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At the heart of this volume is the translation of a fourteenth-century Turkish version of the Joseph story, better known to Western readers from the version in Genesis, first book of the Hebrew Bible. Hickman provides us with a new lens: we see the drama of the Old Testament prophet Joseph, son of Jacob, through Muslim eyes. The poem’s author, Sheyyad Hamza, lived in Anatolia during the early days of the Ottoman Empire. Hamza’s composition is rooted in the recondite and little-studied tradition of oral performance—a unique corner of Turkish verbal arts, situated between minstrelsy and the "divan" tradition—combining the roles of preacher and storyteller. A cultural document as well as a literary text that reflects the prevailing values of the time, Hamza’s play reveals a picture of Ottoman sensibility, both aesthetic and religious, at the level of popular culture in premodern Turkey. To supplement and contextualize the story, Hickman includes an introduction, a historical-literary afterword, and notes to the translation, all ably assisting an unfamiliar reader’s entry into this world.
Part 1: MIDDLE TURKIC 1. Qarakhanid Literature and the Beginnings of Turco-Islamic Culture. In: Central Asian Monuments (ed. Hasan B. Paksoy, Istanbul, 1992), 73-80 2. On Nature in Karakhanid Literature. Journal of Turkish Studies 4 (1980), 7-35 3. Three Turkic Verse Cycles Relating to Inner Asian Warfare. Harvard Ukrainian Studies 3/4, 1979-80 (= Eucharisterion Omeljan Pritsak, Part 1), 151-65 4. Inner Asian Wisdom Traditions in the Pre-Mongol Period. Journal of the American Oriental Society 101.1 (1981), 87-95 5. Kashgari on the Tribal and Kinship Organization of the Turks. Archivum Ottomanicum 4 (1972), 23-43 6. Kashgari on the Beliefs and Superstitions of the Turks. Journal of the American Oriental Society 95.1 (1975), 68-80 7. The Alexander Romance in the Diwan Lughat at-Turk. Humaniora Islamica 1 (1973), 233-44 8. Baraq and Buraq. Central Asiatic Journal 15.2 (1971), 102-17 9. Middle Turkic Vulgarisms. In: Aspects of Altaic Civilization II (ed. L.V. Clark and P.A. Draghi, Bloomington, Indiana, 1978), 59-64 10. Introduction to Wisdom of Royal Glory (Chicago, l983) 11. Textual Problems in Kutadgu Bilig. Journal of Turkish Studies 3 (1979), 89-99. 12. Animal Traits in the Army Commander. Journal of Turkish Studies 1 (1977), 95-112 13. Some Notes on the Middle Turkic Glosses. Journal of Turkish Studies 5 (1981), 41-44 Part 2:OTTOMAN 14. The Lyric in the Romance: The Use of Ghazals in Persian and Turkish Masnavis. Journal of Near Eastern Studies 43.1 (1984), 9-25 15. The Romance of Iskender and Gülshah. In: Turkic Culture: continuity and Change (ed. S.M. Akural, 1987 = Indiana University Turkish Studies 6), 95-103 16. Inner and Outer Oguz in Dede Korkut. Turkish Studies Association Bulletin 6.2 (1982), 21-25 17. The Seyahatname of Evliya Çelebi as a Literary Monument. Journal of Turkish Literature 2 (2005), 71-83 18. Turkic Languages and Turkish Dialects according to Evliya Çelebi. Altaica Osloensia: Proceedings from the 32nd Meeting of the Permanent International Altaistic Conference, ed. Bernt Brendemoen, Oslo, 1990, 89-102 19. The Languages of the World according to Evliya Çelebi. Journal of Turkish Studies 13 (1989 = Gerhard Doerfer Festschrift), 20. Evliya Çelebi on the Armenian Language of Sivas in 1650. Annual of Armenian Linguistics 4 (1983), 47-56 21. "Mı+"isi": An Armenian Source for the Seyahatname. Wiener Zeitschrift für die Kunde des Morgenlandes 76 (1986 = Festschrift Andreas Tietze), 73-79 22. Marrying a Sultana: The Case of Melek Ahmed Pasha. In: Decision Making and Change in the Ottoman Empire (ed. Caesar E. Farah, Kirksville, Missouri, 1993), 169-182 23. An Unpublished Account of mum söndürmek in the Seyahatname of Evliya Chelebi. In: Bektachiyya: Études sur l'ordre mystique des Bektachis et les groupes relevant de Hadji Bektach (ed. A. Popovic and G. Veinstein, Istanbul: Isis, 1995), 69-73 24. Establishing the Text of Evliya Çelebi's Seyahatname: A Critique of Recent Scholarship and Suggestions for the Future. Archivum Ottomanicum 18 (2000), 139-44 25."Shall We Tear Down That Observatory?" Evliya Çelebi and Philology. [unpublished English original of: "Şu Rasadı Yıkalım mı" Evliya Çelebi ve Filoloji. In: Evliya Çelebi ve Seyahatname (ed. Nurhan Tezcan & Kadir Atlansoy, Doğu Akdeniz Üniversitesi, 2002), 99-118 26. Some Reflections on the Editing of Book 9 of the Seyahatname. In: İzzet Gündağ Kayaoğlu Hatıra Kitabı: Makaleler (ed. Oktay Belli, Yücel Dağlı, M. Sinan Genim; Istanbul, 2005), 122-32 27. Some Reflections on the Editing of Book 10 of the Seyahatname. In: Journal of Turkish Studies 30/1 (2007 = In memoriam Şinasi Tekin, I), 225-235. 28. Two Armeno-Turkish Texts: Lament for a Dead Daughter and Game of Chance. Journal of Turkish Studies 14 (1990 = Fahir İz Festschrift I), 151-162 29."The Story of Faris and Vena": Eremya Çelebi's Turkish Version of an Old French Romance. Journal of Turkish Studies 26 (2002 = Essays in Honour of Barbara Flemming), I, 107-61.
In Essays on Turkish Literature and History Barbara Flemming makes available essays partly previously published in German. They offer insights gained through decades of scholarship. Although the Ottoman period is central, a wide range is covered, including an early Turkish principality, Mamluk and Ottoman Egypt, and contemporary southeastern Turkey. The essays look into historical and political factors involved in the preoccupation with the world’s ending, into Muslim-Christian dialogue, the sultan’s prayer before battle, and the bilingualism of poets. Of particular interest are the sections on female participation in mysticism, on an anti-Sufi movement in Cairo, on the Ottoman capital’s appeal to collectors and emigrants (Diez, Süssheim, Böhlau), and on the far-reaching effects of alphabet change.
Annemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introduction to the complicated and highly sophisticated system of rhetoric and imagery used by the poets of Iran, Ottoman Turkey, and Muslim India. She shows that these images have been used and refined over the centuries and reflect the changing conditions in the Muslim world. According to Schimmel, Persian poetry does not aim to be spontaneous in spirit or highly personal in form. Instead it is rooted in conventions and rules of prosody, rhymes, and verbal instrumentation. Ideally, every verse should be like a precious stone--perfectly formed and multifaceted--and convey the dynamic relationship between everyday reality and the transcendental. Persian poetry, Schimmel explains, is more similar to medieval European verse than Western poetry as it has been written since the Romantic period. The characteristic verse form is the ghazal--a set of rhyming couplets--which serves as a vehicle for shrouding in conventional tropes the poet's real intentions. Because Persian poetry is neither narrative nor dramatic in its overall form, its strength lies in an "architectonic" design; each precisely expressed image is carefully fitted into a pattern of linked figures of speech. Schimmel shows that at its heart Persian poetry transforms the world into a web of symbols embedded in Islamic culture.
This famous work from the Royal Asiatic Society is an indispensable tool for all serious students of Persian literature, history and culture, and a welcome companion to Persian literature in its most glorious period. This volume is the second, revised edition of three parts published in 1992 and 1994.