HOMEROS https://journals.gen.tr/homeros <p style="text-align: justify;">Homeros&nbsp;<em> (E-ISSN: 2667-4688)</em> is an international peer-reviewed journal that was published in 2018. <em>The journal aims to include original papers in philology. In this context, high quality theoretical and applied articles are given.</em> The views and works of artists, academics, researchers and professionals working in the field of&nbsp; philology are brought together. Articles in the journal; It is published four times a year including WIN (January), SPRING (April), SUMMER (July) and FALL (October). Homeros is a free-open access electronic journal. The DOI number&nbsp;<em>(DOI Prefix:10.33390/homeros)</em> is assigned to all articles published in the journal.</p> <p>&nbsp;</p> en-US <p><em>When the&nbsp; article is accepted for publication in the </em><em>HOMEROS</em><em>, authors transfer all copyright in the article to the </em><em>Rating Academy </em><em>Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti</em><em>.</em><em>The authors reserve all proprietary right other than copyright, such as patent rights.&nbsp;</em></p> <p><em>Everyone who is listed as an author in this article should have made a substantial, direct, intellectual contribution to the work and</em><em> should take public responsibility for it.</em></p> <p><em>Th</em><em>is paper contains works that have </em><em>not previously published or not under consideration for publication in other journals.</em></p> homeros.editor@gmail.com (Buse AZLAĞ) homeros.editor@gmail.com (Cumali YAŞAR) Thu, 26 Aug 2021 23:00:50 +0000 OJS http://blogs.law.harvard.edu/tech/rss 60 One ghazal’s Nesimi https://journals.gen.tr/homeros/article/view/1452 <p><em>The paper deals with a ghazal of ‘Imaduddin Nesimi (d. 1417) with the matla “Yəqin, ya Rəbb, yüzündür rəqq-i mənşur.” (O God! Your Face is a parchment unfolded.) Nesimi is one of the prominent figures of the Medieval Azeri Turkic literature. Although his poetry testifies to the variability of philosophical thoughts, his name associates with Ḥurufi teaching; the poet was a follower of Fadlullah Astarabadi (d.1394) and a passionate agitator of Ḥurufism. It seems he was one of the important figures of that mystic sect, and his poetry and personality were so prominent that, according to Ibn Hajar al-Asqalani (d.1449), even the tenet itself sometimes was known as nesimiyya.</em></p> <p><em>İn this article, first, a brief account of importance of human face in sufi-hurufi thought, especially in Nesimi’s poetry will be provided. According to Ḥurufi thought Adam is considered to be manifestation (maẓhar) of the divine eternal word; his eyes, eyebrows, eyelashes, cheeks, lips, mouth, dimple, chin, forehead, and face in general were embodiment of sacred 28 and 32 letters of Arabic/ Persian alphabets, and the human face itself was the holy writing mentioned in the Qur’an in Q. 52:2–3 in the phrase wa­kitabin masturin fi raqqin manshurin (By a book scribed, in a parchment unfolded)</em></p> <p><em> Then the above mentioned ghazal will be discussed beyt by beyt. Through the discussion it becomes clear that the face with its parts is the most important aspect of speculations in Ḥurufism for exemplifying divine theophany – the state of kashf.</em></p> <p><em>Within the analysis of the above ghazal a special attention will be given to the importance of the skin, eyes, curl and lips. I will demonstrate how the poet uses ayats and images of the Holy Qur’an to glorify Divine/Human Beauty, The usage of the images and ayats of the Qur’an, as well as depiction of the scene of Paradise as metaphors of the face reveal some important points; first, the ghazal answers to some important questions about heterodox interpretation of the Qur’an. Further, it makes the heterodox philosophy easier for acceptance representing it in the familiar Qur’anic language of Muslims. Finally, it successfully serves for poetic embellishment. </em></p> <p><em>I argue that although the poem apparently seems to be a product of theophanic ecstasy, and each beyt expresses one of important statements of Sufi-hurufi thought, the poet unites all passages with invisible links. </em></p> Aida Gasımova Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/homeros/article/view/1452 Thu, 26 Aug 2021 00:00:00 +0000 The Concept of Deception in Idioms https://journals.gen.tr/homeros/article/view/1462 <p><em>Modern Turkish explains situations and events that are difficult to explain using concretisation. concretisations made for easy perception of abstract concepts is used to widly in idioms</em></p> <p><em>İdiom is a formulaic word groups consisting of at least two words stripped of their denotative meaning, any situation or concept easier, arising out of the need to express delicately, effectively and strongly.</em></p> <p><em>The idioms that concretisation the concept of deceiving were scanned from Ömer Asım Aksoy's work entitled Proverbs and Idioms Dictionary II- Idioms Dictinary and the meanings of the idioms were also taken from this work.</em></p> <p><em>Based on the meaning of the verb to convince, to persuade and to deceive, how the concept of deceiving is concreting in idioms and sememe of this concept has been tried to be determined.</em></p> <p><em>İdioms had been more detected and they are studied in terms of syntax and form. However, semantic studies on idioms are limited. We think that such studies will contribute to the teaching and correct use of idioms.</em></p> Gamze Kargı İnce Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/homeros/article/view/1462 Thu, 26 Aug 2021 00:00:00 +0000 Vocabulary in the context of reduplications in Aşık Pasha’s Garip-Nâme https://journals.gen.tr/homeros/article/view/1569 <p><em>Turkish is a language that has proven its richness in terms of vocabulary with the works revealed since the first texts that can be followed in written form, namely the Orkhon Inscriptions. Reduplications, which have an important place in this vocabulary, can be followed from the texts in question until today. In the 14th century; the work named Garip-nâme, which was written by Âşık Pasha during the Old Anatolian Turkish period, was chosen as the subject of the study, considering that it was rich in terms of vocabulary, and the reduplications in the work were tried to be determined. Garip-nâme is an important work in terms of our language, as it is the largest masnavi in In the 14th century and is a voluminous work consisting of 10592 couplets. In the study, the reduplications in the work were revealed with numerical data. In this context, the universe of the study is the work named Garip-nâme, and its subject is the reduplications in this work. The aim of this study is to determine the reduplications, which are important phrases for Turkish, in such an important work, and to contribute to the vocabulary of the Turkish language.</em></p> Necmi Akyalçın, Damla Aydoğan Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/homeros/article/view/1569 Thu, 26 Aug 2021 00:00:00 +0000 Onomasti̇c i̇magery i̇n Nasi̇mi̇’s di̇vans and i̇ts poeti̇c and styli̇sti̇c features https://journals.gen.tr/homeros/article/view/1438 <p><em>The great poet of Azerbaijani literature of XIV century Seyid Imadaddin Nasimi subtly using the variety of meanings of the word was an unsurpassed master of the artistic word, able to give a word a new meaning, reduce or expand the possibilities of expression. The poet commented on and interpreted the meanings and forms of writing not only common nouns but also proper names.</em></p> <p><em>Among his interpretations, the poetic meanings that he attached to personal names are especially interesting. His pseudonym (Nasimi), he also gave different philosophical and artistic meanings to his name (Imad), the pseudonym of his predecessor Hafiz Shirazi (Hafiz) and his name (Shamseddin), the pseudonym of his mentor Fazlullah (Naimi), and his names (Shihabeddin, Fazlullah), named after his close friend and like-minded person Aliyyul-A'la (Ali). Nasimi was based on religion (Ali and his various epithets (Asadullah, Shir-i Yazdan, Haydar-i Kerrar, etc.)) and literary names (Nizami and his heroes (Khosrov, Shirin, Shekker ...), Attar, etc. ) as elements of artistic imagination giving them figurative functionality. Although the Hurufit poet resembles his teacher in different names, only Fazlullah is the source of inspiration for his poetic imagination, a name that has led to many poetic and Sufi interpretations. As can be seen in his poetry the literary, historical, and fictitious names are used as elements of poetic art and have a poetic and stylistic feature.</em></p> Səadət Şıxıyeva Copyright (c) 2021 Rating Academy Ar-Ge Yazılım Yayıncılık Eğitim Danışmanlık ve Organizasyon Ticaret Ltd. Şti http://creativecommons.org/licenses/by/4.0 https://journals.gen.tr/homeros/article/view/1438 Thu, 26 Aug 2021 00:00:00 +0000