Sustainable tourism is essential to improving the preservation of cultural property since it encourages ethical travel, helps local communities, and raises money for conservation initiatives. It guarantees the preservation of cultural treasures for future generations while promoting awareness and appreciation of them. In this paper, the relationship between sustainable tourism practice, environmental policies, tourist education, community involvement, tourism revenue allocation, and cultural heritage preservation were evaluated using structural equation modeling (SEM) analysis. Five hypotheses were developed and the dataset includes 232 (...) respondents. A systematic questionnaire with a Likert scale rating was used to evaluate the data. As a result, latent construct validity and reliability were examined, and the structural model evaluated the connections between the constructs in the context of the suggested hypotheses. The structural model revealed that EP, STP, and TE are positively connected to the CHP, providing support for hypothesis 1: Cultural Heritage Preservation and Sustainable Tourism Practice (CHP→STP) and 3:Cultural Heritage Preservation and Environmental Policies (CHP→EP) are well supported and show no significant changes to enhancing heritage preservation. (shrink)

Music education increasingly integrates digital technology to enhance teaching effectiveness and student engagement. This study investigates the impact of technology proficiency on music instruction by analyzing data from 80 music teachers and their students, aged 10-18 years, gathered through a detailed questionnaire. SPSS software was utilized for statistical analysis, including factor analysis, Confirmatory Factor Analysis (CFA), and Structural Equation Modeling (SEM). SEM analysis revealed that Community Influence (CI) and Achievement Prediction (AP) significantly impact Psychological Forecasting (PF), while Technical Expertise (TE) (...) and Educational Technology Proficiency (ETP) have minimal direct effects. Specifically, CI and AP positively influence PF, whereas TE and ETP do not significantly impact PF. The results highlight that social factors and performance expectations are more influential in enhancing teaching outcomes than technological skills alone. (shrink)

Yūsuf al-Nabhānī (d. 1932) became famous in the world of science with many works he wrote in the fields of Hadith and Kalam. On the other hand, he is a person who has proven himself with his works and poems in the field of madīh nabawī. For this reason, he was also referred to as Hassān and Busīrī of the period in which he lived. His diwan named al-Sābiqātu'l-jiyād fī madhi seyyidi'l-'ibād is an important work that contains the poems he (...) sang in the type of prophetic madīh nabawī. The divan in question consists of ten couplet odes in which each letter of the alphabet is determined as a rhyme. In these odes, which he wrote to express his love for the Prophet and for some other religious reasons, the influence of classical Arabic poetry and especially Būsīrī can be found. Mystical thought also has a great influence on the poems of Yūsuf al-Nabhānī. As a matter of fact, the narration of the Prophet in his poems is generally shaped in line with the concept of al-Haqīqa al-Muhammedī/al-Nūr al-Muhammedî. In this study, Yūsuf al-Nabhānī will be discussed as a madīh nabawī poet within the framework of his divan. In this context, the content and stylistic structure of his poems will be examined in the axis of literary criteria, and the effect of mystical thought on his poems will be tried to be explained in general terms. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

Although Sibawayh dealt with it in a scattered manner under different headings there have been different views on na't (adjective), which is gene-rally included in the tawabi group in Arabic syntax, and there have been debates around these views. Na't, which is categorized as a proper adjective and qualifies the meaning of man'ut (mawsuf), has different characteristics from the sentence elements that indicate the subject. Nahiv scholars have mostly divided na't into two parts: real and causal na't, and they have (...) formulated certain rules for these two parts in accordance with the structure of the Arabic language. Since na't and man'ut are accepted as nouns, the i'rab of na't is subject to men'ut. However, some examples in the Qur'an and some expressions used by the Arabs caused objections to the i'rab of na't being the same as men'ut. It is observed that these objected examples are the cases where men'ut is known and the exceptional cases of madih, zam and jarri jivar. It is also obligatory for the na't to conform to the man'ut in terms of ma'rifiyyah, nekiriyyah, custom and gender. While Sibawayh (d. 180/796) considered it qabh (ugly) for non-propositional words to be na't, scholars such as Ibn Hisham (d. 218/833), Ibn al-Ḥajib (d. 646/1249), and Abd ar-Rahman Jami (d. 898/1492) accepted that na't could be either propositional or non-propositional and cited many examples of na't in the case of non-propositional words. Scholars such as Ibn Jinni (d. 392/1002) and Ibn al-Hajib gave an explanation of the causative na't without naming it, scholars such as Ebu’l-Bekā al-Ukbari (d. 616/1219) analyzed the subject under the title of causative adjective or causative na't, and Halid b. Abdullah al-Azhari discussed it under the title of al-wasf al-majazi. The subject of our study is to examine the handling of na't, which is one of the sentence elements in the Arabic language, in the works written on the field, its parts, the dimension that affects the meaning and the controversial aspects. The aim of the research is to examine the rules that Sibawayh deals with in his al-Kitâb on na'ta and the objections of later Arab linguists to these rules, and to contribute to the field by revealing different views on the subject. (shrink)

En el siglo X, y en la zona de Siria e Iraq, el número de poetas canónicos que dedicaron panegíricos (madīḥ) a miembros no destacados de la sociedad experimentó un incremento sin precedentes. A lo largo de los últimos treinta años, especialistas en este campo han formulado diversas teorías sobre los himnos de alabanza dedicados a la realeza y a los gobernantes, pero ¿qué llevó a personas corrientes, sin ninguna aspiración de llegar a gobernar, a pagar grandes cantidades de dinero (...) por himnos de alabanza en su honor? Este artículo plantea la aparición de un nuevo tipo de sociabilidad y un nuevo patronazgo en el siglo X. Ambos elementos habrían permitido a miembros de las categorías sociales inferiores formar alianzas y tener influencia a la hora de dar forma a los ideales del gobierno, el liderazgo y la propia hombría. El artículo presenta, a modo de ejemplos, poemas dirigidos a personas corrientes que adquirieron gloria e influencia gracias al apoyo artístico de al-Mutanabbī (m. 965). El primer poema le devuelve la dignidad pública a un soldado de diecinueve años cuyo rostro había quedado desfigurado en combate; en el segundo, el poeta glorifica y defiende a un funcionario del gobierno con inclinaciones sufíes poco conocidas; en el tercero, el poeta limpia el nombre de cierto pseudo-musulmán que era cristiano en privado. A partir de la teoría de la “esfera pública” de J. Habermas, el artículo describe el modo en el que estos poemas ilustran cómo miembros comunes de la sociedad adquirieron influencia en la esfera pública de participación y usaron los medios a su alcance para conservar esa influencia. (shrink)

Este artículo analiza las variedades y la función de la imitación literaria (mu‘āraḍa) en al-Andalus a partir de dos poemas que Ibn Darrāj al-Qasṭallī (m. 421/1030) dedicó a sus mecenas al-Ḥājib al-Manrṣūr y al-Mundhir b. Yaḥyā. El primero de ellos imita un poema de Abū Nuwās, en competición poética explícita con el mismo. El segundo es una imitación no reconocida como tal del poema de al-Mutanabbī sobre la batalla de al-Ḥadath, que se invoca como “vocabulario de un segundo poder más (...) elevado” para convertir la celebración de una victoria militar en la de una boda. al-Qasṭallī utilizó este segundo poema como estrategia ideológica para defender la diplomacia pacífica que su mecenas mantenía con dos vecinos cristianos de Zaragoza con los que formaba una coalición contra una tercera facción cristiana. Con él respondía a la crítica de la que esta política era objeto entre ciertos musulmanes. Ambas imitaciones muestran la considerable libertad que Ibn Darrāj se tomó a la hora de desarrollar los temas presentes en sus sub-textos. (shrink)