Tomâr-ı Turûk-ı Aliyye başta olmak üzere daha çok dinî ve tasavvufî eserleri ile bilinen SâdıkVicdânî’nin klasik şiir etkisinde kaleme aldığı eserleri de vardır. Bu şiirlerinde aruz ölçüsünü başarılı bir şekilde kullanmış; özellikle Nağamât-ı Vicdâniye’de methiye, mersiye, sâkînâme, hicviye gibi türlerde gazel, kaside, mesnevi, murabba, şarkı, terci-i bend, tahmis, terbi ve tardiye gibi eski şiir nazım şekilleriyle güzel örnekler vermiştir.

Bu çalışma ile klasik şiir geleneğinin etkisinin ne denli güçlü bir şekilde 20. yüzyılda da devam ettiğini gösteren en güzel örneklerden olan Nağamât-ı Vicdâniye, Latin harflerine aktarılarak günümüz okur ve araştırmacılarının beğenisine sunulmuş ve dönemin önemli isimlerinden SâdıkVicdânî’nin hayatı ve şair kimliği detaylı bir şekilde incelenmiştir.

Zâir bu cihânbî-bekâdır

Her hâlet-i kâbil-i fenâdır

İkbâline meyl ederse kalbin

Eyyâmıhayât pek hebâdır

Uyma heves ü hevâ-yı nefse

Zîrâ o mugâyirrızâdır

Ben ölmüş isem a nûr-ı dîde

Pendim sana i’tibâr-nümâdır

La morphologie, visant à étudier spécialement la structure interne des mots, se divise traditionnellement en deux branches : morphologie dérivationnelle (ou lexicale), s’intéressant à l’aspect formationnel (dérivationnel) des mots complexes (dérivés ou construits) et morphologie flexionnelle, s’occupant spécifiquement de l’aspect flexionnel. C’est ce deuxième aspect qui est adopté dans cet ouvrage, qui essaie de rendre cette matière quelque peu complexe, même pour un public averti, plus accessible par tous, notamment par les apprenants étrangers, en sélectionnant une méthodologie « distributionnelle ». En effet, les travaux existants en la matière sont purement descriptifs et souvent assez complexes et, par conséquent, ne conviennent guère au public méconnaissant le domaine et encore moins aux étudiants qui tâchent d’appréhender le fonctionnement morphologique d’une langue étrangère.

Il s’agit, donc, d’un ouvrage d’initiation, de nature pédagogique, spécialement conçu pour l’enseignement et l’apprentissage de la morphologie du français. Ainsi, tout en apprenant les techniques d’analyses morphologiques, ces derniers saisiront plus facilement les fondements de la flexion des mots français. D’où, l’autre caractéristique de l’ouvrage, qui se veut, autant que possible, d’une simplicité, aussi bien sur les plans du contenu, du corpus, de la méthode d’analyse et de la description qu’au niveau métalinguistique.

“The title of Salman Rushdie’s famous essay, which later formed the title of a book of essays by him, ‘Imaginary Homelands’, is based on one side of a common and age-old perception of home: we make it in the mind or the imagination. Ordinary language has versions of it too: home is where the heart is, I don’t feel at home in my own town/country, this is my spiritual home, etc. On the other hand, there is a physical aspect to home too – ranging from walls associated with ancestral property or parents or some other such inheritance, and extended, through the imagining of communities, as Benedict Andersen would phrase it, sometimes to a land, a country, even a nation. To say that any one of these broad definitions of home is wrong is to cut off large sections of humankind: those who do not belong where they live or those who cannot return to where they used to live. To feel at home and to live at home are both valid cravings, and though they do not necessarily overlap, neither can be dismissed in favour of the other” Tabish Khair

Home in Western Language is a compilation of selected papers presented at the 7th BAKEA Symposium, 2021. In the time of the pandemic, when home has acquired more meanings, this book reads the idea of home and explores its connotations as presented in different genres and ages of English, American, French and literatures.

In the perusal of the Irish literature, we see that the strength of this conservative instinct has been of the greatest service in the preservation of the early monuments in their purity. So much is this the case, that in many tales the most flagrant contradictions appear, the author or scribe being unwilling to depart at all from that which he found handed down. For instance, in the “Great Breach of Murthemney,” we find Laeg at one moment killed, and in the next riding black Shanglan off the field. From this conservatism and careful following of authority, and the littera scripta, or word once spoken, I conclude that the distance in time between the prose tale and the metrical originals was very great, and, unless under such exceptional circumstances as the revolution caused by the introduction of Christianity, could not have been brought about within hundreds of years. Moreover, this same conservatism would have caused the tales concerning heroes to grow very slowly once they were actually formed. All the noteworthy events of the hero’s life and his characteristics must have formed the original of the tales concerning him, which would have been composed during his life, or not long after his death.