This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of (...) the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

This is an era when the Islamic World is making a range of attempts to redefine itself and to grapple with the challenges of modernity. Many schools of thought have emerged which seek to position modern Islam within the context of a rapidly changing contemporary world. Exploring and defining the relationship between religion and knowledge, Ismail Rafi Al-Faruqi, a distinguished 20th century Arab-American scholar of Islam, formulated ideas which have made substantial contributions to the Islam-and-modernity discourse. His review of (...) the interaction between Islam and knowledge examines the philosophy behind this relationship, and the ways in which Islam can relate to our understanding of science, the arts, architecture, technology and other knowledge-based fields of enquiry. This book includes contributions from Seyyed Hossein Nasr, John Esposito, Charles Fletcher and others, and will prove an essential reference point for scholars of Islam and students of philosophy and comparative religion. (shrink)

On theory of knowledge from Islamic perspective related to Ismaʼil R. Al-Faruqi, a Palestinian American philosopher.

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

Ressenya /Reseña / Review H. U. Gumbrecht, R. Koselleck, H. Stuke, Il·lustració, progrés i modernitat. Història dels conceptes, València, Institució Alfons el Magnànim, 2018.

The past two decades has witnessed the mushrooming of Islamic schools in Europe, the United States and South Africa. Initially these schools were concerned essentially with providing an Islamic ethos for learners. More recently, however, they have begun to focus on the process of Islamization. The Islamization project was initiated in the United States by Muslim academics including Isma’il al‐Faruqi, Syed Husain Nasr and Fazlur Rahman as a response to the secularisation of Muslim society, including its educational insitutions. In (...) essence Islamization means including Islamic disciplines in the curriculum, providing an Islamic perspective on issues in the syllabi and locating, where possible, secularized disciplines within the Islamic weltanschauung. Six international conferences have been held to date at different locations in the Muslim World. The first five generated conceptual papers on the Islamic approach to knowledge and education and inspired academics to write research papers on their disciplines from an Islamic perspective. Most of these have been published in the American Journal of Islamic Social Sciences. The three universities which were established to drive the process have had varying degrees of success. The sixth conference which was held in South Africa took the form of workshops where South African teachers and international academics were brought together to generate Islamised syllabi for the major school disciplines. This article attempts to explain the rationale for Islamic schools and their attempts at Islamization of disciplines. In my view, this is an important development in the context of demands for the revival of indigenous knowledge systems. (shrink)

Güfte mecmûaları, Türk Mûsikîsi tarihinin en önemli kaynaklarındandır. Güfte mecmûaları eserlerin sadece güfteleri hakkında değil, o eserlerin formları, usûlleri, makam ve bestekârları hakkında da bilgi verdiği gibi, Türk mûsikîsi târihi ve kültürü yönüyle derlendikleri ve yazıldıkları dönemin de bir bakıma aynası olma görevini yapar.‎ Bu mecmûalar genel anlamda güfte mecmuaları şeklinde isimlendirilmiş olsa da ihtiva ettiği konuları itibariyle dînî ve dindışı şeklinde ayrıma da tabi tutulmuştur. Zamanla yapılan incelemeler neticesinde ise şiir mecmûası, şarkı mecmûası, ilâhî mecmûası vb. başlıklarla tasnif edilmiştir. (...) Güfte mecmûalarının türlerinden biri olan ilâhî mecmûaları da tertib edildiği dönemdeki tekkelerin mûsikî târihi, edebiyat, sanat ve kültür târihi açısından önemli bilgiler verdiği gibi tekkelerin mûsikîsi ile alakalı eserlerin günümüze ulaşmasını sağlamıştır. Bu çalışmamızda İstanbul Üniversitesi Nadir Eserler Kütüphanesinde TY 4116 no’da kayıtlı Tekirdağlı eş-Şeyh el-Hâc Hâfız Mehmed Rifʿat’ın “Ebhe’n-neğamât fî terennümâti’l-ilâhiyyât” ‎isimli güfte mecmuasında bulunan ilâhî formundaki eserlerin makâm, usul, bestekâr, güftekâr, nota durumu, eserlerde geçen tarikat isimleri ve güftelerin farklı besteleri yönüyle analizleri yapılmıştır. (shrink)

Birçok dini gelenekte mevcut olan mistisizm, Yahudilikte de ‘Kabala’ adı altında öne çıkan bir olgudur. Yahudi geleneğinde tam olarak ne zaman ve nerede ortaya çıktığı hakkında kesin söylemlerde bulunamadığımız bu düşünce sistemi, çeşitli sabitelere sahip olmakla beraber tarihsel süreçte konjonktüre bağlı olarak değişiklik göstermiş dinamik bir yapıyı ifade etmektedir. Bu akımın Yahudilikteki gelişim süreci mercek altına alındığında Orta Çağ, diğer pek çok dini gelenekte olduğu gibi, Yahudi mistisizmi açısından da temayüz eden bir dönem olarak karşımıza çıkmaktadır. Bu hususta araştırmanın da (...) inceleme konusunu teşkil eden Orta Çağ İspanya’sının Yahudi teologlarından Bahya ibn Pakuda’nın (ö. 1120?) önemli mistiklerden biri olduğu görülmektedir. O, mistisizme ilişkin düşüncelerini el-Hidâye ilâ Ferâizi’l-Kulûb eserinde ele almaktadır. Bahsi geçen eserde bedenî ibadet ve eylemlerin yanı sıra kalpteki niyetin de bağlayıcılığını ortaya koyan teolog, ahlak temelli bir din anlayışı formüle etmektedir. Bu minvalde Bahya; kalbin de uyması gereken çeşitli vecibelerin olduğunu; bu vecibeler içerisinde on tanesinin temel kaideleri ifade ettiğini salık vermektedir. Buradan hareketle ibn Pakuda’nın mistik görüşlerinin Tanrı’nın birliği, tefekkür, Tanrı’ya itaat, tevekkül, ihlas, alçakgönüllülük, tövbe, nefis muhasebesi, riyazet ve Tanrı sevgisi prensipleri üzerine inşa edildiği görülmektedir. Bu araştırmada bahsi geçen bu prensipler doğrultusunda Bahya ibn Pakuda’nın mistik teolojisine dair bütüncül bir perspektif sunulması hedeflenmektedir. (shrink)

Formulating and translating corporate social responsibility strategy into actual managerial practices and outcome values remain ongoing challenges for many organizations. This paper argues that the human resource management function can potentially play an important role in supporting organizations to address this challenge. We argue that HRM could provide an interesting and dynamic support to CSR strategy design as well as implementation and delivery. Drawing on a systematic review of relevant strategic CSR and HRM literatures, this paper highlights the important interfaces (...) between CSR and HRM and develops a conceptual model, the CSR-HRM co-creation model, which accounts for the potential HRM roles in CSR and identifies a range of outcome values resulting from a more effective integration of the role of HRM within CSR. The paper concludes with relevant theoretical and managerial recommendations that advance our understanding of the potential interfaces between HRM and CSR and how HRM can support a systematic and progressive CSR agenda. (shrink)

El manuscrito anónimo n.° XVIII de la colección Gayangos es una compilación que consiste en partes de dos obras: Futuh al-Sam de (ps.) al-Waqidi y una obra sin título de Abu `Umar al-Talamanki. Un análisis del texto revela que la "compilación" de Talamanki no es una obra original suya, sino una transmisión del controvertido texto de Abu Isma`il al-Azdi, también titulado Futuh al-Sam. La obra de al-Azdi fue considerada por muchos estudiosos como un fraude de la época de las Cruzadas. (...) La transmisión de al-Talamanki, que murió décadas antes de la Primera Cruzada, demuestra que la obra de al-Azdi es más temprana, dando de ese modo fin a la controversia. Otras citas de al-Azdi recién descubiertas también apoyan esta conclusión. También se investigan los isnads del manuscrito anónimo cuyos eslabones más antiguos coinciden con los de la obra de al-Azdi, algunos de los cuales, hasta ahora desconocidos, identificamos. El texto manuscrito es cotejado con las versiones publicadas de Futuh al-Sam de al-Azdi y las innumerables variantes prueban que esta obra se transmitió en varias versiones (riwaya). El análisis del manuscrito y el cotejo desvelan algunos de los procesos que intervienen el la construcción de los textos . (shrink)

Ṣūfī people, as well as the ulema (ʿulemā), discussed the issue of how God (Ḥaḳḳ) surrounds the universe (ʿālem) and where the ʿarş (arsh / the ninth heaven) in which God ensconces himself exists. The Ṣūfī people supporting the unity of existence (Wahdat al-wujud) concept claim that God surrounds the universe by his own being and so that the ʿarş (arsh) is all the creation / created beings by God moreover they argued that people who rejected this idea could attribute (...) weakness or impotence to the power of God. On the other hand, commentators and scholastic theologians acknowledge the idea that God surrounds the universe not by his own being as Ṣūfīs claimed but God surrounds the universe by his knowledge (ʿilm) and power (ḳudret). They claimed that there was no physical connection of God with the universe. There-fore, this article discusses a couplet (beyit) written by Ḥuseyn-i Lāmekānī from Bayramī-Melāmī group in light of four different tracts (risāle). One of the four tracts was written by the author of the couplet Ḥuseyn-i Lāmekānī himself. The title of his tract is Wahdat-nameh (Vaḥdet-nāme). The other tract was written by Munīrī-yi Belgradī and the title of it is Şarḥ-i Qaṣīda-i Suleymān. The other two tracts analyzed in this article were written by Ṣalāḥ al-dīn-i ʿUşşāḳī. These two tracts try to explain how God surrounds the universe from the unity of existence (Wahdat al-wujud) perspective. Therefore, they may help in understanding the men-tioned couplet written by Lāmekānī. The outline of the article is as follows: the introduction has the text of the ghazal including the mentioned couplet and discusses how the characteris-tics of Bayramī-Melāmī people were reflected in their poems. This part also tries to determine who wrote the mentioned ghazal as there were two different pen manes / pseudonyms (mah-las) for the same ghazal in various resources. To determine the original writer of the ghazal is crucial for proper interpretation of the texts. The next part of the article discusses the accusa-tion that Lāmekānī was an heretic in the Şarḥ-i Qaṣīda-i Suleymān tract by Munīrī-yi Belgradī. This part also tries to outline Munīrī-yi Belgradī’s mode of thought to discuss the background of his criticism about the couplets. According to his way of thinking, though Munīrī had some tolerance to Ṣūfī people believing fenā fillāh, he ironically harshly criticized the Ṣūfī group supporting Wahdat al-wujud entitled as Fuṣūṣī. In the second section, based on his work named Wahdat-nameh (Vaḥdet-nāme), it is aimed to create a general portrait of Ḥuseyn-i Lāmekānī. In this context, it discusses how Wahdat al-wujud and Hurufism, which are generally big issues for Bayramī-Melāmī, influenced Lāmekānī. Therefore, the comparison between Oglan Sheikh İsmāʿil-i Maʿşūḳī who was clearly influenced by Wahdat al-mavjud (vaḥdet-i mevcūd) and Hurufism, and Ḥuseyn-i Lāmekānī is realized in this part. It was figured out that adoration of Fuṣūṣ al-Ḥikem (Fuṣūṣīlik) was more influential in Bayramī-Melāmī Sheikh’s mode of thinking through the analysis of the effect of Fuṣūṣ al-Ḥikem in Wahdat-nameh (Vaḥdet-nāme). It was suggested that the reason behind the allocation of Munīrī-yi Belgradī for Ḥuseyn-i Lāmekānī was the effect of Fuṣūṣ al-Ḥikem which was salient for Melāmī Sheikh Lāmekānī. The final part of the article is about two tracts Miftāḥ al-vucūd and Zayl al-kitāb written by Ṣalāḥ al-dīn-i ʿUşşāḳī. The criticized couplet was read under the light of these tracts. These two tracts are significant as they explain how God surrounds the universe and where the ʿarş (arsh) is located by referring to the verses of Quran al-Fussilet 41/54, al-Nisā 4/126 and el-Tāhā 20/5 mentio-ned in the couplet by Ḥuseyn-i Lāmekānī. Ṣalāḥ al-dīn-i ʿUşşāḳī proposed a new argument about how God surrounds the universe in Zayl al-kitāb. According to this argument, in Miftāḥ al-vucūd Ṣalāḥ al-dīn-i ʿUşşāḳī tries to explain God’s surrounding potent through the or-ders/grades of the existence. In Zayl al-kitāb, he claims that there must be a center for God’s surroundings of the universe and this center must be Ḥaḳīḳat al-Muḥammediyye. Ṣalāḥ al-dīn-i ʿUşşāḳī stated that he did not acknowledge this information by himself but he acquired it from Ibn Arabī when he had a dream. Lastly, this part of the article discusses what Rahman settles in ʿarş (arsh) means in terms of circle (devir) theory. It was suggested that according to Ṣūfī people believing Wahdat (vaḥdetçi) God’s ʿarş (arsh) is the human being himself by drawing on the Kasf al-Gıtā (Keşfu’l-Gıtā) qasida written by Sunʿullāh-ı Gaybī who was a successor of Ḥuseyn-i Lāmekānī from the second generation. (shrink)

Decline of religious and moral values and how to address this issue in the light of Islamic teachings.

Name der Zeitschrift: Der Islam Jahrgang: 91 Heft: 2 Seiten: 341-359.

In this study, some new hypotheses and techniques are presented to obtain some new analytical solutions to the generalized Kawahara equation. As a particular case, some traveling wave solutions to both Kawahara equation and modified Kawahara equation are derived in detail. Periodic and soliton solutions to this family are obtained. The periodic solutions are expressed in terms of Weierstrass elliptic functions and Jacobian elliptic functions. For KE, some direct and indirect approaches are carried out to derive the periodic and localized (...) solutions. For mKE, two different hypotheses in the form of WSEFs are used to derive the periodic and localized solutions. Also, the cnoidal wave solutions in the form of JEFs are obtained. As a realistic physical application, the solutions obtained can be dedicated to studying many nonlinear waves that propagate in plasma. (shrink)

In this paper, some novel analytical and numerical techniques are introduced for solving and analyzing nonlinear second-order ordinary differential equations that are associated to some strongly nonlinear oscillators such as a quadratically damped pendulum equation. Two different analytical approximations are obtained: for the first approximation, the ansatz method with the help of Chebyshev approximate polynomial is employed to derive an approximation in the form of trigonometric functions. For the second analytical approximation, a novel hybrid homotopy with Krylov–Bogoliubov–Mitropolsky method is introduced (...) for the first time for analyzing the evolution equation. For the numerical approximation, both the finite difference method and Galerkin method are presented for analyzing the strong nonlinear quadratically damped pendulum equation that arises in real life, such as nonlinear phenomena in plasma physics, engineering, and so on. Several examples are discussed and compared to the Runge–Kutta numerical approximation to investigate and examine the accuracy of the obtained approximations. Moreover, the accuracy of all obtained approximations is checked by estimating the maximum residual and distance errors. (shrink)

En este artículo se analizan tres aspectos de la política religiosa del primer califa omeya de al-Andalus: en primer lugar, la represión contra los batiníes que formó parte de la política califal anti-ismā'īlí y una de sus posibles consecuencias (el escaso número de quṣṣāṣ); en segundo lugar, los márgenes por los que se encauzó el pluralismo religioso sunní; en tercer lugar, hasta qué punto los ulemas estuvieron dispuestos a admitir la descalificación de los 'alies y fatimíes por parte de los (...) omeyas. El análisis de estas tendencias tiene como marco principal de referencia las relaciones establecidas entre el califa y los ulemas andalusíes. (shrink)

Ümummilli lider Heydər Əliyevin milli və mədəni irsimizin qorunması uğrundakı unudulmaz xidmətləri maddi və mənəvi mədəniyyətimizin yaşadılmasına xidmət etmişdir. Tarixi şəxsiyyətlərin şərəfinə ucaldılmış abidələr, tarixi və mədəni abidələrin qorunması, beynəlxalq səviyyədə tanınan şəxsiyyətlərin yubileylərinə həsr edilən tədbirlərin qeyd edilməsi, deportasiya və soyqırımlar haqqında sərəncamların verilməsi və bir sıra digər vacib hadisələr bu dahi şəxsin adı ilə əlaqədardır. Heydər Əliyevin elmi əsaslara istinadən söylədiyi qənaətlər sayəsində həm Sovetlər dövründə, həm də müstəqillik illərində dünya ictimaiyyətinə Azərbaycan xalqının qədim mədəniyyəti haqqında məlumatlar təqdim (...) edilmişdir. Bununla yanaşı orta əsrlərə dair tarixi, dini abidələrin, eləcə də yazılı mənbələr və tarixi şəxsiyyətlərə aid məlumatların üzə çıxarılması və qorunması da unudulmaz liderin başlıca vəzifələri sırasında idi. (shrink)

IX. yüzyılda Horasan bölgesinde ortaya çıkan Melâmiyye, XXI. yüzyıla kadar varlığını sürdürmüştür. Hamdûn el-Kassâr’ın (ö. 884) temsil ettiği Melâmetiyye-i Kassâriyye, Hacı Bayram-ı Velî’nin (ö. 1430) halifesi Ömer Dede Sikkînî’nin (ö. 1475) temsil ettiği Melâmetiyye-i Bayramîyye ve Muhammed Nûrü’l-Arabî’nin (ö. 1888) temsil ettiği Melâmetiyye-i Nûriyye olarak 3 dönemde incelenmektedir. Melâmîliğin bu devrelerine dair akademik düzeyde çalışmalar yapılmış olsa da mûsikî yönüne dair çalışmaların çok az olduğu görülmüştür. Bu çalışmanın evreni Nûriyye Melâmîleri, örneklemi ise Nûriyye Melâmîlerine dair mûsikî ile ilgili çalışmaları kapsamaktadır. (...) Çalışmada Nûriyye Melâmîlerinin edebi ve sanatsal yönü araştırılmış, literatür taraması aşamasında Melâmî tekke ve derneklerinde icra edilen ilahilere güfte olarak kaynaklık eden Melâmî Efendilerine ait divanlar incelenmiştir. Çalışmamızın amacı Melâmî divanlarında yer alan ve ilahi formunda bestelenmiş güfteleri tespit etmek ve bu ilahilerin yaygınlığını belirlemektir. Nitel araştırma yöntemi kullandığımız çalışmamızda birincil veri kaynaklarını; Melâmîler tarafından bizzat kaleme alınan divanlar ve yine Melâmî ihvanı ile yapılan görüşmeler oluşturmaktadır. İkincil veri kaynaklarımız ise Melâmîlik hakkında yazılan tasavvuf kitapları, makaleler ve Melâmî derneklerinin resmi sayfalarında yer alan mevcut bilgilerdir. Tespit edilen divanlardaki bestelenmiş ilahiler için ise Melâmî Divanları, Devlet Nota Arşivi, Cüneyd Kosal Nota Arşivi, Divan Makam ve Notam v1.0 (Aytaç ERGEN) programı üzerinden taranmış, eşleşen ilahiler çalışmamıza dâhil edilmiştir. Nûriyye Melâmîlerine ait 14 adet divan incelenmiştir. Bu divanlar Abdurrahîm Fedâî, Ali Örfî, Ömer Lütfî, İştipli Hacı Salih Rıf’at, Abdulmâlik Hilmî, Hulûsi Maksud, Hüseyin Şemsi Ergüneş, Hasan Fehmi Tezdoğan, Üsküplü İsmail Hakkı, Hafız Ahmet Fethî, Hüseyin Sabri Soyyiğit, Ahmet Soyyiğit, Yaşar İhsan Gülver ve Dâvud Yılmaz’a ait divanın arasından 8 tanesinde yer alan 97 adet ilahinin notaya alındığı tespit edilmiştir. Verilerin değerlendirilmesi aşamasında; yapılan bu bestelerin hem Melâmî tekke ve meclislerinde hem de tekke dışında icra edildiği, bu bağlamda Nûriyye Melâmîlerinin edebi ve sanatsal yönünün tekke dışında da etkin olduğu görülmüştür. Araştırmanın sonucunda Abdurrahîm Fedâî Divanında yer alan 1’i nefes, 1’i deyiş (bu nefes ve deyişler ilahi formu altında listelenmiştir), 12’i ilahi olmak üzere toplam 14, Ömer Lütfî Divanında yer alan 1, Salih Rıf’at Divanında yer alan 2, Hasan Fehmi Tezdoğan Divanında yer alan 20, Üsküplü İsmail Hakkı’ya ait olduğunu tespit ettiğimiz 1, Ahmet Fethi Divanında yer alan 26, Ahmet Soyyiğit Divanındaki 21, Dâvud Yılmaz Divanındaki 12, toplamda 97 eserin ilahi formunda farklı bestekârlar tarafından bestelendiği tespit edilmiştir. (shrink)