Notre rapport à l'altérité dépend parfois de la manière dont nous représentons l'Autre et de la façon dont cet Autre nous représente. Plus même : notre identité est, souvent, conditionnée par l'identité de l'Autre. "Si le Juif n'existait pas, disait Sartre, l'antisémite l'inventerait." C'est parce que l'antisémite n'existerait pas s'il n'y avait pas de juif. De la même façon, s'il n'y avait pas de "blanc", la littérature n'aurait jamais eu droit au concept de la négritude. Qui est l'Autre? Comment l'Autre (...) nous représente? Comment nous représentons cet Autre? Comment la femme est représentée par l'homme? Le croyant par l'athée? Une civilisation par les intellectuels d'une autre civilisation? Une minorité par la composante majoritaire d'une même nation? Ces regards croisés influent-ils sur nos identités individuelles et collectives? C'est pour répondre à ce genre de questions qu'est né le projet de publier cet ouvrage collectif, où les différentes spécialités sont affrontées, pour mettre en évidence la manière dont l'altérité est, ou pourrait être, pensée dans ce contexte où des prophètes du malheur chantent les gloires d'un choc des civilisations et des cultures qui, nous l'espérons, n'aurait jamais lieu."--Page 4 of cover. (shrink)

Many mawlids (mawlid al-nabī) have been written as a reflection of the love for the prophet Muhammad. Süleymān Çelebi’s (d. 825/1422) Wasila al-nacāt, has been seen as the founding work in Turkish literature in this category. The effect of Wasila al-nacāt has continued for centuries, and inspired many other mawlids. One of them is Enverī Erzincānī’s work named Mawlūd al-sharīf (Sumbul al-gulzār al-kalām al-kadīm). In literature tradition, mawlids are written in masnawī in ​​verse form, Mawlūd al-sharīf was written in style. (...) ode. In this respect, the work can be seen as an exception between the other ones. Another remarkable aspect of the work is the similarity between the two stories in Nasibī al-mawlid which is estimated to be written in XV. or XVI. century. Until now, no academic work has been done about Mawlūd al-sharīf. The sources that provide information about Mawlūd al-sharīf report about, two copies, one in Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi) and the other in Kastamonu Manuscript Library (Kastamonu Yazma Eserler Kütüphanesi). Research showed that the copy in Kastamonu was in fact another copy of Wasila al-nacāt another copy of Mawlūd al-sharīf was also found in the Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). The number of couplets of Mawlūd al-sharīf has increased to 202 with the finding of the second copy. About the author of the work that is approximatly written in the XVII. or XVIII. century no information could be found. This study, introduces the Mawlūd al-sharīf and its authors, compares it with Wasila al-nacāt and presents an critical analysis of the text.Summary: The term mawlid means birth, birth time and place of birth. It was used to describe works such as the birth of the Prophet, miracles and the death of the Prophet. Next to these there also many mawlids about the lifes of Fatīma the daughter of the Prophet and her husband Alī, and few about the lifes of a spiritual guide. The first examples of this type seen in Arabic literature are Ibn Dihya al-Kalbī (d. 633/1235), Muhammad al-Azafī (d. 633/1236) and Cafar b. Hasan al-Barzancī (d. 1177/1764); Muhammad b. Masūd el-Kāzarūnī (d. 758/1356) and Sūzanī (d. 569/1173). The celebrations related to mawlid have turned into ceremonial form in the era of the Fatimies. The Fatimies held, Mawlid-al-Alī, Mawlid al-Hasan, Mawlid al-Husayin and Mawlid al-Fatīma ceremonies next to the Prophet’s. The first mawlid ceremony in the form of today was seen in the time of Muzaffar al-Dīn Gokboru (d. 630/1233).Different ideas have been put forward about the first mawlid text in Turkish literature, but Süleymān Çelebi’s Wasila al-nacat has been accepted as a pioneer work in the recognition and love of this kind. Many mawlids were written with the influence of Wasila al-nacat. The likeness of the content and the motifs of the majority of mawlids to Wasila al-nacat is interpreted as a strong sign indicating its importance in this genre. The translation of Wasila al-nacat into Arabic, Circassian, Greek, Kurdish, Tatar, Sawamish, English, German, Albanian, Bosnian... languages ​​should be considered as a factor that exposes its breadth.It is estimated that around 200 Turkish mawlids have been written, but this number is increasing with new studies. One of these mawlids is the work of Enverî Erzincānī called Mawlūd al-sharīf Ethem Erkoç and Mehmet Fatih Köksal are the researchers who have been aware of the existence of this work for the first time. Both researchers mention that the work has 142 couplets and the only copy is that in the Çorum Hasanpasha Writing Works Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). In his work called Mawlid-nāma Köksal states that there is a second copy of the work, but the copy of Kastamonu, which is known as the second copy, is actually a copy of Wasila al-nacat. In the present study, another more bulky version of Mawlūd al-sharīf was recorded in Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). In the catalogs of the National Library (Milli Kütüphane) and Çorum Hasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi), the mawlid is indicated as Persian; the reason fort his mistake might be, the fact that the first twelve of the text is Persian.Although there were many poets who used the pseudonym Enverī there is no poet in Turkish literature, who was from Erzincan and wrote a mawlid with the same pseudonym. It was understood that the poet was a sayyid.In five places the author’s name or pseudonym is mentioned. His work shows that he is from Erzincān and that he has a mawlid. As a mawlid poet Enverī, adopted a quite ambitious style. He praises himself for writing in Persian, being the best Persian speaker in this area, and boasted his pure character and wise poetry.In the headlines of the copies the work is called Mawlūd al-sharīf / Sunbul al-gulzār al-kalām al-kadīm. Therefore, it would be more appropriate to consider the work as a double name sage. The copies do not include a record of the copyright date of the work. According to the second copy, which is shorter and which has the impression that it is incomplete, the work was copied in 1249/1833. It can be said that the Mawlid was written in the XVII. or XVIII. century because of its language and style.In the mawlid tradition of writing mawlid, generally masnawī form was preferred. Rarely some mawlids were conposed in verse styles. One of these works, which are two for now, is the one in which Çizmeci-zāde Vehbī wrote the couplets of Wasila al-nacat in sixth verse form. The other one is the Mawlūd al-sharīf of Enverī Erzincān. Mawlūd al-sharīf was written entirely in the form of an ode, except of two stories with 48 couplets must have been added later. The work with 202 couplet was separated from Wasila al-nacat and other mawlids in terms of starting with a Persian tawhid and using the style of an ode. Because of the small number of citations, the subjects described in Wasila al-nacat have not been contacted or have been summarized. Mawlūd al-sharīf is one of the shortest ones. Because of the small number of couplets of Mawlūd al-sharīf, the subjects described in detail in Wasila al-nacat are either not mentioned or only summarized. The work, consists of two major sections: The birth of the Prophet and the miracle of miraj. The remarkable feature of Mawlūd al-sharīf is that the two stories told are identical to the stories in Nasībī Mawlid (XV. or XVI. century). The first story tells how, a Jewish couple living in Baghdad became Muslims because of their respect for the mawlid ceremony. The second story tells about, a young named Alī who organized a mawlid ceremony with little money left from his mother and therefore died with faith. Surprisingly, this similarity is seen in the content and narrative forms of the stories in both texts. The fact that the comparative stories are almost the same makes on think of the possibilities of imitating, quoting or saving rather than an impression of the author by the previous text. Taking into account the chronological time, it seems more likely to accept the quotations in the Mavlūd al-sharīf as duplicating. Writing the stories in Mawlūd al-sharīf after the main chapters and the line differences in the rulers reinforce the impression that the stories are added later. (shrink)

Turkish-Islamic literature contains numerous religious literar writings. In the existing literature, it can be seen that many kinds such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, and al-asmā al-ḥusnā were written. Al-Asmā al-ḥusnā, written in the form of poetry and prose, were mostly sharḥ or their khawaṣṣ were explained. Çihil-nām al-Manẓūm, which is mentioned in the study, was written as khawaṣṣ al-asmā al-ḥusnā. The work is a poet entitled as Fażāyī. Manuscript was written in the (...) last quarter of the fifteenth century, and thus, it is presumed that the poet lived in the same century. This work has been identified in a manuscript. In addition, the poet’s Hadiyyat al-aḥbāb, der-Bayān al-maqāmāt al-darwīshān, Kitāb al-sharʿiyyat al-arbāb, and Ghazaliyyāt al-Darwīsh Fażāyī four other works have been identified. In the writings of the asmā al-ḥusnās, the names of ninety-nine were emphasized. In this study, the forty names of God are expressed. The text presented is a continuation of the tradition of writing some prose works written in Arabic and Persian. Çihil-nām al-Manẓūm, written in Arabic prose and known as Asmā al-Idrīsiyya it can be seen as a free stsyle translation of the prophet Idrīs. Forty names in the content of the work, their proper-ties, when, how much and how to read is explained. In this study, firstly the information about the subject of Qurʾān, hadith, Arabic, Persian and Turkish literature in the beautiful names of God is provided. Then, the information about the poet Fażāyī was given. Çihil-nām al-Manẓūm was introduced and the transcriptional form of the text was given.SummaryOne of the reasons that deeply affect a nation is the change of religion. This change did not only affect the individual but also influenced the society in which he was born and grew. One of the nations with strong influence is the Turks. Turks, after Islamization, have estab-lished a new civilization. One of the areas where this Islamic civilization reflects is the literary aspect of society. In this literature, which has begun to be formed, religious genres such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, have been revealed. One of them is about God. Religious literary writings about God were written in the form of tawhīd and munājāts, which consist of one or more prophets found at the head of the dīwāns, or as the annotations of asmā al-ḥusnā or as khawaṣṣ asmā al-ḥusnā.In time, the need for some Turkish literary and scientific works to be translated into a different language were born. It can be seen that with some changes such as subtraction and addition, texts are rewritten or poetic works are translated into prose. The original of our research subject Çihil-nām al- Manẓūm’s is written in Arabic and prose. Çihil-nām al-Manẓūm, it is a munājāt of the work known as Asmā al-Idrīsiyya, which describes the call of prophet Idrīs.Asmā al-ḥusnā is a religious term used mostly to describe the attributes and names of God. In the Qurʾān, there is no information about the number of asmā al-ḥusnā mentioned as a concept. However, the number of the names of God in the Qurʾān is 155. This number is differ-ent in ḥadīths. It is widely accepted that the number of asmā al-ḥusnā is 99. Some Islamic schol-ars have argued against such restricting statements, arguing that ninety-nine names, such as the hiding of the Night of Qadr, were hidden in all Divine names during the month of ramaḍān, while others suggested that the number of ninety-nine was large number of asmās (names).The first examples of asmā al-ḥusnā were written in Arabic literature. Some of them are not detached: Abū Manṣūr al-Māturidī (d. 333/944) Kitāb al-Tawḥīd, Abū ʿAbdullāh al-Ḥalīmī (d. 403/1012) al-Minhāj fī shuʿabiʾl īmān, Taḳī al-Dīn Ibn Taymiyya (d. 728/1328) al-Īmān. A part of asmā al-ḥusnās is also a single work: Abū Isḥāq al-Zajjaj (d. 311/923) Tafsīr al-asmāi’llāh al-ḥusnā, Aḥmad b. Husayin al-Bayhaḳī (d. 458/1066) al-Asmā al-ṣifāt and ʿAbd al-karīm b. Havāzin al-Quşayrī (d. 465/1072) Sharḥ al-asmāi’llāh. In addition to Arabic, it is useful to talk about some of the asmā al-ḥusnās which is written in Persian. Muḥammed al-Shrāzī al-Nishāburī (d. 904/1498) al-Risāla der-asmā al-ḥusnā, Çarkhī Yaʿḳūb b. ʿOthmān (d. 851/1447) Sharḥ al-asmāi’llāh and ʿAbd al-Raḥmān Aḥmad al-Jāmī (d. 898/1492) Muʿammā al-Jāmī.Islamic nations have created an enormous collection of literature about God. Among them, asmā al-ḥusnās has a special importance. Many asmā al-ḥusnā were written in Turkish literature. The most famous among the verses of Ibn Isa b. Majduddīn ʿĪsā Saruḥanī (d. 967/559) is Sharḥ al-asmā al-ḥusnā. Other than that, Ḥusayin b. Aḥmad Sirozī (d. 1000/1401) Sharḥ asmā al-ḥusnā, Aḥmad Shākir Pasha (d. 1234/1818) Rawḍ-ı Ward, Ibrahim Mahdī (d. 1345/1926) al-Kanz al-asmā fī sharḥ al-asmā al-ḥusnā and Bijaqji-zāda Ismā‘īl Haqqi b. ʿOthmān (ö.1352/1933) Asmā al-ḥusnā’s naẓman tafsīr this work is shown among the major works written in this field. Again, the works of the late Sheykh-oghlu Muṣṭafā (d. 817/1414) Khawaṣṣ al-asmā al-ḥusnā, Ṣubḥī al-Bursawī (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Ḥākim Sayyid Maḥmad Afandi (d. 1184/1770) Sharḥ manẓūm al-asmā al-ḥusnā, Lāmiʿ Jelebi (d. 938/1532) Sharḥ al-muʿammayāt ʿalā asmā al-ḥusnā, Ḥamdī Afandi (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Naḥīfī (d. 1151/1738) Manẓūm al-asmā al-ḥusnā, ʿAbd al-Majīd b. Naṣūḥ Ṭosyavī (d. 996/1588) Sharḥ al-asmā al-ḥusnā can be listed among other notable works.In this study, a khawaṣṣ al-asmā al-ḥusnā is examined. Khawaṣṣ; khāṣṣ and khāṣṣa are the plural of the words khawaṣṣ al-wukalā, khawaṣṣa al-balda, the properties of some drugs, khawaṣṣa al-Qurʾān al-karīm, khawaṣṣa al-ism al-aʿẓam; a force that is found in something and not from others means special case. The verses of the Qurʾān, the rings, the hours of the days, some prayers, the names of God have some of the accents. It is believed that the desire of the person who reads them in certain conditions, in a certain amount, or in any manner, in specific hours, will occur. The fact that the concept of khawaṣṣ met these meanings allowed him to acquire scientific knowledge and to call it “khawaṣṣ science” characteristic in the literature.The works that deal with the Qurʾān and the asmā al-ḥuṣnā are written. Some of these works written in Arabic and Turkish literature are: Risāle fī khawaṣṣ al-asmā al-ḥusnā: Zunnūn al-Miṣrī, Khawaṣṣ al-Qurʾān: Ghazālī, ʿIḳdu al-manẓūm fī khawaṣṣ al-ḥurūf: Muḥyī al-Dīn al-ʿArabī, Asmā al-Idrīsiyya: Shāb al-Dīn al-Suhrawardī, Khawaṣṣ al-asmā al-ḥusnā: Shakh-oghlu Muṣṭafā, Sharḥ al-manẓūm al-asmā al-ḥusnā: Ṣubḥī al-Bursawī, Sharḥ al-asmā al-ḥusnā: Ibn ʿIsā b. Majd al-Dīn Ṣaruhanī, Manẓūm al-asmā al-ḥusnā sharḥ: Ḥākim Sayyid Maḥmad Afandi, Manẓūm al-asmā al-ḥusnā: Naḥīfī, Sharḥ al-asmā al-ḥusnā and khawaṣṣuhā: Imām Shabrāwī.One of the works in which asmā al-ḥusnā was described is attributed to prophet Idrīs. Among the miracles of prophet Idrīs, there have been intresting miracoulus performances such as possessing the knowledge of astronomy, fortune, mathematics, plants, writing, sew-ing, using the scales and strange art. The mysterious secrets were revaled to him in 30 ṣuḥuf. His major miracles are governing spiritual beings, knowing the properties of the beings and possessing the knowledge of various unknown things. Again, he wrote a book about the char-acteristics of letters. Aristotle later wrote a commentary using the majority of the information found in this book. Some of the works are written to narrate the Prophet Idrīs’s praising God with forty names:Muḥammad al-Tunisian, al-Ravḍatu al-Sundusiyya fī asmā al-ḥusnā al-Idrīsiyya al-Suhrawardiyya; Shāb al-Dīn Yaḥya b. Ḥabash al-Suhrawardī, Çihil-nām. Among these, the most famous is the work called Asmā al-Idrīsiyyā, written by Suhrawardī. Here, in addition to the asmā al-ḥusnā (forty names), prayers, prayers, conquests, their meanings, and the merits of reading them are explained. The book is written in Arabic. Many copies of this work have been identi-fied. Here are a few of these: Sulaymāniyya Hagia Sophia, K. 1870; Sulaymāniyya, Hagia Sophia, 377; Bāyazıd State Library 1314; National Library A005133-03 23b-33a; Adana Public Library 140; National Library, 06 Mil Yz A 9084/6.The works describing Asmā al-Idrīsiyya were written as prose. The work examined in this study was written as a manuscript. Çihil-nām-ı Manẓūm is distinguished from the others in this respect. Another point that makes the study important is the fact that Çihil-nām-ı Manẓūm has a very old period, this is written in the fifteenth century. (shrink)

This paper considers Western approaches at different time periods to Chinese landscape painting, with a focus on the eleventh century Chinese painter Guo Xi’s Essay on landscape painting. First, brief information will be given about the artist and his work. A brief scrutiny of a review published in 1936 will show how the Essay became influential in the West. Later publications, which appeared in 1969, 2007, and 2009 respectively, will show some changes in Western approaches to Chinese landscape painting, revealing (...) the main rhetoric of their times along with changing debates and approaches within Western art history. (shrink)