İbnü’l-Arabî metafiziğinin kalbi sayılan Fusûsu’l-Hikem, varoluşun ve insanın gizemini kader ekseninde çözen sarsıcı bir haritadır. Bu çalışma, Şeyh-i Ekber’in düşünce dünyasındaki, çoğu zaman pasif bir boyun eğme olarak yanlış yorumlanan yazgı kavramını, dinamik bir kader ontolojisi olarak yeniden keşfe çıkıyor.

Kitap; kaderin kör bir tesadüf ya da dayatılmış bir senaryo değil, varlığın kendi öz hakikatine (a’yân-ı sâbite) attığı bir imza olduğunu gözler önüne seriyor. İlâhî isimlerin tecellisi ile kulun iradesi arasındaki o muazzam dengeyi incelerken, insanın kendi kaderinin hem şahidi hem de aktif bir yürütücüsü olduğunu vurguluyor.

İbnü’l-Arabî Metafiziğinde Kaderin Ontolojisi: Fusûsu’l-Hikem Örneğinde Varlık ve Yazgı, kaderin kozmik ritmini ve varoluşsal derinliğini anlamak isteyen araştırmacılar, akademisyenler ve irfan meraklıları için vazgeçilmez bir başvuru kaynağı. Okuru, kaderi bir mahkûmiyet gibi yaşamaktan çıkarıp, onu ilâhî bir sır olarak idrak etmeye davet ediyor.

There is no form or species of literature that may not be interpreted by psychoanalytic methods. Be the author ever so objective, no matter how much he has sought to make his personality intangible and elusive, there are means, with the aid of clues, of opening up the barred gates of his soul. Men like Flaubert and Merimée, who believed in the impersonal and objective theory of art and who strove deliberately to conceal their personalities, failed in doing so. Their presence is revealed in their stories; they could not hold themselves aloof. It is true we have been aided by external evidence in learning what methods they employed to render themselves impersonal; the real Merimée and Flaubert, however, were made to emerge by the help of their published personal letters. It matters not whether the author writes realistic or romantic fiction, autobiographical or historical tales, lyric or epic poems, dramas or essays, his unconscious is there, in some degree.

But in a field which is largely new, it is best to take those works or species of writing where the existence of the unconscious does not elude our efforts to detect it. Therefore, much will be said in this volume of works where there is no question that the author is talking from his own experiences, in his own person, or where he is using some character as a vehicle for his own point of view. Such works include lyric poetry which is usually the personal expression of the love emotions of the singer. Burns, Byron, Shelley, Keats and Swinburne have left us records of their love affairs in their great lyric poems. Most of these were inspired by frustration of love, and were the results of actual experiences. And though much is said in them, other facts may be deduced.

The Imagist movement, a radical departure from traditional poetry, emerged as a revolutionary literary turning point in the 20th century. Following the principle of economy and precision of language, the Imagist poets championed poetry devoid of ornament and emotional excess. The movement’s emphasis on directness, simplicity, and visual intensity reshaped the spirit of poetry, sparking profound reverberations in literature.

This book comprehensively explores the Imagist movement’s theoretical background and historical context, as well as the analysis of the poems and contributions of its key figures, such as T. E. Hulme, Ezra Pound, H.D., and Amy Lowell. It also includes selected poems from Imagist anthologies, providing readers with concrete examples that highlight the essence of Imagist poetry.