, ,

Writing about definitions of deyiş today; the point to be made is that that as a functional term it has a broad scope – and consequently allows for an inclusiveness when composing in this form – while at the same time derives its principle character and meaning from specific Alevi contexts. In a sense itis  not about how the lyric form is defined but rather what it signifies – which can be many things but significantly refering back to, or at least inhereting meaning from, more specific sub-genres (duaz, mersiye, tevhid etc), themes and subjects (tarikat principles and beliefs). But the deyiş is in essence a ‘statement’ – demek – and so the poetic identity, in the form of the mahlas, becomes a critical element.

All this going fine until I tried to work out how to have Endnote insert references at the end of the master document rather than in each sub-document.  That is yet to be resolved.