature, it was found harmful and deteriorated. The first condition that a poem is acceptable is that it is not contrary to monotheism and morality in general. Poetry is the reflection of the inner world of man. It is a style of expressing emotions and thoughts enthusiastic and extraordinary. It has always been one of the most effective means of communication, be it rhythm and rhyme or free scale. Poetry is also a mirror of a person and his period. Because it reflects the literary pleasure of the poet by feeding from the mood, geography and culture. Poetry, which is more or less influential in every society in expressing feelings and thoughts, is the most comprehensive and powerful reflector of life, especially in the pre-Islamic Arab society. What today's media and social networking sites have the same effect as the poem of that day. Poetry contests and poet contests are the most suitable environments where tribes pride themselves against each other and embark on a competition for superiority. The first century of Islam has been a turning point for humanity throughout life, from science to literature, history, law, culture, art and morality. This has been realized by the influence of the Qur'an, which was first sent down to the Messenger of Allah. In this period, the influence of the Qur'an was marked by science, literature, history, art, and the whole life. The Koran, which challenges people and demons, has influenced poetry and literature; the efforts to better understand it, together with many sciences, have also formed the Arab eloquence. Arabic literature in general and Arabic poetry in particular have shown many important changes with the advent of Islam. The change is more about content, rather than form and form. Islam did not approve of every poem in principle with the expression of Surah al-Shuarah. When poetry took a destructive nature, it was found harmful and deteriorated. The first condition that a poem is acceptable is that it is not contrary to monotheism and morality in general. One of the poets appreciated by the Prophet, -Qur'an's communicator and practitioner- was Labid Ebn Rabia. The most beautiful example expressing that the Prophet enjoyed listening to the poetry of Jahiliyya period, provided that it does not contain any negative elements, is the saying that Everything is superstitious except Allah, before he became a Muslim. He is one of the five masters who have an alliance together with Imru'ul-Kays, Tarafe b. al'Abd, Zuheyr b. Abi Sulma and 'Amr b. Kulsum and he is the only poet who is a Muslim. He was born in the second half of the sixth century and lived for more than a hundred years and died during the Muaviye period. Labid, whose poems are highly appreciated by the Arabs, is said to have stopped saying poems after he entered Islam. However, when we look at the Islamic elements in his poems, it can be understood that he sang a little poetry even after he became a Muslim. Therefore, most of his poems belong to the period of Jahiliyya. He did not see poetry as a means of subsistence, but only in the service of his tribe. Looking at his poems during the Islamic period, it is clear that the Qur'an remains under the influence. There are about 62 odes and al-mukatta'a in the poet's book. These are poems composed of description, boast, heroism, lament, wisdom as well as some lyric and satire. And his mu'allaka is composed of 88 couplets with the rhyme letter mime, from al-Kamil form. Perhaps the most important feature of Labid's poetry is his superior ability to portray. His descriptions of elements such as nature, space and animal are at a level to demonstrate his superior talent. Praise, boast, dirge and satire, which are the main subjects of classical Arabic poetry, as well as narrations reflecting historical events, took place in Labid's Divan. His poems praising himself, his father, his uncle, and his ancestors must be seen in the context of an inward praise that is, boast. In addition to nature and animal depictions, some values of Hanif religion are also found in his poems. Although there is no independent poem by him; especially in the poems of Jahiliyya period, the theme of boasting is dominant. Labid, who has many poems in the form of lament, description, satire and wisdom, has mastered this theme masterfully, boasting more of himself, his family, tribe and ancestors in his poems included in the genre of praise. For Labid, poetry means the virtues of his tribe. He has raised his tribe over horoscopes by showing the most beautiful tribes that can be seen in a society belonging to his tribe. This study aims to present examples from his poems on the theme of praise (boast) in Poet book (al-Divan) and to compare his pre-Islamic and post-Islamic periods after presenting sections on his life and poetry.Öğe Yemenli Öykücülerden Hemdân Zeyd Demmâc’ın “Yolcu” Adlı Öyküsü(2013) Dereli, Muhammet VehbiArap dünyasında modern anlamda öykü türü ilk defa Mısırda doğmuş, ardından diğer ülkelere yayılmıştır. Diğer Arap ülkelerinde olduğu gibi kısa öykü ve romanın, daha önceleri baskın olan Yemen şiirinin yanında yaygın okunan edebiyat türleri safına katılması ancak yirminci yüzyılda gerçekleşmiştir. Seksen yıl öncesine kadar öykünün Yemende edebî bir tür olarak kabul edilişi hiç de kolay değildi. Erken dönem Yemen öykücülüğü çoğunlukla belli bir sosyal ya da siyasî mesaj taşımakta olup, İngiliz dış gücüne karşı az ya da çok açık ajitasyon ile ayırt edildi. Son dönemde ise Yemen edebiyatı hızla gelişmekte ve öykü türü gittikçe önemli bir hale gelmektedir. Ancak yine de Yemende ve ülkemizde Yemen öykücülüğüne dair müstakil çalışmalar son derece sınırlıdır. Bu çalışmada Yemenli edebiyatçı Hemdân Zeyd Demmâcın hayatı, eserleri ile el-Musâfir adlı öyküsü, kahramanlar, olaylar, modern anlatım teknikleri, tasvirler ve dil açısından incelenmiştir. Denilebilir ki o, iyi bir betimleme yazarıdır ve okuyucuya karakterlerin duygusunu verir. Öykülerinde edebî sanatları çokça ve büyük bir ustalıkla kullanır.
