Şerh-i Kaside-yi Bürde : manuscript, 1627

Translation and commentary on el-Būṣīrī's "Qaṣīdat Burda". Commentator first provides the verse in Arabic followed by a literal translation into Turkish and commentary.

The south-sea sisters : a lyric masque, written for the opening of the Inter-colonial Exhibition of Australasia, 1866 : With translations into French and German verse /

Without the music.

Satires, epistles, and art of poetry, done into English, with notes.

Includes index.

Tarjamah-ʼi Hanrīyah : manuscript, undated

Translated by Muḥammad Bāqir Khurāsānī Biranjirdī (?) in 1223 [1808] in Hyderabad Deccan for Henry Russell.

Kitab al-amthal =: seu proverbiorum Arabicorum centuriæ duæ : ab anonymo quodam Arabe collectæ & explicatæ

cum interpretatione Latina & scholiis Iosephi Scaligeri et Thomæ Erpenii.

Translations of Eastern poetry and prose,

Mode of access: Internet.

A collection of Turkish poetry : manuscript, undated

Title supplied by cataloger.

Cross-cultural adaptation, reliability and validity of the Turkish version of the spine functional index

Background The Spine Functional Index (SFI) is a patient reported outcome measure with sound clinimetric properties and clinical viability for the determination of whole-spine impairment. To date, no validated Turkish version is available. The purpose of this study is to cross-culturally adapted the SFI for Turkish-speaking patients (SFI-Tk) and determine the psychometric properties of reliability, validity and factor structure in a Turkish population with spine musculoskeletal disorders. Methods The SFI English version was culturally adapted and translated into Turkish using a double forward and backward method according to established guidelines. Patients (n = 285, cervical = l29, lumbar = 151, cervical and lumbar region = 5, 73% female, age 45 ± 1) with spine musculoskeletal disorders completed the SFI-Tk at baseline and after a seven day period for test-retest reliability. For criterion validity the Turkish version of the Functional Rating Index (FRI) was used plus the Neck Disability Index (NDI) for cervical patients and the Oswestry Disability Index (ODI) for back patients. Additional psychometric properties were determined for internal consistency (Chronbach’s α), criterion validity and factor structure. Results There was a high degree of internal consistency (α = 0.85, item range 0.80-0.88) and test-retest reliability (r = 0.93, item range = 0.75-0.95). The factor analysis demonstrated a one-factor solution explaining 24.2% of total variance. Criterion validity with the ODI was high (r = 0.71, p < 0.001) while the FRI and NDI were fair (r = 0.52 and r = 0.58, respectively). The SFI-Tk showed no missing responses with the ‘half-mark’ option used in 11.75% of total responses by 77.9% of participants. Measurement error from SEM and MDC90 were respectively 2.96% and 7.12%. Conclusions The SFI-Tk demonstrated a one-factor solution and is a reliable and valid instrument. The SFI-Tk consists of simple and easily understood wording and may be used to assess spine region musculoskeletal disorders in Turkish speaking patients.

A poesia de Paul Auster

This thesis examines Paul Austers extremely neglected early work: his poetry. Five books were published: Unearth (1974), Wall writing (1976), Effigies (1977), Fragments from cold (1977) and Facing the music (1980), available only at antiquarians and restrective universities libraries in the United States, as well as at the New York Public Library. Studies around Austers poetic oeuvre are restricted to papers, reviews, translators introduction, and a thesis that focus on his poetry to produce new analyses and interpretations of Austers novelistic works. The aim of this thesis is to gather this scattered material and provide new parameters of study around his poetry. Divided into three chapters, the first one maps the literary magazines where Auster published his poems at first, the translations of his poems and critical fortune; the second examines Austers five books according to three specific topics authorship, language, I and other themes related to them; the third analyzes White Spaces, text considered by the author as the bridge that leads him to prose and in this thesis as a singular writing in which Auster consolidates his literary project, since poetry, previous to prose, yet to come. Maurice Blanchot, Karlheinz Stierle and, principally, Auster, lay the foundation of the investigation. Other theorists who contribute to the understanding of the subject will be called to build the sui generis comparativism put into effect here

Najważniejsze kierunki, motywy i podstawy konstrukcji wierszy Pirbala Muhammuda

Wydział Neofilologii: Katedra Studiów Azjatyckich

The Oud Across Arabic Culture

This study is a compilation and compendium of information on the oud, the most important instrument in Arabic classical music. It has grown out of my own long-time involvement in studying and playing the oud, and in particular out of my interest in the lack of sources and knowledge available to the vast majority of oud players and researchers, as well as for the readers. My own path started from an intensive study of the oud, which included exposure to several treaties; some housed in museums around the globe, and some only available in the Arabic language. The study combines archival research (including Arabic poetry and pre-Islamic Era and medieval treaties), symbolism, new archaeological discoveries, field interviews, and analysis of existing scholarship, and draws on my professional performance experience for detailed stylistic analysis of the oud's performance practice and its historical development. The study consists of participant observation, personal performance, and interviews conducted in person, via telephone, and/or via e-mail, according to the choice of the performers. The performers have been selected from networks of musicians who perform regularly at lounges, concert halls, and private events. These performers have been chosen according to their musical knowledge, technical skill, experience, and activity in Arabic music and oud performance. Chapter one deals with the purpose of this study and the methods of investigation, as well as giving a brief overview of the history of the oud. In addition, there will be an introduction to the Arabic musical system (mâqâm), which is primarily based on the mechanics and sound production of the oud. Chapter two deals with the oud in Arabic sources: the first source is Arabic poetry in the pre-Islamic Era. The second source is Arabic poetry in the medieval era, in which I found a significant number of poets who allude to the oud, providing accurate descriptions of the player, singers, and the scenes within the contexts of oud performance. The third source is the Arab scholars' intensive treatises with meticulous accounts of the instrument's apparatii, including descriptions and measurements of the parts, strings, and tuning. While chapter three deals with the classification, the development of the oud, chapter four deals with topics such as: the symbolism of the oud and its relation to cosmology, astronomy, mathematics and anatomy. In most of the pertinent Arabic writings, philosophers mention a significant correlation between the oud and the other sciences. Chapter five deals with recreating the performance practice of the oud. A case study of the oud performers focuses on their style, technique, training, and personal experiences. Topics such as improvisation and ornamentation, the oud in the Arabic musical ensemble, the social uses and functions, and gender in musical performance practices will be included in detailed analysis. Other important topics will be analyzed such as traditional vs. modern technique, and the repertoire of the oud. Specifically, in regard to technique, the study outline the style of the music, the role of the oud in Arabic ensembles, the function of the oud in music composition, and the form of the ensembles in Arabic performance and practice.

Chan ceist duit a bhás go bráth: 'An Lon Dubh Báite'

This article discusses an enigmatic poem by the 18th century Gaelic poet Séamas Mac Cuarta, and three subsequent translations into English. The poem is written in the 'Trí Rann agus Amhrán' form, reminiscent of the English sonnet.