2026-03-07T09:52:42Z https://ijhar.net/oai/view

oai:https://ijhar.net/oai/view:ijhar:article/387 2026-03-05T23:12:59Z 2

Dijital Bedenin Estetiği: Arvida Byström Fotoğraflarında Feminizm, Kimlik ve Görsellik Dr.Öğr.Üyesi. Nurcan PINAR EKE ; Yüksek Lisans. Özra BAŞER Öğr.Gör.,Erdal,Gültekin Feminist aesthetics, Gender, Digital representation, Arvida Byström, Photographic interpretation, Visual content analysis. Dijitalleşmeyle birlikte sanat formları kadar sanata yüklenen anlamlar da dönüşüme uğramıştır. Sanatın üretim ve tüketim biçimleri değişmiş; sanat, yeni ifade yolları ve söylem stratejileri edinmiştir. Bu dönüşüm, özellikle feminist sanatın görsel ve kavramsal çerçevesinde belirginleşmektedir. Feminist sanat, geleneksel estetik normları ve görsel kodları sorgulayan temaları, materyalleri, araçları ve kompozisyonel tercihleri ön plana çıkararak alternatif bir görsel/estetik dil üretmiş; temsil sistemlerine karşı eleştirel bir duruş sergilemiştir. Bu çalışmada feminist sanatın dijital çağda geçirdiği dönüşümü, multimedya sanatçısı Arvida Byström’ün fotoğraf pratiği üzerinden görsel ve kuramsal bir analizle incelemektedir. Feminist sanat, 1970’lerdeki ikinci dalga feminizme dayansa da günümüzde ataerkil temsil sistemlerini, estetik normları ve görünürlük politikalarını sorgulayan dinamik ve kesişimsel bir söyleme evrilmiştir. Bu bağlamda Byström’ün dijital estetik, beden politikaları ve feminist teori kesişimindeki üretimi, çağdaş feminist sanatçıların dijital platformları nasıl kullandığını anlamak için güçlü bir örnek sunmaktadır. Çalışmanın önemi, feminist sanat tarihi, görsel iletişim ve dijital medya çalışmalarını birleştiren disiplinlerarası yaklaşımında yatmaktadır. Byström’ün hiper-feminen estetiği, kışkırtıcı kompozisyonları ve Instagram gibi sosyal medya araçlarını stratejik biçimde kullanması, feminist sanatın geleneksel mecraların ötesine geçerek daha katılımcı ve erişilebilir hale geldiğini; dijital ağlar üzerinden görsel bir direniş biçimi yarattığını göstermektedir. Yöntem olarak Gillian Rose’un görsel içerik analizi modeli kullanılmış; üretim süreci, görselin kendisi ve izleyici tepkisi olmak üzere üç boyutta değerlendirme yapılmıştır. Seçilen görseller; beden olumlama, regl görünürlüğü, toplumsal cinsiyet performativitesi ve güzellik normlarının çözümlemesi gibi feminist temalar açısından incelenmiştir. Donna Haraway, Laura Mulvey, Amelia Jones ve Kimberlé Crenshaw gibi kuramcıların görüşleri analizlere kuramsal zemin sağlamıştır. Bulgular, Byström’ün görsel dilinin kasıtlı biçimde rahatsız edici olduğunu; abartılı feminenlik, grotesk imgeler ve tabu temalarla egemen estetik anlayışları sarstığını ortaya koymaktadır. Sanatçının dijital araçları kullanarak kadın bedenini direniş, özneleşme ve çoğulluk alanı olarak yeniden tanımladığı görülmektedir. International Journal Of Humanities And Art Researches 2026-03-05T23:12:59Z Research Article application/pdf eng https://ijhar.net/paper/download?id=387 ISSN: 2687-4385 https://ijhar.net/paper/download?id=387 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 141-159 https://ijhar.net/paper/download?id=387 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/391 2026-03-05T23:12:44Z 2

Sanatın Tekniği ve Biçim: Viktor Şklovski’nin Edebiyat Kuramına Katkıları Dr.. Arif AKBAŞ Öğr.Gör.,Erdal,Gültekin Sociology of literature, Russian formalism, Viktor Shklovsky, Art as technique, Literary theory, Aesthetic evaluation, Literary criticism. The article titled “The Technique and Form of Art: Viktor Shklovsky’s Contributions to Literary Theory” provides a comprehensive examination of Viktor Shklovsky’s foundational role in Russian Formalism and his revolutionary ideas on the technical aspects of art and literature. Shklovsky, a key figure of the early 20th-century Russian intellectual scene, argued that literature’s essence lies not in content alone but in the devices and techniques used to shape its form. His theory of “defamiliarization” (ostranenie) posits that the role of art is to disrupt the habitual perception of reality and allow audiences to see the world anew. The text begins by situating Russian Formalism within its historical context. Emerging during the 1910s and 1920s, Russian Formalism aimed to shift the focus of literary criticism from content and socio-political function to the formal features of language and structure. Shklovsky and his contemporaries, including Roman Jakobson, Yuri Tynyanov, and Boris Eichenbaum, emphasized the autonomous nature of literary language, advocating for its study through scientific and linguistic means. They founded institutions like OPOYAZ (The Society for the Study of Poetic Language), through which they developed theories that would deeply influence literary criticism in both the East and West. International Journal Of Humanities And Art Researches 2026-03-05T23:12:44Z Research Article application/pdf eng https://ijhar.net/paper/download?id=391 ISSN: 2687-4385 https://ijhar.net/paper/download?id=391 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 1-19 https://ijhar.net/paper/download?id=391 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/381 2026-03-05T22:45:43Z 5

Jenny Saville’in Desen Çalışmalarında Kadın ve Beden İmgeleri Dr.. Yusuf Han Öğr.Gör.,Erdal,Gültekin Jenny Saville, Female body, Feminist art, Figurative expression, Identity and self-perception Jenny Saville is one of the most prominent contemporary artists whose practice redefines the representation of the human body through a distinctive painterly language. Drawing inspiration from classical art traditions, particularly from the Renaissance and Baroque periods, Saville reinterprets conventional ideals of beauty and femininity within a modern framework. Her artistic production is characterized by the use of oil painting as a dominant medium, while she also experiments with techniques such as watercolor, photography, graffiti, and print on plexiglass. In recent years, her engagement with graphite drawings has signified a new phase in her artistic evolution, where linear expression and gestural intensity replace the material density of paint. Saville’s thick and tactile brushwork evokes the texture of human flesh, giving her figures sculptural depth and corporeal realism. Her use of color — contrasting cold tones in the limbs with warm hues in the hands and faces — directs the viewer’s emotional response and emphasizes the psychological tension embedded within her compositions. Through these strategies, Saville constructs an aesthetic that merges figuration with abstraction, combining the visual language of classical art with contemporary concerns about the body, identity, and perception. The purpose of this study is to examine the artistic and conceptual approaches that underlie Jenny Saville’s representation of the female body in her drawings. It aims to analyze how the artist constructs bodily imagery both formally and ideationally, how she transforms classical artistic influences into a contemporary idiom, and how themes such as nudity, deformation, identity, and self-perception are articulated through her drawing practice. Furthermore, the study explores Saville’s interpretations of the female body in relation to feminist discourse and gender theory, situating her work within the broader context of contemporary art history. By analyzing Saville’s works as visual texts, the research seeks to uncover how the artist challenges aesthetic and cultural conventions surrounding femininity, beauty, and corporeality. The research adopts a qualitative design based on document analysis and artwork interpretation. Following the general survey model, the study systematically examines Saville’s drawings, focusing on the visual, formal, and conceptual layers of her representations of the body. Through detailed visual analysis, data were collected from her selected works, emphasizing her formal strategies, material techniques, and symbolic meanings. The analytical process integrates art criticism, feminist theory, and visual semiotics to interpret how Saville’s imagery communicates identity, embodiment, and gender. The findings are discussed within aesthetic, psychological, and socio-cultural frameworks to highlight how Saville’s art redefines corporeal experience in contemporary visual culture. The findings reveal that Saville’s practice is deeply rooted in art historical dialogue, drawing upon the works of Michelangelo, Rubens, Rembrandt, Caravaggio, Francis Bacon, and Willem de Kooning. Her anatomical studies, influenced by Michelangelo’s sculptural treatment of the human form, are combined with Bacon’s psychological intensity and de Kooning’s expressive abstraction. Observing surgical operations and studying medical illustrations have further expanded her understanding of the body as both biological and symbolic matter. In her large-scale drawings, Saville explores the dynamic relationship between the skeletal and muscular systems, employing overlapping layers of line and tone to evoke the tension between surface and depth. Her compositions often reference sacred iconography, such as the Virgin Mary, or echo Leonardo da Vinci’s anatomical sketches and Raphael’s graceful figural arrangements, thus bridging past and present while constructing a visual continuity that transcends time. International Journal Of Humanities And Art Researches 2026-03-05T22:45:43Z Research Article application/pdf eng https://ijhar.net/paper/download?id=381 ISSN: 2687-4385 https://ijhar.net/paper/download?id=381 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 20-31 https://ijhar.net/paper/download?id=381 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/382 2026-03-05T22:45:34Z 5

Sanatçı Kitabının Kavramsal Sanat İçindeki Biçimsel ve Düşünsel Dönüşümü Arş.Gör.. Şule Bayrak YILDIZ Öğr.Gör.,Erdal,Gültekin Conceptual Art, Artist’s Books, Graphic Design, Book. This study examines the conceptual foundations, formal transformations, and contemporary evolutions of the artist’s book within the broader intellectual field of conceptual art. The central argument of the research is that the artist’s book is not a secondary or auxiliary documentation tool attached to art practice, but a primary conceptual medium through which ideas are materialized, distributed, negotiated, and re-experienced. Rather than treating the book merely as an object that archives or reproduces artistic content, this study positions the artist’s book as one of the most decisive instruments through which the conceptual art movement radicalized the relationship between idea, form, linguistic structure, materiality, and circulation. From this perspective, the artist’s book becomes both an outcome and a carrier of the conceptual shift that occurred in the 1960s the shift from object to idea, from presence to proposition, from aesthetic uniqueness to reproducible thought. Conceptual art emerged during the 1960s as a reaction against the optical, affective, and medium-based priorities of Abstract Expressionism, and redefined art as a philosophical inquiry rather than a production of visually autonomous objects (Lippard, 1973; Alberro ve Stimson, 1999). Marcel Duchamp’s readymade Fountain (1917) plays a genealogical role in this transition, not as the first “object of conceptual art” in a narrow chronological sense, but because it introduced the most fundamental epistemological shift: the art object could be detached from manual skill, from the singularity of artist’s touch, from traditional aesthetic judgment. Duchamp’s gesture opened the perceptual and institutional space within which language, documentation, instruction, protocol, and distribution would later become valid artistic strategies. This shift influenced an entire generation of artists such as Douglas Huebler, Robert Smithson, and John Baldessari, who expanded the domain of the photographic document, the fragment, and the recorded trace into conceptual propositions. Huebler’s Variable Piece series, for instance, transformed photography into an evidentiary chain not to “show beauty,” but to “record a condition,” thereby shifting photography into a field of conceptual verification rather than aesthetic representation. In this sense, documentation became an artistic language, not a technical supplement. The same reasoning the belief that art could exist as records, lists, instructions, linguistic formulations, and serial images - created the conditions under which the book could become both artwork and conceptual platform. The book was already a sequential space (Carrión, 1975) a space of pages, intervals, typographic pacing and syntactic relationships. Thus, when conceptual art began privileging the idea over the object, the book became the most efficient medium in which ideas could circulate, because it was already socially coded as a medium of thought. The artist’s book therefore emerges not as a decorative publication, but as a conceptual apparatus. International Journal Of Humanities And Art Researches 2026-03-05T22:45:34Z Research Article application/pdf eng https://ijhar.net/paper/download?id=382 ISSN: 2687-4385 https://ijhar.net/paper/download?id=382 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 32-46 https://ijhar.net/paper/download?id=382 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/383 2026-03-05T22:45:27Z 2

Yapay Zekânın Sanat Pratiklerini Yeniden Şekillendirmesi: The Lumen Prize 2025 Yapay Zekâ Örnekleri Arş.Gör.. Ramazan İNAL ; Doç.Dr.. Burak Erhan TARLAKAZAN Öğr.Gör.,Erdal,Gültekin Artificial intelligence, graphic design, The Lumen Prize, art. Bu çalışmada, uluslararası dijital sanat ekosisteminin en prestijli platformlarından biri olan “The Lumen Prize” kapsamında 2025 yılı seçkisinde yer alan yapay zekâ (YZ) destekli sanatsal üretimler kapsamlı bir biçimde incelenmiştir. Araştırmanın temel amacı; yapay zekânın güncel sanat pratiklerindeki teknik, estetik ve tematik işlevlerini değerlendirmek, bu teknolojinin sanatsal öznellik üzerindeki dönüştürücü etkisini saptamak ve uluslararası ödül mekanizmalarındaki temsil biçimlerini kuramsal bir düzlemde ortaya koymaktır. Araştırma, nitel araştırma deseni çerçevesinde doküman analizi ve görsel çözümleme teknikleri kullanılarak yürütülmüştür. Metodolojik olarak, sanat tarihçi Erwin Panofsky’nin üç aşamalı (ön-ikonografik, ikonografik ve ikonolojik) analiz yöntemi benimsenmiştir. Bu doğrultuda; resmî ödül materyalleri, sanatçı beyanları ve katalog metinleri üzerinden amaçlı örnekleme yoluyla seçilen beş temel eser (Cumulus, The Sylphs, Words Beyond Words, Deutsch / Nicht Deutsch ve Self-contained); teknik altyapı (algoritma ve veri seti kullanımı), tematik odak ve yapay zekânın üstlendiği düşünsel rol bağlamında ayrıntılı olarak çözümlenmiştir. Araştırmadan elde edilen bulgular, 2025 seçkisindeki yapay zekâ destekli projelerin, teknolojiyi salt bir üretim aracı olmaktan çıkararak; veriyi kültürel bir forma dönüştüren bir “karar mekanizması”, toplumsal ve politik süreçleri denetleyen bir “eleştirel büyüteç” veya otonom üretim yapabilen bir “ortak-yaratıcı” olarak konumlandırdığını göstermektedir. İnceleme sonucunda; sınır politikalarından algoritmik önyargılara, dilsel asimetrilerden biyolojik-dijital mutasyon simülasyonlarına kadar uzanan geniş bir tematik yelpazede yapay zekânın, sanatsal yaratıcılığı genişleten epistemolojik bir aktör işlevi gördüğü saptanmıştır. Özellikle teknik altyapıda kullanılan Büyük Dil Modelleri (LLM), Difüzyon Modelleri ve gerçek zamanlı veri işleme algoritmalarının, sanatçının rolünü geleneksel “biçim üreticisi” konumundan “sistem tasarımcısı” ve “etik eleştirmen” konumuna taşıdığı gözlemlenmiştir. Sonuç olarak, Lumen Prize 2025 seçkisi, yapay zekâ destekli sanatsal üretimlerin uluslararası sanat ortamında hem estetik hem de ontolojik açıdan köklü bir dönüşüme işaret ettiğini kanıtlamaktadır. Bu eserler, insan-makine hiyerarşisinin çözüldüğü ve “post-hümanist poetika” olarak tanımlanabilecek yeni bir kültürel ifade biçiminin doğuşunu simgelemektedir. Çalışma, yapay zekânın günümüz sanatında teknik bir yenilikten ziyade, çağın politik, kültürel ve etik gerilimlerini görünür kılan felsefi bir paydaş olarak ele alınması gerektiğini ortaya koyarak literatüre katkı sağlamayı hedeflemektedir. International Journal Of Humanities And Art Researches 2026-03-05T22:45:27Z Research Article application/pdf eng https://ijhar.net/paper/download?id=383 ISSN: 2687-4385 https://ijhar.net/paper/download?id=383 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 47-63 https://ijhar.net/paper/download?id=383 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/384 2026-03-05T22:45:17Z 2

Çocuk Edebiyatında Duyarlık Alanlarının Sınıflandırılmasına Yönelik Literatür Temelli Çalışma Yüksek Lisans. Havva Nagihan ÇİNKILIÇ ; Prof.Dr.. Hatice FIRAT Öğr.Gör.,Erdal,Gültekin Children's literature, sensitivity, sensitivity education, sensitivity areas. This study aims to classify the sensitivity domains identified in the literature as related to sensitivity education within the field of children’s literature. Recent observations indicate a decline in individuals’ sensitivity to social, cultural, environmental, and humanitarian issues, underscoring the importance of sensitivity- and value-oriented approaches in education. Children’s literature serves as an essential educational tool, fostering children’s listening, thinking, and meaning-making processes while providing opportunities to understand themselves and their surroundings. However, a review of the literature reveals that the sensitivity domains represented in children’s books have not been systematically examined. Accordingly, this study seeks to identify these sensitivity domains and categorize them thematically, offering a theoretical framework for both children’s literature and the field of values and sensitivity education. The research used a qualitative approach based on document analysis. Initially, the study addressed the question, “What sensitivity domains are present in the literature?” by reviewing relevant sources. A comprehensive literature search was carried out using the keywords “sensitivity,” “sensitivity education,” “children’s literature,” and “children’s novels” across the YÖK Thesis Center, Google Scholar, and library resources. The identified books, theses, and articles were examined for content, and the sensitivity categories/domains cited in these sources were determined. In total, 14 academic studies identified as relevant to sensitivity education in children’s literature were analyzed. The sensitivity domains reported in these studies were determined and grouped based on similarity, content, and semantic relationships. Content analysis was employed to examine the data, and the 110 identified sensitivity domains were thematically categorized under five main themes: “Individual,” “Society,” “Civilization (Science and Technology),” “Values,” and “Nature.” To ensure validity, the classification process was reviewed by five experts: two specialists in children’s literature, one in educational sciences, a psychological counselor, and a guidance teacher. Based on their feedback, adjustments were made to enhance the scope and content validity of the classification. Furthermore, the researchers repeatedly examined the data according to the identified categories to maintain consistency. Among the themes, “Individual” encompassed the most sensitive domains, with 42 items. This theme includes areas such as children and childhood, emotions, play, friendship, love, courage, hope, trust, and freedom, highlighting that children’s books predominantly focus on the emotional and human aspects of the individual. The “Society” theme comprises 30 sensitivity domains and is divided into two subthemes: “Culture” and “Social Order.” The culture subtheme includes language, traditional values, cultural heritage, art, beliefs, and special days, while the social order subtheme covers family, solidarity, labor, sharing, and poverty. These findings indicate that children’s literature contributes to strengthening social relationships, culture, and family structures. The “Civilization (Science and Technology)” theme encompasses sensitivity domains aligned with contemporary thinking and learning processes, including scientific reasoning, inquiry, technology use, reading culture, and education. These domains are considered to support children’s curiosity, critical thinking, and creative skills in line with the requirements of the digital age. The “Values” theme is examined under two subthemes: “Universal Values” and “National Values.” Universal values include peace, democracy, equality, honesty, kindness, and freedom, whereas national values include homeland, flag, Atatürk, national figures, martyrdom, and veteranhood. This suggests that children’s literature plays a role in developing both universal and national identity awareness. The findings largely align with the core values (justice, responsibility, helpfulness, love, respect, etc.) outlined in the Turkish Language Course Curriculum. The final theme, “Nature,” encompasses domains such as the environment, animals, plants, and natural disasters, fostering children’s environmental awareness and a sense of responsibility toward nature. International Journal Of Humanities And Art Researches 2026-03-05T22:45:17Z Research Article application/pdf eng https://ijhar.net/paper/download?id=384 ISSN: 2687-4385 https://ijhar.net/paper/download?id=384 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 64-90 https://ijhar.net/paper/download?id=384 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/385 2026-03-05T22:45:11Z 2

2024 Ortaokul Türkçe Dersi Öğretim Programı'nın Dayandığı Yaklaşımlar ve Temel İlkeler Açısından İncelenmesi Yüksek Lisans. Melihcan AKGÜL ; Prof.Dr.. Erol OGUR Öğr.Gör.,Erdal,Gültekin 2024 Secondary School Turkish Lesson Curriculum, Türkiye Century Education Model, Turkish Lesson Curriculums, Approach, Principle. For the purpose of formal education, institutions and individuals responsible for teaching and learning within a country develop framework-based curricula specific to that nation. These curricula are designed through collaborative efforts among stakeholders involved in the teaching and learning process and are implemented within educational institutions. Over time, these educational programs are either renewed, updated, or modified to meet contemporary requirements and adapt to emerging technologies. The Turkish language curriculum serves as the primary resource shaping the instructional process of Turkish language education. This resource acts as a guiding framework for all stakeholders involved in the teaching and learning process. Thus, it can be considered as a roadmap for Turkish language education. The T√ºrkiye Century Education Model, officially announced to the public on April 26, 2024, represents a reform movement in education. Within the scope of this model, new curricula have been developed for each subject within the Turkish national education system, including the 2024 Secondary School Turkish Language Curriculum. This study aims to examine the 2024 Secondary School Turkish Language Teaching Curriculum developed within the framework of the T√ºrkiye Century Education Model in terms of its underlying approaches and fundamental principles. Accordingly, the main research question is formulated as: "What are the underlying approaches and fundamental principles of the 2024 Secondary School Turkish Language Curriculum, and what characteristics do they exhibit?" Based on this main research question, the sub-questions are structured as follows: 1. What are the underlying approaches of the 2024 Secondary School Turkish Language Curriculum? 2. What characteristics do these approaches exhibit? 3. What are the fundamental principles of the 2024 Secondary School Turkish Language Curriculum? 4. What characteristics do these fundamental principles exhibit? In this study, a qualitative approach was adopted. To obtain findings, document analysis, one of the qualitative research methods, was employed.Document analysis refers to the systematic and in-depth examination of written materials without researcher intervention. As a research model, it is both time- and cost-efficient, providing flexibility to the researcher. The data obtained through document analysis were interpreted using the descriptive content analysis method. Descriptive content analysis involves the identification of categories and themes prior to the research process, followed by the summarization and interpretation of the data. The 2024 Secondary School Turkish Language Curriculum was designed in alignment with the approach introduced by the T√ºrkiye Century Education Model, aiming to cultivate "Competent and Virtuous Individuals." Within this framework, the curriculum was developed to incorporate the linguistic, moral, and aesthetic dimensions of Turkish language instruction, as articulated by Cemiloƒülu (2015). The curriculum adopts a comprehensive instructional framework that includes three distinct approaches: functional, spiral, and thematic. Furthermore, in accordance with the constructivist approach, the curriculum was developed based on brain-based learning, problem-based learning, cooperative learning, and project-based learning methodologies. It aligns with the General Objectives and Principles of the Turkish national education system, as outlined in the T√ºrkiye Century Education Model Common Text for Teaching Programs. From a curriculum development perspective, the fundamental principles underlying the 2024 Secondary School Turkish Language Curriculum encompass the dimensions of objectives, content, teaching-learning strategies, and assessment and evaluation. The objective dimension defines the general aims and learning outcomes of the program. In terms of content, while the constructivist approach serves as the foundation, traces of behavioral and cognitive approaches are also evident. The teaching-learning dimension is structured around constructivist principles and has been designed with elements tailored to this approach. A student-centered framework incorporating activity-based, theme-oriented, and function-focused learning is detailed throughout the curriculum, especially in theme tables. A notable component within this dimension is the Gradual Release of Responsibility Model. Additionally, to depart from traditional grammar instruction, linguistic structures and vocabulary have been categorized under the title "Principles for the Use of Linguistic Structures and Vocabulary in the Teaching-Learning Process." The curriculum also emphasizes active participation, multiple intelligences, student-centered learning, activity-based instruction, theme-based organization, and function-oriented methodology-all of which constitute the core components of the teaching-learning dimension. Another fundamental principle guiding the curriculum development process is the assessment and evaluation dimension. The principles governing assessment practices are detailed under the section "Fundamentals of Assessment and Evaluation Applications." Theme tables and examples of assessment tools are provided within the curriculum, alongside various sections elaborating on assessment and evaluation methodologies. The approaches and fundamental principles underlying the 2024 Secondary School Turkish Language Curriculum have been examined and explained under various headings. Approaches and principles are essential for fully understanding a curriculum, as they provide its theoretical and practical foundation. This study is considered to contribute significantly to the field literature, particularly regarding the 2024 Secondary School Turkish Language Curriculum. Based on the findings obtained during the research process, several suggestions can be made to enhance comprehension, interpretation, implementation, and content development for the curriculum: 1. The 2024 Secondary School Turkish Language Curriculum is a newly introduced program. Therefore, a variety of studies approaching the curriculum from different perspectives should be conducted, and academic events such as workshops, congresses, symposiums, and seminars should be organized. 2. Given that it is a new curriculum, various practice-oriented in-service training programs and courses should be organized in particular for the 2024 Secondary School Turkish Language Curriculum. 3. Approaches and principles constitute the foundations of a curriculum. For this reason, in order to facilitate a clearer and more meaningful cognitive structuring of the curriculum from philosophical, sociological, and psychological perspectives, these concepts should first be identified, and efforts should be made to ensure that all stakeholders in the process understand them. 4. At the time the research was conducted, textbooks and instructional content aligned with the 2024 Secondary School Turkish Language Curriculum had been developed only for the 5th grade level. In order to enrich the relevant literature, further studies should be carried out and educational products should be developed to cover all grade levels. 5. Studies to be conducted for the 2024 Secondary School Turkish Language Curriculum should not be limited to educators alone; rather, they should address all stakeholders involved in the teaching-learning process. In this way, achieving the objectives of the curriculum within the framework of the T√ºrkiye Century Education Model will become more feasible and effective. International Journal Of Humanities And Art Researches 2026-03-05T22:45:11Z Research Article application/pdf eng https://ijhar.net/paper/download?id=385 ISSN: 2687-4385 https://ijhar.net/paper/download?id=385 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 91-117 https://ijhar.net/paper/download?id=385 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/386 2026-03-05T22:45:05Z 5

Korku Oyunlarında Anlatı ve Sinematografi: Silent Hill’den The Quarry’ye Evrilen Yaklaşımlar Öğr.Gör.. Sedef SARAÇ Öğr.Gör.,Erdal,Gültekin Dijital Oyun, Sinematografi, Video Oyunu Anlatısı, Silent Hill, The Quarry. Over the last 30 years, rapid advances in digital gaming technologies have brought about substantial changes in the storytelling frameworks and player involvement in horror video games. While traditional horror games from the late '90s featured static camera perspectives, restricted movement, and strictly linear plots, contemporary horror titles offer more immersive, cinematic, and player-centered experiences. The development of narrative frameworks in horror games has been fueled not only by technological enhancements but also by shifts in aesthetic tastes, narrative approaches, and a rethinking of player interaction. Today's horror games transcend mere fear-induction; they deliver intricate narratives molded by player choices, thus elevating interactivity to unprecedented heights. Despite existing research addressing numerous dimensions of horror games, including atmosphere creation, lighting, audio design, and adversary mechanics, the historical progression of narrative forms and their amalgamation with cinematic storytelling techniques remains comparatively underappreciated. Notably absent are thorough investigations that scrutinize how these shifting narrative dynamics, combined with cinematic elements, have transformed the player experience. This study seeks to bridge that gap by exploring the evolution of narrative structures in horror games through a comparative framework that juxtaposes classic and contemporary examples. It aims to provide a comprehensive analysis of how storytelling and cinematic aesthetics have intertwined to reshape the horror experience in video games. The primary objective of this research is to compare the narrative design, player engagement, and cinematic strategies of traditional and modern horror games. It aims to address the following research question: How is the narrative configured in classic horror games, and how does it influence player experience? In what respects do modern horror games vary in narrative tactics, and how do cinematic components shape overall gameplay? To address these inquiries, a qualitative investigation was conducted, along with a descriptive-analytical methodology. Five representative titles (Silent Hill, Resident Evil, Outlast, Amnesia, and The Quarry) were chosen for their historical significance and profound impact on the genre. These games were selected to enable a meaningful comparison between linear classic narratives and player-driven modern narrative structures. International Journal Of Humanities And Art Researches 2026-03-05T22:45:05Z Research Article application/pdf eng https://ijhar.net/paper/download?id=386 ISSN: 2687-4385 https://ijhar.net/paper/download?id=386 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 118-140 https://ijhar.net/paper/download?id=386 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/388 2026-03-05T22:44:53Z 5

Sıcak Cam Biçimlendirme Tekniklerinde Bakır Telin Camla Etkileşimi Üzerine Deneysel Bir İnceleme Dr.Öğr.Üyesi. Mehmet AYDIN Öğr.Gör.,Erdal,Gültekin Hot glass blowing, copper wire, glass–metal interaction, experimental glass art, internal stress. Glass has long been recognized as a versatile material in both technological and artistic production due to its amorphous structure and its capacity to be shaped within a broad temperature range. In hot glass techniques, the viscous behavior of molten glass allows artists to intervene directly in the forming process, creating a dynamic relationship between material, heat, gravity, and movement. This characteristic makes hot glass an ideal field for experimental combinations of materials. While various metal oxides and powders have been extensively studied for glass coloration and surface effects, the use of solid metal wires, specifically copper wire, in hot glass-forming processes has received limited attention in the existing literature. This study addresses this gap by experimentally investigating the interaction between copper wire and glass in hot glass blowing and hot glass free-forming techniques, focusing on both aesthetic and material outcomes. The study's theoretical framework is grounded in glass science and studio glass practices, emphasizing the relationships among temperature, viscosity, and material compatibility. Glass, lacking a discrete melting point, gradually softens and becomes formable within a specific temperature interval known as the glass transition temperature (Tg). In hot glass forming, maintaining the glass within its working range is essential for controlling shape, wall thickness, and surface quality. Introducing a secondary material, such as copper wire, into this sensitive thermal and mechanical system creates complex interactions influenced by heat exposure, oxidation conditions, and the metal's physical resistance within the flowing glass. Understanding this interaction is crucial not only for aesthetic experimentation but also for ensuring structural stability and safe annealing conditions. The primary aim of this study is to examine the behavior of copper wire when applied to the surface of hot glass and when embedded within the glass mass. It further seeks to determine how these applications influence visual qualities, behavioral patterns, and internal stress levels. To address these questions, an experimental methodology was adopted using copper wires (0.24 mm diameter) obtained from electrical cables. These were prepared in two forms: small fragments (1 mm to 1 cm) and continuous wires (30 to 100 cm). The experiments utilized COE 98 compatible studio glass melted at 1190 °C. Applications were carried out on both hollow forms produced via glass blowing and solid forms shaped through free-forming techniques. Additionally, experiments were repeated on both transparent and opaque white glass bases to enhance the observation of color and surface interactions. International Journal Of Humanities And Art Researches 2026-03-05T22:44:53Z Research Article application/pdf eng https://ijhar.net/paper/download?id=388 ISSN: 2687-4385 https://ijhar.net/paper/download?id=388 International Journal of Humanities and Art Researches, 20 Mart 2026 , Issue: 1 , Volume: 11 , Pages: 160-176 https://ijhar.net/paper/download?id=388 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/378 2025-12-17T21:27:33Z 2

Sovyet Hakas Şairi Mihail Yeremeyeviç Kil’çiçakov’un Şiirlerinde Memleket Teması Doç.Dr.. Erhan AKTAŞ Öğr.Gör.,Erdal,Gültekin Khakassia, Khakas, contemporary Khakas literature, Mikhail Yeremeevich Kilchichakov, motherland theme The Khakas alphabet, which began to be developed in the late 1920s, evolved historically through Latin and Cyrillic writing, ultimately leading to the adoption of a Cyrillic-based alphabet. From this period onward, numerous works have emerged, including poetry, short stories, plays, the transcription of folk literature, textbooks, dictionaries, and other contemporary literary genres. Unlike folk literature, which has been studied since ancient times and boasts numerous examples that have not yet been written down, the emergence of contemporary literary works dates back to a relatively late period, specifically after the second quarter of the twentieth century. Contemporary Khakas literature emerged during the Soviet era. Therefore, a large portion of the works of this period were written within the framework of socialist realism, a philosophy that V.I. Lenin defined as party literature. While there were works written on various themes alongside ideologically aligned creations, the general trend remained within the aforementioned thematic framework. It is possible to say that a literary tradition of this kind continued from the thirties of the twentieth century until the dissolution of the USSR. After the collapse of the Union, some Turkic peoples established their own independent states. As in the case of Khakassia, some autonomous entities where many Turkic peoples live continue to live under the Russian Federation. In parallel, ideologically charged literary works have been largely replaced by a literary tradition shaped by new literary theories. Mikhail Evreyevevich Kil'chichakov, whose work will be the focus of this study, is one of the most important representatives of contemporary Khakas literature. He began producing his first literary works immediately after World War II and maintained this creativity until his death. This veteran writer, who also demonstrated significant service during that war, masterfully utilized the emotions of that period at certain points in his artistic career. M. Ye. Kil'chichakov is not only a poet but also a dramaturge. It can be argued that his true artistic talent began with the traditional dances he performed for theatergoers who visited his village. In the following years, during his education in Moscow and Abakan, he combined his literary and artistic theory with his practice, demonstrating his work not only in Khakassia but also throughout the Soviet geography and even in various Asian and European countries. This study will examine a specific section of the poetic world of Mikhail Evremeyevich Kil'chichakov, a Khakass poet and dramatist of the Soviet era. It will explore his works that incorporate themes of homeland. His first poems began to be published in the Khakassia newspaper Hızıl Aal in 1946. His first anthology, consisting of his main poems, appeared in 1956 under the title Tayğada (Tayğada). After this period, numerous poems, both in Khakass and Russian, can be found in various periodicals, including newspapers and magazines. His poems were also translated into the languages of the Soviet peoples and were read with admiration. In addition to translating his own poems, he also translated poems by poets from other Soviet nations into Khakass, thus facilitating their acquaintance with the Khakass literary public. A general examination of M. Kil'chichakov's poetics and poetic works reveals that, in addition to his personal ideas and sentiments, he did not deviate from the ideologically based cultural and artistic understanding of the Soviet era. However, it would be wrong to evaluate all of his works in this light. After he was severely wounded and lost an arm during World War II, his emotional and intellectual world influenced his artistic life. In this respect, the style of his works, which praise and highlight the Soviet homeland and socialist institutions, is understood to have emerged from the pen of a frank and committed socialist poet. His political stance is unequivocal, but he does not do so in a crude way; he does so poetically. Based on all this, the poet's ideological poems, which are also the subject of this study, focusing on homeland or homeland, are impressive works that have influenced not only his time but also subsequent generations. The study includes five poems by Mikhail Yeremeyevich Kil'chichakov that we believe more explicitly address the theme of homeland. In addition to the standard headings dictated by the journal format, such as Introduction, Findings, Purpose, Method, Conclusion and Discussion, and References, the article also includes four subheadings to explore further the topic: Contemporary Khakas Literature in Turkey and Studies on Mikhail Yeremeyeviç Kil'chichakov, An Essay on Mikhail Yeremeyeviç Kil'chichakov and His Poems on the Theme of Homeland, and Texts. Under the introduction heading, the conditions of emergence and development of the contemporary Khakas literary tradition and its representatives, which emerged within the framework of written culture, were examined. The findings section outlines the concept of homeland and how it has been addressed in the literary traditions of Turkic peoples in Turkey and beyond. This analysis focuses particularly on how Soviet-era Turkish writers and poets of noble birth perceived the concept of homeland and how Turkish researchers have evaluated it. Under the heading "Studies on Contemporary Khakas Literature in Turkey and Mikhail Yeremeevich Kil'chichakov," a chronological presentation is presented of qualitatively rich but quantitatively limited works in Turkish literature, primarily based on textual publications and studies on contemporary Khakas literature. Following this, the relatively few publications on Mikhail Yeremeevich Kil'chichakov are also reviewed. A short biography of the poet is given under the subtitle "An Attempt to Analyze Mikhail Yeremeyeviç Kil’chichakov and His Poems on the Theme of Homeland." Subsequently, an attempt is made to analyze the poems "Тöреен Чирібіс – Xaкaсиябыс," "Xaкaсиям Минің," "Кÿннең Xaдa," "Кÿргеннер Чооxтaпчa," and "Aғыр Ис." Because the full texts of the poems are provided under the subheading "Texts," no sample excerpts from the poems were included in the analysis. Readers can follow the full text examples. The full texts of five poems are provided under the subheading "Texts." The text examples consist of Khakas' poems in Cyrillic script and their Turkish translations. Where necessary, various explanations have been provided in footnotes. The Conclusion and Discussion section, rather than providing a general summary of the study, addresses two fundamental issues. The first is that future studies and research on Soviet-era Turkic literature should adopt a more objective style, taking into account the spirit of the era, avoiding fanaticism, and maintaining a scholarly perspective. The second issue, related to the first topic discussed under this subheading, is the need for a more consistent and objective institutional approach to Soviet-era Turkic literary figures, whose ideological aspects are predominant. Under the headings of Purpose and Method, the topics we touched upon in general and specific terms in the above lines, the reason for writing the study, and especially how the texts were published, are discussed. In the bibliography section, publications in Turkish, Khakas, and Russian literature used in the study are listed. International Journal Of Humanities And Art Researches 2025-12-17T21:27:33Z Research Article application/pdf eng https://ijhar.net/paper/download?id=378 ISSN: 2687-4385 https://ijhar.net/paper/download?id=378 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 620-637 https://ijhar.net/paper/download?id=378 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/377 2025-12-13T11:20:13Z 2

The Power of Women’s Emotions in Trifles with The Feminist Perspective Dr.Öğr.Üyesi. Eda TEKİN ; Prof.Dr.. Talat AYTAN Öğr.Gör.,Erdal,Gültekin women’s emotions, drama, Trifles, feminism Susan Glaspell’s play Trifles is a striking piece of theater that offers a powerful feminist analysis of women’s living conditions, social roles, and inner lives in the United States in the early 20th century. This play, which incorporates elements of the detective genre and offers profound social critique, questions gender roles through a sensitive lens of women’s experiences. The play revolves around a murder case in a farmhouse, and the women’s careful observation and empathy, combined with the traditional male investigation, begin to reveal the truth behind the case. In this context, Glaspell highlights women’s emotional intelligence and intuitive awareness of social norms. The central character of the play, Minnie Foster Wright, is not only a murder suspect but also a symbol of the repressed lives of women of the period. As the female characters recognize and interpret everyday objects in Minnie’s home—a broken bird cage, a missing stitch, a dead bird—the loneliness, emotional violence, and lack of communication within her inner world become apparent. The male characters' disdain for these details, dismissing them as unimportant things, creates a critical irony within the context of gender roles. In this respect, the play reveals how women's experiences, often perceived as unimportant, are actually meaningful and revealing. Trifles demonstrates how the traditional patriarchal order narrows women's living spaces, while also revealing how women develop resistance to these oppressions through empathy, observation, and silent solidarity. The female characters' ability to grasp the emotional reasons behind a murder through details that men overlook or ignore not only enables a solution to a crime but also raises awareness of women's social invisibility. In this respect, Glaspell not only depicts the physical and emotional oppression women face, but also defends the legitimacy of an alternative source of knowledge by bringing women's knowledge production, emotional intuition, and everyday experiences to the stage. Glaspell's dramatic structure, constructed through dialogue, reveals the women's internal conflicts, their silent struggles, and their socially suppressed subjectivities. In this sense, Trifles is not merely a theatrical text; it is also an intellectual manifesto demonstrating the role women's voices, observations, and emotions can play in social transformation. Glaspell's work invites the audience not only to discover the truth behind a murder but also to deeply question the historical and social oppressions women face. Trifles stands out as a rich work, both literary and intellectual, as a product of Susan Glaspell's efforts to make visible the unseen lives of women, a pioneer of feminist theater. This work, which depicts the emotional turmoil women experience by weaving it through the details of everyday life, is notable for its narrative style that questions gender norms, centers on empathy, and respects women's inner worlds. Trifles remains a cornerstone of feminist literature and a compelling work that brings to the stage the invisible pain and silent struggles experienced by women. International Journal Of Humanities And Art Researches 2025-12-13T11:20:13Z Research Article application/pdf eng https://ijhar.net/paper/download?id=377 ISSN: 2687-4385 https://ijhar.net/paper/download?id=377 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 608-619 https://ijhar.net/paper/download?id=377 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/370 2025-12-03T21:38:28Z 5

Duvar Resimlerinde Tamamlama Yöntemleri Araştırmacı. Özge Nur YILDIRIM Öğr.Gör.,Erdal,Gültekin Wall Paintings, Integration Techniques, Conservation, Cultural Heritage. Wall paintings, as one of the earliest forms of artistic expression, hold significant cultural and historical value. From the primitive depictions on cave walls to the elaborate frescoes adorning palaces and religious edifices, these artworks have served as a medium through which humans conveyed their lifestyles, beliefs, and cultural narratives. Despite their enduring legacy, wall paintings are inherently fragile due to the natural deterioration of the materials and their susceptibility to environmental factors, including humidity, temperature fluctuations, and light exposure. Consequently, the conservation of wall paintings has become a critical area of study and practice within the field of cultural heritage preservation. This study aims to examine the completion methods used in wall paintings, with a focus on balancing the aesthetic, historical, and material integrity of these artworks. By analyzing historical and contemporary practices, this research seeks to explore the principles that govern minimal intervention and reversible restoration techniques. Furthermore, it aims to evaluate the application of modern theories, such as Cesare Brandi’s Theory and the Gestalt principles, in the restoration of wall paintings, enhancing their readability and integrity while respecting their authenticity. The conservation and restoration of wall paintings have undergone significant evolution over the centuries. Before the establishment of restoration ethics, interventions often involved overpainting or the use of non-original materials to repair damaged sections, resulting in the loss of authenticity and original intent. However, the adoption of international charters, such as the 1964 Venice Charter and the 2003 ICOMOS Principles for the Conservation and Restoration of Wall Paintings, marked a turning point. These documents introduced guidelines that emphasized preserving the original character of the artwork while employing minimal and reversible techniques to ensure its long-term stability and preservatio. Wall paintings are particularly vulnerable to various forms of degradation, including color fading due to prolonged exposure to light and environmental pollutants, flaking of the paint layer often caused by humidity fluctuations and mechanical stress, and structural voids in the intonaco layer, which undermine the integrity and stability of the artwork. These damages not only compromise the physical condition of the paintings but also diminish their aesthetic and historical significance, necessitating meticulous conservation efforts. The principles of wall painting conservation prioritize the preservation of the artwork's authenticity and integrity. Key guidelines include minimal intervention, ensuring that any restoration work preserves as much of the original material as possible; reversibility, where interventions are easily removable without causing further damage; aesthetic integration, improving the visual coherence of the artwork without obscuring its historical narrative; and detailed documentation of all interventions for future reference. One of the critical challenges in wall painting conservation is addressing lacunae (areas of loss) without compromising the original design. Cesare Brandi’s Theory of Restoration offers three foundational principles for addressing lacunae. Restorations should be discernible upon close inspection but should not disrupt the overall aesthetic unity from a distance. Interventions should align with the structural and material characteristics of the original artwork without introducing new materials that could alter its composition. Finally, restorations should not hinder future conservation efforts or studies. Additionally, the Gestalt theory, which emphasizes the perception of visual coherence and unity, has informed many aesthetic integration strategies. This approach ensures that completed sections harmonize with the original composition while remaining distinguishable to the trained eye. The study employs a multidisciplinary approach, combining a literature review of historical texts, international charters, and contemporary case studies to gain a deeper understanding of evolving conservation practices. A comparative analysis evaluates different completion methods, such as tratteggio (hatching technique) and neutral-toned infill, to determine their effectiveness in preserving authenticity and enhancing visual coherence. Selected wall painting restoration projects adhering to Brandi’s principles and ICOMOS guidelines are also examined as case studies. The findings highlight the importance of adopting a holistic approach to wall painting conservation. Effective completion methods not only address structural and aesthetic issues but also ensure that the artwork’s historical narrative remains intact. Techniques such as tratteggio and rigatino (fine vertical lines) have proven successful in achieving aesthetic integration without compromising the originality of the artwo the need for visual coherence with the principle of discernibility and navigating the ethical considerations of irreversible interventions. Wall painting conservation is a delicate balance between preserving the artwork’s physical and historical integrity and ensuring its aesthetic legibility. Adherence to established principles, such as those outlined in the Venice Charter, ICOMOS, and Cesare Brandi's guidelines, is essential in achieving this balance. By embracing minimal intervention, reversibility, and aesthetic integration, conservators can safeguard these cultural treasures for future generations while respecting their historical authenticity. International Journal Of Humanities And Art Researches 2025-12-03T21:38:28Z Research Article application/pdf eng https://ijhar.net/paper/download?id=370 ISSN: 2687-4385 https://ijhar.net/paper/download?id=370 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 469-484 https://ijhar.net/paper/download?id=370 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/371 2025-12-03T21:38:21Z 13

Çanakkale’de Kamusal Alanlarda Yer Alan Heykellerin Araştırılması Dr.Öğr.Üyesi. Mehmet Anıl KIZILASLAN ; Araştırmacı. Busesu GÜNER ; Araştırmacı. Didem ARSLAN ; Araştırmacı. Mürüvet HARMAN Öğr.Gör.,Erdal,Gültekin Public Space Sculptures, Inventory, Digital Mapping, Geographic Information System, Çanakkale Sculptures Map Public spaces play a crucial role in urban life by fostering social interaction, cultural expression, and community engagement. Among the elements that shape public spaces, sculptures serve not only as aesthetic components but also as significant cultural and historical markers. While monumental sculptures often receive extensive documentation and recognition, non-monumental sculptures remain overlooked and undocumented. This lack of systematic recording poses a risk to their preservation and diminishes their contribution to urban cultural identity. In Turkey, the visibility of non-monumental sculptures in public spaces has increased since the 1970s. However, in cities like Çanakkale, there is no comprehensive inventory or accessible documentation of these sculptures. Many of these artworks lack official records regarding their artists, installation dates, and thematic significance. Consequently, the absence of a structured approach to cataloging these sculptures results in a loss of urban artistic heritage and cultural memory. This study aims to address this gap by creating a digital inventory of non-monumental sculptures in Çanakkale using Geographic Information Systems (GIS). The research seeks to answer the following key questions: Is there an existing catalog or record of non-monumental sculptures in Çanakkale’s public spaces? Can digital mapping and GIS-based documentation contribute to the recognition, preservation, and promotion of these sculptures for tourism? By addressing these questions, this research aspires to contribute to the urban cultural landscape and support the sustainable integration of public art into everyday life. The absence of a systematic record of non-monumental sculptures in Çanakkale represents a critical gap in both urban studies and public art research. By utilizing GIS technology, this study aims to bridge this gap by mapping, cataloging, and digitizing these artworks, ensuring their visibility and accessibility to the public. Unlike previous research that primarily discusses the aesthetic and political roles of sculptures, this study focuses on documentation, preservation, and public engagement through digital mapping. The findings will contribute not only to urban cultural studies but also to municipal planning and tourism development, aligning with broader discussions on the role of public art in shaping urban identity. By addressing these research gaps, this study aims to provide a new methodological approach to studying public light sculptures, heightening the value of GIS-based documentation in the preservation and promotion of urban artistic heritage. This study employs a multi-method approach to identify, document, and digitally map non-monumental sculptures in public spaces within the Çanakkale city limits. The methodology integrates field research, archival and digital source analysis, interviews, and Geographic Information Systems (GIS) to ensure a comprehensive and systematic investigation. Identified and documented 20 non-monumental sculptures located in public spaces within Çanakkale. The research findings highlight a significant gap in the systematic recording and recognition of these sculptures, as many lack official documentation regarding their artist, year of creation, or thematic significance. The results are categorized as follows: 1. Lack of Systematic Documentation The analysis revealed that there is no official catalog or municipal record of non-monumental sculptures in Çanakkale. Many sculptures were found in parks, squares, and coastal areas, yet their origin and artistic background remain largely unknown. Among the 20 sculptures identified, four lacked available information regarding the artist, creation date, or purpose, indicating a disconnect between local authorities and public art installations. 2. Geographical Distribution Using Geographic Information Systems (GIS), the sculptures were mapped across different districts of Çanakkale. The findings showed that most sculptures are concentrated in tourist and high-traffic areas, such as the waterfront promenade and city parks. However, some sculptures were placed in isolated or less accessible locations, reducing their visibility and public engagement. 3. Artistic and Material Characteristics The sculptures vary in style, material, and thematic focus. Common materials include stone, metal, and marble, with themes ranging from abstract forms to figurative representations of historical and cultural symbols. The study also found that some sculptures were in poor condition, showing signs of erosion, damage, or neglect, emphasizing the need for maintenance and preservation efforts. 4. Digital Accessibility and Public Engagement A significant contribution of this study is the creation of a GIS-based digital map, which provides a publicly accessible inventory of Çanakkale’s non-monumental sculptures. This tool enhances public engagement, cultural tourism, and academic research by making information Daily available. These findings underscore the importance of structured documentation and preservation efforts in sustaining Çanakkale’s cultural and artistic heritage. This study highlights significant gaps in the documentation, preservation, and accessibility of non-monumental sculptures in Çanakkale’s public spaces. While these sculptures contribute to the city’s aesthetic and cultural identity, the lack of systematic records and proper maintenance raises concerns about their long-term visibility and sustainability. One of the key issues identified is the absence of a structured inventory for non-monumental sculptures. Unlike monumental statues, which are often well-documented due to their historical and political significance, non-monumental sculptures lack official records regarding their artists, creation dates, and thematic intentions. This deficiency limits the ability of researchers, policymakers, and the public to engage with and fully appreciate these artworks. Another critical aspect is the geographical distribution and public interaction with these sculptures. The GIS-based mapping revealed that most non-monumental sculptures are clustered in high-traffic and touristic areas, such as city parks and waterfront promenades. However, some sculptures are placed in less accessible locations, reducing their visibility and public engagement. This uneven distribution suggests that urban planning efforts should integrate public art more strategically, ensuring that sculptures serve as both artistic and cultural landmarks, thereby enhancing the overall aesthetic appeal of the city. Additionally, maintenance and preservation challenges were evident throughout the study. Some sculptures displayed signs of deterioration, damage, or neglect, emphasizing the need for a more structured conservation effort by local authorities. Without regular maintenance, these works risk being lost to environmental and urban factors over time. Finally, the study underscores the potential of digital mapping and open-access databases in bridging these gaps. By digitally documenting these sculptures through GIS, the research provides a valuable tool for urban planners, cultural institutions, and the general public. The integration of technology in art documentation not only enhances accessibility but also encourages greater public appreciation and engagement. International Journal Of Humanities And Art Researches 2025-12-03T21:38:21Z Research Article application/pdf eng https://ijhar.net/paper/download?id=371 ISSN: 2687-4385 https://ijhar.net/paper/download?id=371 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 485-504 https://ijhar.net/paper/download?id=371 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/372 2025-12-03T21:38:01Z 2

Elazığ-Harput Yöresi Kürsübaşı Sohbet Toplantılarının Değişim ve Dönüşümü Dr.. Erkam CÖMERT Öğr.Gör.,Erdal,Gültekin Chat Meetings, Harput, Elazığ, Kürsübaşı, Tradition. Elazığ-Harput has witnessed the struggle for dominance of many civilisations due to its geographical structure and location. Many civilisations have lived in the region through out history and the region has become an important centre with the effects of different cultures. Until now, a rich cultural structure has been formed with the influence of various religious and ethnic groups living in the region and this situation has also affected the music, which is one of the most important elements of the local culture. Namely; the effects of Turkish folk music, Classical Turkish music, religious music and Mehter music have been observed in Elazığ-Harput music. Kürsübaşı meetings, which have an important place in Elazığ-Harput folklore, have a cultural characteristic. One of the elements of these meetings, even the most important one, is the music performed in chapters. Today when Kürsübaşı is mentioned, the first thing that comes to mind is the music performance. In this study, how Elazığ-Harput Kürsübaşı meetings have become a tradition, how they emerged and the changes they have undergone over time are discussed. The aim of this theoretical study, which is based on the concepts of social integration, culture, acculturation, space, identity, tradition, traditional music, modern-modernity (modernity) and modernisation, is to determine the role of Kürsübaşı meetings, which are among the traditional conversation meetings, in the formation of the identity of being from Elazığ-Harput, how they affect the sense of loyalty to Elazığ-Harput culture, whether these meetings are traditional, and if they are traditional, how this traditionalisation process has developed. In addition, in our study, the effects of Kürsübaşı meetings on the identity of being from Elazığ-Harput and the sense of belonging to Elazığ-Harput culture were also examined. In this study, the traditionalisation process of Kürsübaşı meetings, which continue to exist as a musical tradition in the Harput region, and the changes and transformations it has under gone over time are examined. After analysing the formation process of the afore mentioned tradition from a historical perspective, the impact of social and political changes on the tradition is examined. With this research, answers to the following questions are sought: 1. Is Kürsübaşı a traditional musical event? 2. If it is traditional, how did the traditionalisation process take place? 3. Is there continuity in the elements that make up Kürsübaşı in this process? 4. What are the elements with continuity? 5. Are there elements that have changed? What are the changing elements, if any? 6. Is there a connection between the identity of being from Elazığ and being from Harput and Kürsübaşı? 7. If there is, has this situation had an effect on the traditionalisation process? Research on the music of the Elazığ-Harput region and the ways in which this music is performed is constantly increasing. However, the number of studies on the rooting process of the Kürsübaşı tradition and its relationship with the lifestyle and local music culture of Elazığ-Harput has remained limited. Most of the existing research has focussed on the music of Elazığ-Harput. This study is supported by questionnaire responses from 31 people who have attended Kürsübaşı meetings in the last year and interviews with 4 performers of different age groups who have attended these meetings in the past. In this study, how Kürsübaşı meetings, which continue to exist as a musical tradition in the Elazığ-Harput region, have become traditional and how they have under gone changes and transformations over time are examined. The main objective of there search is to determine the role of Kürsübaşı meetings, one of the traditional conversation meetings, in the formation of the identity of being from Elazığ-Harput, how it affects the sense of belonging to Elazığ-Harput culture, whether these meetings are really traditional, and if they are traditional, how this traditionalisation process takes place. In this study, the data obtained through active participant observation, quota sampling, questionnaires and guided interviews are analysed and interpreted with in the relevant theoretical frameworks. The scope of the research is Kürsübaşı chat meetings in Elazığ-Harput region, one of the traditional chat meetings in Turkey. The sample of the research consists of a total of 35 people, 4 performers and 31 participants in Kürsübaşı meetings. All of the performers are over the age of 55. The age distribution of the participants is 3 people aged 18-35, 5 people aged 36-55 and 23 people aged 55 and over. This research aims to find out whether Kürsübaşı is a tradition and if it is, how this process is realised. In addition, it is also analysed whether the performance forms of Kürsübaşı meetings in the past and today have changed, and if so, what these changes are. The Kürsübaşı conversations were observed as events where social solidarity was emphasised in a warm environment by gathering around a lectern, where resentments were reconciled, problems were solved, ideas were exchanged, riddles and puzzles were asked and answered, memories of military service and fairy tales were told, various games were played, prayers were said, the Qur’an and religious books were read, and conversations on religious issues were held. Although it was not compulsory to perform music in every meeting, there were also meetings where music was performed when there were people or persons who were talented in the field of music. However, it has been determined that today Kürsübaşı meetings have become events where only music is performed. In addition, it is also explained whether Kürsübaşı meetings have similarities and differences with other chat meetings, and if so, what these similarities and differences are. It is thought that there is no such study on Kürsübaşı and this study will contribute to the local culture, chat meetings and literature by filling the information gap in this field. In the conversation meetings held in other regions, there are treats, conversations, cooperation, riddles, puzzles, storytelling and spectacle games, and these elements are generally similar. However, the tradition of making music based on rules in Kürsübaşı meetings is a situation that is not encountered in meetings in other regions except Şanlıurfa Sıra Geceleri and this situation stands out as the most distinctive feature that distinguishes Kürsübaşı from other meetings. As a result, in this study, in order to contribute to musicological and folkloric studies, the tradition of Kürsübaşı, which is the musical assembly of Harput, which has hosted many civilisations, has been examined and observations have been revealed. International Journal Of Humanities And Art Researches 2025-12-03T21:38:01Z Research Article application/pdf eng https://ijhar.net/paper/download?id=372 ISSN: 2687-4385 https://ijhar.net/paper/download?id=372 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 505-539 https://ijhar.net/paper/download?id=372 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/373 2025-12-03T21:37:47Z 2

Çocuk Kitaplarında Özgürlük ve Öz Güven Değeri: Küçük Kara Balık ve Martı Örneği Yüksek Lisans. Melek YILDIRIM ; Prof.Dr.. Kelime ERDAL Öğr.Gör.,Erdal,Gültekin Child books, Seagull, Little Black Fish, freedom, self-confidence Children's literature is not only a form of aesthetic expression but also a powerful educational tool that supports children's emotional, cognitive, and moral development. Instilling values such as freedom and self-confidence, which are particularly influential in character development, at an early age plays a decisive role in children's development of their individual identities. Therefore, examining how these values are conveyed through literary works offers significant contributions to both children's literature and the literature on values education. However, the comparative studies examining the themes of freedom and self-confidence together are limited, and Richard Bach's The Seagull, in particular, has not been adequately examined in the context of these values. Therefore, this study aims to analyze how the values of freedom and self-confidence are structured in children's literature, using The Seagull and Sameh Behrengi's The Little Black Fish as a basis. Document analysis, a qualitative research method, was used in the study. Data were collected based on the content of two selected works and analyzed using a content analysis approach. The data obtained during the analysis process are structured at the "theme," "category," and "code" levels and systematically presented in the findings section. Two main themes were identified in the study: freedom and self-confidence. Each theme was divided into different categories and supported by various codes under these categories. The research findings indicate that both works structure the themes of freedom and self-confidence from different perspectives. In "Little Black Fish," the theme of freedom is explored through three categories: the desire for freedom, individual awareness, and mental liberation. These categories reveal the character's resistance to environmental constraints and their search for a different way of life. The theme of self-confidence is further subdivided into seven categories in the same work: individual power, leadership, communication, courage, wisdom, resilience, and purposeful living. The Little Black Fish's courage to explore the outside world, his determination in the face of obstacles, and his ability to share what he has learned with others are associated with these categories. Furthermore, the obstacles to freedom in the work are evaluated under two separate categories: social pressure and boundaries, and society-individual conflict. In The Seagull, the theme of freedom is structured through the categories of desire for freedom, mental liberation, and individual freedom. The character of Jonathan Livingston embodies these categories with his courage to think differently from the crowd and his will to choose his own path. In the analyses related to the theme of self-confidence, three main categories were identified: broken self-confidence, individual strength, and courage. The character's breakdowns in the face of failure, the process of retrying, and their efforts to overcome themselves were evaluated within this context. Furthermore, the obstacles to freedom in The Seagull were analyzed within the framework of social pressure and boundaries, as well as the conflict between society and the individual. In addition, the theme of "inner journey and identity search," a specific finding in The Seagull, has been addressed under a separate heading. This heading is divided into two main categories: identity search and personal development, and these themes are linked to the individual's process of self-discovery, inner transformation, and existential questioning. According to the findings, the individual's search for inner freedom and self-confidence is at the forefront in both works. In Little Black Fish, the character's curiosity about the outside world, his journey despite the warnings of his environment, and his questioning of what he has learned are all linked to the theme of freedom. The same character's ability to remain true to his path despite the dangers he faces and to defend his own decisions is a powerful example of the theme of self-confidence. In The Seagull, Jonathan Livingston thinks differently from the crowd, embracing a new lifestyle by risking solitude, and questioning the meaning of flight, which underscores the value of freedom. His pushing his own limits, relentless pursuit of experimentation, and desire to surpass himself all align with the theme of self-confidence. In the discussion section, the findings are compared with results from studies such as Calp and Calp (2019), Belet Boyacı, Güner, and Babadağ (2017), and Erol and Kara (2020). These studies also emphasize the role of children's literature in instilling values; however, this study offers a more holistic perspective by addressing freedom and self-confidence in tandem. In conclusion, it appears that the works "Little Black Fish" and "The Seagull" effectively convey core values such as freedom and self-confidence to children and support individual ident lopment. In this respect, the study makes a significant contribution to both the fields of children's literature and values education. It is recommended that future research examine different values (such as justice, love, and empathy) through other literary works and analyze these values in children in a comparative manner across various age groups. International Journal Of Humanities And Art Researches 2025-12-03T21:37:47Z Research Article application/pdf eng https://ijhar.net/paper/download?id=373 ISSN: 2687-4385 https://ijhar.net/paper/download?id=373 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 540-559 https://ijhar.net/paper/download?id=373 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/374 2025-12-03T21:37:22Z 13

Kilden Koda: İznik Çini Motiflerinin Yapay Zekâ ile Yeniden Yorumlanması Arş.Gör.. Sinem Ünal GERDAN Öğr.Gör.,Erdal,Gültekin Artificial Intelligence, İznik Tiles, Cultural Heritage, Generative AI This study comprehensively explores how artificial intelligence (AI) technologies can be used to reinterpret and digitally reconstruct traditional Turkish art, with a particular focus on 16th-century Iznik tiles. By bringing together various disciplines such as design, computational creativity, and cultural heritage preservation, the research evaluates the capacity of generative AI tools (e.g., DALL-E, Firefly, Prome AI) to reproduce, reinterpret, and visualize historical tile motifs. The study not only conducts technical experiments but also critically addresses ethical issues such as originality, authorship, and cultural appropriation arising from the use of these tools. The conceptual background examines how AI-generated visuals transform the symbolic meaning of traditional art forms and how this transformation opens the door to new aesthetic and cultural debates. In this context, the digital reproduction of traditional art is evaluated not merely as a visual transfer, but as a redefinition of meaning, context, and cultural continuity. Methodologically, the study combines descriptive visual analysis on multiple digital platforms with prompt-based image generation processes, thereby establishing a research model that is both qualitative and experimental. The research findings show that AI tools can offer a high level of visual fluency and aesthetic diversity, but in most cases lack cultural depth, historical contextual knowledge, and an understanding of local aesthetic values. While this highlights the instrumental value of AI in cultural heritage projects, it also underscores the continued indispensability of human expertise. By building a bridge between contemporary computational tools and traditional visual culture, the study makes a meaningful contribution to the evolving literature on the relationship between AI and art. In addition, it proposes applicable models for how AI-assisted heritage reinterpretation can be integrated into public engagement strategies for museums, educators, and cultural institutions. These models encompass a wide range of applications, from exhibition design to digital archiving, from educational materials to interactive cultural experiences. Thus, the study offers an innovative perspective on the preservation and reinterpretation of cultural heritage in the digital age, both in theoretical and practical dimensions. International Journal Of Humanities And Art Researches 2025-12-03T21:37:22Z Research Article application/pdf eng https://ijhar.net/paper/download?id=374 ISSN: 2687-4385 https://ijhar.net/paper/download?id=374 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 560-578 https://ijhar.net/paper/download?id=374 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/375 2025-12-03T21:37:15Z 5

İz ve Sessizlik Arasında: Cy Twombly’nin Özgün Baskı Resimlerine Dair Bir İnceleme Araştırmacı. Ayhan KARAMEŞE Öğr.Gör.,Erdal,Gültekin Cy Twombly, Printmaking, Contemporary Art, Trace, Mythology Cy Twombly, widely recognized as one of the most original and influential artists of the twentieth century, developed a distinctive visual language that consistently challenged the boundaries of modern art. His oeuvre, characterized by a unique synthesis of drawing, writing, and spatial composition, reflects a deeply personal approach to mark-making, memory, and cultural reference. Central to Twombly’s practice is his printmaking, which transcends the conventional role of mechanical reproduction to function as a medium for exploring complex intellectual and aesthetic concerns. This study examines Twombly’s print techniques, exploring how they transform concepts such as trace, silence, memory, and mythology into visual and conceptual phenomena. The primary objective of this research is to elucidate how Twombly’s prints extend contemporary art’s visual and poetic dimensions, revealing their capacity to mediate between thought, history, and material expression. The analysis focuses on two of Twombly’s seminal print series: Roman Notes and Natural History, Part I: Mushrooms. These works exemplify the artist’s ability to merge textual inscription, gestural mark-making, and space into compositions that balance form and concept. In Roman Notes, the fragmented text and expressive lines evoke a diary-like quality, producing a tension between narrative legibility and abstraction. Twombly’s partially decipherable handwriting does not merely function as text; instead, it introduces a poetic layer to the visual field, inviting viewers to engage in a reflective and interpretive act. The interplay between trace and emptiness in these prints generates a quiet intensity, where the residual marks of the artist’s hand become carriers of memory and thought. Similarly, Natural History, Part I: Mushrooms exemplifies Twombly’s unique approach to blending empirical observation with imaginative and poetic expression. In this series, gestural lines and textual fragments are arranged in a manner that evokes both scientific illustration and personal meditation. The prints’ dynamic composition emphasizes the coexistence of precision and ambiguity, underscoring the tension between analytical observation and aesthetic interpretation. Twombly’s subtle allusions to classical mythology further enrich these works, linking contemporary artistic practice with historical and cultural memory. Mythological references function not as literal narratives but as conceptual touchstones, bridging temporal and cultural distances while reinforcing the philosophical resonance of the prints. Twombly’s technical versatility is a key aspect of his printmaking practice. Employing etching, lithography, and monotype techniques, he manipulates line, texture, and negative space to produce complex visual effects. Each technique is carefully selected for its conceptual and aesthetic potential, emphasizing the physicality of the mark and the material presence of the print. The resulting compositions invite viewers to consider the temporal dimensions of mark-making, as the printed traces embody both the immediacy of artistic gesture and the layered accumulation of thought. In this way, Twombly’s prints operate simultaneously as records of action, repositories of memory, and reflections on the nature of visual representation. Importantly, Twombly’s prints challenge traditional understandings of printmaking in contemporary art. Rather than serving primarily as instruments of reproduction, his prints function as platforms for philosophical inquiry and poetic reflection. By integrating text, gesture, and space, Twombly elevates the print to a medium capable of conveying both aesthetic experimentation and conceptual depth. The tension between legibility and abstraction, between trace and silence, foregrounds the reflective potential of visual art, demonstrating that printmaking can serve as a site of intellectual and emotional engagement rather than mere mechanical production. The intersection of formal innovation and conceptual rigor in Twombly’s prints exemplifies a broader tendency in contemporary art to merge technical experimentation with philosophical reflection. His works illustrate how visual expression can simultaneously embody formal sophistication, historical consciousness, and poetic resonance. The Roman Notes and Natural History series, in particular, highlights how printmaking can function as a multidimensional medium, where line, text, and space intersect to create meaning that extends beyond the purely visual. These prints not only extend the possibilities of mark-making but also invite consideration of memory, mythology, and silence as integral components of artistic experience. In conclusion, Cy Twombly’s printmaking practice represents a significant contribution to the discourse on contemporary art, bridging technical innovation, aesthetic originality, and conceptual exploration. By examining the Roman Notes and Natura in History, Part I: Mushrooms series, this study demonstrates how Twombly’s prints transform the act of printing into a reflective and poetic practice. The research highlights that, in Twombly’s hands, printmaking transcends the mechanical function traditionally associated with the medium, becoming a vehicle for the visualization of memory, myth, and philosophical inquiry. Ultimately, Twombly’s work illuminates the capacity of contemporary art to engage deeply with historical, cultural, and intellectual contexts, revealing printmaking as a space where aesthetic experimentation, intellectual reflection, and poetic expression converge. International Journal Of Humanities And Art Researches 2025-12-03T21:37:15Z Research Article application/pdf eng https://ijhar.net/paper/download?id=375 ISSN: 2687-4385 https://ijhar.net/paper/download?id=375 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 579-589 https://ijhar.net/paper/download?id=375 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/376 2025-12-03T21:37:08Z 5

Hareketli Kitap İllüstrasyonlarında Kullanılan Pop-up Teknikleri ve Kullanımları Üzerine Bir İnceleme Yüksek Lisans. Elif Nur ERGÜL ; Doç.Dr.. Alper Raif İPEK Öğr.Gör.,Erdal,Gültekin Movable Book, Pop-up Book, Illustration, Graphic Design, Paper Engineering Wall paintings, as one of the earliest forms of artistic expression, hold significant cultural and historical value. From the primitive depictions on cave walls to the elaborate frescoes adorning palaces and religious edifices, these artworks have served as a medium through which humans conveyed their lifestyles, beliefs, and cultural narratives. Despite their enduring legacy, wall paintings are inherently fragile due to the natural deterioration of the materials and their susceptibility to environmental factors, including humidity, temperature fluctuations, and exposure to ligh. Consequently, the conservation of wall paintings has become a critical area of study and practice within the field of cultural heritage preservation. This study aims to examine the completion methods used in wall paintings, with a focus on balancing the aesthetic, historical, and material integrity of these artworks. By analyzing historical and contemporary practices, this research seeks to explore the principles that govern minimal intervention and reversible restoration techniques. Furthermore, it aims to evaluate the application of modern theories, such as Cesare Brandi’s Theory and the Gestalt principles, in the restoration of wall paintings, enhancing their readability and integrity while respecting their authenticity. The conservation and restoration of wall paintings have undergone significant evolution over the centuries. Before the establishment of restoration ethics, interventions often involved overpainting or the use of non-original materials to repair damaged sections, resulting in the loss of authenticity and original intent. However, the adoption of international charters, such as the 1964 Venice Charter and the 2003 ICOMOS Principles for the Conservation and Restoration of Wall Paintings, marked a turning point. These documents introduced guidelines that emphasized preserving the original character of the artwork while employing minimal and reversible techniques to ensure its long-term stability and preservatio. Wall paintings are particularly vulnerable to various forms of degradation, including color fading due to prolonged exposure to light and environmental pollutants, flaking of the paint layer often caused by humidity fluctuations and mechanical stress, and structural voids in the intonaco layer, which undermine the integrity and stability of the artwork. These damages not only compromise the physical condition of the paintings but also diminish their aesthetic and historical significance, necessitating meticulous conservation efforts. The principles of wall painting conservation prioritize the preservation of the artwork's authenticity and integrity. Key guidelines include minimal intervention, ensuring that any restoration work preserves as much of the original material as possible; reversibility, where interventions are easily removable without causing further damage; aesthetic integration, improving the visual coherence of the artwork without obscuring its historical narrative; and detailed documentation of all interventions for future reference. One of the critical challenges in wall painting conservation is addressing lacunae (areas of loss) without compromising the original design. Cesare Brandi’s Theory of Restoration offers three foundational principles for addressing lacunae. Restorations should be discernible upon close inspection but should not disrupt the overall aesthetic unity from a distance. Interventions should align with the structural and material characteristics of the original artwork without introducing new materials that could alter its composition. Finally, restorations should not hinder future conservation efforts or studies. Additionally, the Gestalt theory, which emphasizes the perception of visual coherence and unity, has informed many aesthetic integration strategies. This approach ensures that completed sections harmonize with the original composition while remaining distinguishable to the trained eye. The study employs a multidisciplinary approach, combining a literature review of historical texts, international charters, and contemporary case studies to gain a deeper understanding of the evolution of conservation practices. A comparative analysis evaluates different completion methods, such as tratteggio (hatching technique) and neutral-toned infill, to determine their effectiveness in preserving authenticity and enhancing visual coherence. Selected wall painting restoration projects adhering to Brandi’s principles and ICOMOS guidelines are also examined as case studies. The findings highlight the importance of adopting a holistic approach to wall painting conservation. Effective completion methods not only address structural and aesthetic issues but also ensure that the artwork’s historical narrative remains intact. Techniques such as tratteggio and rigatino (fine vertical lines) have proven successful in achieving aesthetic integration without compromising the originality of the need for visual coherence with the principle of discernibility and navigating the ethical considerations of irreversible interventions. Wall painting conservation is a delicate balance between preserving the artwork’s physical and historical integrity and ensuring its aesthetic legibility. Adherence to established principles, such as those outlined in the Venice Charter, ICOMOS, and Cesare Brandi's guidelines, is essential in achieving this balance. By embracing minimal intervention, reversibility, and aesthetic integration, conservators can safeguard these cultural treasures for future generations while respecting their historical authenticity. International Journal Of Humanities And Art Researches 2025-12-03T21:37:08Z Research Article application/pdf eng https://ijhar.net/paper/download?id=376 ISSN: 2687-4385 https://ijhar.net/paper/download?id=376 International Journal of Humanities and Art Researches, 2025 , Issue: 4 , Volume: 10 , Pages: 590-607 https://ijhar.net/paper/download?id=376 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/369 2025-10-04T10:11:22Z 2

Düzeltme Yazısı Dr.. Dilan Çelık Öğr.Gör.,Erdal,Gültekin Düzeltme Yazısı It has been declared by the corresponding author that the article titled "Çelık, D., & Güzel, E. (2021). Islamic Religious Architecture in Eugêne Flandin's Engravings. International Journal of Human and Art Studies, 6(1), 95-110," published in the 6th Volume, 1st Issue of the 2021 International Journal of Human and Art Studies, did not include a footnote indicating that it was produced from a master's thesis. This declaration was deemed appropriate by the decision of the journal's editorial board, and the decision to publish this text has been made. It has been declared by the corresponding author that the article titled "Çelık, D., & Güzel, E. (2021). Islamic Religious Architecture in Eugêne Flandin's Engravings. International Journal of Human and Art Studies, 6(1), 95-110," published in the 6th Volume, 1st Issue of the 2021 International Journal of Human and Art Studies, did not include a footnote indicating that it was produced from a master's thesis. This declaration was deemed appropriate by the decision of the journal's editorial board, and the decision to publish this text has been made. International Journal Of Humanities And Art Researches 2025-10-04T10:11:22Z Research Article application/pdf eng https://ijhar.net/paper/download?id=369 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=369 International Journal of Humanities and Art Researches, Mart 2021 , Issue: 1 , Volume: 6 , Pages: 126-127 https://ijhar.net/paper/download?id=369 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/360 2025-09-17T23:54:52Z 5

Sector Not Named in The Packaging: Packaging Protection Products Öğr.Gör.. Gültekin Erdal ; Dr.. İsmet Gücüyener Öğr.Gör.,Erdal,Gültekin Packing, packaging, packaging protection, sector, product. Although it is known exactly what it is and where it is used, there is no overarching name for the industry that produces packaging protection products. Although the market area of packaging protection products is growing daily, it is a sector that has not yet been named. Users of the product, including industry employees, do not know what industry they are in. On the other hand, industry producers have started finding a proper name for themselves. In this sense, severe name inflation has occurred. Although the technologies are different, it is essential for the independent growth of the sector that the products produced for the same purpose have a known name. In this article, this industry, which produces packaging protection and support products, is researched and introduced. This article proposes a name for this huge industry that has yet to be named. It was thought that the proposed name should be inclusive, descriptive, easy to pronounce, effective, wise, and a source of pride for its employees. Protective packaging is designed and manufactured to protect the product from atmospheric, magnetic, electrostatic, vibration, or shock damage. It is not possible to find all these protective components in a single package, and it is not possible to mention all these risks in a single package. Packaging is the precautions and methods taken to promote, ship, and protect the product from the producer to the consumer. In the packaging sector, which requires separate expertise, while the physical presence of the package, such as its size, weight, and form, is at the forefront, most of the time, it does not matter what the product inside the package is. The safety of the packaging means the safety of the product. Therefore, the packaging is designed and implemented independently of the packaging. In this sense, packaging protective systems and products are produced under many names. Each method is produced and applied for the safety of the packaging. For this reason, it was thought that the name “Packaging” would be appropriate for this process, with the idea that it would be inclusive and that the name “Packaging Sector” would be appropriate for the sector. Although this term, which is always used by all sector users, academics, and employees, has caused disappointment for most readers, it should be realized that this sector has an inclusive feature. Rather than expecting a new term, using an existing one can also meet expectations. At least, it is enough to bring the name gap of this sector to the forefront. International Journal Of Humanities And Art Researches 2025-09-17T23:54:52Z Research Article application/pdf eng https://ijhar.net/paper/download?id=360 ISSN: 2687-4385 https://ijhar.net/paper/download?id=360 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=360 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/361 2025-09-17T23:54:45Z 5

Camp Aesthetics: LGBTQIA+ Visibility and the Critique of Social Norms in Artistic Expressions Yüksek Lisans. Sümeyra EROL ; Dr.Öğr.Üyesi. Burak ACAR Öğr.Gör.,Erdal,Gültekin Camp, Camp aesthetics, LGBTQIA+, Art, Gender. This study examines the concept of Camp aesthetics in both historical and artistic contexts, with the aim of analyzing how it has contributed to the visibility of LGBTQIA+’s and functioned as a critical strategy against prevailing social and cultural norms. Rather than viewing Camp as a purely decorative or frivolous style, the paper positions it as a multilayered cultural practice that carries political implications and identity-making potential—especially within queer communities. It argues that Camp is not simply a stylistic affectation or a celebration of “bad taste” but rather a significant site of cultural negotiation and subversion. Camp is traditionally associated with theatricality, irony, exaggeration, and artifice. These stylistic features are more than mere aesthetic markers; they operate as expressive tools that question and destabilize dominant conceptions of gender, taste, and identity. Historically, Camp emerged in queer subcultures as a covert language—a way of communicating coded resistance through humor, parody, and performative excess. In her landmark essay Notes on “Camp” (1964), Susan Sontag introduced Camp into academic and cultural discourse, defining it as a sensibility that “converts the serious into the frivolous.” Although her essay helped to popularize the term, it also drew criticism for depoliticizing Camp by removing it from its queer historical roots. Subsequent theorists have re-politicized Camp by emphasizing its role in LGBTQIA+’s identity formation and resistance. For example, Jack Babuscio (1977) conceptualized Camp as “a gay sensibility,” describing it as a mode of communication that reflects the lived experiences of marginalization and uses parody and exaggeration to counteract oppression. Fabio Cleto (1999) and Moe Meyer (1994) further explored Camp’s relationship with performativity and queer epistemology, arguing that Camp serves not only as aesthetic play but as a vehicle of critique and resistance. These scholars assert that Camp provides marginalized groups with an alternative mode of self-expression and a symbolic repertoire through which to perform identity and challenge hegemonic structures. Camp’s influence extends across multiple artistic disciplines. In literature, Camp manifests in narrative voice, excessive character traits, and ironic distance from realism. In theater, it is most vividly represented in drag performance, where the boundaries between gender, performance, and identity are blurred through costume, makeup, and exaggerated movement. Charles Ludlam’s Ridiculous Theatrical Company exemplifies this through its fusion of absurdity, satire, and gender play—transforming the stage into a subversive space for queer articulation. Similarly, in music, artists like David Bowie, Madonna, and Lady Gaga employ Camp as a performance strategy that interrogates and reconfigures popular understandings of gender and sexuality. Their flamboyant personas, elaborate costumes, and playful engagement with visual culture signal the performative and politicized nature of Camp. Camp aesthetics have also flourished in cinema and television. Filmmakers such as John Waters and Pedro Almodóvar have used Camp’s visual excess, irony, and stylization to critique societal norms, particularly around family, morality, and heteronormativity. Waters’s Pink Flamingos (1972) and Almodóvar’s All About My Mother (1999) exemplify how Camp can create worlds that celebrate difference, contradiction, and ambiguity. These visual strategies operate not only as stylistic choices but as interventions into dominant cultural narratives. In the Turkish context, the drag persona Huysuz Virjin—played by Seyfi Dursunoğlu—represents a local interpretation of Camp, blending traditional humor with gender parody, thus challenging normative gender roles within a conservative media landscape. However, the increasing commodification and mainstreaming of Camp raise concerns about its radical potential. As Camp has become more visible in advertising, fashion, and commercial entertainment, some scholars argue that it risks losing its subversive edge. Instead of challenging power, it may now serve consumer culture by offering sanitized and market-friendly versions of queer expression. While such visibility can be empowering, it can also flatten the complexities of queer experience and neutralize Camp’s oppositional stance. This tension reflects broader debates in queer theory about the dangers of assimilation and the co-option of radical cultural practices. The theoretical framework of this study engages with the ontological and epistemological dimensions of Camp. Camp is not only a performance of identity but also a method of knowledge production. It enables individuals—especially queer individuals—to articulate their experience through a lens of irony, theatricality, and subversion. In this regard, Camp operates as both an aesthetic discourse and a political act, making it a powerful tool for both cultural critique and community building. It is both playful and serious, both indulgent and resistant—precisely this ambivalence makes Camp a rich and enduring mode of cultural expression. In conclusion, this study contends that Camp aesthetics should be understood as a dual practice—both artistic and sociopolitical. It plays a crucial role in enhancing LGBTQIA+ visibility, offering a means for expressing non-normative identities and questioning dominant social values. At the same time, the increasing incorporation of Camp into mainstream culture raises important questions about its transformative power. Has Camp become just another style, stripped of its critique? Or can it still function as a tool for resistance even within commercial frameworks? By addressing these questions, this study calls for a more nuanced understanding of Camp—as both a form of cultural expression and a site of political tension. International Journal Of Humanities And Art Researches 2025-09-17T23:54:45Z Research Article application/pdf eng https://ijhar.net/paper/download?id=361 ISSN: 2687-4385 https://ijhar.net/paper/download?id=361 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=361 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/362 2025-09-17T23:54:37Z 2

İşitme Kayıplı Çocukların Eğitim Kurumlarının İç Mekân Tasarım Ölçütlerinin Belirlenmesi: İÇEM Alan Çalışması Yüksek Lisans. Mert Can EKİZ ; Prof.Dr.. Didem ERTEN BİLGİÇ Öğr.Gör.,Erdal,Gültekin Interior Design, İÇEM, Educational Space, Children with Hearing Loss. Hearing impairment is a hearing disability that can range from mild to profound levels, impacting an individual’s development, adaptation, and especially communication skills. In other words, hearing impairment hinders a person’s ability to engage with their environment and effectively achieve their full potential. Developing early literacy skills in children with hearing loss is crucial, as it minimizes the gap between their academic abilities and those of their peers without hearing impairments. The quality of education and the design of educational environments play a vital role in achieving this goal. Educational institutions designed according to universal design principles can enable inclusive education, where children with hearing loss and their peers without hearing impairments can benefit equally. Early intervention and appropriately designed educational spaces are critical for effectively integrating children with hearing loss into the educational system. Just as the design of preschool education spaces is essential for all children, it is equally critical for children with hearing impairments. Properly designed educational environments ensure these children receive complete and accurate instruction, supporting their educational journey. This study focuses on determining the design criteria for educational spaces tailored to the needs of children with hearing impairments. To establish a theoretical foundation, literature research was conducted on deaf children and their education, the Hearing-Impaired Children Education, Research, and Application Center (İÇEM), and sensory perception in spaces, including auditory, visual, and tactile perception. The primary goal of this study is to identify the challenges faced by children with hearing loss in education and to establish design criteria for educational environments that foster their literacy and learning skills. Providing early and appropriate education is crucial in supporting their language development and social integration. Therefore, this research examines how to design educational environments that include auditory, visual, and tactile elements to support the educational processes of children with hearing impairments. Educational spaces designed to meet the cognitive development needs of children with hearing impairments significantly contribute to their participation in learning activities and literacy skills. By adhering to universal design principles, such spaces can facilitate inclusive education, allowing children with hearing loss to learn alongside their hearing peers. This inclusivity fosters social interaction, emotional intelligence, and language skills. When properly designed, inclusive education environments provide children with social and cognitive benefits, encouraging them to enjoy learning and maintain their enthusiasm for education. The study employed qualitative research methods, including observations, interviews with educators and parents, and photographic documentation of spaces within İÇEM. The research focused on children aged 3-6 and analyzed the impact of educational spaces on their learning experiences. Surveys and interviews with educators and parents were conducted to gather insights into their perceptions of the educational environment, interactions within the space, and spatial needs. Various design criteria were established based on observations and data collected. Considering the limitations of auditory perception, the study emphasized enhancing visual and tactile perception within educational environments. Elements such as visual markers, lighting, and the use of color were prioritized. Acoustic properties were also examined to minimize distractions caused by environmental noise, ensuring an optimal learning atmosphere for children with hearing impairments. Additionally, tactile stimuli were highlighted as a vital component of the educational environment. Hands-on learning materials, tactile surfaces, and objects were incorporated to promote physical interaction and active learning. Educational spaces for children with hearing impairments must adopt a design approach that supports auditory, visual, and tactile perception. Visual enhancements such as vibrant colors, distinctive lighting, and graphic materials can help children perceive their surroundings and engage with their environment when auditory perception is limited. Soundproofing is essential to reduce distractions caused by external noise, enabling children to concentrate better. Acoustic considerations and tactile stimuli create a supportive learning environment for children with hearing loss. Tactile experiences encourage interaction with the physical environment, fostering active participation. Classrooms should include materials and surfaces that provide tactile experiences, enabling children to learn through direct physical interaction. This study is grounded in a literature review of the challenges faced by children with hearing loss in language development, social adaptation, and education. The need for appropriately designed educational spaces is emphasized to address issues such as delays in language development and difficulties in social interaction. Educational design for children with hearing loss should support their language, social, and emotional development. Strengthening visual elements to compensate for auditory limitations, providing tactile stimuli to enhance engagement, and integrating these components into educational spaces are critical. This study outlines the design criteria necessary for educational environments that cater to the needs of children with hearing impairments, highlighting the importance of such spaces in supporting their educational processes. As demonstrated in the İÇEM example, educational spaces tailored to the needs of children with hearing loss enhance their participation in learning and contribute to their literacy development. Reorganizing educational environments to include auditory, visual, and tactile support helps alleviate the challenges faced by children with hearing impairments. According to the study's findings, creating educational spaces that adhere to universal design principles is essential for ensuring equal opportunities in education and fostering inclusive learning environments. Future research should focus on the design of educational spaces for different age groups to further develop and refine design criteria. Such studies will contribute to the creation of innovative and effective educational environments that better support the development of children with hearing impairments. International Journal Of Humanities And Art Researches 2025-09-17T23:54:37Z Research Article application/pdf eng https://ijhar.net/paper/download?id=362 ISSN: 2687-4385 https://ijhar.net/paper/download?id=362 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=362 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/363 2025-09-17T23:54:28Z 5

Atık Kâğıt Üzerine Cyanotype: Sürdürülebilir Sanat Pratiğinde Yüzey, Anlam ve Hafıza Doktora. Bengisu ÇAYGÜR Öğr.Gör.,Erdal,Gültekin Cyanotype, Alternative photographic process, Wastepaper, Photographic surface, Sustainable art, Upcycling, Memory. In an era increasingly defined by ecological crises and evolving attitudes toward material culture, the intersection of photography and sustainability has become a critical area of exploration in contemporary art. This study examines the Cyanotype process within the framework of sustainable art practices, focusing on transforming wastepaper into expressive photographic surfaces. By incorporating discarded materials into the creative process, the research revives the narrative potential of objects typically regarded as obsolete, positioning Cyanotype not merely as a photographic method but as a medium for memory, critique, and ecological reflection. Cyanotype, developed by Sir John Frederick William Herschel (1792-1871) in 1842, employs iron-based, light-sensitive chemicals to produce distinctive, blue-toned images. Although historically overshadowed due to its limited tonal range and slower exposure times, the process has experienced a resurgence in contemporary art practice. Its affordability, non-toxicity, low energy demands, and adaptability to unconventional surfaces make it particularly appealing to environmentally conscious artists (Ware, 2020, p. 35). Beyond photographic paper, Cyanotype can be applied to textiles, wood, glass, and—most notably for this study—various forms of wastepaper. At the core of this practice-led inquiry are ninety-two Cyanotype prints created on a wide array of wastepaper, including packaging, tissues, envelopes, receipts, notebook pages, wrappers, and labels. These materials, marked by prior use, offer technical and conceptual richness. Their diverse textures, coatings, and absorbency levels influence the chemical behavior of the Cyanotype process. At the same time, their residual texts, stains, and creases serve as traces of daily life, consumption, and memory. This material interaction reveals the chemical dynamics at play and illustrates how everyday objects can serve as vessels of narrative and meaning. Historically, paper played a pivotal role in the democratization of photography, particularly through William Henry Fox Talbot’s Calotype process in the 19th century. With industrialization, paper shifted from a precious material to a disposable commodity (Gernsheim & Gernsheim, 1955, p. 55). Contemporary ecological discourse invites a re-evaluation of such materials—not as waste, but as resources imbued with narrative potential. In this context, wastepaper becomes more than an ecological choice; it emerges as a narrative surface embedded with layered histories. These surfaces' visual and emotional impact is most prominently demonstrated in the project 18022024:2020, a triptych exhibited at Yıldız Technical University in 2024. This series employed personal waste papers associated with the artist’s late grandmother—such as gift wraps from their last shared moments—transforming them into commemorative Cyanotype prints. These materials, physically fragile and emotionally charged, served both as a medium and a metaphor for grief, memory, and transformation. Their use underscores the potential of photography to mediate loss and preserve affective traces through material engagement. Each type of paper yielded unique results. For instance, tissue and translucent wrapping paper produced soft, ethereal images, though their fragility necessitated careful handling. Kraft paper and cardboard created more defined, textured visuals but posed challenges such as curling or tearing. Coated packaging materials often resisted emulsion adherence but occasionally yielded abstract, unpredictable outcomes due to chemical interference. These variations required adaptive strategies, including adjusted exposure times, modified emulsion concentrations, and refined washing and drying procedures. Some prints were treated with hydrogen peroxide to enhance contrast—applied selectively to protect delicate surfaces. The process embraced experimentation, imperfection, and chance, aligning with the ethos of sustainable, site-responsive art-making. In this research, the surface is approached not as a passive support but as an active agent in meaning-making. Wastepaper interacts with light, chemicals, and time, contributing semiotic content to the final image. When processed as a Cyanotype, a crumpled receipt or an old envelope retains elements of its former life while assuming new aesthetic and conceptual dimensions. Thus, the surface becomes a co-creator in both form and meaning. This approach also offers a subtle critique of consumerism. By pairing industrial residues with a slow, analog process, the work resists the immediacy and disposability of digital culture. Cyanotype’s dependence on natural UV light and manual labor starkly contrasts with the speed and convenience of modern production and consumption. Through the artistic valorization of waste, the project challenges the logic of obsolescence and affirms the poetic and political potential. Of discarded materials. The theoretical framework integrates memory studies, material culture, and sustainability perspectives. Concepts such as surface memory, everyday semiotics, and tactile aesthetics underpin the interpretation of Cyanotype surfaces as emotionally and temporally resonant. The artwork is a palimpsest—accumulating layers of use, feeling, and time. Methodologically, this study contributes to artistic research by positioning making as a mode of inquiry. The iterative process of material testing, outcome documentation, and response to unpredictability generated valuable insights into the behavior and significance of each surface. Reflections on failure, improvisation, and intuition were integral to the process. Furthermore, including autobiographical content introduced a personal dimension that deepened the conceptual and emotional stakes of the work. In conclusion, this study presents Cyanotype on wastepaper as a rich intersection of ecological consciousness, material experimentation, and memory work. It demonstrates how surface selection can shape the visual outcome and the conceptual and emotional depth of photographic art. Far from being neutral substrates, waste materials become narrative agents—connecting personal memory with broader critiques of consumption and disposability. Cyanotype thus emerges not simply as an image-making process, but as a dialogic practice where material, memory, and method converge. By illuminating the effective and ecological potentials of analog techniques, this research affirms the continued relevance of photography in addressing contemporary environmental and emotional concerns. International Journal Of Humanities And Art Researches 2025-09-17T23:54:28Z Research Article application/pdf eng https://ijhar.net/paper/download?id=363 ISSN: 2687-4385 https://ijhar.net/paper/download?id=363 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=363 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/364 2025-09-17T23:54:10Z 2

Bir Vatandaşlık Paradoksu: Sosyal Bilgiler Öğretmen Adaylarının Görüşlerinde İyi/Etkin/İdeal Vatandaş Dr.Öğr.Üyesi. Mehmet Sait KORKMAZ ; Dr.. Burcu KAYMAK Öğr.Gör.,Erdal,Gültekin Effective Citizen, Ideal Citizen, Good Citizen, Citizenship, Social Studies Vatandaşlık kavramı kendi içinde çeşitli kavramlara açılım sağlayan genel bir kavram olmakla birlikte bu kavramlar özelinde “nasıl olunur” sorusunu da beraberinde getirmektedir. Sosyal bilgiler dersi “iyi vatandaş” yetiştirme hedefini merkeze alan bir disiplin olmakla birlikte aynı zamanda etkin ve ideal vatandaş olmayı ve bu yönde vatandaşlar yetiştirmeyi de hedeflemektedir. Ancak “iyi vatandaş olmak aynı zamanda ideal vatandaş olmak mıdır?” ya da “ideal ve iyi vatandaşlar aynı zamanda etkin vatandaş mıdır?” gibi sorular zihni meşgul etmekle birlikte sosyal bilgilerin doğasını anlama ve gerekliliklerini yerine getirme noktasında zihinlerde soru işareti bırakmaktadır. Bu çalışmada, sosyal bilgiler öğretmen adaylarının iyi, etkin ve ideal vatandaş kavramlarına yönelik algılarının derinlemesine belirlenmesi amaçlanmaktadır. Bu doğrultuda, öğretmen adaylarının bu kavramlara ilişkin bilgi düzeyleri, algısal farklılıkları ve kavramsal yanılgıları incelenmiş; ayrıca, öğretmen adaylarının hem bireysel hem de mesleki rolleri açısından bu kavramları nasıl değerlendirdikleri araştırılmıştır. Çalışmada fenomonoloji deseni kullanılmıştır. Amaçlı örneklem yöntemlerinden kolay ulaşılabilir örneklemin uygulandığı çalışmaya sosyal bilgiler öğretmenliğinde öğrenim gören birinci sınıftan 14, ikinci sınıftan 12, üçüncü sınıftan 22, dördüncü sınıftan ise 21 öğretmen adayı olmak üzere toplam 69 kişi (50 kadın 19 erkek) katılım sağlamıştır. Araştırmacı tarafından hazırlanan ve alan uzmanlarının görüşleri alınarak son şekli verilen yedi açık uçlu soruya verilen yanıtlar neticesinde toplanan veriler betimsel analiz ile analiz edilmiştir. Çalışmanın sonuçlarında öğretmen adaylarının iyi, etkin ve ideal vatandaş bilgilerinin yüzeysel olduğu görülürken, güncel hayattan örnekler verirken de zorlandıkları belirlenmiştir. Öte yandan kendilerini ve mesleğe atıldıklarında yetiştirmeyi planladıkları öğrencilerinin hangi vatandaşlık çıktılarıyla yetiştirmeyi önemsedikleri konusunda ise yine bilgilerinin yüzeysel ve zihinlerinin karışık olduğu belirlenmiştir. Buna bağlı olarak öğretmen adaylarının etkin vatandaş, ideal vatandaş ve iyi vatandaş kavramına yönelik yanılgılarını ve eksikliklerini gidermek için sosyal bilgiler öğretmenliği lisans programında her sınıf düzeyinde bu kavramlara program boyutunda netlik kazandırılması gerekmektedir. Öğretmen adaylarının öğretmenlik uygulaması derslerinde ortaokul öğrencileri ile eşleştirilip etkin vatandaşlık faaliyetlerine katılımı kapsamında ortaokul öğrencilerine mentorluk yapmasının teşvik edilmesi önerilmektedir. International Journal Of Humanities And Art Researches 2025-09-17T23:54:10Z Research Article application/pdf eng https://ijhar.net/paper/download?id=364 ISSN: 2687-4385 https://ijhar.net/paper/download?id=364 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=364 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/365 2025-09-17T23:54:02Z 5

Origami ile Oluşturulan Sürdürülebilir Ambalaj Tasarımı Prof.Dr.. Zeliha KAYAHAN ; Prof.Dr.. Naile ÇEVİK Öğr.Gör.,Erdal,Gültekin Art, Packaging Design, Sustainability, Origami Origami is a discipline known as the art of paper folding, which originated in ancient Japan. This art form is an aesthetic expression closely related to mathematics, geometry, and engineering. The importance of origami in academic studies is emphasized, especially in developing spatial thinking skills and encouraging symmetry and algorithmic thinking. Today, this art form, which is used formally in different art fields, also attracts attention as an interdisciplinary research field. The concept of packaging, which has functions such as protection, preservation, storage, etc. throughout history, has gained changing meanings from day to day. Today, the development of contemporary technology and developments in art and culture have revealed the need for renewal in packaging designs. Today, the packaging industry is receiving severe criticism due to its adverse effects on the environment. In particular, single-use plastics and excessive packaging use create significant problems in terms of environmental sustainability. New design approaches that offer aesthetic and environmentally friendly solutions are needed in this context. Origami-based packaging designs offer maximum functionality with minimum material use, contributing to sustainability thanks to their foldable and reusable structures. Due to increasing environmental problems caused by humans, packaging designs that do not harm nature have begun to be seen as a solution. The structure of packaging materials varies according to the basic characteristics of the product to be packaged. At this point, many variables such as selection of appropriate material, structure of the material, method of use, cost, production possibilities, time, etc. should be considered in a suitable packaging design for the product. This study aims to provide an innovative perspective inspired by nature and traditional handicrafts in packaging design and contribute to the development of alternative models for sustainable packaging design. In addition, folding-based structural solutions that can provide energy savings in production processes are inspiring for both designers and manufacturers. Increasing environmental concerns and the impact of consumption habits on nature bring alternative searches combining functionality and ecological responsibility in packaging design to the forefront. In this context, the study aims to reveal how origami principles can be integrated into packaging design in line with sustainability criteria such as waste reduction, material efficiency, and recyclability. The study was conducted based on a qualitative research method. The research process was carried out in three main stages: literature review, design applications, and evaluation. In the first stage, academic studies on sustainable packaging design were examined. The structural and functional aspects of origami forms and their potential in the context of sustainability principles were evaluated. Various packaging prototypes were developed in the second stage using the determined origami folding techniques. In this process, recyclable and biodegradable paper types were preferred. The designs were evaluated in terms of both material efficiency and functionality, and manual and digital modeling techniques supported the folding processes. The developed packaging prototypes were analyzed in the third stage according to sustainable design criteria (material use, ease of production, recyclability, post-use waste status). In the findings section of the research, a team study was conducted focusing on the central theme of sustainability in packaging design. The research aims to achieve versatile gains from a group of three artists/academicians in both practical and theoretical terms. In this context, the application phase of the subject, which was reviewed in the literature, was made concrete with the designs of the graphic designer. In this proposal, focusing on sustainability in packaging design, paper-cardboard design material, which can be recycled in nature, was primarily preferred. During the design process, a brand was created, and packaging and stand designs were prepared with the basic principle of origami. In the study conducted within the scope of the research, the concept of sustainability was focused on with paper-cardboard material, even though plastic-based wastes cause a significant environmental pollution problem. When the designed packages were evaluated in terms of shape, the waste status of the packaging was questioned to take up less space in the transportation and storage area. Designs inspired by the art of origami were made to plan for less energy consumption and attract the consumer's attention. It is aimed that the literature review found within the scope of this study presents the environmentally friendly examples. International Journal Of Humanities And Art Researches 2025-09-17T23:54:02Z Research Article application/pdf eng https://ijhar.net/paper/download?id=365 ISSN: 2687-4385 https://ijhar.net/paper/download?id=365 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=365 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/366 2025-09-17T23:53:53Z 5

Sanat Müzelerinin Demokratikleşmesinde Çevrimiçi Araçların Rolü: Türkiye Örneği Dr.. Sibel Alemdar ÇATALBAŞ ; Doç.Dr.. Sibel TUĞAL Öğr.Gör.,Erdal,Gültekin Art Museums, Online Access, Democratisation, Accessibility, Audience Satisfaction. Sanat müzeleri, kültürel mirasın korunması ve erişilebilirliğini sağlama işlevleriyle önemli kültürel kurumlardır. Müzelerin dijitalleşme süreci, sanat eserlerine erişimde coğrafi ve sosyal engelleri ortadan kaldırarak geniş bir kitleye ulaşmayı mümkün kılmaktadır. Çevrimiçi araçlar, özellikle fiziksel olarak müzeleri ziyaret edemeyen veya dezavantajlı gruplar için sanatla bağ kurma fırsatı sunar. Pandemi döneminde müzeler, dijital teknolojilerin sanata erişim sağlama ve toplumsal katkı sunma potansiyelini daha net ortaya koymuştur. Bu araçlar, bireylerin estetik deneyimlerini demokratikleşme yönünde önemli bir adım olarak değerlendirilmiştir. Bu çalışma, Türkiye’deki sanat müzelerinin çevrimiçi faaliyetlerinin toplumun sanata erişimi üzerindeki etkisini ve bu faaliyetlerin demokratikleşmeye katkısını incelemektedir. Araştırma sorusu, çevrimiçi araçların sanat müzelerinin daha geniş bir kitleye ulaşmasını ve toplumsal erişimi nasıl etkilediği üzerine odaklanmaktadır. Çalışma, müzelerin dijital platformları kullanımının incelenmesi, müze yetkilileriyle yapılan yarı yapılandırılmış görüşmeler ve çevrimiçi müze deneyimlerine katılan izleyicilerle yapılan anketler yoluyla gerçekleştirilmiştir. Bu araştırmada, Türkiye’de çağdaş sanat odaklı sergiler düzenleyen, çevrim içi platformlarda aktif olarak içerik üreten, eğitim ve izleyici etkileşimi alanlarında kurumsal yapılanmaya sahip sanat müzeleri ile sanat merkezleri örneklem olarak seçilmiştir. Bu çerçevede, çalışmanın analiz kapsamına Pera Müzesi, Sakıp Sabancı Müzesi, İstanbul Modern Sanat Müzesi, Odunpazarı Modern Müze ve müze işlevi üstlenen ARTER (Kültür ve Sanat Merkezi) dâhil edilmiştir. Literatür taraması ve vaka incelemelerinin yanı sıra, elde edilen nicel ve nitel veriler, çevrimiçi uygulamaların sanata erişimi demokratikleştirmede önemli bir rol oynadığını göstermektedir. Özellikle Instagram, çevrimiçi müze etkinliklerinin duyurulmasında en etkili platform olarak öne çıkmaktadır. Ana bulgular, çevrimiçi araçların, coğrafi engelleri ortadan kaldırarak daha geniş bir izleyici kitlesine erişim sağladığını, ancak yaş, cinsiyet ve eğitim düzeyine göre memnuniyet düzeylerinde farklılıklar olduğunu göstermektedir. Kadınlar ve yükseköğretim mezunları çevrimiçi etkinliklerden daha fazla memnuniyet duyarken, 45 yaş üstü bireylerin memnuniyeti daha düşük seviyede kalmıştır. Çalışma, çevrimiçi teknolojilerin etkin kullanımının sanata erişimi artırdığı ve sanat müzelerinin toplumla daha güçlü bir bağ kurmasına katkıda bulunduğunu vurgulamaktadır. International Journal Of Humanities And Art Researches 2025-09-17T23:53:53Z Research Article application/pdf eng https://ijhar.net/paper/download?id=366 ISSN: 2687-4385 https://ijhar.net/paper/download?id=366 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=366 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/367 2025-09-17T23:53:47Z 5

Resimde Melankolik İmgenin Biçimsel Dili Dr.Öğr.Üyesi. M. Fatih GÖK Öğr.Gör.,Erdal,Gültekin Painting, melancholic image, form, urban melancholy, melancholy of the landscape. This article aims to examine how the concept of melancholy has been addressed across different historical periods through its formal characteristics. In this context, the study aims to explore the potential for a formal classification of the visual language of melancholy. Analyzing the relationship between form and meaning in artworks that do not explicitly depict melancholy is significant for understanding the timeless and universal aspects of the concept within the field of painting. Historically, when melancholy is treated explicitly as a subject, it tends to be associated with specific periods and represented through more illustrative formal approaches. In contrast, investigating melancholic imagery in artworks that do not directly depict the theme allows for a more contemporary and enduring analysis. Since Albrecht Dürer, representations of melancholy have frequently relied on depicting the human body and a recognizable iconography. The article highlights Dürer's significance in his creative, melancholic imagery, representing a turning point. Although formal expressions differ depending on the artist's style, the theme is often conveyed through contemplative and static bodily imagery. The article primarily focuses on a visual analysis of works in which melancholy is not directly represented as a subject. Under Body and Melancholy, the study comparatively examines approaches to melancholy in terms of form and content. Additionally, sections titled The Melancholy of Landscape and Abstraction and Melancholy through Light and Color analyze the formal characteristics that evoke melancholic atmospheres from the viewer’s perspective. This emphasis on form in identifying melancholic imagery constitutes the study’s key contribution to the literature. The scope of the research is limited to two-dimensional painting from the modern and postmodern periods. The study employs formal and iconographic visual analysis methods to reveal the formal language of melancholic imagery in painting. Despite not addressing it explicitly, artists whose works can be associated with melancholy were first identified based on thematic and stylistic attributes. These artists, mainly affiliated with Romanticism, Symbolism, and Expressionism, often reflect qualities such as mystery, emotional depth, and expressive content. Their selected works are used to illustrate the multiple dimensions of the concept. Analyses focus on visible formal features—such as light, color, texture, composition, and expression—and interpret their semantic implications using relevant theoretical sources. The study concludes that the formal characteristics of melancholic imagery in painting are multi-layered and manifest across various levels. In works where melancholy is directly emphasized, both form and content align with the theme, with Dürer’s Melencolia I marking a pivotal moment in the development of melancholic iconography. A second stage involves works that utilize the image of the body in line with this established iconography, regardless of whether the subject is literary, religious, or mythological. These paintings demonstrate how the depiction of the body and facial expression plays a central role in conveying melancholy. The third stage includes works that move beyond the traditional body-centered iconography, presenting melancholy through more ambiguous forms that are not directly tied to the human figure. This article argues that melancholic imagery can be identified even in paintings that lack direct references to melancholy or the human form. Hence, a melancholic atmosphere in painting can emerge independently from subject matter or bodily representation. In addition to studies that treat melancholy as a subject, this research presents examples of how melancholic atmospheres are created through formal elements such as the body, landscape, light, color, and abstraction. The most ambiguous expressions of melancholy are found in landscape, light, color, and abstract compositions. The concept of melancholy of landscape is explored by analyzing both natural and urban environments. While natural landscapes evoke existential themes such as death and transience, urban landscapes are interpreted through the lens of the post-human condition. Furthermore, the interplay of sharp and horizontal light contributes to a sense of mystery and ambiguity, while the light of dusk symbolizes finality and closure. In abstract works, expressive marks and forms that suggest emptiness are formal elements of melancholic expression. Overall, mystery, pessimism, and sadness contribute to the melancholic atmosphere in painting. The study thus demonstrates that melancholy can be conveyed through established iconographic traditions in painting and metaphorical and formal strategies rooted in various visual and conceptual elements. International Journal Of Humanities And Art Researches 2025-09-17T23:53:47Z Research Article application/pdf eng https://ijhar.net/paper/download?id=367 ISSN: 2687-4385 https://ijhar.net/paper/download?id=367 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=367 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/368 2025-09-17T23:53:30Z 2

Chatbot Müşteri Deneyimleri ile Algılarının Y ve Z Kuşağı Temelinde İncelenmesi Yüksek Lisans. Hüsna ÇENGELOĞLU ; Prof.Dr.. Hatice AYDIN Öğr.Gör.,Erdal,Gültekin Chatbots, Customer Perception, Customer Experience, Generation-Based Marketing In today's world, where the importance of interaction between companies and customers and real-time marketing has increased, the adoption of digital innovative systems supported by artificial intelligence has become essential for the success of brands. With digital channels, companies aim to promote their brands across various platforms. As companies and brands gain greater control over their content, brand awareness, and marketing, this has led to the rise of brands that take marketing processes from intermediaries. To expand their engagement in digital marketing, brands must prioritize relationship-based interactions with customers and users. Artificial intelligence, which forms the foundation of digital marketing and enables customer communication and the storage and use of the resulting data, serves as a bridge between technology and humans. The ever-evolving development of artificial intelligence and the increasing importance of consumers to brands today necessitate adapting to the digital age brought about by artificial intelligence. Chatbots are among the most adopted innovative systems and play a key role in adapting to this era. Chatbots are dialogue-based computer programs that use messaging interfaces developed with artificial intelligence and can answer consumer questions 24/7 within the framework of personalized marketing. The use of chatbots by businesses and customers has increased recently, and the effects of chatbots on attitudes and intentions have been evaluated in the literature. Still, no qualitative study has been found that comprehensively evaluates the experience, perception, and behavioral dimensions together, especially from the perspective of generational differences. The study has an original value. Thanks to this digital transformation, consumers have become aware of product and service alternatives, and customer experiences and perceptions have become major determinants of purchasing behaviors. This study aims to determine the direction of chatbot experiences and perceptions of Y and Z generation customers. For this purpose, the research universe consists of customers who have previously experienced chatbots. Purposeful sampling, which allows the discovery and explanation of many situations, events, and phenomena, was preferred as a sample. The first section of the study explains the concepts of customer experience and perception. The final section analyzes the chatbot customer perceptions of Generation Z, who grew up surrounded by technology, and Generation Y, who are trying to keep up with new technology using traditional communication channels. In purposeful sampling, the researcher selects people from the universe who they think are knowledgeable about the subject in line with their purpose. Typical case sampling was used as one of the purposeful sample types. In typical case sampling, the researcher tries to determine one or more of the most typical situations where a new application or innovation is introduced. The study aimed to benefit from the experiences and opinions of people who have used chatbot applications before and are knowledgeable about this application. In this context, semi-structured interviews were conducted with a sample group of 14 people from Generation Z born between 1997 and 2012 and Generation Y born between 1981 and 1996, accepted by the Pew Research Center. The interviewers were limited to 14 people in the study because in in-depth interviews, the answers started to repeat each other in line with the general principle of sample selection, and the interviews had to be terminated when sufficient data sources were reached. In this study, which was designed as a phenomenological design from qualitative research designs, categories were obtained using the descriptive analysis method. According to the results obtained, while Generation Y perceives user data storage by chatbots as a threat, Generation Z does not perceive any threat to chatbots. While Generation Z finds the answers given by chatbots satisfactory, the majority of Generation Y does not find the answers given by chatbots satisfactory. The most significant difference between the two generations is that Generation Z is more aware of the qualities of chatbots in Turkey and trusts bots than Generation Y. The experiential differences between these two generations will show how brands should determine their chatbot strategies. In particular, considering two generations' unique values, perceptions, attitudes, and behaviors from different perspectives is expected to shed light on how companies should design chatbots and lead to research in this area. International Journal Of Humanities And Art Researches 2025-09-17T23:53:30Z Research Article application/pdf eng https://ijhar.net/paper/download?id=368 ISSN: 2687-4385 https://ijhar.net/paper/download?id=368 International Journal of Humanities and Art Researches, September 2025 , Issue: 3 , Volume: 10 , Pages: https://ijhar.net/paper/download?id=368 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/354 2025-06-18T21:32:00Z 5

Mimari Mirasın Korunması ve Yeniden Işlevlendirmede Toplumsal Farkındalık Doç.Dr.. Emine YAVUZ PAKIH ; Doç.Dr.. Seval YILMAZ Öğr.Gör.,Erdal,Gültekin Architectural heritage, re-functioning, social awareness The concept of protection of architectural heritage started to come to the agenda in the early 20th century after World War II. Founded in 1945, UNESCO and ICOMOS, founded in 1965, are realised within the framework of statutes and regulations prepared by non-governmental organisations. Conservation is only possible by transferring the integrity of the building to future generations without deteriorating it. This is done by re-functionalisation as the most preferred conservation approach. Apart from the administrations, it is important for the society to be aware of these issues in order to minimise the destruction of the building after the necessary works are carried out. Many societies are made conscious through formal and informal education methods. Oltu district, which is considered in the study, has a large number of architectural and heritage elements with periodic, structural and functional diversity compared to a district. The reason for this is that it is located at the confluence-conflict point of cultures and civilisations throughout history and bears the traces of many civilisations. In the study, phenomenology design, which is one of the qualitative research methods, was applied. The data were obtained with the questionnaire technique, which is one of the qualitative data collection tools, and the data were analysed by descriptive analysis method. The study group consists of 341 people over the age of 18. In the study, the awareness of the people in the region towards the protection and re-functionalisation of architectural heritage was measured. In the light of the data obtained as a result of the study, it was emphasised that awareness should be developed by concretising from theory to practice with education for the people in the region. International Journal Of Humanities And Art Researches 2025-06-18T21:32:00Z Research Article application/pdf eng https://ijhar.net/paper/download?id=354 ISSN: 2687-4385 https://ijhar.net/paper/download?id=354 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 149-167 https://ijhar.net/paper/download?id=354 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/355 2025-06-18T21:31:52Z 2

İnegöl Yerel Basınında Bir Belediye Başkanı: Cemal ARIK Yüksek Lisans. Seda ÜNER ; Doç.Dr.. Mustafa BIYIKLI Öğr.Gör.,Erdal,Gültekin İnegöl Municipality, Cemal Arık, Municipal Services, Yıldırım Newspaper, Bizim İnegöl Newspaper. This study discussed the service process of Cemal Arık, who served as the Mayor of İnegöl Municipality between 1989 and 1994. A source discusses the activities carried out in general terms related to the period in question. However, no sources discuss the period in terms of the press. The study aims to fill the literature gap by revealing how Cemal Arık's activities were handled during his service period in the local press. Yıldırım and Bizim İnegöl newspapers, which continued their publications in İnegöl on the relevant dates and had an essential place in the local press, were scanned. To support the issues in the press with official data, the data of İnegöl Municipality Council Minutes were scanned and included in the study. The collected data were classified and analyzed. After the analysis, it was observed that the Mayor actively used the press throughout his tenure, held a press conference once every 15 days, informed about the targeted and carried out works, followed the agenda through the press, and chose to interact with the people of the district by sending articles to the newspapers and conveying the statements that the press usually included on the first page. Services are classified and explained as activities and other activities within the scope of municipal services. Municipal activities, such as parks, kindergartens, soup kitchens, and health centers, were opened to meet the needs of the people. Traffic arrangements have been made in terms of the problems experienced by the city regarding traffic, and solutions such as signaling works, maintenance of streets, and intersection construction have been proposed. The fact that there is significant air and environmental pollution in the district has been an essential problem in terms of public health. To prevent air pollution, which is taken to prevent air and environmental pollution, sanctions have been imposed by the municipality for the use of coal fuels with a sulfur content of less than 1%. Another solution was establishing a treatment plant to treat domestic and industrial wastes. Other services separated from municipal services include tourism, sports, culture and arts, and various events and openings held on the anniversaries of the liberation of İnegöl from enemy occupation, which have an essential place in İnegöl. In terms of tourism, efforts have been made to make Oylat, the only touristic region of İnegöl, able to meet the people's and tourists' needs. The problems in terms of transportation were solved by organizing road construction and bus services, and after the provision of services such as new bathrooms, picnic and recreation facilities, and parking arrangements, Oylat, which was previously only served in the summer season, became able to serve throughout the year. In terms of sports, services were provided to contribute to the development of non-federated sports clubs, amateur sports clubs, and İnegölspor club, which is in the second league. It aims to support sports clubs by organizing morale events for football players, allocating places to clubs, holding local openings, and hosting charity nights in case of insufficient financial resources. In addition, to provide financial support to İnegölspor, the municipality allocated two kiosks, İnegölspor Foundation was established, İnegölspor stamp and banderole were printed, and a place was allocated to be used as İnegölspor Gas Station to generate income with the right to name. To contribute to the development of the district, the Culture, Art, and Solidarity Foundation was established to organize various cultural and artistic activities. Musical comedies, theater plays, concerts, and exhibitions were held on various dates. In addition, it was decided to establish a Turkish art music conservatory. Another service organized by the municipality was to celebrate the anniversary of the liberation of the district from enemy occupation (September 6, 1922). In the first year of the service year, it was celebrated with ceremonies and concerts. Starting from the second year, the I. İnegöl liberation festivals, which were organized to make the festival celebrations traditional, were organized and continued in the following years. During the liberation festivals, different cultural and artistic activities were held yearly, furniture week and meatball day were organized to contribute to the city's promotion, and the opening ceremonies of the activities carried out to serve the city coincided with this period. In addition to the public's positive reactions to the activities, there were service requests in cases where they found it insufficient. From time to time, the public and opposition parties directed criticisms, and it was seen that Cemal Arık responded to the demands and International Journal Of Humanities And Art Researches 2025-06-18T21:31:52Z Research Article application/pdf eng https://ijhar.net/paper/download?id=355 ISSN: 2687-4385 https://ijhar.net/paper/download?id=355 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 168-186 https://ijhar.net/paper/download?id=355 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/356 2025-06-18T21:31:47Z 9

Şeyh Eşref B. Ahmed’in Nasihatnâme’si ve İçindeki Lugazlar Doktora. Elif ALBAYRAK Öğr.Gör.,Erdal,Gültekin Nasihatnâme, Sheikh Ashraf b. Ahmed, child education, riddle/lugaz. Throughout history, in all great civilizations, works of a moral and didactic nature have been written with the idea of creating an ideal society consisting of virtuous people. Turkish literature has a tradition of giving and speaking to give advice that dates back to the oral period. When we come to the Islamic period, works in the genre of advice books began to be written by taking as examples the verses and hadiths that encourage good morals and giving advice. When works that have similar characteristics to advicebooks in terms of content, such as pendbooks, siyasetbooks, futuvvetbooks, etc., are included, writing advicebooks has become a tradition in Turkish Islamic literature since Kutadgu Bilig, and many works in the genre of advicebooks have been written in verse, prose, or a mixture of verse and prose. In this study, some works in the genre of advice in Turkish literature are briefly mentioned, then Şeyh Eşref b. Ahmed and his Nasihatnâme are introduced. Information is given about the work's author, copies, date of writing, form, language, spelling features, and content. Sheikh Esref b. Ahmed’s Nasihatnâme is a valuable work among the advisory names written in Turkish literature regarding belonging to the Old Anatolian Turkish Period. The work, consisting of 503 couplets, was written in the aruz “fâ ʿi lâ tün / fâ ʿi lâ tün / fâ ʿi lün” pattern. The work provides religious and moral advice on various subjects such as human relations, family life, trade, and education. We do not have definite information about when the work's author, Sheikh Esref b. Ahmed lived exactly when he wrote the Nasihatnâme. Based on the fact that the poet’s other works and the collection, including the Nasihat-name, were copied in 856/1452, it can be said that Sheikh Esref b. Ahmed lived between the second half of the 14th century and the first half of the 15th century. The fact that Nasuh b. Ahmed, who transcribed the poet’s works, wrote the phrase “Mevlana”, meaning “our master”, at the beginning of the works, which shows us that Eşref b. Ahmed was one of the well-known Sufi sheikhs of his time. Orhan Bilgin, who published the poet’s mathnawi called Futuvvetname, states that Eşref b. Ahmed was the father of Abdullah b. Eşref from Nicaea, who was famous with the name Eşrefoğlu Rûmî and died in 874/1469, attributes Rumî’s being called Eşrefoğlu to his father being a well-known person at the time. The work, which shows the language and spelling characteristics of the Old Anatolian Turkish Period, was not written with vowels; the poet or the copyist found it appropriate to put vowels in some places that could be misread. While some Turkish words were written without vowels, long vowels were used in some words to confuse the meter. Words and expressions of the Old Turkish Period, such as ög, bilü, tamu, uçmak, and anaru, are noteworthy in the work. In Nasihatnâme, Sheikh Eşref b. Ahmed included universal teachings on neighborhood, friendship, trade, family life, and religious teachings by alluding to verses and hadiths. The advice in the work is not grouped under specific headings but is listed haphazardly. In addition to advice on human relations such as not talking badly about people behind their backs, forgiving someone who confesses his crime and apologizes, not setting out with people you do not know, and not sharing your secret with everyone, there are also religious advices such as following the path of Allah and His Prophet, not falling for the tricks of the devil, helping those who do fulfill Allah's commands even if you do not fulfill them, and not valuing worldly possessions. The poet devoted the last two hundred couplets of his mesnevi to subjects related to family life, such as the rights of parents, choosing a spouse, the attitudes and behaviors of spouses towards each other, and the education and upbringing of children. The advice here is essential in providing information about that period's family, social life, and beliefs. The most striking feature of the work is that the author, while listing his views on child upbringing and education, says that children can be asked to stimulate their minds when bored and tired from lessons, and asks twelve riddles as examples. We found it appropriate to give all the couplets containing these riddles in the article, thinking that they may be the oldest riddle/lugaz examples that have survived to the present day in Turkish literature. International Journal Of Humanities And Art Researches 2025-06-18T21:31:47Z Research Article application/pdf eng https://ijhar.net/paper/download?id=356 ISSN: 2687-4385 https://ijhar.net/paper/download?id=356 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 187-208 https://ijhar.net/paper/download?id=356 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/357 2025-06-18T21:31:41Z 2

Kültürel Miras Koruma ve Yönetim Süreçlerine Halkın Aktif Katılımının Sağlanması Üzerine Bir Değerlendirme Dr.. Doğan KOŞAN Öğr.Gör.,Erdal,Gültekin Cultural Heritage, Community, Restoration, Civil Society, Tourism, Active Participation Kültürel miras geçmişten günümüze aktarılan, insan elinden çıkmış tarihinin, sanatının, coğrafyasının yaşayan belgeleridir. Kültürel mirasın korunması, yönetim ve tanıtımı tüm topluluklar için öncelikli konulardan birisidir. Miras yönetimi ayrıntılı mevzuatlarla, hassas ve detaylı kurallara dayandığı için Türkiye’de sınırlı sayıda uzman kişinin faaliyeti ile yürütülmektedir. Fakat mirasın yönetimi, sadece uzman kişilerin çabaları ile gerçekleşemez. İyi bir yönetim stratejisi, halkın tüm geliştirme ve uygulama süreçlerine etkin biçimde katılımı ile sağlanabilir. Halkın katılımı; mirasla ilgilenen, mirastan etkilenen, miras içinde çalışan ve yaşayan insanların; mirasın korunması, yönetimi, tanıtımı ve yararlı kullanımı konusuna dâhil edilmesiyle başarıya ulaşabilir. Bu çalışmada, Türkiye’de kültürel miras yönetim süreçlerine daha etkin halk katılımının sağlanması adına yapılacak çalışmalara katkıda bulunmak amaçlanmıştır. Bu doğrultuda “katılım” teması üzerinden literatür taraması yapılarak kültürel mirasın korunmasında katılımı konu alan farklı bakış açıları derlenerek tek başlık altında bütüncül şekilde değerlendirilmiştir. Ayrıca bu değerlendirmede uluslararası kuruluşların kültürel miras yönetimi konusunda katılımı teşvik eden faaliyetlerine ve mevzuatlarına da yer verilmiştir. Çalışma sonucunda elde edilen bulgular sivil toplumun rolü, yasal düzenlemeler, karar alma uygulama süreçlerine katılım, şeffaf süreç yönetimi, turizm potansiyelini artırmak, miras ve koruma eğitimi vermek, yerel katılımı artırmak başlıkları altında değerlendirilmiştir. Sonuç olarak; sivil toplum kuruluşları, halk ile resmi makamlar arasında, karar alma süreçlerinin çeşitli aşamalarında; bilgi sağlama, danışmanlık ve iş birliğini yapma konusunda faaliyet gösterebilir. Yasal düzenlemeler ile resmi makamların ve halkın ilgisini çekerek, Türkiye’deki kültürel mirasın korunması ve kullanılması kolaylaştırmalı, uluslararası sözleşmelere uygun yapılacak değişiklikler ile koruma süreçlerine halkın aktif katılımı sağlanmalıdır. Karar alma, uygulama süreçlerine katılım ile bir proje hakkında halkın görüşlerini sormak, bir girişimi şekillendirmede doğrudan katılımlarını istemek, karar mekanizma içerisine sokmak sürecin işlemesini kolaylaştırır. Şeffaf süreç yönetimi ise, mirasın korunması gerektiğinde yetkililerin korumanın gerekliliklerini o çevrede yaşayan insanlara anlatmasıdır. Halk, eksiksiz bilgi alarak envanterlerin oluşturulmasından kararların hazırlanmasına kadar, işin her sürecinde rol almalıdır. Turizm potansiyelini artırmak, kültürel miras alanlarının canlanmasında olumlu bir rol oynamaktadır. Mirasın korunması için harcanan emek ve para, turizm sayesinde karşılanması sağlanabilir. Miras ve koruma eğitimin amacı ise, mirasın halkın ortak değeri, ülkenin tarihi, kültürel ve sanatsal değer olduğunun öğretilmesidir. Son olarak yerel katılım ile yerel toplulukları kültürel mirasa maddi ve manevi olarak bağlamak, değerleri konusunda farkındalıklarını artırmak, korunması, kullanımı için katılımlarını sağlamak, mirası gelecek nesillere aktarmak için fayda sağlayacaktır. International Journal Of Humanities And Art Researches 2025-06-18T21:31:41Z Research Article application/pdf eng https://ijhar.net/paper/download?id=357 ISSN: 2687-4385 https://ijhar.net/paper/download?id=357 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 209-226 https://ijhar.net/paper/download?id=357 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/358 2025-06-18T21:31:34Z 12

Dans ve Dramaturji İlişkisinin Geleneksel Halk Dansları Sahnelemelerindeki Karşılığı Dr.Öğr.Üyesi. Pelin ELCİK YORGANCIOĞLU Öğr.Gör.,Erdal,Gültekin Dance dramaturgy, Dramaturg, Dramaturgy of traditional folk dances, Staging, Choreographer. Extended Abstract The term drama, derived from Greek, means “action” and is employed not only in reference to theatre but also in the context of dance, as the movements and gestures of a dancer are themselves forms of action. In theatre, dramaturgy commonly refers to narrative components -namely, the storyline, script, or the overall plot that connects various narrative segments. It can also refer to theatrical styles, the act of writing, or staging methods. In the realm of dance, however, dramaturgy is defined as the fundamental and overarching structure that shapes a choreographic work. If a dance piece originates from a written text, dramaturgy contributes to the choreographic and theatrical content by exploring the textual ideas physically, identifying and refining narrative imagery, and generating tools -which emerge from the interplay of multiple conceptual layers- for conveying emotional and physical expression in the scenes. This facilitates the arrangement and evolution of the story, scenes, or moments addressed in the performance. Unlike theatre, however, dance dramaturgy does not always require a script or textual base. A performance can be designed through a communication model based on an idea, theme, concept, or abstract notion, structured around relational processes. In choreographic choices where an abstract mode of expression is foregrounded, the display of intensities, segments, or expressions is not governed by a comprehensible narrative. Instead, representations of purely aesthetic values -such as the quality and form of movement, spatial distribution, and similar elements- become valid. In this context, the dramaturg can serve as a key supporting figure who offers the choreographer an alternative perspective. It should be emphasised that, contrary to popular belief, the dramaturg is not, or does not have to be, a creator in the artistic sense; instead of being an artist (dancer, choreographer, designer, etc.), the dramaturg is an expert researcher, an examiner who has an artistic sensibility, but operates within the framework of scholarly methodology. It is important to emphasize that research and analysis, in this context, align more closely with scientific inquiry than artistic creation, and while the artist (dancer, choreographer, designer, etc.) engages in the act of creation, the dramaturg operates within the realm of analytical investigation. However, this distinction does not imply that the artist is exempt from conducting research or that the research phase is only an act of specialisation. Once an artist begins to explore their creative process through systematic inquiry, they engage in a scholarly endeavor and step outside the realm of subjective expression. From that point forward, the artist enters an objective field where scientific inquiry guides artistic creation. The objectivity required by scholarly research should not be confused with the subjectivity which is intrinsic to artistic creation. An artist who cannot maintain objectivity where it is necessary -or vice versa- should refrain from attempting analytical research alone and instead seek support from a qualified external perspective. This external perspective is precisely the role of the dramaturg: not a creative artist, but a researcher with aesthetic sensitivity and methodological expertise. As in other artistic disciplines, dramaturgy can significantly influence traditional folk dance performances. The responsibilities of dramaturgs in such performances span various phases of the creative process. By engaging with all stages of production, dramaturgs help streamline the process and ensures its efficiency and conceptual coherence. Their role is to identify the specific needs of the ensemble or project and to fill those gaps accordingly, and they synthesize the components of the performance more effectively. Their duties include selecting appropriate materials -whether human resources or dance repertoire- ensuring musical and choreographic harmony, maintaining narrative and rhythmic coherence in the overall structure of the performance, and harmonizing individual talents and contributions in a way that these contributions are able to shine through the performance. These responsibilities fall within the dramaturg’s role as the “outside eye”, and it distinguishes dramaturgs from dancers, choreographers, and ethnologists. The dramaturg, through their knowledge and experience, supports the choreographer not through physical creation, but through conceptual insight and nourishing the choreographer’s artistic process. Thus, the presence of a dramaturg in a dance production can range from that of a co-creator, to an impartial observer. Since the selection of appropriate stylistic and performative forms in alignment with the intended theme or concept is critical, dramaturgs should therefore be well-versed in the historical and sociological background of the selected dance style and guide the choreographer accordingly with an interdiscip A linguistic perspective that enhances both movement and meaning. They should also be able to present alternative options when necessary and conduct the preparatory research required to select specific dances or pieces. They must understand the community's characteristics, worldview, and artistic direction while considering the technical possibilities of the stage, the production budget, the particularities and expectations of the target audience, and the broader socio-political context. The importance of the dramaturg in folk dance performances becomes particularly evident at this point. Traditional folk dance staging practices constantly experiment with new possibilities and strive to position themselves within an ongoing aesthetic transformation. Designers play a key role in introducing new elements to these traditional forms and providing creative and well-informed guidance throughout this process. In doing so, they must consider the requirements of stage performance and the cultural mission of preserving traditional heritage. Having a dramaturg as part of the creative team thus becomes a reassuring and stabilizing presence. This study aims to critically discuss the definition, scope, and application areas of dance dramaturgy, specifically in relation to traditional folk dance performances. It investigates how dance dramaturgy -both as a theoretical framework and as a practical tool- can be employed within various aspects of such performances, and it also explores the potential of dramaturgy in multiple domains, ranging from maintaining the aesthetic integrity of design elements, to integrating field research and theoretical insights into effective practice. International Journal Of Humanities And Art Researches 2025-06-18T21:31:34Z Research Article application/pdf eng https://ijhar.net/paper/download?id=358 ISSN: 2687-4385 https://ijhar.net/paper/download?id=358 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 209-246 https://ijhar.net/paper/download?id=358 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/359 2025-06-18T21:31:27Z 20

Mihail Bahtin’in Kronotop Kavramı Bağlamında Mustafa Kutlu’nun “Eşik” Adlı Öyküsü Yüksek Lisans. Ayşe SULGUN Öğr.Gör.,Erdal,Gültekin Mustafa Kutlu, chronotope, story, Eşik, Mikhail Bakhtin. In literary texts, space and time are fundamental components of texts. The narrative structure in which space and time are intertwined carries the characters' lives to a multi-layered reality plane. The flow of time and the experience of space together determine the rhythm and atmosphere of the narrative. The combination of these two dimensions provides the integrity of the narrative universe. From this point, literary critic and theorist Mikhail Bakhtin examines the concept of “chronotope” in concretizing the intersection points of time and space. The concept of chronotope emerged from Einstein’s Theory of Relativity. The concept of chronotope was formed by combining the Greek words “chronos” (time) and “topos” (space). Bahtin examines the connections, emotions, and values of events in literary works within the concept of chronotope. In the context of the concept of chronotope, “space, threshold, encounter, contrast, tension, transition endings, value chronotopes” concretize and make visible time in stories. The chronotope structure in narratives presents the change of events by blending them with temporal stages within spatial boundaries. Based on this, this study examines the story “Eşik” by Mustafa Kutlu, who has written many stories and essays in Turkish literature, in the context of Bakhtin’s space-time chronotope. The story “Eşik” is about the sale of a beautiful shop in a newly built office building by tender. The story's time-space relationship, which includes irregularities experienced in the enforcement office in the background, is designed impressively. In Mustafa Kutlu's story "Eşik", chronotopes suitable for Mikhail Bakhtin’s concept of chronotope have been reached, and the place where the narrative stops is connected and merged in the story, which is the threshold of the auction house and the corridor. These stops, which reflect the feelings and thoughts of the people in the story and have the power to change their lives, have added depth to the place and time. Mustafa Kutlu, who comes to the forefront, especially with his Turkish literature stories, touches upon the transformation and change experienced by Turkish society in his stories. This study aims to examine Mustafa Kutlu's story "Eşik" in the context of Mikhail Bakhtin’s concept of chronotope and approach the story "Threshold" from a different perspective. Another aim of this study is to contribute to the literature by highlighting the symbolic places and values found in Kutlu's stories. Since the articles and books published about Mustafa Kutlu, one of the story writers of Turkish literature, and Mikhail Bakhtin’s books on the concept of chronotope, and the articles published on the subject were examined, document review was used as a data collection tool. First, the literature on Mikhail Bakhtin’s concept of chronotope was examined. Then, Mustafa Kutlu's stories were examined, and the story "Eşik" was found suitable for this concept and examined. The other chronotopes in the story were processed in detail under titles. As a result of the study, it was seen that the time-space chronotope, motif chronotopes, and value chronotopes in the story overlap with people's emotions and conflicts. In the story, the corridor chronotope is where the fears, tensions, excitements, and hopes of the people participating in the tender are visible. The garden is a space chronotope that has gathered all the good and bad traces of time. The central heating room of the inn where Doorman Adam stays is a space chronotope. In the space chronotope, Davut's shops are not a randomly selected symbol, but the embodiment of Sabit Bey's dreams. The club where merchants gather symbolizes moving up to the upper class in the space chronotope. In the story, the threshold chronotope is a limit for the functioning of the bureaucracy. The opposition chronotope is between the two groups here. The encounter chronotope becomes the sum of conflict and tension. In the story called Threshold, internal conflicts are experienced in the person's inner world. The good or bad ending of these tensions and conflicts occurs after these encounters. After the tender ends, the series of events based on small dreams experienced in the minds of the four suitors in the corridor ends with a transitional end chronotope. Mustafa Kutlu's story "Eşik" gives the value of "diligence" through the doorman Adem and his son Yusuf, an electrician. The value of "respect" for family elders is given through the doorman Adem, his son, an electrician, and the "socialist" youth. Another value given to the reader in the context of values is "sensitivity to social changes". Beauty, one of the value motifs, is concretized with the "seven-sided rose" at the end of the corridor of the tender office. The author defended national and spiritual values with value motifs and wanted the reader to internalize these values. International Journal Of Humanities And Art Researches 2025-06-18T21:31:27Z Research Article application/pdf eng https://ijhar.net/paper/download?id=359 ISSN: 2687-4385 https://ijhar.net/paper/download?id=359 International Journal of Humanities and Art Researches, Haziran 2025 , Issue: 2 , Volume: 10 , Pages: 247-256 https://ijhar.net/paper/download?id=359 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/348 2025-03-19T18:32:09Z 2

Yaratıcı Basın İlanlarının Görsel Metaforlar Üzerinden İncelenmesi Yüksek Lisans. Sevim YAŞLI ; Dr.Öğr.Üyesi. Emel BİROL Öğr.Gör.,Erdal,Gültekin Visual metaphor, visual communication design, semiotics. Visual metaphors are powerful advertising tools that attract attention to the viewer's way of thinking and support creativity. These metaphors enrich the viewer's perception of the product or service by offering different perspectives on ordinary objects and situations. Using visual metaphors makes the brand's image more advanced and dynamic. With this creative approach, the brand offers consumers a product or service, new ways of thinking, different perceptions, and an enriched experience. This helps the brand gain a modern, forward-thinking, and creative identity in the eyes of the consumer. Thanks to visual metaphors, brands present complex messages in a simple and highly understandable way, establish emotional bonds, and attract attention through aesthetic values. Therefore, the study aims to reveal the effect of visual metaphors used to strengthen the effect of press advertisements on the audience's communication processes. Three of the creative press advertisements published between 2019 and 2024 on the Adsoftheworld website, which were selected with a purposeful sampling model, were examined in the study. The selected press advertisements were examined in terms of visual metaphors and messages, and during this examination, visual metaphors were defined and categorized. Press advertisements were analyzed using Roland Barthes' denotation and connotation theory and George Lakoff and Mark Johnson's conceptual metaphor typology in the semiotic method. According to the analysis results, two presses were designed to make the study more concrete, and the importance of how visual metaphors can affect the communication components of press advertisements was to be explained. Therefore, the following research questions were determined. One of the research questions is, how do visual metaphors used in creative press advertisements strengthen advertising messages and increase their effects on the target audience? The other is, what kind of an effect do visual metaphors create in press advertisements in different sectors? The common metaphor types used in press advertisements stand out as structural and ontological metaphors in the majority of advertisements. This shows that brands try to convey a more understandable and impressive message by concretizing abstract concepts. On the other hand, directional metaphors are preferred for advertisements that emphasize dynamic processes such as growth and progress. In the study, in the research question about how visual metaphors used in creative press advertisements strengthen advertising messages and increase their effects on the target audience, it was concluded that the visual metaphors in three press advertisements selected from the Adsoftheworld website through purposeful sampling were selected by the dynamics of each sector and that these metaphors created a meaningful effect on the perception of the target audience. In addition, two press advertisements were designed to concretize the study with the following purposes in mind. First, it aimed to make the metaphors in the designed press advertisements successful in attracting attention. Attention was paid to the fact that the press advertisements offered an unusual and thought-provoking experience to the audience. Secondly, the message intended to be given in the designed press advertisements was tried to be kept strong. For this reason, it was aimed to ensure a deeper understanding of the message by concretizing an abstract concept or establishing an unusual connection. Thirdly, since press advertisements should support the process of establishing an emotional bond, the metaphors used in the designs were generally selected to trigger emotional associations and contribute to the establishment of a stronger bond between the audience and the brand. In addition, the metaphors used were included in the design to increase memorability and contribute to the long-term recall of the brand and message. Finally, the aim was to encourage creativity with the creative metaphors used in the designed press advertisements and to make advertising campaigns more attractive and effective by highlighting creativity for both the brand and the audience. Both advertisers and academics need to understand better how visual metaphors play a role in reinforcing advertising messages and their effects on the target audience. The semiotic and conceptual metaphor analyses in the study contribute to the academic literature on developing more effective and creative campaigns in the advertising sector. International Journal Of Humanities And Art Researches 2025-03-19T18:32:09Z Research Article application/pdf eng https://ijhar.net/paper/download?id=348 ISSN: 2687-4385 https://ijhar.net/paper/download?id=348 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 11-30 https://ijhar.net/paper/download?id=348 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/349 2025-03-19T18:32:03Z 11

Solfej Eğitimi Bağlamında 'Le Solfege Contemporain Volume I' Metodunun Yapısal Özellikleri Üzerine Bir İnceleme Dr.. Mustafa KENDÜZLER Öğr.Gör.,Erdal,Gültekin Music Education, Solfege Education, Solfege Method, Le Solfege Contemporain Solfege's education is one of the fundamental components of music and an indispensable element for achieving a comprehensive understanding of it. At the core of music education lies solfege, the foundation upon which other musical elements are structured. In this context, amateur and professional musicians must acquire specific solfege competencies. These competencies include accurate pitch perception (intonation), reading and performing rhythms and notes correctly (bona), sight-reading proficiency, and auditory perception of tonal relationships. Students who develop these skills will learn to read, analyze, and interpret music effectively within their respective fields. The principle, "Read solfege to learn music; read extensively to learn music well; read even more to master music," emphasizes its centrality. While learning notes to play an instrument reflects eye-brain coordination through hand movements, solfege reading translates this coordination into vocal expression. Solfege training is an essential component of musical expression, enabling students to articulate ideas in the language of music and comprehend others' musical expressions. This fusion of theory and practice equips music students, whether amateur or professional, to perform solfege proficiently. Those capable of performing solfege can interpret and analyze music in their respective fields. The professional comprehension and interpretation of a musical work demand expertise in various interconnected disciplines, including music theory, solfege, dictation, harmony, counterpoint, form, analysis, orchestration, and music history. Among these fields, music theory, musical reading (solfege), and musical writing (dictation) are significant as they play a fundamental role in cultivating auditory perception, rhythmic precision, memory, and musical sensitivity. Musical Hearing, Reading, and Writing (MHRW) education should not be considered separate from other musical disciplines. A student's auditory skills develop through a strong connection between activities in all musical fields and MHRW training. This education not only prepares students for other areas but also uses specialized activities as tools for improving auditory skills. Success in MHRW education aligns with success in other fields, as skills gained in one area positively influence others. The solfege method is the primary tool in solfege education, often considered the cornerstone of music education. Experts employ various methods suited to the level of the student or class, supplementing them with additional resources when necessary. While specific methods are widely used for beginner, intermediate, and advanced levels, the choice of methods and materials is at the instructor's discretion. Key considerations for beginner-level solfege education include the quality of note-teaching methods, intonation exercises, sound ranges, rhythm patterns, phrase lengths, tonal structures, and the introduction of basic musical terms. The primary aim of this study is to investigate the structural features of the solfège method Le Solfège Contemporain Volume I, which is used in beginner-level solfege education, and to serve as a guiding resource for experts in the field regarding the frequency and characteristics that should be included in future solfege methods. The research data were collected using the document analysis technique, one of the qualitative data collection methods. The content analysis method, one of the qualitative data analysis approaches, was adopted to analyze the collected data. The solfege book Le Solfège Contemporain Volume I has been analyzed in terms of the number of solfege pieces it contains, as well as their characteristics, including the number of measures, time signatures, pitch ranges, note durations, rhythmic elements, phrase lengths, tonal structures, and articulation markings used. The findings reveal that Le Solfège Contemporain Volume I comprises 24 solfege pieces, ranging from 19 to 93 measures in length. The pieces primarily use simple time signatures, with sound ranges focused on Si4-Mi5. The method emphasizes intonation training with sustained notes, gradually introducing shorter notes and more complex rhythmic elements. Tonal structures predominantly include C Major and A Minor keys. Note durations and basic rhythmic patterns are introduced progressively, transitioning from simple to advanced elements. The findings underscore both the strengths and limitations of the method, offering valuable insights and constructive recommendations for developing future solfege materials. Recommendations include designing new solfege methods to address foundational skills, incorporating a broader range of tonal structures, and offering comprehensive training in rhythm and articulation. By understanding and building upon the features of established methods, educators can create innovative tools that enhance the quality and accessibility of beginner-level solfege education. Solfege plays a critical role in the holistic development of a music student, bridging the gap between theory and practice while fostering essential skills such as auditory perception, rhythmic accuracy, and musical interpretation. The insights gained from this study of Le Solfège Contemporain Volume I can guide educators and researchers in crafting adequate resources for the next generation of music learners. By prioritizing well-structured solfege education, music educators can empower students to achieve a deeper understanding of music and excel in their musical endeavors. International Journal Of Humanities And Art Researches 2025-03-19T18:32:03Z Research Article application/pdf eng https://ijhar.net/paper/download?id=349 ISSN: 2687-4385 https://ijhar.net/paper/download?id=349 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 31-46 https://ijhar.net/paper/download?id=349 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/350 2025-03-19T18:31:58Z 12

Feminizm Ekseninden Feminist Tiyatro Doç.Dr.. Birgül YEŞİLOĞLU GÜLER Öğr.Gör.,Erdal,Gültekin Theatre, Feminist theatre, Feminism, Actress, Female writer From the ancient Greek period to the present day, women's issues have always been discussed, and their agenda has been maintained both in social life and in art and science. This research was necessary because there are not enough scientific studies on feminist theater, which is known to have developed in parallel with the feminist movement historically. This article will try to discuss the development process of feminist theater, which is based on the idea of feminism, which is a women's movement that can be described as the struggle to have the same rights as men in the public sphere. The article aims to investigate feminist theater, which has developed depending on the relationship between feminism and theatre, which emerged as women's struggle to seek rights in the public sphere. As a method, a theoretical literature review was conducted on the concept of feminism and feminist theater orientation. As known historical and sociological information, it is possible to say that female identity has been kept under the yoke of the masculine order since the first moment of its existence. As you may remember, the female identity, which was blessed and valued in primitive societies due to its fertility, came under the control of the male-dominated society over time. It is known that there are sociological, cultural, religious, physical, and economic reasons for this control. It has been observed that the female identity, isolated from the public sphere with the transition to social life, has unfortunately also been alienated and marginalized from the field of art. The best example is when women who participated in the Dionysus Festivals during the Ancient Greek period, in other words, until the sixth century BC, were removed from social life and imprisoned at home. As it is known, in the new world order that developed with the concept of feminism, female identity was forced to struggle to gain a place in theater, as in every field. Historical data show that the feminist movement began in a radical sense in the 1960s, and feminist theater emerged in the 1970s. Some women who claimed their rights with their actions and protests in the squares chose theater art and, therefore, the stage as a means of protest. The female identity, which has been separated from theater art for centuries, has struggled to exist on stage and in play texts at the end of the 17th and the beginning of the 18th centuries in Europe, Hobbes, Locke, Rousseau, Hume, Hegel, Montesquieu, Kant, etc. It has been observed that human natural rights were discussed as a requirement of the Age of Enlightenment, which he pioneered. The idea that humans have natural rights, even if they are not written in the laws they are born with, has been the most crucial source of the chain of human rights that extends to the present day. According to natural rights, humans have reason and should be able to express their ideas freely. Unfortunately, it has been seen that these rights serve the masculine order and exclude women from social life and art. A significant number of male philosophers who expressed the natural rights of humans continued to see women as secondary and ignored them. Studies and research on women's rights are based on the view that women will defend women's rights. Many historical events prove this fact. From this perspective, Mary Wollstonecraft was the first person to express her opinion on women's rights and honestly criticize the masculine structure. Wollstonecraft's book, A Vindication of the Rights of Woman, became the dominant feminist work of Wollstonecraft, who made a name for herself with her search for alternatives to the male-dominated culture with her work A Vindication of the Rights of Woman in 1792. It is known that Wollstonecraft gave a strong resistance against the patriarchal structure that ensures that women are oppressed, exploited, marginalized, subjected to gender discrimination, imprisoned at home, seen as lacking, and shown as incompetent in business life. History has hosted many women writers, scientists, and artists, such as Wollstonecraft, and has shaped life around women's rights. Art loves freedom, originality, producing, rebelling, questioning, criticizing, developing and transforming. For this reason, she also cares about the identity of a woman who has been trying to exist as a marginalized individual whose freedom and power have been taken away from her for centuries. To see this importance, it will be enough to look at the play texts from ancient times to the present. Although theater art, one of the most dynamic branches of art, was late in terms of women's appearance on the stage, it has even been seen that play texts were early. Euripides' Medeia and Sophocles' Antigone are the best examples of this. It is known that consciousness-raising groups, which emerged in large numbers independently of each other due to the feminist movement, have an essential place in the formation and development of feminist theatre. Consciousness-raising groups involve a small number of women in homes, workplaces, neighborhoods, etc., who come together to raise awareness among women. In the groups, women share their problems, experiences, family relationships, dreams, etc.. They aim to support each other by sharing. The creation of these groups is an essential indicator of the isolation and marginalization of women. Feminist theater groups have placed the sharing made in consciousness-raising groups at the center of their theatrical work. Another known information is that groups that perform feminist theater consist only of women and do not include men under their roof. In these groups, the women's problem was brought to the stage, and women-centered stories were dramatized. In this context, it is thought that feminist theater, which centers on the problems of women who have been silenced, whose rights have been taken away, and who have been marginalized for centuries, should be addressed as a research subject, both with a theoretical orientation and a practical orientation. International Journal Of Humanities And Art Researches 2025-03-19T18:31:58Z Research Article application/pdf eng https://ijhar.net/paper/download?id=350 ISSN: 2687-4385 https://ijhar.net/paper/download?id=350 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 47-71 https://ijhar.net/paper/download?id=350 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/351 2025-03-19T18:31:51Z 7

Kırşehir ve Çevresi Üzerine Halkbilimi Alanında Yapılmış Çalışmalarla İlgili Bir İçerik Analizi Dr.Öğr.Üyesi. Üyesi Berrin SARITUNÇ Öğr.Gör.,Erdal,Gültekin Kırşehir, folklore, folklore, culture, abdals This review article presents a literature review and analytical evaluation of research conducted in the field of folklore in Kırşehir and its surroundings. Its primary purpose is to provide recommendations to promote the transmission and preservation of the region's rich cultural heritage from a folklore perspective. The study meticulously examines the oral culture elements, folk literature, rituals, and traditional practices of the region and emphasizes their importance in cultural continuity. By addressing the current state of folklore research in Kırşehir and its surroundings, the study aims to make a meaningful contribution to the knowledge in this field simultaneously. Kırşehir region is essential in Turkish folklore due to its unique cultural elements. Among these, the Abdal tradition and cultural icons such as Neşet Ertaş are particularly noteworthy. Folk narratives and the themes explored further enrich the region's cultural texture. Related studies have explored various folklore elements of the region, including folk music, rites of passage, minstrelsy traditions, and children's games. These elements reveal a multi-layered cultural structure that reflects the depth and complexity of Kırşehir's heritage. Children's games are another critical area of focus in the study. These games are not just recreational activities but also vital in cultural transmission. These games contribute to the region's social cohesion by strengthening social bonds and facilitating interaction between children. By examining the structure and themes of these games, the study sheds light on their importance in preserving cultural values and transmitting them to the future. The study also emphasizes the role of rites of passage associated with birth, marriage, and death. These rituals are deeply embedded in the cultural fabric of Kırşehir and reflect the society's values, beliefs, and traditions. By documenting and analyzing these practices, the study offers insights into how such rituals contribute to the cultural continuity of the region. The impact of the Ahi tradition on Kırşehir culture is another important issue discussed in the study. The Ahi tradition, based on the principles of brotherhood, ethics, and solidarity, has played an essential role in shaping the social and economic structure of the region. The historical contributions of Ahi Evran, a central figure of this tradition, are discussed in detail. The study also addresses the challenges and limitations of folklore research in the region. It acknowledges that the scope of the research is limited to existing literature and internet-accessible resources. Despite these limitations, the findings highlight the richness of Kırşehir folklore and its potential for further research. It is seen that the most comprehensively examined topics are the Abdal tradition, Neşet Ertaş, and the minstrel tradition and reflect the importance of these in cultural heritage. The study's findings demonstrate the critical importance of folklore in creating and maintaining cultural identity. The study documents the folkloric elements of the region and offers valuable suggestions for their preservation in modern society. These recommendations include digitizing cultural heritage, integrating folklore into educational curricula, and developing communities. Folklore studies on Kırşehir have mostly focused on topics such as music and minstrel tradition (Abdallar, Neşet Ertaş, Muharrem Ertaş, bozlaks, folk songs), folk literature and narratives (fairy tales, epics, legends, laments, folk poetry), rites of passage (birth, marriage, circumcision, death), traditional handicrafts and weavings (carpets, kilims, textile motifs) and folk culture and daily life (Ahi Evran, Ahilik tradition, children's games, folk beliefs). Additionally, the study reveals important insights into the multidimensional nature of Kırşehir's cultural heritage. Elements such as dowry traditions, storytelling techniques, and symbolic motifs in textiles are considered integral components of this heritage. These findings contribute to a deeper understanding of how cultural elements intertwine to form a region's identity. As a result, the study serves as a vital resource for policymakers, educators, and researchers interested in preserving cultural heritage. It emphasizes the need for proactive measures to preserve the region's folklore and ensure that it remains a vibrant and dynamic part of the community's identity. The integration of these cultural elements into modern life is presented as an essential strategy. This study beautifully demonstrates the richness of Kırşehir folklore and its indispensable role in shaping cultural identity. By highlighting the diversea traditions of the region, it presents a convincing argument for the importance of preserving and promoting cultural heritage in today's rapidly changing world. The study not only documents the cultural richness of Kırşehir but also provides a road map for future research and conservation efforts, ensuring that this invaluable heritage continues to thrive for future generations. International Journal Of Humanities And Art Researches 2025-03-19T18:31:51Z Research Article application/pdf eng https://ijhar.net/paper/download?id=351 ISSN: 2687-4385 https://ijhar.net/paper/download?id=351 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 72-94 https://ijhar.net/paper/download?id=351 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/352 2025-03-19T18:31:44Z 5

Biriktirmek ve Silmek Açısından Resim Sanatı Doç.Dr.. Engin ÜMER Öğr.Gör.,Erdal,Gültekin Painting, Accumulation, Deletion, Modern Painting, Contemporary Painting. The history of painting can be viewed from multiple perspectives. These include changes in style from an art historical perspective and studies of creativity from an artist's perspective. The discipline of art history attaches importance to the stylistic features of paintings. Iconography and iconology studies, feminism, psychoanalysis, and visual culture studies in cultural history and contemporary art history studies are examples of these. The lives of painters, biographical and autobiographical notes, and the psychological dimension of artistic creativity are also research topics—all deal with how paintings are created and, most importantly, their relationship. Considering the relationship between paintings as a change in style and innovation in forms is meaningful for the narrative of painting. These studies' concept sets and theoretical approaches continue to maintain their importance. This study includes two words other than the key concepts and theories of painting, which has a long history, and the fields that conduct research on it. These words are 'deletion' and 'accumulation.' These two words should first be considered in terms of their literal meanings. Accumulating is the conscious accumulation of something, the accumulation of accumulations creating a pile, cluster, effect, tradition, rule, order, etc. The symbolic meaning of the word indicates the stylistic acceptance of the art of painting and the possibility of the institution of taste and art to determine the canonical in terms of taste and culture. Thus, accumulating points to a cultural world that includes the painter from his singular existence to an expanding painting universe. This is an expansion, a cultural order produced by repetition, a state of taste and knowledge, at least specific to painting. Expansion gains its meaning in terms of the institution of art in the context of painting. Accumulating is the keyword of a world of production and preservation that includes art schools, museums, and areas that think about art. 'Deletion' is the equivalent of the painter erasing the form on the surface, erasing the given rules, and experiencing a singular creation process in a way that erases it. 'Erasing' can be considered a provocative, critical, innovative way for the painter to determine his position in the painting universe. As a matter of self, it can be considered as a keyword of an ideological perspective. The act of 'deletion,' in its simplest sense, corresponds to the painter's selective use of the accumulated culture of painting that has been preserved while creating his visual language and to the reduction of the importance given to it for himself in the name of adjusting the power of some elements. In short, in terms of the painter's act, erasing indicates the personal attitude towards a situation that can be called the universe of painting and whose factual equivalent can be seen in museums, galleries, and literature. The study considers changes in terms of cultural and intellectual history with the words of erasure and accumulation. It tries to show the meaning of accumulation and erasure factually with the selected points of interest, extending from ancient culture to modern and postmodern culture. Accordingly, the accumulation of classical art is evident with the necessity of the powerful world of vision surrounding the painter. However, modern culture is the stage in which the painter consciously begins to erase and displace what has been accumulated. Painters exhibit a critical position in transforming the painting style at this stage. Modern painters bring out the personal, such as individual choices, experience, and expression, against illusion. In the postmodern period, deletion is seen as a conscious exaggeration that selects the characteristics of the accumulated style. The study examines the examples it selects within this theoretical scope. It is seen that there is a conscious relationship and influence between Théodore Géricault and Eugéne Delacroix. This influence should be considered as the two painters being in the same world of vision in the modern sense. It is seen that Êdouard Manet and the painter interpret the accumulations of the style in the modern sense with erasures. The two groups of examples have a common ground, with the museum space being a memory in the modern sense. Delacroix used the images of Géricault that he saw in exhibitions in his painting. Manet also unbalanced the relationships between forms with the appreciation of the classical works he saw in the museum space. It is seen that a continuity relationship can be established between the Caravaggio and Gentileshi couple in classical painting. Gentileschi had to act in the same world of vision as Caravaggio in his work, which is considered to have psychobiographical characteristics in art history. On the other hand, it was found that the relationship between Titian and El Greco is a notable example since it coincides with the phase in which the world of vision was disrupted. It is seen that El Greco exhibits a character that preserves the content of Titian's representation style of his painting but organizes it with his understanding of form. Monet's painting has a strong influence on deletion as Manet's. Monet's paintings include a personal interpretation that disrupts the illusion and order of form in painting. With the beginning of the twentieth century, modern painting has created itself through the act of deletion and has reconsidered the rules of painting that show canonical features accumulated symbolically on the surface. In this context, the study includes the paintings of Paul Cezanne, Wassily Kandinsky, George Braque, Kazimir Malevich, Henri Matisse, Francis Bacon, and Jackson Pollock. All these examples show that modern painting has a personal creative act system realized with the artist's acts of deletion. In postmodern painting, the artist's eclecticism has found its character with an aesthetics of quotation where styles are no longer weighted. Jeff Koons and David Salle, selected in the study, are given as examples in this regard. The study addresses the relationship between the symbolic accumulation of painting and the actual fiction that takes place on the surface of the painting with the symbolic meanings of the expressions of deletion and accumulation. Paintings hide this accumulation on their surfaces. An empty canvas is a pile of rules for the painter who looks at it. The painter, on the other hand, takes a position against this pile. One of these positions is conformity to accumulation; the other is deletion of accumulation. The study suggests that the art of painting can be viewed with the words erasure and accumulation in terms of the act and the idea of painting. International Journal Of Humanities And Art Researches 2025-03-19T18:31:44Z Research Article application/pdf eng https://ijhar.net/paper/download?id=352 ISSN: 2687-4385 https://ijhar.net/paper/download?id=352 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 95-118 https://ijhar.net/paper/download?id=352 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/353 2025-03-19T18:31:38Z 18

Dijital Göçebeler için Mobil Yaşam ve Mekânsal Tasarım Çözümlerinin İncelenmesi Yüksek Lisans. Teoman Barış GÜL ; Doç.Dr.. İsmail Emre KAVUT Öğr.Gör.,Erdal,Gültekin Digital nomad, digital nomadism, mobile life, mobility, tiny house The advancement of digitalization in contemporary society has significantly transformed traditional working and living models. Integrating internet-based technologies and mobile work solutions has led to new lifestyles where spatial constraints no longer define professional engagements. One of the most notable developments in this transformation is the rise of "digital nomadism," a lifestyle where individuals conduct their professional activities remotely, independent of fixed office spaces. Digital nomads leverage technological innovations to perform their tasks from any location, allowing them to combine work with a flexible and mobile living experience. Unlike traditional employment structures, which emphasize stability and fixed working environments, digital nomadism prioritizes independence, adaptability, and mobility. Consequently, this shift in work culture has necessitated the development of spatial solutions that align with the unique requirements of digital nomads, particularly in interior architecture. This research aims to evaluate the design principles of mobile living spaces tailored to digital nomads' needs and examines how these principles shape contemporary interior architecture. The theoretical foundation of this study revolves around two interrelated concepts: digital nomadism and mobile living. Digital nomadism refers to a modern work model in which specific geographical locations no longer bind individuals to perform their jobs. This flexibility is facilitated by digital technologies, which enable seamless communication, collaboration, and task execution across global networks. Digital nomads require internet connectivity and demand spatial designs that accommodate their dynamic lifestyles. In parallel, mobile living is a lifestyle concept that promotes adaptability and movement, allowing individuals to reside in spaces that are not permanently fixed to one location. As the prevalence of digital nomadism increases, mobile living has emerged as an essential factor in contemporary spatial planning, influencing architectural and interior design strategies. Flexibility, multifunctionality, and portability have become key considerations in designing these spaces, ensuring that digital nomads have practical and comfortable environments. This study focuses on the interior design solutions developed to address the spatial needs of digital nomads. The primary objective is to analyze mobile living spaces' ergonomic, sustainable, and technology-integrated principles and propose innovative interior design approaches. The research employs a literature review method to achieve this, examining various mobile housing solutions, including tiny houses, caravans, modular structures, and mobile workspaces. These case studies illustrate how mobile homes can be optimized for remote work while balancing functionality, aesthetics, and environmental sustainability. By investigating the spatial organization, user experience, and ergonomic design features of these living spaces, the study identifies the advantages they offer to digital nomads. This research indicates that mobile living spaces designed for digital nomads must fulfill several core requirements: portability, modularity, and functionality. Portability allows individuals to relocate seamlessly, adapting their work and living conditions to different environments. Modular designs allow users to configure their spaces based on personal needs, optimizing functionality without compromising comfort. Additionally, ergonomic solutions are crucial in enhancing user well-being, as digital nomads often spend prolonged hours working in confined spaces. Properly designed furniture, adjustable workstations and efficient use of natural lighting improve productivity and overall comfort. Sustainability is another essential aspect of mobile living spaces. Integrating eco-friendly materials, energy-efficient technologies, and self-sustaining systems minimizes these environments' environmental impact. Many mobile homes incorporate solar panels, rainwater harvesting systems, and insulation materials that regulate temperature while reducing energy consumption. These sustainable practices align with the values of environmentally conscious digital nomads and contribute to the broader goals of ecological responsibility in architectural design. Furthermore, technological advancements play a critical role in enhancing the usability of mobile living spaces. High-speed internet connectivity, innovative energy solutions, and automation systems allow digital nomads to work efficiently from any location. Many mobile homes now have smart home features, such as voice-activated lighting, climate control systems, and wireless charging stations, facilitating a seamless and productive work environment. The integration of these technologies ensures that digital nomads remain connected and can conduct their professional activities without interruptions. The results of this study highlight the growing significance of mobile living spaces as a viable alternative to conventional housing models. As the workforce continues to shift towards remote and flexible employment structures, the demand for well-designed mobile spaces is expected to increase. The findings emphasize that ergonomic and modular designs improve the overall experience of digital nomads by creating adaptable environments that cater to their dynamic work and lifestyle needs. Sustainable materials and energy-efficient solutions enhance these spaces by promoting environmental conservation and reducing operational costs. Additionally, incorporating advanced technological systems ensures that digital nomads can maintain connectivity and productivity regardless of location. In conclusion, mobile living spaces offer digital nomads a unique combination of flexibility, sustainability, and technological integration. By redefining the traditional housing concept, these spaces accommodate the evolving needs of remote workers and contribute to developing innovative spatial solutions in interior architecture. The study suggests that as digital nomadism becomes increasingly prevalent, architects and designers should focus on creating more adaptable, eco-friendly, and tech-driven living environments. This research provides valuable insights into the evolving nature of interior design and highlights the potential of mobile living spaces as a sustainable and functional model for the future. International Journal Of Humanities And Art Researches 2025-03-19T18:31:38Z Research Article application/pdf eng https://ijhar.net/paper/download?id=353 ISSN: 2687-4385 https://ijhar.net/paper/download?id=353 International Journal of Humanities and Art Researches, Mart 2025 , Issue: 1 , Volume: 10 , Pages: 119-148 https://ijhar.net/paper/download?id=353 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/346 2024-12-16T18:54:33Z 5

Basın Fotoğrafında Karar Anı: Dünya Tarihinde İz Bırakmış Politik Suikast Anlarının İkonik Fotoğraflara Dönüşmesi ve Toplumsal İnşası Dr.Öğr.Üyesi. Kürşat Kaan ÖZKEMAHLI ; Doç.Dr.. Basri GENÇCELEP ; Dr.. Erhan MUTLUGÜN Öğr.Gör.,Erdal,Gültekin Photography, press photography, iconic photograph, decisive moment, social construction This article comprehensively addresses the historical development of press photography and the importance of recording social events. Observations are made about how press photographs are reconstructed and how they contribute to social memory creation. Press photography, one of the significant topics of the research, proved itself in the early 1940s. Following this period, press photographs began to consist of exceptional moments extracted from the flow of the unique reality of daily life. Events happening within the fluidity of life or special moments, whether good or bad, have always drawn people's attention. These moments are special scenes from life or situations that hold new value. Among these events, sometimes the most spectacular moment of a gesture, a glance, a movement, or a fleeting scene where emotions reach their peak can be represented through the decisive moment. In its application, this photographic concept becomes even more critical, especially in press photography. This is because photojournalists aim to present the most dramatic and impactful snapshot of an event to the viewer with the photographs they produce. Technological advancements following the beginning of the 20th century made cameras portable, and with the invention of photographic films, press photography gained rapid momentum worldwide. One of the most significant reasons for this was the prototype cameras designed by the German inventor Oskar Barnack 1914 under the Leica brand. The Leica cameras, launched in 1925, revolutionized the photography industry of the time. For this reason, the revolutionary innovations brought by Leica cameras to the development of press photography are covered in this study. Compared to other cameras of the time, the small size of Leica cameras provided ease of transportation. The 35mm film format offering high quality and fast performance greatly contributed to the development of photographic art. Leica's small, portable cameras enabled photographers to work quickly and dynamically in the field, accelerating the transformation of press photography both artistically and technically. These cameras, which captured dramatic moments in events, allowed journalists to document incidents in real-time. This technological development increased the influence of photography in the media and allowed these photographs to reach large audiences. Furthermore, the concept of the "decisive moment" introduced by Henri Cartier-Bresson is discussed in this article as a critical concept for understanding photography's artistic and emotional dimensions. According to Bresson, the decisive moment is when the subject within the photograph, its emotions, and compositional values are presented in perfect harmony. Since it emerged as a photographic philosophy, the "decisive moment" concept has maintained its importance. The article examines the processes by which press photographers document events through Bresson's approach. In addition, the historical development of international photography agencies such as Magnum Photos and the role of photojournalists who documented significant events in world history through these agencies are among the topics examined in the literature. During this process, agencies provided documentary photographs and influenced how societies perceived and remembered events. At the center of the study, images from the assassinations of Japan's Social Democratic Party leader, Inejiro Asanuma, the 35th President of the United States, John F. Kennedy, and attempts on the life of the 45th President of the United States, Donald John Trump, are given as examples of such photographic representations. The shock effect created by these assassination images in societies, along with their constant recollection through media tools and popular culture, and the important roles these representations play in the reconstruction of society are examined. These iconic assassination images in photographic history were produced by photojournalists at the right time and place and with intuitive, decisive moments. The concept of the "decisive moment," introduced by Henri Cartier-Bresson and still used by photographers today, demonstrates its ongoing importance as a significant concept. It can be said that new iconic moments continue to be added to the history of photography, with new photographic representations produced based on this concept. Depending on the events and situations these iconic photographs represent, they are seen to play an important role in shaping societies. In this study, a qualitative research method based on purposeful sampling and literature review is adopted to examine the role of photographic art in recording social events and constructing social memory. The research focuses on iconic press photographs that have left deep marks on social memory. The photographic representations of the assassinations of John F. Kennedy, Inejiro Asanuma, and Donald John Trump serve as important examples to understand the critical role photography plays in the reconstruction of social memory. The purposive sampling method aims to consciously select and examine these photographs to understand how societies remember these events and how photographs contribute to this process. The theoretical framework of the research is formed by the literature review method. In this context, academic articles, books related to the field, and studies on international press photography that discuss the relationship between press photography and social memory have been meticulously examined. Studies on the function of photography as visual evidence and its place in the world of the press have formed the foundation of this research. International Journal Of Humanities And Art Researches 2024-12-16T18:54:33Z Research Article application/pdf eng https://ijhar.net/paper/download?id=346 ISSN: 2687-4385 https://ijhar.net/paper/download?id=346 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 432-446 https://ijhar.net/paper/download?id=346 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/347 2024-12-16T18:54:26Z 13

Dijital Çağda Liminal Bir Alan Olarak Sanat Tarihinin Epistemolojik Dönüşümü Dr.. Çağatay OLGUN Öğr.Gör.,Erdal,Gültekin Art history, digitalisation, artificial intelligence, big data, epistemology, liminality, methodology Art history is at a critical juncture in the rapidly evolving digital age, as traditional methodologies and theoretical frameworks face increasing challenges from the advent of digital technologies and artificial intelligence (AI). This paper examines the significant epistemological and ontological transformations that these technologies bring to the field of art history. Integrating these tools and methodologies presents art historians with unprecedented opportunities and challenges that necessitate reevaluating the discipline's foundational principles. This study employs qualitative research methods centered on an extensive literature review to analyze the impact of digital technologies and AI on art history. The literature review lays a foundation for understanding the current theoretical and methodological landscape and offers insights into how digitalization reshapes the discipline. It systematically examines academic databases, peer-reviewed journals, conference proceedings, and pertinent online resources, focusing on key themes like "digital art," "artificial intelligence," "epistemology," "art history," "science and technology studies," and "interdisciplinary art." This comprehensive approach facilitates the identification of recurring themes, significant findings, and gaps in the current understanding of art history's digitalization. This paper explores how digital technologies and AI fundamentally reshape how art historians approach, interpret, and analyze artworks. Traditionally, art history has been grounded in the meticulous study of physical objects, with a firm reliance on visual analysis, contextual research, and the historical significance of artworks. However, the integration of AI and digital tools introduces new dimensions to this analysis, enabling the processing of vast datasets, the creation of complex visualizations, and the application of algorithmic interpretations that were previously unimaginable. This shift necessitates rethinking the discipline's core methodologies, as art historians must now consider how digital tools influence the nature of their analyses and the conclusions they draw. This paper also addresses the interdisciplinary nature of art history's digital transformation, emphasizing the necessity for collaboration between the humanities and sciences. As digital tools become more sophisticated, art analysis increasingly intersects with neuroscience, cognitive psychology, and data science. This interdisciplinary approach enriches the study of art by incorporating insights from these fields, leading to a more holistic understanding of the cognitive and perceptual processes involved in creating and appreciating art. By bridging the gap between the humanities and the sciences, art history can benefit from a broader range of methodologies and perspectives, ultimately enhancing the depth and rigor of its analyses. Art history can be conceptualized as a liminal space, highlighting its role as a transitional area bridging various disciplines and perspectives. Liminal spaces are characterized by ambiguity and fluidity between defined states or categories. In art history, this concept represents the navigation between the humanities and the sciences, the past and the present, and the physical and the digital. This liminal nature allows art history to adapt and evolve, integrating new methodologies and technologies while maintaining its critical and interpretive depth. By embracing its liminal identity, art history can continue to explore and expand the boundaries of knowledge, offering new insights into how we understand and appreciate art. However, integrating digital technologies into art history is challenging. This paper critically examines the potential pitfalls of technological determinism, where adopting digital tools may lead to an overemphasis on quantitative data, possibly undermining the nuanced qualitative insights traditionally central to the discipline. Additionally, the ethical implications of using AI in art history are explored, particularly concerning bias, transparency, and the potential for technology to shape or obscure historical narratives. These concerns underscore the importance of maintaining a critical perspective on the role of technology in the discipline, ensuring that digital tools complement, rather than replace, traditional art historical methods. This study's findings indicate that art history's future lies in a balanced integration of digital tools and traditional methodologies. While digital technologies offer new ways of analyzing and interpreting art, they must be used thoughtfully and in conjunction with established practices to preserve the discipline's critical and interpretive depth. Art historians must adapt to the digital age by embracing new tools and methodologies while remaining vigilant to the potential limitations and biases these technologies may introduce. In conclusion, this paper posits that the digital transformation of art history presents significant challenges and unique opportunities for the discipline. As digital tools and AI evolve, they are poised to play an increasingly central role in shaping art history's future. However, the successful integration of these technologies requires careful consideration of their epistemological and ontological implications and a commitment to maintaining the discipline's traditional strengths in critical analysis and interpretation. By thoughtfully navigating these challenges, art historians can harness the power of digital technologies to expand the boundaries of their field, uncovering new insights and perspectives that were previously beyond reach. International Journal Of Humanities And Art Researches 2024-12-16T18:54:26Z Research Article application/pdf eng https://ijhar.net/paper/download?id=347 ISSN: 2687-4385 https://ijhar.net/paper/download?id=347 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 447-476 https://ijhar.net/paper/download?id=347 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/345 2024-12-06T22:26:26Z 2

Çocukların Dijital Ayak İzi Ölçümü ve Kültürel Miras Oyunlarının Önleyici Bir Araç Olarak Kullanımı Araştırmacı. Ferhat PARILTI ; Prof.Dr.. Hatice AYDIN Öğr.Gör.,Erdal,Gültekin Sustainability, Digital Footprint, Cultural Heritage, Children's Games Introduction: In the digital age, interacting in the virtual world, accessing information, and communicating with friends is extremely important, especially for children. However, it should not be forgotten that although technology is a tool that makes life easier, its excessive use can increase the damage caused to nature by increasing digital footprints due to excessive energy consumption and cause a decrease in the quality of sustainable life. With excessive digitalization, it is also possible that children are moving away from street games, our cultural heritage, and childhood can be dragged towards cultural degeneration. However, games are not determined randomly; they result from centuries of cultural accumulation and should not be easy to forget. The losses in our cultural values caused by spending excessive and unnecessary time on digital media can be regained by spending short and adequate time on digital media. Because today, games are trying to find life in the virtual environment. It is an essential tool that can be used to reduce the digital traces of our cultural heritage games. Due to its importance, this study aims to measure children's digital footprints and use cultural heritage games as a preventive tool. Based on this primary purpose, it is aimed to raise awareness of cultural heritage games in children through digital environments and to relieve them on the streets by transferring them from digital environments to playgrounds. The study will raise awareness in educational institutions that values can be imparted through gamification. It will give ideas to businesses about "retro brands" or "retro products" and to municipalities about how "cultural or traditional" playgrounds can be created. Theoretical Framework. Sürmelioğlu and Seferoğlu (2019) define digital footprint as all the movements of individuals in the digital world being stored and kept secret in the database. When we look at the academic literature, we see that the digital footprint is divided into active and passive. Digital footprints are called active; They are expressed as people sharing a photo, commenting under a post, or accessing location information in a message. Systems that indicate the location of technological devices such as phones, tablets, and computers are called passive traces (Girardin et al., 2008). It is expressed as cultural heritage, with a value that reflects the shared past of society, ensures continuity in the experiences and traditions of humanity, and determines the direction of the future. Cultural heritage serves as a bridge between the past and the present, forming the foundations of today's culture, being a solid reference source for future generations, and supporting people's spiritual lives (ISMEP et al., 2014: 11). It is emphasized that cultural heritage is not only the wealth of a community but also the wealth of all humanity. Therefore, it is the responsibility of all humanity to transfer and protect this heritage to future generations. In the preamble of the World Heritage Convention, it is stated that "the deterioration or destruction of any part of the cultural and natural heritage constitutes a harmful impoverishment of the heritage of all the nations of the world," "parts of the cultural and natural heritage are of exceptional importance and are therefore part of the world heritage of all humanity." It is accepted that "it should be preserved as a part of the heritage" and that "participation in the protection of cultural and natural heritage is the duty of the entire international community" (Kuşçuoğlu & Taş, p.2017). Research Method: In this study, the survey model, which is a type of quantitative research methodology, was used. In this context, children studying in primary schools (Cumhuriyet and Marmara Primary School) that were selected as pilots or for which permission could be obtained, affiliated with the Directorate of National Education in Bandırma, were included in the scope of the research and judicial sampling was used in the selection of students in the determined schools. In order to increase the generalizability and representativeness of the research results to all students in the relevant schools, survey face-to-face data was collected from a total of 1393 people, including Cumhuriyet Primary School (799) and Marmara Primary School (594). Then, by calculating the digital footprints of children (7-11 years old or from 1st, 2nd, 3rd, and 4th grades), cultural heritage game activities were planned as a priority in the schools/classrooms with the highest footprint. The survey included questions regarding demographic characteristics and digital footprint test questions consisting of 9 statements. Frequency and percentage distributions for demographic characteristics were made, t-test tests were used to test the hypotheses, and games were planned in the classes/schools with the highest digital footprint levels. Before the game was played, information was given about the appropriate preventive strategy for the class. Analysis Results: Digital footprint perception of Cumhuriyet and Marmara primary school students, especially in the 1st, 2nd, and 3rd grades. It was higher in the grades. It has also been determined that Cumhuriyet primary school and Marmara students spend more time with technology to play games, and most of them have a technological device. One of the results that can be considered positive, along with these results, is that the period when most children use technology is on the weekends. Among the results is that girls leave more digital footprints than boys. In addition, the digital footprint of 4th graders was lower. Conclusion and Discussion: What makes this study different from other studies is that it offers different strategies according to digital footprint levels (9 years old, 10-14, 15-18). Thus, on the one hand, children will realize the beneficial areas of use of digitalization. On the other hand, they will learn our "cultural heritage games," which are an essential valuein our historical processes, and place them at the center of their lives. The strategy in question to influence primary school children in terms of leaving a positive footprint is to present the online environment to them in a creative way. International Journal Of Humanities And Art Researches 2024-12-06T22:26:26Z Research Article application/pdf eng https://ijhar.net/paper/download?id=345 ISSN: 2687-4385 https://ijhar.net/paper/download?id=345 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 417-431 https://ijhar.net/paper/download?id=345 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/338 2024-12-06T16:54:50Z 2

Ortaokul Beşinci Sınıf Öğrencileri ile ChatGPT Yapay Zekâ Aracının Örüntü Görevleri Deneyimlerinin Karşılaştırmalı İncelenmesi Doktora. Sude AY ; Prof.Dr.. Menekşe Seden TAPAN BROUTIN Öğr.Gör.,Erdal,Gültekin Artificial Intelligence, ChatGPT, Middle School Students, Pattern The technology that rapidly changes and advances the world necessitates interaction in all areas of life. Considering the role of technology in education today, the depth of this interaction offers various education opportunities. One of these opportunities is the technological tools used in educational settings. Technological tools, which add different dimensions to education, are quite significant. In this context, the use of artificial intelligence tools in educational environments in recent years is noteworthy. AI chatbots are particularly prevalent in education. Students and teachers can interact with these chatbots in written or spoken form. ChatGPT, developed by OpenAI, is one of the most frequently used chatbots recently. It can generate texts similar to those constructed by humans, understand users' language, answer their questions, and perform certain tasks. In addition to being a large language model, ChatGPT is also used in various disciplines, including mathematics. Given the importance of patterns in algebra teaching, it is inevitable that children encounter pattern tasks at an early age. It is important to reveal the similarities and differences between the answers provided by students and those generated by the ChatGPT AI tool to pattern tasks. Accordingly, this study examines the differences between the answers given to pattern tasks by fifth-grade students and the ChatGPT AI tool. A qualitative approach using a case study design was employed in line with this aim. The study was limited to fifth-grade students and the ChatGPT AI tool, with their responses to pattern tasks examined in detail. Purposeful sampling was used to select eight fifth-grade students and the ChatGPT AI tool as the units of analysis. Criterion sampling, a type of purposeful sampling, was utilized, with voluntariness and being in the fifth grade considered as criteria for participant selection. The participants comprised 100 fifth-grade students studying at a middle school in Istanbul and the ChatGPT AI tool. Pattern worksheets and screenshots from the ChatGPT AI tool were used as data collection tools. The pattern worksheet consisted of four number pattern tasks with constant increasing and decreasing patterns and 16 sub-problems. The researcher developed the pattern tasks using achievements from the mathematics curriculum and literature to ensure content validity. The pattern worksheet was later administered to students participating in clinical interviews with additional questions for in-depth examination. Ethical committee approval and necessary permissions from the provincial and national education directorates were obtained before data collection. Clinical interviews were used as the data collection method. Initially, the pattern worksheets were administered to the study group, and students were provided with the necessary information about the study before completing the worksheets. Students were given 80 minutes to answer the pattern tasks. Based on their responses to the pattern worksheet, students were categorized. To obtain rich data for comparison with the ChatGPT AI tool, clinical interviews were conducted with students considered to represent each category best. Data analysis was performed using content analysis. According to the study findings, students most frequently used random arithmetic operations without continuing the pattern to reach the close terms of the pattern tasks. The ChatGPT AI tool, however, utilized operations without continuing the pattern or writing formulas to reach the close terms of the pattern tasks. For the middle terms of the pattern tasks, students again predominantly used random arithmetic operations without continuing the pattern, whereas the ChatGPT AI tool used operations without continuing the pattern, writing formulas, or using formulas. Students mostly relied on random arithmetic operations to reach the distant terms of the pattern tasks. At the same time, the ChatGPT AI tool used operations without continuing the pattern, writing formulas, or using formulas. In inverse problems of the pattern tasks, students primarily used random arithmetic operations, while the ChatGPT AI tool employed formulas without continuing the pattern. Students faced difficulties and left blank responses, particularly regarding the pattern task's distant terms and inverse problems. Additionally, the constantly decreasing pattern task was the most challenging and frequently left-blank pattern task for students. Based on the responses provided by the ChatGPT artificial intelligence tool, students can consult this chatbot with any problems they encounter regarding pattern tasks. Although this robot often arrives at the correct answer, it can occasionally provide incorrect responses. Therefore, students need to use the ChatGPT artificial intelligence tool under the supervision of a teacher during the instructional process. Additionally, ChatGPT can present errors related to computer programming languages and Turkish character usage in its solutions. These are some of ChatGPT's limitations. This study is limited to fifth-grade middle school students and the topic of patterns. In future studies, similar research can be repeated with different grade levels or subject areas to determine how ChatGPT can be utilized in students' instructional processes. International Journal Of Humanities And Art Researches 2024-12-06T16:54:50Z Research Article application/pdf eng https://ijhar.net/paper/download?id=338 ISSN: 2687-4385 https://ijhar.net/paper/download?id=338 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 294-320 https://ijhar.net/paper/download?id=338 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/339 2024-12-06T16:54:41Z 5

Görsel İletişim Tasarımında Üretken Yapay Zekâ ve Makine Öğrenmesinin Rolünü Keşfetmek Dr.Öğr.Üyesi. Ezgi Şen ATİKER Öğr.Gör.,Erdal,Gültekin Generative Ai, Machine Learning, Visual Communication Design This article aims to reveal the current role of generative artificial intelligence in visual communication design through current examples. The study used a qualitative research method and examined printed and electronic resources. In line with current developments in artificial intelligence, some changes have occurred in visual communication design, as in many design fields. Visual communication design is a wide field of study in the analytical problem-solving process, communication, and aesthetic values. In this context, it is closely related to technology, like many other fields. The rapid acceleration of artificial intelligence has reached the power to affect the sub-fields of visual communication design directly. From illustration to packaging, poster, and logo design, productive artificial intelligence produces work in every field. The role of artificial intelligence in visual communication design also affects designers, and the designer's role is also changing and transforming. Weak artificial intelligence-supported programs require human skills (creativity, intelligence, talent, etc.) and a certain amount of learning processes. In line with today's artificial intelligence developments, only visual or audiovisual elements can be created without the need to learn any program or pay a fee. In addition, 3D models and moving images, which require a long working process, have begun to be created with artificial intelligence. All these developments have changed the role of designers in this field and have brought with them some concerns. Will artificial intelligence take our jobs? Concerns such as speed, low cost, unlimited work, content creation, and visual communication design are also included. Artificial intelligence, which has such abilities, has some features that make it different from humans. However, creativity and creating creative content are still controversial issues. The designer, who produces passive programs on computers, is now faced with an artificial intelligence that produces products close to human limits. This directly affects basic design skills, especially technical processes, and supports revealing the creative and analytical problem-solving side of people. Computational Creativity is a subfield of AI research that largely overlaps with other fields/creative industries. Based on computer science covers fields associated with creativity, such as poetry, storytelling, musical composition and performance, video games, cinema, photography, architecture, industrial and graphic design, and even culinary arts. Another definition of the field is the science of computational systems that undertake specific responsibilities and exhibit behavior that impartial observers would consider creative. Computational creativity studies help us understand human creativity and explore the scheme by which software acts as a creative collaborator rather than a mere tool. Historically, both society and the field of computer science have exhibited skeptical approaches to the creative potential of software. The main criticism of computational creativity is that the techniques simulate human thought, especially creative thought. The expression of assuming specific responsibilities in computational creativity emphasizes the difference between weak and strong artificial intelligence. Creative responsibilities attributed to a computational system; Develop and use aesthetic criteria to evaluate the works produced; It is like inventing new processes to produce new materials. Deep learning models can be used to evaluate the effectiveness of visual communication. For example, it can suggest what colors, layouts, or symbols to use in user interface design. These points illustrate the potential applications and impacts of deep learning in visual design. The role of deep learning techniques in visual design has great potential to optimize design processes and offer new creative possibilities. Generative artificial intelligence, a part of deep learning, refers to artificial intelligence systems with human-like creativity and productivity abilities. These systems can generally create human-like works in art, music, writing, and design. Productive artificial intelligence systems can produce new content by learning from large data sets and using this learning, such as composing music, painting, writing poetry, and creating stories. Many of the works done by artificial intelligence are derived from other works. Today, in text-based data visualization applications, it is possible to produce artificial intelligence-like works by typing the name of the designer or project you want in the prompt field. While this situation creates risks in creativity and originality, it also causes ethical problems. Generative artificial intelligence, a part of machine learning, has found a place in a wide range of fields of study today. One of these is visual communication design, which is examined within the scope of the article. Some results were obtained within the scope of the application project carried out within the scope of the research. First of all, generative artificial intelligence helps the designer in technical processes. Since it is fast, it can inspire finding ideas by offering many alternative studies in seconds. However, especially in the label design application, the work needed to comply with the brief given. In some studies, there were distortions in typography; in others, visualizations far from creative ideas were made. Productive artificial intelligence applications did not meet the work brief given within the scope of the study. Since the creative design process involves an idea and analytical problem solving, the works offered by the applications are far from creative ideas. The designer's role is still essential in visual communication design products. As a result of the article, it has been concluded that generative artificial intelligence makes rapid progress in visual communication design technical processes and paves the way for risks. International Journal Of Humanities And Art Researches 2024-12-06T16:54:41Z Research Article application/pdf eng https://ijhar.net/paper/download?id=339 ISSN: 2687-4385 https://ijhar.net/paper/download?id=339 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 321-332 https://ijhar.net/paper/download?id=339 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/340 2024-12-06T16:54:35Z 5

Yaratıcılık ve Yaratıcı Düşünme Kavramlarının Tanımı Üzerine Bir Araştırma Prof.Dr.. Kani ÜLGER Öğr.Gör.,Erdal,Gültekin Creativity, Creative Thinking, Originality. Creativity and creative thinking can be used in almost every area, the same as in art. However, in contrast to being known mostly, creativity and creative thinking have not been used just in the art field, and terms can be used in other areas such as education, social sciences, psychology, etc. Creative thinking has a multiway form; therefore, it only fits in some areas. There has yet to be any consensus on current definitions of creative thinking as a different way of thinking and creativity as a multiway activity. Therefore, there is a need for a valid general definition of these terms. The present situation in the literature needs help regarding the term concepts for creativity and creative thinking. Although prominent scholars forwarded their views about these terms, unfortunately, this situation cannot help produce any concept regarding creativity and creative thinking. Thus, it is most important to have a thorough concept of these terms and their definitions because of their use in vide of large areas. While creativity and creative thinking have complex processes, there could be fit and common or general definitions of these terms for each area. In contrast, they are using these terms as the present concepts could be wrongly understood because these terms do not have general definitions, and these terms may be used sometimes instead of each one insufficiently. This study aimed to probe standard features in the definitions of creativity and creative thinking terms by presenting definitions in the literature. With this aim, the source documents were analyzed in terms of the definitions of creativity and creative thinking terms after they reviewed the related literature with keywords such as creativity and creative thinking. In this way, it might be possible to arrive at a consensus about the general definitions of these terms that are valid for each area. Thus, the research question was: “How can the general definitions of creativity and creative thinking terms be constructed for the basic concepts that cover all areas?” This study used the qualitative method through descriptive technique. Thus, the terms creativity and creative thinking were reviewed as keywords in the Google Scholarship electronic database. This database scanned these keywords in both the Turkish and English languages. This scan in the literature about creativity and creative thinking terms lasted between 2003 and 2023. Thus, this study reached 38 and 35 documents, respectively, in Turkish sources. In the English source, 27 and 37 documents about the exact terms corresponded. There were 73 documents from Turkish sources, while 64 were from English sources. In sum, this study reached 137 documents from both Turkish and English sources. All these documents were analyzed using the document analysis technique. In terms of including definitions of these terms, such documents were also implemented in content analysis. At the end of the data analysis, the categories of definitions of the creativity term were determined in Turkish and English sources, with novelty, usefulness, and originality as standard features. Regarding creative thinking, the categories of “Problem-Solving” and “Different Thinking” were determined in Turkish and English sources. Accordingly, the definition of creative thinking, in general, revealed that a problem-solving process could involve thinking differently. In contrast, the definition of creativity generally refers to the process that ends with functional thinking or a product that includes novelty and problem-solving. Consequently, it was revealed in this study that novelty, usefulness, and originality can be used in the general definition of the term creativity. Therefore, creativity may be defined as a process that can result in a beneficial idea or product through a problem-solving activity that includes innovation and originality. In terms of creative thinking, this study found that: “Problem-Solving” and “Different Thinking” can be used in the general definition of creative thinking. That is, creative thinking is a process that begins with different ways of thinking about a problem, and this way, creative thinking may result in problem-solving activity through different ways of thinking. At this point, it can be put forward that the term creativity includes both thinking and activity, while creative thinking contains just thinking at the beginning of the process. Therefore, it can be said that creativity is a covered activity, more than creative thinking, during the process. In other words, creative thinking may have thinking processes, whereas creativity contains both thinking and practice. However, both concepts of creativity and creative thinking can also be claimed in the frame of their definitions made by the present study, which these terms focus on a similar aim, such as solving a problem. International Journal Of Humanities And Art Researches 2024-12-06T16:54:35Z Research Article application/pdf eng https://ijhar.net/paper/download?id=340 ISSN: 2687-4385 https://ijhar.net/paper/download?id=340 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 333-344 https://ijhar.net/paper/download?id=340 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/341 2024-12-06T16:54:26Z 5

Çağdaş Sanat Eğitiminde Dijital Teknolojinin Rolü Dr.Öğr.Üyesi. Hakan MAZLUM Öğr.Gör.,Erdal,Gültekin Contemporary art, Digital art, Education, Digital educational tools Educational processes have become more dynamic, interactive, and multidimensional due to the rapid accessibility of information and the integration of innovative approaches offered by technology. The 21st-century educational paradigm has moved beyond traditional teaching methods, leading to the widespread use of digital learning environments, e-learning platforms, and distance education systems. This digital transformation has shifted education from a passive knowledge transfer to a multifaceted structure that enhances critical thinking, problem-solving, creative thinking, and technological literacy. Today's students actively participate in learning processes through unlimited access to online resources, AI-supported learning tools, and multimedia applications, enabling them to personalize their talents and learning experiences. Integrating digital technologies into educational processes creates sustainable learning opportunities by making learning experiences more flexible and extending education beyond traditional classroom boundaries. For educators, there is a growing need to develop pedagogical approaches aligned with the requirements of the digital age. In this context, teaching methods supported by digital technologies enrich educators' teaching processes while encouraging students to engage more actively in creative activities. Art education is a critical discipline that contributes to developing artistic perception, critical thinking skills, personal discovery, and self-realization. Art education helps individuals strengthen their thought systems, leading to a deeper understanding of art. Originality is fundamental to this process, allowing individuals to explore their talents. Through art education, individuals structure their artistic skills and perceptual abilities, enabling them to understand and interpret art consciously. Especially in contemporary art education, the possibilities provided by digital technologies are transforming artistic production processes and creating new educational opportunities. Digital tools and applications allow students to diversify their artistic expression while contributing to the democratization and inclusivity of art education. Through digital technologies, art education has become an interactive platform where individuals can express their creativity more effectively and develop critical thinking skills. Integrating digital technologies into art education transforms educators' pedagogical approaches and allows students to develop their artistic skills more creatively and innovatively. In this regard, developing a comprehensive understanding of digital art requires addressing specific topics underlying this art form. Firstly, it is essential to focus on the technical foundations of digital art and the role of computer technologies in its formation process. The new expressive possibilities of digital technology provide artists with a greater sense of freedom by eliminating physical constraints in the creation process. In this context, the scope of digital arts includes various forms of expression, such as animations, digital photographs, illustrations, and digital music. When evaluated within this framework, the question "What is digital art?" can be answered as a field where digital technology plays a central role in the creative process. Undoubtedly, the most critical elements in digital art are technological tools and computers. Digital platforms make artistic practices and techniques more accessible and interactive, allowing students to take on more active roles in the creative processes of art. As a result, the digitalization of art education enables students to establish deeper connections with art and artistic expressions, fostering the discovery of their creative potential. This study is qualitative research aimed at examining the impact of digital technology on artistic expression and contemporary art education. The research analyzes the integration of digital technology into art education and its contributions to artistic creation processes. In this context, the study adopts a qualitative research method and conducts a descriptive analysis of documents available in the literature. This study systematically reviews the relevant literature to understand the role of digital technology in art education and artistic expression, including a detailed analysis of the collected documents. To achieve the main objectives of the research, printed resources in university libraries, periodicals, and digitally accessible sources were thoroughly examined, and relevant information and documents were collected. The documents in the literature were classified according to themes aligned with the research objectives. In this context, publications corresponding to themes such as art education and contemporary art, digital art, and the integration of digital technology into contemporary art education were grouped. In the second phase, a descriptive analysis of the collected documents was conducted, and the effects of digital technology on artistic expression and contemporary art education were discussed. The research findings reveal the positive impact of digital technologies on art education, highlighting their potential to enhance student engagement, support the development of artistic skills, and contribute to the democratization of art education. The new opportunities provided by digital technologies expand the scope of art education, offering students significant contributions to exploring art and improving their artistic expression skills. This transformation indicates that digital technologies will play an increasingly important role in the future of art education, paving the way for a more robust integration of educational processes with art. In conclusion, the effects of digital technology on contemporary art education and artistic expression were comprehensively evaluated. The study discusses the advantages digital technologies offer to art education and the challenges encountered and provides recommendations for potential future developments. International Journal Of Humanities And Art Researches 2024-12-06T16:54:26Z Research Article application/pdf eng https://ijhar.net/paper/download?id=341 ISSN: 2687-4385 https://ijhar.net/paper/download?id=341 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 345-358 https://ijhar.net/paper/download?id=341 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/342 2024-12-06T16:54:20Z 2

Bulgar Ozan Elisaveta Bagryana’nın Şiirlerinde Kadın-Anne ve Sevgi-Aşk Temaları Doktora. İsmail Orkun ATASOY Öğr.Gör.,Erdal,Gültekin Bulgarian Literature, Elisaveta Bagryana, Bulgarian Poetry, Poetess. Bagryana, without a doubt, is one of the most captivating, colorful, and gifted poets of Bulgarian literature. Her works are among the most feminine, emotional, and impressive poems that Bulgarian literature has ever known. Bagryana's artistic world is magnetic, fascinating, philosophical, and full of love and enthusiasm. A united and simultaneously contradictory artistic world, a poetic world that challenges the patriarchal order and is emotional and sincere at the same time, a world that is easy to interpret and sometimes compelling to understand. Her literary works are interwoven with the quest for freedom and equality, selfless nationalism and captivating romanticism, longing for women's rights and love, masculine courage, and an ardent love of life. Therefore, Bagryana is known as both a belligerent and libertarian writer of Bulgarian literature and a poet who was often questioned and criticized. Individual struggle and women's rights, social liberation and love of the homeland, ethnic folklore and patriotism, observations of international travels, quest for love, and passionate devotion to life were at the core of her literary works. Bagryana was born into this world to fight for and defend individual and social rights, glorify her homeland, worship love, and distribute her love, and she, to a great extent, succeeded in this. Her feminine kindness and sensitivity, unconditional love for her homeland, and a liberal feminist perspective from beyond her age were the most critical characteristics that distinguished Elisaveta Bagryana from other Bulgarian poets. Throughout her life, the author faced the dilemmas of good/bad, beautiful/ugly, correct/wrong, and sin/good deed, and her life adventure, love, and works of art were full of similar dilemmas. In her poems, love was fascinating, innocent, sacred, deadly, destructive, and sinful. There was love in her works that burnt and destroyed everything in her path; it was hopeless and wild, shattering and wounding. Bagryana's poems were highly emotional, sincere, rebellious, revolutionary, romantic, passionate, and powerfully connected to traditions. Her portraits of women in poetry were full of contradictions - eternal and rebellious, sacred and loving, and marginated and sinful simultaneously. A woman full of life, love, freedom, and passion. Bagryana was a playwright and fairy tale writer, a newspaper and magazine publisher, a gifted children's writer, and an extraordinary poet. Therefore, she can be deemed a multi-professional, multi-talented, and versatile Bulgarian artist. In the Balkan literary circles, Bagryana is recognized as both an innovative modern woman of Bulgarian literature and a headstrong revolutionary feminist writer who lived in two different centuries. Bagryana, a versatile writer, created a portrait of a writer who considered feudal attitudes and primitive social prejudices superfluous, refused to live in a male-dominated world, and supported the modernization and liberation of women throughout her long life. Therefore, Bagryana, who occupied a unique and privileged place in Bulgarian literature, stood out with her rebellious and strong woman image, stood for individual and social freedoms, and sought rights and justice. Considered one of the most outstanding Bulgarian poets of the 20th century, Bagryana's literary works included lyrical love, slices of life, beautiful sensual beauty, natural objects, themes of freedom and youth, individual and social problems, love of the land and homeland, human portraits and political themes. Her poems were not salient with breathtaking words, metaphors, or wordplay. Her literary works are ordinary, melodic, simple, and everyday poems. Then, where is Bagryana's literary originality and artistic mastery concealed? Her most excellent artistic qualities included narrating simple events in a simple and emotional language that suited the public and the reader. Bagryana was a great and gifted poet because she brought a new feminine perspective to Bulgarian literature by considering life and death, love and longing, nature, and the homeland through a woman's eyes. Fearless and sincere observations, a revolutionary and libertarian spirit, and a discourse that rebelled against social traditions were the other artistic qualities that made her an immortal poet. Freedom in ideas and discourse, freedom in desires and goals, freedom in the spiritual world and expressions, combined with the quest for individual rights and social justice, transformed into a destructive and transformative wave of freedom that challenged the taboos of the time, and all of these were felt very strongly in Bagryana's poems. As a result, her commitment to human rights and freedoms was another artistic quality that ranked Bagryana among the great Bulgarian poets. Elisaveta Bagryana, one of the most applauded, extraordinary, and beloved representatives of Bulgarian literature, was an author who was not very well known and not much contended in our country. Therefore, the central aim of this study was to introduce the life story, artistic achievements, and world of Bulgarian poetry to Turkish readers and the scientific world. Another aim of this study was to investigate the themes of love/romance and woman/mother by examining the poetry world of Bagryana. Document analysis was utilized as a data collection tool since the articles, scripts, newspaper articles, and scientific theses published about the Bulgarian author Elisaveta Bagryana were investigated in the study. "Document analysis involves the analysis of written materials containing information about the phenomenon or phenomena targeted for the study." The first section reviewed the scientific literature on Elisaveta Bagryana in depth. The academic articles, scripts, script sections, journals, and scientific theses written in Bulgarian, Russian, English, and Turkish were reviewed and analyzed in this context. Furthermore, the literature review also included the views and observations of Bulgarian literary experts on Bagryana and the articles in daily newspapers and magazines. International Journal Of Humanities And Art Researches 2024-12-06T16:54:20Z Research Article application/pdf eng https://ijhar.net/paper/download?id=342 ISSN: 2687-4385 https://ijhar.net/paper/download?id=342 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 359-380 https://ijhar.net/paper/download?id=342 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/343 2024-12-06T16:54:13Z 5

Türk Resim Sanatında Tarımsal Ürün Çeşitliliğinin İzleri Doç.Dr.. İlyas SEVİNDİK Öğr.Gör.,Erdal,Gültekin Turkish painting art, Turkish agriculture, Agriculture in Turkish painting, Agricultural diversity, Agricultural products. In Turkish painting, the diversity of agricultural products is an important theme that reflects artists' relationships with nature and society. This subject has been dealt with in various ways in different periods and understandings throughout the history of Turkish painting. In different periods of the Ottoman Empire, agricultural products were often depicted in miniatures and traditional Ottoman art. In the art of this period, agricultural products are mostly depicted elegantly and in detail. Especially in works depicting palace life and daily life, products such as fruits, vegetables, and grains have a symbolic meaning. Turkish painting, which transitioned to oil painting in the Western sense during the last period of the Ottoman Empire, entered a new phase in the art of painting by adapting the gains from the past to the existence of a new state. With the new management and cultural understanding of the Young Republic of Turkey, new approaches emerged in developmental efforts. From the Republic's early years until a certain period, the agricultural economy was emphasized. During these periods, the existence of an agricultural painting compatible with the values of the Republic was evident. Turkish artists began to depict agricultural products and village life more realistically during this period. Especially with the effect of social changes such as the new approaches brought by the Republic, bringing Turkish art to the level of contemporary civilizations based on the realities of their own country, reaching new interpretations with oil painting art in the Western sense, and agricultural reforms, village life and agricultural activities have become a center of artistic attention. Artists reflected that the country is an agricultural country in their works, highlighting the difficulties and beauties of this lifestyle. In Turkish art, the variety of agricultural products in still life, landscape, figurative, and abstract paintings has provided rich content regarding artists' aesthetic and thematic meanings by dealing with these products in different forms. This diversity emphasizes the cultural and social importance of agricultural production and shows the evolution of art in various periods. In Ottoman miniatures, agricultural products are often symbols of wealth and elegance—still-life compositions from palace life in the last period of Ottoman painting present agricultural products aesthetically. Still, life in Turkish art has become more prominent, especially since the late 19th century. In paintings of this type, fruits, vegetables, grains, and other agricultural products are often depicted in detail and painstakingly. The still life type is considered a more realistic approach to and after the Republic period. Especially under Western influence, detailed and accurate descriptions of agricultural products as part of daily life are seen in still-life works. During this period, artists tried to convey an aesthetic and socio-cultural message by realistically depicting agricultural products. Previously, Ottoman landscape paintings without figures appeared as figurations landscape paintings with the Republic at the end of the Ottoman Empire. Thus, agricultural products in landscape paintings emerged integrated with nature and rural life and took their place in Turkish painting as an essential part of the rural landscape and village life. Artists have expanded the range of meaning in figurative paintings by reconciling agricultural products with social relations, economic situations, and environmental problems. In modern and contemporary Turkish painting, agricultural products are generally treated more abstractly and conceptually. Artists tend to have a more magnetic understanding by examining the social and environmental effects of agricultural production and painting these products from a symbolic or critical point of view. Artists have expressed these products' physical properties and aesthetic values through formal and color experiments. Agricultural products are sometimes processed through abstract forms and color palettes that symbolize the power and diversity of nature. Additionally, contemporary issues such as consumption habits of agricultural products, environmental pollution, and sustainability are also reflected in works of art. Artists have used agricultural areas and products not as a part of nature but as an aesthetic composition element. Paintings on agricultural activities were made in every period of Turkish painting. This work is essential in revealing agricultural diversity and agricultural products in Turkish painting with their periods and raising awareness in the next generation of artists. It is aimed to make the diversity of agricultural products between the past and present of Turkish agriculture, which has recently moved to a different stage with global warming and climate change, visible in the works of Turkish painters as both an economic indicator and a visual image. The descriptive scanning method was used in the research, and the data obtained were presented alongside artists' works through document analysis. As a result of the examinations and evaluations, it has been observed that the diversity of agricultural products is included in the past and present of Turkish painting as both an economic indicator and a visual image. As a result, in Turkish art, the variety of agricultural products in still life, landscape, abstract, and figurative paintings has been discussed in a wide range, both aesthetically and thematically. This diversity is essential in understanding how artists and the roles of these products in the social, cultural, and aesthetic context interpret agricultural products. International Journal Of Humanities And Art Researches 2024-12-06T16:54:13Z Research Article application/pdf eng https://ijhar.net/paper/download?id=343 ISSN: 2687-4385 https://ijhar.net/paper/download?id=343 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 381- 400 https://ijhar.net/paper/download?id=343 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/344 2024-12-06T16:53:49Z 5

20. Yüzyıl Avrupa Resim Sanatında Suluboya ile Yapılmış Soyut Resim İncelemeleri Doç.Dr.. Gülser AKTAN Öğr.Gör.,Erdal,Gültekin Watercolor, abstract, abstraction, European abstract art, Kandinsky This study investigates the evolution and significance of abstract watercolor painting in 20th-century European art, focusing on how watercolor, traditionally used for figurative work, became a vital medium in the abstract genre. Watercolor has a long history in European art, having been widely used since the Middle Ages, Renaissance, and later centuries, primarily for detailed illustrations, landscapes, and studies. However, its use in abstract art, particularly during the 20th century with the rise of modernist movements, has yet to be explored in the literature, leaving a gap in our understanding of its potential as a primary medium for non-representational expression. This research aims to address this gap by examining the role of watercolor in the abstract art scene of 20th-century Europe. It sheds light on how artists employed the medium's unique qualities to evoke emotion, atmosphere, and personal interpretation. The primary objective of this study is to analyze the technical and aesthetic aspects of abstract watercolor works created by European artists in the 20th century. Specifically, the study investigates the impact of watercolor's inherent properties (transparency, fluidity, and immediacy) on the development of abstract expression within this medium. Through detailed visual analysis, the study explores how artists used watercolor to craft compositions emphasizing color, form, and texture rather than representational accuracy. The research draws on various data sources to achieve these aims, focusing on watercolor works from the 20th century by artists such as Wassily Kandinsky, Paul Klee, Mark Rothko, and Zao Wou-Ki. Each of these artists contributed uniquely to the abstract watercolor genre, bringing forward distinctive styles and approaches that illustrate the versatility of the medium. The study's methodology involves a comprehensive visual analysis of these works within the context of abstract art. The research reveals that watercolor's unique characteristics, such as its tendency for fluid blending and layered transparency, make it especially conducive to abstract compositions. The spontaneous and often unpredictable nature of watercolor allows artists to experiment freely with color and form, creating compositions that feel dynamic and unrestrained. For instance, Kandinsky's abstract watercolors highlight the psychological effects of color, where hues are used not to depict specific objects but to evoke emotional responses in the viewer. Rothko's use of watercolor's translucency and layering techniques resulted in compositions that engage viewers on an emotional and meditative level, inviting introspection and emotional resonance. Another finding underscores the impact of watercolor on the evolution of modernist abstraction in Europe, as artists increasingly sought to move beyond literal representations. In this context, watercolor's capacity for creating nuanced textures and fluid shapes allowed artists to break free from traditional artistic conventions, embodying abstraction principles by focusing on emotional expression and sensory experience. Paul Klee's works, for example, illustrate how watercolor can create a sense of spatial depth and atmospheric complexity despite the medium's inherently flat surface. Klee's mastery of color and form within the abstract watercolor genre demonstrates how the medium can evoke intricate emotions and meanings without relying on symbolic representation. Zao Wou-Ki's works, another focus of this study, offer a compelling example of how watercolor bridges Eastern and Western art traditions. Blending European modernist techniques with Chinese calligraphy and ink painting influences, Zao's abstract watercolors present a "third space" that transcends cultural boundaries. His approach highlights how watercolor's fluidity and adaptability make it an ideal medium for expressing complex, hybrid identities and cultural influences. By integrating Chinese and European artistic elements, Zao created compositions that resonate universally while embodying personal and cultural introspection. The study also examines the practical benefits of watercolor in the context of abstract art. Due to its fast-drying nature and ease of use, watercolor facilitates spontaneous expression and rapid experimentation, making it particularly suitable for artists working in the abstract genre. Unlike oil or acrylic, watercolor allows artists to execute swift, intuitive brushstrokes, capturing fleeting emotions and thoughts. This immediacy and freedom in application are especially evident in the works of artists like John Marin, whose abstract watercolors capture the ephemeral beauty of nature through loose, expressive brushstrokes and fluid color transitions. In terms of methodology, this study combines historical and visual analysis to provide a well-rounded understanding of watercolor's role in abstract art. By studying works across various European countries and analyzing individual artists' techniques, the research contextualizes abstract watercolor within the broader framework of 20th-century modernism. This approach allows a nuanced understanding of how artists utilized watercolor's unique properties to create distinct visual languages, each contributing to the abstract art movement. This research suggests that watercolor played a transformative role in 20th-century European abstract art, providing artists with a medium that could match the emotional intensity and spontaneity required by the genre. Watercolor's qualities—its ability to produce layered translucency, organic textures, and fluid shapes—align with the goals of abstraction, emphasizing non-representational forms and the viewer's subjective interpretation. As the analyzed works demonstrate, watercolor is not merely a supplementary or preparatory medium but a powerful vehicle for abstract expression. The contributions of this study are twofold. From a theoretical perspective, it addresses a gap in the literature by highlighting watercolor's potential in abstract art, encouraging further research into non-traditional applications of this medium. Practically, this study serves as an inspirational resource for contemporary artists and art educators, illustrating the creative possibilities of watercolor in the abstract domain. It underscores the importance of watercolor as an expressive, adaptable medium that offers unique opportunities for personal and emotional expression. In conclusion, this study enriches our understanding of watercolor's role in 20th-century European abstract art, establishing it as a medium that transcends conventional uses and provides artists with a means to convey complex, non-representational ideas. This investigation contributes to art historical scholarship and emphasizes watercolor's continued relevance and potential within contemporary abstract art, encouraging future generations to explore and expand upon its expressive possibilities. International Journal Of Humanities And Art Researches 2024-12-06T16:53:49Z Research Article application/pdf eng https://ijhar.net/paper/download?id=344 ISSN: 2687-4385 https://ijhar.net/paper/download?id=344 International Journal of Humanities and Art Researches, 2024 , Issue: 4 , Volume: 9 , Pages: 401-416 https://ijhar.net/paper/download?id=344 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/335 2024-09-16T22:43:05Z 2

Üniversite Öğrencilerinde Yeme Davranışının Bilinçli Farkındalık ve Anksiyete ile İlişkisi Yüksek Lisans. Sezen TUNCA MUTLU ; Prof.Dr.. Salih Saygın EKER Öğr.Gör.,Erdal,Gültekin Eating behaviour, emotional eating, mindfulness, anxiety This study aims to comprehensively examine the relationship between eating behavior, mindfulness, and anxiety among university students. The research was conducted to determine the variability in these areas and the relationships between these variables among second and third-year psychology undergraduate students. 86 psychology undergraduate students participated in this study, which aimed to evaluate the impact of participants' sociodemographic characteristics on their eating behaviors, mindfulness levels, and anxiety. Data were collected through online surveys. Eating behavior includes individuals' patterns and habits of food consumption. Biological, psychological, and environmental factors usually shape these behaviors. Eating habits encompass a wide range, from healthy eating preferences to tendencies to avoid certain foods or overeat. Some important factors influencing eating behaviors are emotional states, cultural norms, social influences, food availability, and individual health awareness. In this study, the Eating Habits Questionnaire (DEBQ) used to measure eating behaviors particularly evaluates three main eating styles: Emotional Eating Refers to individuals' tendency to consume food in response to emotional states such as stress, sadness, or loneliness.External Eating: Refers to individuals' tendency to eat in response to external factors such as the appearance, smell of food, or environmental stimuli. Restrained Eating: Refers to individuals' efforts to restrict food intake consciously for weight control or health reasons. Mindfulness is the ability to be consciously aware of the present moment and accept these experiences without judgment. This concept is considered important in supporting mental health and is often developed through meditation and mindfulness practices. Mindfulness can help individuals better manage their thoughts and emotions, enhance their ability to cope with stress and improve their overall quality of life. The Mindful Attention Awareness Scale (MAAS), used to measure mindfulness levels, evaluates how aware and conscious individuals are in their daily lives. Mindfulness also plays an important role in regulating eating behaviors; more mindful individuals may be more successful in coping with emotional triggers and developing healthier eating habits. Anxiety is a state of intense worry and concern that individuals feel in response to potential future dangers or uncertainties. Anxiety can manifest with both mental and physical symptoms and can negatively impact individuals' daily lives. Physical symptoms can include rapid heartbeat, sweating, trembling, and shortness of breath, while mental symptoms can include constant worry, restlessness, difficulty concentrating, and insomnia. The Beck Anxiety Inventory (BAI) used to measure anxiety levels aims to assess the levels of anxiety experienced by individuals objectively. High levels of anxiety can negatively affect individuals' eating behaviors; for example, some individuals may tend to overeat in states of anxiety, while others may experience loss of appetite. When examining the demographic data of the 86 psychology undergraduate students who participated in the study, it is observed that 91.9% of the participants are female and 8.1% are male. This distribution may reflect the typically higher number of female students in psychology departments. According to the research findings, no statistically significant relationship was found between sociodemographic variables such as gender, COVID-19 status, smoking/alcohol use, and body perception with eating behaviors, mindfulness levels, and anxiety. This indicates that these factors do not directly affect individuals' eating behaviors, mindfulness, and anxiety levels. However, it was determined that anxiety levels were significantly higher in individuals who smoke and drink alcohol. It is known that smoking and alcohol use increase anxiety levels and are often preferred as a method of coping with anxiety and stress, but in the long term, they can worsen anxiety. This finding highlights the negative impact of such substance use on psychological health among university students. Additionally, body perception was found to affect eating habits. This suggests that individuals with lower body perception are more likely to experience irregular eating behaviors. Body perception refers to the thoughts and feelings an individual has about their own body image and typically significantly impacts individuals' eating behaviors. Negative body perception can lead to emotional eating or restrictive eating behaviors. The study shows a positive and weak relationship between restrictive eating behavior and emotional eating behavior. This indicates that individuals who restrict their food intake for weight control may eat in response to emotional states. Emotional eating is the tendency to consume food to cope with emotional states such as stress, sadness, or loneliness. When combined with restrictive eating, the risk of developing eating disorders increases. A negative and weak relationship was found between emotional eating behavior and mindfulness. This suggests that individuals with high levels of mindfulness are less likely to eat in response to emotional triggers. Mindfulness is the ability to accept the present moment without judgment and manage thoughts better. High mindfulness levels enable individuals to cope with stress and emotional states more healthily, reducing emotional eating. A negative and moderately significant relationship was determined between anxiety level and mindfulness. This suggests that high mindfulness levels can reduce anxiety levels. Mindfulness techniques can help individuals better manage their anxieties and stress, positively impacting overall mental health. The study provides important findings to understand the complex relationships between university students' eating behaviors, mindfulness, and anxiety levels. Particularly, the negative impact of smoking and alcohol use on anxiety and the effect of body perception on eating habits are critical points to be targeted in interventions in these areas. Increasing mindfulness levels can help individuals develop healthier eating behaviors and reduce anxiety. Therefore, it is recommended that mindfulness training and psychological support programs for university students be developed. Such programs can improve students' stress management skills, adopt healthy eating habits, and enhance overall mental health. In conclusion, this research reveals the relationships between eating behaviors, mindfulness levels, and anxiety, paving the way for further research and developing strategies to improve student health. Universities and healthcare providers need to adopt holistic and supportive approaches to meet students' needs in these areas. International Journal Of Humanities And Art Researches 2024-09-16T22:43:05Z Research Article application/pdf eng https://ijhar.net/paper/download?id=335 ISSN: 2687-4385 https://ijhar.net/paper/download?id=335 International Journal of Humanities and Art Researches, September 2024 , Issue: 3 , Volume: 9 , Pages: 227-247 https://ijhar.net/paper/download?id=335 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/334 2024-09-16T22:42:59Z 13

Analyzing The Images Of Perception, Action And Emotion İn The Context Of Art And Philosophy Through The Main Character Of Ezel Tv Series Dr.. Serhat TOPTAŞ Öğr.Gör.,Erdal,Gültekin İmge, Algı, Eylem, Duygulanım, Hareket- İmge Philosophical criticism means analyzing/explaining the values that humanity has created since the beginning and the phenomena that take place today with these values, as well as trying to understand the reflections of works of art by criticizing them. Since the basis of philosophical criticism is human beings, it may not be possible to make a healthy criticism without verbal and non-verbal discourses or visual expressions that convey human feelings and emotions. When analyzing a work of art, the method of philosophical criticism looks at the purpose of the message that gives meaning to the work and examines the effect of the animate or inanimate object that adds value to the work. The study examines how the characters' stages before taking action develop according to their perception, actions, and affect images under the subheadings of the movement-image approach. The study population includes all TV series broadcast on television in Turkey. The Ezel series was chosen as the sample because it was the most watched series of the period, and the main character was given in the first episode with a double personality. A purposive sampling method was used for the study. Another point that distinguishes the narrative from other series narratives is that the main character, who interacts with visual images, always returns to the past and tells how the story of the object he interacts with develops. The character change and the interaction with the objects created a new intermediate story (scene) based on the past within the series. This study identified and analyzed the three main stages (drama, action, crime) that these objects affect. In the findings and results of the study, it was concluded that the character waits in an interval to establish a relationship between the object and the event, that the character creates the action from a new center according to the result of the interval, and that every action has a starting point. International Journal Of Humanities And Art Researches 2024-09-16T22:42:59Z Research Article application/pdf eng https://ijhar.net/paper/download?id=334 ISSN: 2687-4385 https://ijhar.net/paper/download?id=334 International Journal of Humanities and Art Researches, September 2024 , Issue: 3 , Volume: 9 , Pages: 210-226 https://ijhar.net/paper/download?id=334 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/336 2024-09-16T22:42:51Z 2

Antroposen Çağında Tekno-Teatrallik ve Sanat Eleştirisi Dr.. Çağatay OLGUN Öğr.Gör.,Erdal,Gültekin art criticism, epistemology, anthroposene, theatricality, techno- theatricality This study examines the devaluation of art and art criticism in contemporary economic conditions from an epistemological perspective. It explores how the domination of capital over knowledge and the process of dumbing down have led to the devaluation of art objects and criticism. The theoretical framework of the research is built on concepts of cultural capital and power-knowledge relations. The proposed concept of “techno-theatricality” is used to analyze the impact of technology on art. As a terminological proposal, techno-theatricality is descriptive of contemporary art's technical, aesthetic and epistemological character. It is based on Michael Fried's emphasis on "theatricality" instead of art. The concept represents artists' misleading experience of reality by abstracting objects and actions from their context. The dominant effect of techno-theatricality is to reshape the dynamics between knowledge, reality and the perceiver through normative conflicts that emerge through technology. While isolating art from critical consciousness, it massifies a mediocrity centred on consumption and entertainment through theological allusions to technology. The historical development of art criticism and its transformation under modern economic conditions are considered within the context of cultural capital and power-knowledge relations. The theory of cultural capital is an important tool for understanding the economic and social context of art objects and criticism. Power-knowledge relations explain how knowledge is manipulated and controlled. The proposed concept of “techno-theatricality” offers a critical analytical framework for understanding how technology transforms art into a spectacle and commodity, impacting art criticism. Existing literature on the crisis of art criticism highlights various economic, cultural, and political factors contributing to this crisis. However, these studies do not sufficiently address the epistemological transformations underlying the issue. The literature has not adequately explored the simplification of knowledge by capital and its effects on art criticism. This study aims to fill this gap by providing a more comprehensive view of the current crisis in art criticism. This research employs qualitative research methods. Literature review and case studies constitute the main data collection methods. The literature review aims to understand the existing theoretical framework and reveal how art and art criticism are affected under contemporary economic conditions. Case studies analyze the concrete examples of the domination of capital over knowledge. The findings indicate that art and art criticism have significantly transformed under contemporary economic conditions. The domination of capital over knowledge has led to the devaluation of art objects and criticism, transforming art criticism into a tool serving economic interests. The concept of “techno-theatricality” reveals how technology transforms art into a spectacle and commodity, leading to the loss of depth and critical nature in art criticism. The quality of art criticism is shaped by rules imposed by capital, redefining the object of criticism as the surrounding rules. The simplification of knowledge and its easy consumption by the masses result in the loss of depth and contemplative quality in art criticism. Art criticism is now seen as a tool for entertainment and consumption rather than informative and thought-provoking. Techno-theatricality, as a significant component of this process, causes art objects to adopt a technologically enchanting and consumption-oriented character. The findings help us understand the current crisis in art criticism and the economic and epistemological dynamics underlying this crisis. Under the influence of the knowledge economy and capital accumulation, art criticism has undergone a significant transformation. The concept of techno-theatricality is used to understand the impact of technology and capital on art and how these influences shape criticism. In this context, the purpose of criticism is not only to reveal the value of art but also to critically evaluate the impact of economic and technological transformations on art. This study emphasizes the need for redefining art criticism and preserving critical thinking. Techno-theatricality reveals how art is directed by economic and technological forces and how this process affects the quality of critical art. Shedding light on the current crisis in art criticism, this study provides strategic suggestions for strengthening critical thinking and ensuring the art world's future. This research is limited to examining the transformation of art criticism and the domination of capital over knowledge. One of the main limitations of the study is that the data used are qualitative and limited to case studies. This limitation affects the generalizability of the findings. The implications of the research are summarized as raising awareness about the current state of art criticism and providing a basis for future studies in this area. Emphasizing the need for a critical stance against the simplification of knowledge and the domination of capital over knowledge is a significant contribution of this study. The use of the concept of techno-theatricality offers a new perspective to understand the current state of art and criticism. This research is original in examining the devaluation of art and art criticism in contemporary economic conditions from an epistemological perspective. It addresses how the domination of capital over knowledge and the simplification of knowledge lead to the manipulation and devaluation of art criticism. Additionally, the proposal of the concept of “techno-theatricality” provides a new analytical framework to understand the transformation of art criticism today. The value of the research lies in shedding light on the current crisis in art criticism and analyzing the economic and epistemological dynamics underlying this crisis. This is crucial for determining the future directions of art criticism and the strategies needed to preserve critical thinking in this field. The concept of techno-theatricality is a valuable tool for understanding how art is shaped by technology and capital and how this transformation affects the quality of critical art. In conclusion, this study reveals the devaluation of art and art criticism and the epistemological foundations of this process under contemporary economic conditions. It emphasizes how the domination of capital over knowledge and the simplification of knowledge change and devalue the quality of art criticism. The concept of “techno-theatricality” analyzes how technology transforms art into a spectacle and commodity, highlighting the necessity of preserving art criticism's depth and critical nature. This study sheds light on the current crisis in art criticism and provides strategic suggestions for strengthening critical thinking. Redefining art criticism and strengthening critical thinking are vital for the art world's future. International Journal Of Humanities And Art Researches 2024-09-16T22:42:51Z Research Article application/pdf eng https://ijhar.net/paper/download?id=336 ISSN: 2687-4385 https://ijhar.net/paper/download?id=336 International Journal of Humanities and Art Researches, September 2024 , Issue: 3 , Volume: 9 , Pages: 248-276 https://ijhar.net/paper/download?id=336 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/337 2024-09-16T22:42:44Z 2

İki Dilli Türk Çocuklarının Yazılı Anlatım Çalışmalarının İki Dillilik Bağlamında Değerlendirilmesi: New York Örneği Doktora. Ezgi DADAŞ Öğr.Gör.,Erdal,Gültekin Bilingualism, Teaching Turkish to Bilingual Children This research was conducted to bring to the fore the problem of bilingual Turkish children living in America learning their native language and to solve this problem, to prevent a generation from growing up without knowing the language, culture, and traditions of their country, to be conducive to the start of projects to be carried out by the state and to pioneer studies on this subject. It is needed for reasons such as. The number of studies on bilingualism among Turkish children living in America is relatively low. When the studies were examined, only one study was found to determine the written expression skills of bilingual children living in America. The studies generally provide information about Turkish teaching in America and the syllabuses and textbooks used while teaching Turkish. Therefore, it is essential to investigate the bilingualism of Turkish children growing up in America and to determine the current status of their knowledge and skills regarding their native language. In addition, this issue is essential in children's acquisition of belonging and identity and in developing their communication skills. There are various reasons for the problems experienced by our children living in America regarding learning and using Turkish and their belonging to the Turkish identity. These reasons can be listed as follows: In the United States, it is necessary to reach a sufficient number of students to provide education in the native language in schools at primary, secondary, and high school levels. Native language courses are taught as elective courses in schools, depending on the students' choices. Unfortunately, due to the low demand for Turkish lessons and the fact that Turks are distributed in many different states throughout America, unity on this issue has yet to be achieved. For this reason, our children are deprived of their right to receive education in their mother tongue. Due to the inability to provide education in the mother tongue, Turkish language schools were opened under Turkish-American associations to meet the need. However, these language schools opened under associations conduct their lessons online, mostly with Turkish teachers living in Turkey. Because it is pretty challenging to find a teacher in America who is an expert in his field and can teach Turkish to bilingual children. Therefore, the efficiency of online training decreases compared to face-to-face training. Another institution where Turkish is taught in America is community-based Turkish mother tongue schools. These schools are essential but cannot have the desired effect because classes are held only once a week and in minimal hours. Language schools opened under associations, and community-based Turkish mother-tongue schools are unavailable in every state. Therefore, many Turkish children cannot benefit from these opportunities. It is known that teachers working under the Ministry of National Education are assigned to some schools in Europe. This issue should not be carried out only with teachers in the Ministry of National Education. Researchers who have postgraduate studies on bilingualism and have improved academically should also be considered. However, opportunities remain limited due to the lack of a policy on this issue. Experts who want to teach Turkish abroad must have a work and residence permit in the USA to carry out their duties; this situation is not an issue a person can overcome alone. The support of state officials is required here, but unfortunately, there is no work on this subject. Due to the dense Turkish population in Europe, while many projects are carried out for bilingual children living in Europe, there are very few projects for children living in America. Institutions that teach Turkish to children in America follow different curricula. When the curriculum followed by the institutions is examined, it is seen that the knowledge and skills that each school aims to provide are different. Some parents think there is no need for a school to teach Turkish and that their children can learn Turkish at home in the family environment. Bilingual Turkish children living in various states of America go to Turkish language schools and learn both the Turkish language and Turkish culture. This study aims to evaluate the written expression works of 6 students, aged 9-11, from a Turkish school in New York, using the "false analysis method" and examine their language views in bilingualism. Students were asked to create a written expression, "Describe your best day." The research data was obtained through document analysis. The scanning technique examined written expression data obtained from first-hand sources, and prominent errors were identified and classified according to their frequency. Accordingly, it was understood that the students made the most spelling, punctuation, grammar, and phonology mistakes. These errors have been revealed by considering the principle of error analysis, linguistic development, and the achievements stated in the common framework of European languages. The mistakes were evaluated, and suggestions were made to solve the problem. This study will help organize the education plans of bilingual Turkish children in America according to their needs and provide effective native language teaching. In addition, it is thought that this study will contribute to updating existing research by revealing the current situation of bilingual Turkish children living in America, directing new studies, and helping to develop a systematic language policy for Turkish education in America. International Journal Of Humanities And Art Researches 2024-09-16T22:42:44Z Research Article application/pdf eng https://ijhar.net/paper/download?id=337 ISSN: 2687-4385 https://ijhar.net/paper/download?id=337 International Journal of Humanities and Art Researches, September 2024 , Issue: 3 , Volume: 9 , Pages: 277-292 https://ijhar.net/paper/download?id=337 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/333 2024-09-16T22:42:39Z 5

Yapay Zekâ ile Üretilen Sanat Eserlerinin Küratörlüğü Arş.Gör.. Özge KALYONCU FIRAT Öğr.Gör.,Erdal,Gültekin Artificial Intelligence, Curatorship, Digitalization, Art, Curator Art provides a vast realm of expression by offering humans a space for creation. This realm fosters an interdisciplinary interaction environment influenced by all events and situations. The opportunities brought by advancing technology and the potential created by digitalization add new creative partners to individuals who are creative subjects. Now identified as algorithms and various creative applications and models based on artificial intelligence, these partners collaborate with humans, giving rise to new artistic expression fields emerging from human-machine collaboration. With their inherent potential, these new fields of expression enable artists and designers to create new forms and styles. This creative pursuit is relevant for individuals producing art objects and those presenting, exhibiting, or bringing these objects to audiences. In this quest for new creative spaces, curators are embarking on a quest to develop innovative narratives to present algorithm-based artworks. Artificial intelligence, with its offered possibilities and capabilities, has the potential to be a new tool of artistic expression for artists and designers. This potential is sometimes used as a tool, as a goal in creating art, and sometimes for aesthetic concerns. The relationship between artificial intelligence and visual arts arises in the production process of art and how artworks are exhibited and presented. The evolving face of art through digitization enables the collaboration between artificial intelligence and human creativity in producing artworks, raising questions regarding these pieces' curation. In this context, the new definitions added to the concept of curation and the roles attributed to the curator subject necessitate new curatorial approaches. With changing curatorial practices, we present artworks emerging within human-machine creativity as interaction-focused experiences position artists, viewers, and curators within a shared sphere of interaction. This situation also brings about a new phenomenon of digital curation, departing from traditional curatorial understanding. The existence of digital curation obliges interdisciplinary art to maintain its presence as a dynamic structure. This necessity arises from the digital art object, which is inherently structured to store and present data on computer- and internet-based platforms. The digital curation necessary for digital-based art objects to interact with participants in a physical space also requires various technical knowledge and practical application methods. On occasions, mastery over various technological devices in a physical space, ranging from setting up a large-scale projection screen for video mapping to configuring a Kinect camera, has become a defined role for the curator. All these new roles apply to physical spaces and necessitate significant data curation in the presentation of algorithmic artworks exhibited in digital environments. In this study, the curation of artworks generated by artificial intelligence is examined through examples while also briefly addressing the concepts of artificial intelligence and curation, along with their histories. The relationship between artificial intelligence and visual arts has been explored, with examples of artworks generated by artificial intelligence provided. The transformation of curation through digitalization was examined in the research, and the issue of curating artworks generated by artificial intelligence, which is the study's starting point, was discussed through curatorial practices. In the theoretical framework, this study discusses the exhibition and presentation of artworks generated by artificial intelligence through evolving curatorial approaches in historical and cultural contexts, along with fundamental concepts and questions. The research's starting point is to seek answers to the question: 'Which curatorial approaches are required for the exhibition and presentation of artworks generated by artificial intelligence?' The research problem is supported by analysis and interpretations based on current approaches found in the literature. The article, which examines artificial intelligence, one of the most current issues in art, through the lens of the curatorial phenomenon, aims to reveal how the curation of art generated with artificial intelligence takes place and the requirements of digital curation in these exhibitions. This study holds significance for digital curators and new media artists who produce works with artificial intelligence, as it discusses the new roles attributed to curators in a current context. The topics covered within the scope of the study were researched using the descriptive literature review method, and selected examples supported the research. With this study, the foundations of new approaches required for the curation of artificial intelligence have been laid out, and the possible outcomes that will emerge during the transformation from traditional curatorial structures to contemporary curatorial practices have been highlighted. While defining the new roles and responsibilities of the curator, this study addresses the curation of artworks produced by artificial intelligence as a current discussion. International Journal Of Humanities And Art Researches 2024-09-16T22:42:39Z Research Article application/pdf eng https://ijhar.net/paper/download?id=333 ISSN: 2687-4385 https://ijhar.net/paper/download?id=333 International Journal of Humanities and Art Researches, September 2024 , Issue: 3 , Volume: 9 , Pages: 191-209 https://ijhar.net/paper/download?id=333 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/328 2024-06-19T10:45:17Z 2

Tarihsel Üstkurmacada Hikâye Anlatımı ve Travma: Penelope Lively’nin Ay Kırıkları Romanı Öğr.Gör.. İsmet Toksöz Öğr.Gör.,Erdal,Gültekin storytelling, historiographic metafiction, trauma narrative, war trauma, trauma fiction This study explores storytelling as a narrative strategy in Penelope Lively’s novel Moon Tiger within the context of historiographic metafiction. This study is important for the field since it explores storytelling as a narrative strategy in historiographic metafiction. The study argues that Penelope Lively employs metafictional elements to demonstrate that storytelling can heal characters experiencing war trauma, challenging the conventional boundaries between fiction and history. The protagonist, Claudia, engages in a fragmented narrative, questioning the concept of time and presenting alternative versions of history. The study examines Claudia’s nonlinear storytelling, her skepticism toward objective history, and her exploration of the subjective nature of memory. The study emphasizes Claudia’s personal history as a form of resistance to the official history and highlights the novel’s contribution to developing historiographic metafictional elements. Lively’s Moon Tiger is portrayed as a thought-provoking exploration of the interplay between personal and official histories, inviting readers to reconsider traditional notions of historiography. Ultimately, this study claims that it is only through verbalizing traumatic war experiences that the characters in the novel can reveal, present, and confront their war traumas. The small stories they construct serve as a relief for their traumatic war pains. In these stories, the protagonists sometimes modify, change, or hide the truths about their traumatic war experiences as an outcome of their traumatic memories. This study demonstrates that storytelling is a beneficial narrative strategy for revealing, presenting, and confronting traumatic war pains for individuals and communities. International Journal Of Humanities And Art Researches 2024-06-19T10:45:17Z Research Article application/pdf eng https://ijhar.net/paper/download?id=328 ISSN: 2687-4385 https://ijhar.net/paper/download?id=328 International Journal of Humanities and Art Researches, Haziran 2024 , Issue: 2 , Volume: 9 , Pages: 103-113 https://ijhar.net/paper/download?id=328 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/329 2024-06-19T10:45:11Z 5

Tekstil Baskı Desenlerinde Renk Ögesi Üzerine Bir Araştırma (1960 – 1970) Öğr.Gör.. Hande Bilvar ; Doç.Dr.. Özlem Uslu Öğr.Gör.,Erdal,Gültekin Textile, Color, Print, Pattern, Print&Pattern, Emilio Pucci, 1960’s Exploring archaeological findings reveals a fascinating narrative of human civilization's journey, dating back thousands of years. These findings chronicle humanity's quest to meet basic survival needs and illuminate a profound engagement with the aesthetic realm, mainly through the coloring and patterning of flat surfaces. This engagement is not a modern phenomenon but a practice that traces its origins back to the prehistoric period, signifying a deep-seated impulse towards artistic expression and aesthetic fulfillment. The paintings adorning cave walls, the symbols meticulously carved into stones, and the vibrant hues that brought textile products to life all testify to our ancestors' innate desire to transform imagery into tangible forms and articulate their identity and worldview. This preference for natural dyes, derived from plant leaves, roots, and fruits, underscores a symbiotic relationship with the natural environment, harnessing its bounty to fulfill aesthetic yearnings. Similarly, using minerals and pigments extracted from the earth reflects an early form of innovation, leveraging available resources to bring color and vibrancy to their creations. While shrouded in the mists of time, the genesis of these practices is speculated to have commenced during the Neolithic Period. This era marks a pivotal moment in human history, characterized by the advent of agriculture and sedentary communities, which fostered the development of crafts such as weaving and pottery. Within this context, the foundational efforts in textile patterning and coloring must be situated, reflecting not merely an endeavor to beautify but a complex interplay of functional, social, and symbolic considerations. The evolution of textile patterning and coloring from monochromatic simplicity to a rich tapestry of colors and complex patterns mirrors the broader trajectory of human cultural and technological advancements. This progression is emblematic of a ceaseless quest for innovation, an endeavor to push the boundaries of existing knowledge and techniques. The mastery of dye fixation techniques, enabling the creation of enduring and intricate patterns on textile surfaces, represents a significant technological leap. This advancement facilitated the transition from the simplistic to the sophisticated, enabling the creation of textiles that were not only practical but also conveyed status, identity, and cultural values. Textile printing, an art form that spans millennia, embodies the culmination of these efforts. From the initial experiments with Batik, a method that involves dyeing fabric with a resist to create patterns, to the diverse techniques developed over centuries, textile printing is a testament to human creativity and ingenuity. With its rich heritage and enduring appeal, Batik highlights the continuity of tradition alongside the innovation that characterizes the field of textile design. The focus on the 1960-1970 period offers a lens through which to examine the significant transformations that have shaped the use of color in textile print patterns. This era, marked by socio-economic upheavals, technological breakthroughs, and a flourishing artistic expression, witnessed a radical reimagining of textile design. The interplay between these diverse factors catalyzed a departure from conventional norms, ushering in a period of vibrant experimentation and bold innovation. The literature review conducted as part of this research delves into the patterns, colors, forms, and narratives that defined this dynamic period. This study aims to unravel the complex interrelations between color use, technological advancements, and the socio-cultural context by focusing on the documents and designs emanating from these two decades. The significance of print patterns in shaping the fashion landscape of the 1960s, influenced by the ethos of the flower children, encapsulates the spirit of the times. Their pursuit of freedom and self-expression found resonance in the textile designs of the era, characterized by a riot of colors, complex patterns, and a departure from traditional aesthetics. This exploration into color psychology, consumer behavior, and aesthetic preferences through the prism of textile print patterns opens new avenues for understanding the multifaceted relationship between art, society, and technology. The implications of these findings extend beyond the confines of fashion and design, offering insights into the cultural and psychological underpinnings of aesthetic choices. In conclusion, this study chronicles the evolution of color usage in textile print patterns during a transformative period. It highlights the broader cultural, social, and technological shifts that informed these changes. The exploration underscores the enduring importance of color and pattern in human culture, serving as a medium of expression, a marker of identity, and a reflection of societal values. Through the lens of textile design, we gain a deeper appreciation of the intricate dance between tradition and innovation, art and technology, individual creativity, and collective cultural identity that defines the human experience. International Journal Of Humanities And Art Researches 2024-06-19T10:45:11Z Research Article application/pdf eng https://ijhar.net/paper/download?id=329 ISSN: 2687-4385 https://ijhar.net/paper/download?id=329 International Journal of Humanities and Art Researches, Haziran 2024 , Issue: 2 , Volume: 9 , Pages: 114-139 https://ijhar.net/paper/download?id=329 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/330 2024-06-19T10:45:04Z 2

Noktalama İşaretleri ile İlgili Yayımlanan Tezlerin ve Makalelerin İncelenmesi Prof.Dr.. Gökhan ARI ; Doktora. Gamze YILMAZ Öğr.Gör.,Erdal,Gültekin Punctuation, Spelling and Punctuation, Tendency Determining the trends of theses and articles written on punctuation marks is essential in revealing the general characteristics and problems of academic studies in the field and making suggestions for new studies. This study aims to determine the trends of articles and theses published on punctuation marks in terms of university, year, journal name, study approach, research model and design, data collection techniques, and data analysis. Within the scope of the research, a total of 70 studies, 37 articles, and 33 theses were analyzed. In this research, which was designed as a qualitative case study, the data were obtained through document analysis and analyzed by content analysis and descriptive analysis. According to the research results, the articles on punctuation marks were mostly published in "Mother Tongue Education" and "Turkish Studies" journals. Most thesis studies on the subject were conducted at Erzincan Binali Yıldırım University. It has been observed that there has been a continuous increase in the number of theses and articles on the subject over the years. According to the research results, it was determined that two authors mostly wrote the articles on punctuation. Looking at the number of participants, it was seen that the participants were mostly between 1-50 people. When the participant characteristics were examined, it was seen that students were mostly preferred, and among these students, primary and secondary school students were mostly preferred. As a participant selection method, it was seen that the most common method used was random/non-random/random/non-selective. It was seen that qualitative studies were the most prominent approach, the survey model was preferred as a research model, and the data collection techniques and data analysis methods used in the studies differed from each other. Notably, there needed to be a study on punctuation marks in which a mixed approach was used. In most of the studies, it was noteworthy that the elements such as model, design, and sample selection, which should be specified in the method section, were not specified. For this reason, it wasn't easy to understand and interpret the studies as a whole. It was seen that many studies were conducted to determine the level of students who were punctuated, and there were also studies conducted to provide information about punctuation and to determine the situation. In most of the studies within the scope of the research, it was stated that students' level of knowing and using punctuation marks needed to be increased. Considering all the studies on the subject, the punctuation mark that students use most correctly is the period, and the mark on which they make the most mistakes varies. It was observed that approximately half (48.57%) of the theses and articles on punctuation marks were evaluated together with the subject of spelling rules. Since the primary purpose of the studies was to measure students' written expression skills, these two subjects were evaluated together. However, although spelling rules and punctuation marks are seen as a whole in written expression, they are fundamentally different subjects. Although there are studies in which these two topics are evaluated separately, the number of studies in which these two topics are evaluated together is also considerable. This situation prevents the determination of students' level of spelling or punctuation separately. For this reason, as a research proposal, it was suggested that these two topics should be examined and evaluated separately. The research will likely contribute to the studies on punctuation. Qualitative designs are more prominent in the studies. A mixed-method study in which qualitative and quantitative methods are used together can provide a more objective evaluation of the experiment or measurement of the subject. Since there is no mixed-method study on punctuation, mixed-method studies may be needed in terms of design. It is seen that there are significant problems in the studies on this subject examined under the title of "data collection." In most studies, how the data were collected is given superficially, and it is not understood what the participants did or even what was done while analyzing the data. For these reasons, the procedures carried out in the research should be explained in detail and transparently in these sections. In the publications examined, studies in which the participants were selected from secondary education are minimal. Punctuation practices and activities, the foundation of which is laid in primary school and diversified in secondary school, should actually be studied more in high school because students are expected to gain experience during this period. In addition to the results of the studies, our observations and experiences show that students' various inadequacies in punctuation are also observed at associate and undergraduate education levels. Even the same situation may be the case with prospective teachers. Considering that students of classroom teaching, Turkish language teaching, Turkish language, and literature teaching will teach this subject when they become teachers, their knowledge, use, and teaching of punctuation marks should also be included in punctuation studies. For these reasons, the sample/participant selection in new studies should be transferred to high school and higher levels. International Journal Of Humanities And Art Researches 2024-06-19T10:45:04Z Research Article application/pdf eng https://ijhar.net/paper/download?id=330 ISSN: 2687-4385 https://ijhar.net/paper/download?id=330 International Journal of Humanities and Art Researches, Haziran 2024 , Issue: 2 , Volume: 9 , Pages: 140-159 https://ijhar.net/paper/download?id=330 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/331 2024-06-19T10:44:57Z 5

Çağdaş Sanat Pratiklerinde Göç ve Kimlik Temsilleri Doç.Dr.. Ebru DEDE Öğr.Gör.,Erdal,Gültekin Contemporary Art, Interdisciplinary Art, Globalization, Migration, Identity. Migration is one of the prominent themes of contemporary art and one of the most common research topics in the field of social sciences that deals with social problems. This article aims to ensure that both immigrants and local people understand how migration affects human identity, to show that contemporary art as an interdisciplinary study can benefit this issue, and to discuss aesthetic expectations for contemporary art. Nowadays, interdisciplinary studies have become quite common. Like other fields, art includes practices that can provide a common working area with many disciplines. Social sciences are one of the primary areas in which art cooperates. Interdisciplinary studies between arts and social sciences mainly concern cultural issues. People benefit from various channels to express themselves individually in the changing socio-political environment. The research has been designed with a scanning model and interpreted based on data from the relevant social sciences according to the themes of contemporary art examples. The findings obtained in the research are discussed in five sections. The first section, titled 'Representations of Identity In Contemporary Art,' aims to provide a basis for the research before moving on to the effect of immigration on identity by briefly summarizing that the theme of identity has been the focus of attention of contemporary artists in various aspects in recent years. This section also includes aesthetic discussions of contemporary art. Contemporary art examples related to the theme of migration are divided into four sections. In this context, it is limited to the individual effects of migration, such as lack of belonging, alienation, identity uncertainty, and the universal effects of globalization. The study reveals how contemporary artists produce works that can explain social problems with more creative solutions, using different techniques and interdisciplinary application methods, and thus make the phenomenon of migration, which is the subject of research in various disciplines of social sciences and one of today's important problems, better and more understandable. However, artistic solutions that differ from the expectations of art lovers cause aesthetic debates. International Journal Of Humanities And Art Researches 2024-06-19T10:44:57Z Research Article application/pdf eng https://ijhar.net/paper/download?id=331 ISSN: 2687-4385 https://ijhar.net/paper/download?id=331 International Journal of Humanities and Art Researches, Haziran 2024 , Issue: 2 , Volume: 9 , Pages: 160-174 https://ijhar.net/paper/download?id=331 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/332 2024-06-19T10:44:42Z 13

Görsel Kimlik Tasarımında Yerel Unsurların Önemi Doç.Dr.. Elif TARLAKAZAN ; Doç.Dr.. Burak Erhan TARLAKAZAN Öğr.Gör.,Erdal,Gültekin Design, Brand, Institutional Identity, Local Identity. Today, cities have historical, geographical, architectural, social-cultural values, etc. Some local features and differences create some advantages, differentiating towns from each other in terms of awareness. This situation creates urban memory and recognition; It highlights the concept of visual identity and branding. Visual identity is a discipline that involves the design and use of visual elements that a brand or organization uses to create a unique and recognizable look and feel. Visual identity design can include many elements, from the brand's logo to the color palette, typography, packaging design, and advertising materials. Local elements and geographically indicated products are essential in the branding process. Local elements are unique and defining elements that a brand or organization can use in its visual identity for a specific geographical region or cultural community. Local elements can help the brand create a stronger connection and better communication with its target audience in that region and increase their emotional commitment. In addition to the historical, cultural, and natural beauties of the cities, local characteristics such as symbols, colors, inhabitants, products, and tastes are the elements that differentiate towns from each other and gain identity. Identity can be defined as a concept expressed by documents, cards, numbers, or other identifiers containing identifiable characteristics and information that indicate a person's or object's uniqueness. Urban identity can be expressed as creating a memory of our city by giving human meaning to the features and visual elements that distinguish one town from another. This study aims to reveal the importance of local features in creating cities' visual identities and examine the impact of these features. The survey model, one of the qualitative research methods, was used. In line with the information obtained, suggestions have been developed to increase awareness regarding visual emphasis and design approach to local factors in creating visual identities of cities. International Journal Of Humanities And Art Researches 2024-06-19T10:44:42Z Research Article application/pdf eng https://ijhar.net/paper/download?id=332 ISSN: 2687-4385 https://ijhar.net/paper/download?id=332 International Journal of Humanities and Art Researches, Haziran 2024 , Issue: 2 , Volume: 9 , Pages: 175-190 https://ijhar.net/paper/download?id=332 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/323 2024-03-19T15:47:45Z 5

Resim Sanatının Porselen Yüzeylere Yansıması Yüksek Lisans. Özge KARABIYIK ; Prof.Dr.. Selda MANT MENAY Öğr.Gör.,Erdal,Gültekin Painting Art, Porcelain, Porcelain Painting Techniques Painting from the past to the present; It has been applied to the surfaces of all objects from inside the caves, from the human body to their clothes, from the objects of use to ornaments, from the doors to the furniture. Porcelain, one of these materials, can be fired in different ways and painted with different techniques. Considering the history as a canvas, the porcelain surface, which forms the basis for hunting scene, miniature, religious scenes and landscape paintings, has been a source of inspiration with its flawless, aesthetic, white and transparent appearance. Porcelain, which is defined as a translucent, hard and at the same time fragile product with eye-catching aesthetics and beauty, has generally been used as a daily item and artistic object in world history. Porcelain has taken its place in art today, with the search for alternative materials by artists, and the use of porcelain surfaces has become increasingly popular in recent years. From past to present, painting has been applied to the surfaces of different objects. Man has adorned and beautified everything around him with his aesthetic perception in his artistic process. First of all, he turned to the beauty of the crockery, which he feeds, which he really needs. Porcelain, which first comes to mind when it comes to plates, is an important element of the ceramic group, which is produced from natural raw materials and where the oldest products in history are made. It was first invented by the Chinese. It is a material that can be cooked in different ways and illustrated with different techniques. Looking at history, it is seen that porcelain surfaces with their aesthetic, white and transparent appearance form the basis for various types of painting. The aim of this study is to reveal the reflection of the painting, which has been used as a means of expression by human beings from prehistoric times to the present, on porcelain surfaces. In the research, the use of porcelain surfaces in painting, their techniques, examples and applications in this field were discussed, Picasso and Kandinsky, who included porcelain in their works from history, were examined as exemplary artists, and contemporary ceramic artists such as Grayson Perry, Paul Scott, Ai Weiwei, Livia Marin, Betty Woodman and their works were also included. has been given. The research, which was designed in the scanning model, is limited to four application studies. In the application study, the types of over-glaze hand decoration technique and various painting techniques took place on four glazed porcelain objects produced in the factory environment, without changing the form and function of the porcelain. The increase in demands as a result of industrial development has brought different techniques in porcelain decorations. These techniques are applications made by using different methods under glaze and on glaze with the aim of adding aesthetic value and different expressions to porcelain products whose shaping process has been completed. Today, the painting techniques applied to porcelain surfaces add aesthetic value to the product, add new meanings and increase its commercial value. Pictorial applications reflected on porcelain forms and surfaces have been made by many artists. Picasso gave new looks to ordinary objects of daily life by coloring plates, bowls, flower pots and jugs, which are indispensable elements of still life paintings, and transformed ordinary objects into works of art. The painting and design samples made by the artist for the purpose of decorating porcelain surfaces are in St. These are the decor designs made for the porcelain product groups produced by the St. Petersburg State Porcelain Factory. In the application work carried out to show the reflection of the art of painting on porcelain surfaces, different painting techniques were used on the surface of the glazed porcelain produced in the factory environment, without changing its form and function. The transformation of porcelain into an alternative material for painting is emphasized. In this transformation, the over glaze hand decoration technique was applied to the porcelain surface with all its types, and the application stages were explained with photographs. As a result, it is thought that the art of painting will provide artists with the opportunity to express their creativity through new materials and techniques, and will add new dimensions to the art world with the application studies on porcelain surfaces. In this study, which emphasizes the techniques of painting on the porcelain surface, the techniques related to the subject are explained and it is thought that it will be a resource for those who are looking for new ways of expression with different materials. The artist also transfers the spirit of art to production. International Journal Of Humanities And Art Researches 2024-03-19T15:47:45Z Research Article application/pdf eng https://ijhar.net/paper/download?id=323 ISSN: 2687-4385 https://ijhar.net/paper/download?id=323 International Journal of Humanities and Art Researches, Mart 2024 , Issue: 1 , Volume: 9 , Pages: 12-32 https://ijhar.net/paper/download?id=323 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/324 2024-03-19T15:47:39Z 5

Kitap Kapağı Tasarımlarında Biçim ve İçerik Uyumunun Göstergebilimsel Yöntem ile İncelenmesi; Kırmızı Pazartesi Örneği Doç.Dr.. Merve ERSAN ; Yüksek Lisans. Harika Bahar ÖZTOK Öğr.Gör.,Erdal,Gültekin Book cover, form and content harmony, novel, semiotic analysis. Books that host genres like essays, short stories, and novels establish their initial connection with readers through their covers. Book cover design is a vital visual element reflecting a book's content and theme. In book cover design, the breadth of the designer's imagination is as extensive as the subject of the book itself. Within these designs, the significant harmony between the content and form of books and their covers becomes evident. Semiotics, a field that examines the meaning and function of visual and symbolic language, can be employed to explore the relationship between form and content in design. Analyzing book cover designs from a semiotic perspective is crucial for comprehending the connection between form and content and deciphering the symbolic meaning conveyed by book covers. The semantic depth and visual language of book cover design facilitate readers in forming an initial understanding of the book's essence. This aspect of book covers plays a pivotal role in publishing and design strategies. In this study, the semiotic analysis of cover designs of Gabriel Garcia Márquez's "One Hundred Years of Solitude" is conducted. Six distinct cover designs published by Can Yayınları between 1982 and 2023 are deciphered using Roland Barthes' semiotic method within the contexts of denotation and connotation. The research explores the relationships between form and content. Cover design serves as the initial encounter point between the reader and the book. This space facilitates the reader's orientation towards the book, the establishment of a connection, and the decision to engage with it. Consequently, cover design must captivate with its uniqueness and striking elements, generating a tactile and exploratory sensation in the consumer. While book cover designers adopt various styles, they generally tend to opt for intriguing designs instead of directly revealing the book's content on the cover. Elements of design like color selection, typography style, and positioning of visual elements are sought to be harmoniously aligned with the book's content. For instance, the cover of a romantic novel might be adorned with vibrant hues and elegant fonts, whereas a crime novel might incorporate darker tones and bold lines. The cues the reader deduces from these elements could sway them towards picking up the book, or they might even be enticed solely by the visual imagery on the cover, satisfying their aesthetic senses. As the reader deciphers these visual signals, they could be inclined to acquire the book due to the insights they gather, or they might be captivated by the visual imagery on the cover, prompting them to make the purchase purely for its aesthetic appeal. The aesthetic structure and integrity of cover designs play a significant role in readers' processes of engaging with, perceiving, and obtaining a book. In book cover designs, there are both direct and indirect approaches in conveying information about a book's content to the reader. While some designs directly offer images that reflect the content and theme of the book, others incorporate elements of romance, mystery, suspense, or curiosity-inducing visuals that indirectly hint at the book's essence. Design elements such as imagery, color, symbols, codes, and metaphors can provide readers with clues about the book's genre, subject, characters, plot, settings, timeframes, and even its language. The direct narrative approach in book cover designs employs clear images that vividly portray the book's content and theme, whereas the indirect narrative approach, which can reveal underlying meanings through semiotic analysis, utilizes images with hidden connotations, resulting in a more sophisticated and multi-layered approach. As exemplified by the analysis of six different cover designs of Gabriel Garcia Márquez's "One Hundred Years of Solitude," different images and techniques are employed by designers to convey messages to readers at various times, showcasing the richness of the design world. In each designed cover, distinct visual codes and symbols are used to appeal to different demographic characteristics, interests, or reading habits of various mass groups. Most of the covers of "One Hundred Years of Solitude" contain references to the meanings and contents of dreams, while some focus solely on murder and its reasons, and others emphasize the bride, siblings, and townspeople. The presence of images like a door and a letter on one cover, and the absence of these on others, while the knife remains a consistent significant image across various designs, is noticeable. The semantic depth and visual language of book cover designs play a crucial role in enabling readers to form an accurate understanding of the book. Examining book covers from a semiotic perspective helps decipher the relationship between form and content, shedding light on the symbolic meanings embedded in the cover designs. Drawing upon this knowledge, this study analyzes six different cover designs of Gabriel Garcia Márquez's novel "Red Monday," published by Can Yayınları from 1982 to 2023, using Roland Barthes' semiotic analysis method. These designs, scrutinized in the context of both paradigmatic and syntagmatic relationships between form and content, incorporate various techniques such as photography, painting, collage, and illustration. Despite their diverse visual presentations, it is evident that none of the covers deviate from the harmony between form and content. Designers utilize techniques such as photography, illustration, collage, and graphics in creating these diverse cover designs, ensuring that none deviate from the harmony between form and content. Upon scrutinizing the visual imagery representing the form in these cover designs in the context of connotation, their alignment with the content is evident. Demonstrating the designers' strong connection to the text and their distinctive design approaches, these analyses employ Roland Barthes' semiotic concepts of the sign, signifier, and signified, effectively proving the harmonious alignment of visuals in cover designs with the subject matter in terms of form and content. Through semiotic analysis, it is concluded that all the images representing the form in these cover designs align coherently with the content in terms of connotative contexts. The mutual complementarity of the cover designs and the book's content demonstrates a strong connection between the designers and the text, emphasizing the significance of their relationship. International Journal Of Humanities And Art Researches 2024-03-19T15:47:39Z Research Article application/pdf eng https://ijhar.net/paper/download?id=324 ISSN: 2687-4385 https://ijhar.net/paper/download?id=324 International Journal of Humanities and Art Researches, Mart 2024 , Issue: 1 , Volume: 9 , Pages: 33-51 https://ijhar.net/paper/download?id=324 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/325 2024-03-19T15:47:33Z 5

Gıda Sektöründe Metal Ambalaj Öğr.Gör.. Gültekin ERDAL Öğr.Gör.,Erdal,Gültekin Food, packaging, metal, metal packaging. Packaging materials used in the food industry have various shapes and a wide range of functions. Selection of the most suitable packaging depends on many factors, especially the type of food that needs to be protected. In this sense, it can be said that significant progress has been made in food packaging in recent years and that metal packaging has made a significant contribution. In their simplest definition, metals are chemical elements with "metallic properties" or "metals properties." Such chemical elements include luster, thermal structure, electrical conductivity, high thermal conductivity, crystal structure, magnetization, and the ability to be permanently shaped or deformed at room temperature. There are many types of metals, even in their most typical forms. Metal is widely used as packaging and production material in many areas of industry. Especially in the packaging sector: industrial oil, paint, chemical substance boxes, two and three-piece canned food, tomato paste, oil, cheese, etc. Packaging many industrial products, such as food and beverage cans, provides significant advantages. The food packaging system emerged due to increasing global foodborne epidemics and related health and safety concerns. In this sense, packaging technology is essential to have information about the environment in which the shelf life of food products must be extended to optimize the entire packaging system because the structure and material of the packaging play an important role in determining the life of the food. The correct selection of packaging materials and technologies preserves the product's quality and freshness during distribution and storage. Among the materials traditionally used in food packaging, metals (aluminum, foils and laminates, tinplate, and tin-free steel) come first. Biobased packaging materials have a lower environmental impact than petroleum-based materials. Still, their properties must be well formulated to encourage industry use so much that packaging requires information about available materials, food, distribution system, shelf life, and environmental impact. Almost the majority of materials used in food packaging are metals. Elements used in food packaging are used in very pure form (aluminum) and metal alloys (steel, tinplate). Therefore, the production of food packaging products starts from mined ores and then refined to extract the metal. The initial concentration of the mineral and how it is formed will directly affect the costs associated with the final material. The most commonly used metals include elements and alloys such as aluminum, copper, steel, silver, brass, bronze, lead, tin, zinc, and gold. Almost every metal except gold and silver is used in the packaging industry. The most commonly used material in metal can production is undoubtedly steel. Metal boxes produced from different types of steel sheets are used as packaging for various products. Aluminum is used in the packaging of both carbonated and still beverages. Protecting processed food items is both a priority and a difficult task in terms of packaging. Regardless of the type of metal, metal packaging is advantageous in this regard. Metal packaging protects 100 percent oxygen, moisture, and light. It also has a structure that can prevent the entry of external parasites. In this regard, the safety of all kinds of metal eliminates the need to use gold and silver. Using precious metals other than those initially produced or ordered may not be economical for the investor. This article investigates the place and importance of metal as packaging in daily life. Metal packaging can often be a lifesaver, especially in sensitive sectors such as food. So much so that in the food industry, metal packaging provides healthy product protection and a significant advantage in long-term storage. In this article, the history of metal packaging, which has become an indispensable material in food packaging, its development process, and its place in the food industry are researched and exemplified. It explains why metal packaging is preferred, especially in the food industry, its advantages, and what health precautions are taken before packaging. Is it advantageous if the metal can be quickly machined, shaped, polished, or secured with various finishes? Although not every metal element can be used in the packaging industry, alloying and coating methods can increase usage. The article discusses safe and hygienic packaging and explains its advantages to food packaging. Metal packaging may be subjected to different closing processes than other packaging materials, depending on the type and characteristics of the food to be packaged. For example, many foods with a long shelf life, such as canned, tomato paste, or pickled foods, are sealed under different ambient pressures or vacuum. On the other hand, beer and carbonated beverage packages are sealed only by filling them under pressure. Another essential feature that makes metal packaging special is the processing after the packaging is filled and the lid is closed. For example, while soft drinks do not undergo further processing after packaging, beer is usually pasteurized in the can. Many foods are filled hot and cooked in metal packaging under various conditions. This process is essential because it can provide a long shelf life without preservatives. A five-year shelf life for canned goods is not surprising. Sterilization processes are controlled to ensure microbiological safety throughout the intended shelf life. Finally, considering the ease of collecting metallic waste (due to magnetic behavior and high-density values) and the possibility of thermal recycling without any loss, the advantages of metal packaging appear to be more significant. International Journal Of Humanities And Art Researches 2024-03-19T15:47:33Z Research Article application/pdf eng https://ijhar.net/paper/download?id=325 ISSN: 2687-4385 https://ijhar.net/paper/download?id=325 International Journal of Humanities and Art Researches, Mart 2024 , Issue: 1 , Volume: 9 , Pages: 52-64 https://ijhar.net/paper/download?id=325 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/326 2024-03-19T15:47:28Z 2

Yabancılaşma Kavramı ve Karl Marx Düşünceleri Bağlamında Franz Kafka’nın “Dönüşüm” Hikayesi Doktora. Eda DELİGÖZ Öğr.Gör.,Erdal,Gültekin Franz Kafka, The Metamorphosis, Alienation, Karl Marx, Modern Society The aim of this study is to clarify the formation and transformation of the concept of alienation in modern society through Franz Kafka's (2012) story "The Metamorphosis", to examine the gradual alienation of individuals in this organizational order and the inability of human beings to find a place for themselves in capitalism from the framework of Karl Marx and to provide a plus to the social sciences literature with a compilation. F. Kafka (1883-1924), who helped reconcile image with thought with his own stories and novels in the years when industrialization accelerated, addressed the problems arising from the change and transformation of social relations from a critical and questioning perspective in his work titled "The Metamorphosis”. In this study, F. Kafka's story "The Metamorphosis" has been tried to be discussed from the perspective of social scientists, with the interpretation of Karl Marx, the etiology of transformed human relations, family life, communication and the emerging concepts of "alienation" of the society exposed to industrialization. In Kafka's works, which were translated into Turkish under the title "The Metamorphosis", the communication deficiencies of the individual who is alienated from modern society, capitalism-based organizations and himself are discussed within the framework of the characters in the story. In the study, the problem of alienation was analyzed based on the works of Franz Kafka. The concept of alienation, one of the important problems experienced by today's people, appears in every aspect of life. It can be said that the concrete expression of human relations is best seen in literary works. Franz Kafka's works have been examined within the framework of the problem of alienation as an example of the relationship between philosophy, sociology, psychology and literature. It is known that the concept of alienation is discussed in many areas of art and literature, as city life triggers the feeling of alienation as a result of modern social life. In this study, the alienation of today's modern man from his private life and his immediate environment due to his working life that consumes his time and energy, and the fear and depression that surround him afterwards, and the fact that the bureaucracy does not attach importance to human personality, are discussed in Franz Kafka's work "The Metamorphosis" and evaluated from the perspective of Karl Marx. Within the scope of the study, the concepts of communication, non-communication and alienation, which are important components of modern daily life, are discussed based on F. Kafka's story “The Metamorphosis". In other studies in the literature, Max Weber's theory of bureaucracy and Karl Marx's concepts of alienation are also discussed as other phenomena seen in Kafka's texts. Based on these concepts, in Franz Kafka's work "The Metamorphosis", the individual communication and non-communication levels of the characters are examined under the influence of the phenomenon of alienation. International Journal Of Humanities And Art Researches 2024-03-19T15:47:28Z Research Article application/pdf eng https://ijhar.net/paper/download?id=326 ISSN: 2687-4385 https://ijhar.net/paper/download?id=326 International Journal of Humanities and Art Researches, Mart 2024 , Issue: 1 , Volume: 9 , Pages: 65-78 https://ijhar.net/paper/download?id=326 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/327 2024-03-19T15:47:16Z 5

Opalizmin Resim Sanatına Estetik Zenginlikleri ile Katkısı Yüksek Lisans. ALİOĞLU Hamid Maharramov Öğr.Gör.,Erdal,Gültekin Opal, Opalism, Sparkle, Nature Art, Aesthetics. This study was conducted using qualitative research methods, specifically observation, interview, documentation and discourse analysis. The research design was chosen among qualitative research approaches such as Ethnomethodology, Epistemology, and Phenomenology. Qualitative research aims to understand social phenomena by examining individuals' subjective experiences and meanings in their natural environments. Observation was used as a method to understand the context and dynamics of a particular phenomenon of the research by directly observing it. Interviews involved the process of gathering information from individuals by asking them for information and personal perspectives through structured or semi-structured conversations. Document analysis is used to obtain additional information and understand the broader context by examining written or visual materials, documents, photographs or videos. This methodology emphasizes the effort to understand and interpret the complexity and diversity of social phenomena by focusing on the experiences of individuals. The data obtained through observation, interview and document analysis form the basis of the research and provide an in-depth understanding in accordance with the determined qualitative research approach. The three main categories determined under the title of Document Analysis, "Approach", "Sampling Technique" and "Analysis Technique", As in the analysis method, the analysis was carried out by quoting information only around the determined headings, without using codes or themes. Choosing this direct quotation approach indicates its potential to contribute to the objectivity and reliability of the study. In addition, the direct use of quotes without intervention has been accepted as a precaution to minimize the risk of inconsistency in the content of the quote. Content analysis performed on the defined topic stands out as a method used to define the meanings of expressions based on certain categories. Direct quotations and reasoning and evaluation based on these quotations constitute the data analysis logic of the study. This approach aims to provide a clear and solid analysis of the subject through the information obtained through quotations around the determined topics. This choice of methodology aims to both preserve the integrity of the analysis and increase the reliability of the data used in the analysis. This document analysis, using direct quotations throughout the text, emphasizes that the study is built on a solid foundation and aims to provide an in-depth evaluation within the framework of the determined topics. This study includes the analysis and evaluation of Sakit Mammadov's works, along with the definition of the Opalism school of art, the use of teaching materials and techniques. The literature review aims to clarify the term Opalism by investigating its origin and principles. Sakit Mammadov's creativity has been widely studied and his works have been subjected to a detailed analysis and interpretation process. The article provides a detailed analysis of the artistic practice of the Opalism school inspired by the opal stone. The unique artistic synthesis created by Sakit Mammadov by combining the colors of the opal stone was examined using teaching materials and techniques. In addition, data obtained from website scans and books and research articles published about Sakit Mammadov in the last 10 years were used as the basic data of the study. This comprehensive article offers a comprehensive review to understand the basic elements of the Opalism art movement and to reveal the value that Sakit Mammadov added to this movement. The literature review and work analysis reveal that Opalism is an original and impressive art school and present important developments in this field to art lovers. This qualitative research was conducted with a deliberately selected sample, using data obtained from a website, including 3 books, 3 catalogs and 1 article published between 2001-2020. This sampling aims to gain an in-depth understanding of human experiences and perspectives on Opalism. The research aims to gain a rich and nuanced understanding of the subject of Opalism by examining the sources within the selected sample, using qualitative research methods. Data obtained through books, catalogues, articles and the website comprehensively address the research topic, capturing human experiences and perspectives regarding Opalism. This research aims to provide a broad perspective on the subject by systematically examining publications on Opalism with the determined sample. In this context, qualitative research methods make a significant contribution to a comprehensive understanding of the subject of Opalism through in-depth data collection and analysis processes. Opalism, an art movement inspired by the natural beauty of the opal stone by artist Sakit Mammadov, has been examined in detail in research. Mammadov creates a unique synthesis of art by combining the colors of opal stone with the intricacies of miniature paintings. Opal stones appear in Mammadov's works not only as gemstones, but also in lightly painted forms on clothing, headdresses, and jewelry. It is observed that in the artist's works, the opal stone gains a new form not only due to its natural beauty, but also by combining it with the detailed craftsmanship of miniature art. The historical and natural importance of the opal stone is presented with aesthetic finesse in Mammadov's works and is integrated with the sensitivity shown in the details of miniature art. Opalism style is a unique synthesis created by the artist by combining opal stone and miniature art. The colors of the opal stone, combined with the detail of miniature art, have found a unique expression in the artist's works. In this way, Sakit Mammadov's Opalism style successfully combines the natural beauty of the opal stone with the intricacies of miniature art. International Journal Of Humanities And Art Researches 2024-03-19T15:47:16Z Research Article application/pdf eng https://ijhar.net/paper/download?id=327 ISSN: 2687-4385 https://ijhar.net/paper/download?id=327 International Journal of Humanities and Art Researches, Mart 2024 , Issue: 1 , Volume: 9 , Pages: 79-102 https://ijhar.net/paper/download?id=327 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/317 2023-12-19T12:42:36Z 5

Mobilya Tasarımında Biyomimikri Yaklaşımının Sürdürülebilirlikle İlişkisinin İrdelenmesi Dr.Öğr.Üyesi. Mahmut Atilla SÖĞÜT ; Arş.Gör.. Ayşenur KANDEMİR Öğr.Gör.,Erdal,Gültekin Biomimicry, Biomimetics, Sustainability, Furniture, Design The term "biomimicry" simply means "mimicking nature." It is an important method used in disciplines such as architecture and engineering, where the process of overcoming nature's challenges is observed, analyzed, and applied to provide solutions to design problems. In today's world, biomimicry is utilized to develop solutions for various problems in different fields, shifting the perspective from viewing nature hierarchically to learning from it and what it can teach us. For this method to be fully reflected in design, it is not sufficient to merely imitate the form and function; it is essential to ensure that the process does not harm nature and that the resulting product is sustainable. In this study, a literature review was conducted and document analysis method was used within the framework of the data obtained on the subject. Document analysis is defined as "a systematic process of examining or evaluating both printed and electronic (computer-based and internet-based) documents" (Bowen, 2009: 27). In the study, firstly, the concepts of 'biomimicry' and 'sustainability' are mentioned within the framework of the literature. In addition, evaluations were made in terms of material, form and need in furniture design and analyzed from the perspective of biomimicry. In the light of the information obtained from these evaluations, document analyses were made about form and material, and the biomimicry approach was used in design proposals that can serve as an example within the scope of furniture. Within the framework of comparative analysis and recommendations, it is concluded that interior designers should infuse a biomimicry phase into the programming phase of the design process. Through the evaluations, the forms and materials derived from biomimicry were subjected to in-depth analysis. This allowed the researchers to draw insights and inspiration from nature's designs and solutions to various challenges. The findings from these analyses were then utilized to propose design ideas that exemplify the principles of biomimicry within the scope of furniture design. By integrating biomimicry into the design process, the study aimed to address not only functional and ergonomic requirements but also sustainability aspects. This comprehensive approach seeks to promote the development of furniture that not only mimics nature's forms but also takes into account its materials, textures, and overall ecological impact. By doing so, the study aimed to contribute to the creation of more sustainable and nature-inspired furniture designs. For furniture to be sustainable, its structure should have a long lifespan, and as a result, the materials used should yield a strong and functional output with minimal usage. This means achieving high efficiency with minimal materials. One example of materials that can be used in furniture structures is biodegradable plastics. Plastic materials are frequently chosen in furniture design due to ease of mass production, the ability to achieve desired forms, durability, and low cost. However, the long-lasting nature of plastics in the environment has become an environmental concern. The rise of plastic pollution as one of the world's significant problems, along with its high carbon footprint resulting from the use of fossil fuels during production, necessitates the search for alternatives. Researchers have been inspired by microorganisms' ability to break down biopolymers into organic matter and have produced biodegradable plastic materials. These materials include polylactic acid, a plant-based plastic material mixed with cornstarch, and polycaprolactone, a biodegradable polyester widely used in biomedical applications. Industrial enzymes, along with enzyme protectors that help separate enzymes from each other by a few nanometers, are dispersed in base plastics, and these enzymes remain dormant until triggered by hot water or compost soil. Once activated, the enzymes break down the plastic material, converting it into compost. This approach prevents harm to the environment and adheres to the principle of sustainability, a fundamental aspect of biomimicry. By transforming widely used plastic materials in the furniture sector that could take hundreds of years to degrade, we can achieve a more environmentally friendly approach through biodegradable alternatives inspired by biomimicry principles. The required qualities in the materials used for the structure and surface coating in design differ significantly. For the design to have a long lifespan, the surface material may need to be hygienic and hydrophobic. Unlike structural materials, surface materials directly interact with the human body, making their texture and ergonomic properties crucial. Flexible plates that mimic fish scales and armadillo shell are examples of materials that can be used for furniture surface coating. Animals from different families have flexible armored skins characterized by hard scales embedded in soft tissues. The individual moving hard segments provide protection against predators while enabling efficient movement due to their flexibility. Inspired by this observation, Chintapalli et al. (2014) developed a system using hexagonal glass plates placed on a rubber substrate. They found that segmented plates not only provide flexibility but also delay fracturing. Moreover, in the developed glass-rubber system, they utilized a segmented design to increase puncture resistance by up to 70%. Such a material, particularly when used to enhance the flexibility of seating furniture, can increase the furniture's durability and, consequently, its lifespan. Additionally, it can provide ergonomic comfort by adapting to the kinetic and curvilinear structure of the human body. In conclusion, in order to reduce the environmental impact of industrially produced furniture designs, innovative designers need to adopt alternative perspectives. Moving away from a reductionist approach and embracing a holistic biomimetic perspective can lead to sustainable design outcomes. Achieving this also involves using materials produced with green technology. By integrating biomimetic principles and utilizing biomimetic materials, furniture designers can achieve sustainable designs that not only minimize environmental impact but also enhance user comfort and well-being. International Journal Of Humanities And Art Researches 2023-12-19T12:42:36Z Research Article application/pdf eng https://ijhar.net/paper/download?id=317 ISSN: 2687-4385 https://ijhar.net/paper/download?id=317 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 332-349 https://ijhar.net/paper/download?id=317 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/318 2023-12-19T12:42:30Z 5

Art Nouveau Akımında Will Henry Bradley İllüstrasyonlarının Grafik Tasarımına Etkisi Arş.Gör.. Sinem Ünal GERDAN Öğr.Gör.,Erdal,Gültekin Art Nouveau, William Henry Bradley, Art, Design, Illustration, Graphic Design As the end of the nineteenth century approaches, the art world has come to the brink of a new era. In this period, the effect of industrialization, the transformation of urban life and the speed of scientific developments had a profound effect on artists. The rise of industrialization brought with it great changes in production processes and the transformation of the social structure. At this point, the Art Nouveau movement emerged. In the emergence of the Art Nouveau movement, it was observed that industrialization standardized and mass production methods limited and clarified traditional craftsman approaches. This has led artists to promote handicrafts and aesthetic value. Art Nouveau is characterized by organic forms, natural motifs and handcrafted details as a reaction to the cold and superficial effects of industrialization. The works of this movement emphasized individual originality and aesthetic richness, unlike the standardized products brought by the industrial period. This movement, which is called Art Nouveau, aimed to gather most artistic approaches under one roof and led to the emergence of different works for this purpose. Art Nouveau is an art movement that was heavily influential especially in Europe at the beginning of the twentieth century. This movement has a style that combines aesthetics and functionality and glorifies organic and natural forms. Art Nouveau has played an important role as a representative of a versatile approach that includes other art movements. In this period, innovative approaches were adopted in every field of art and different art disciplines approached each other. The characteristic features of Art Nouveau include the extensive use of floral motifs, sinuous lines, striking color palette and the importance of decorative details. The source of this aesthetic understanding, reflecting the flawless and elegant forms of nature, emerged as a reaction to the rough structural changes brought by industrial society. The transformation of urban life also played an important role in shaping the Art Nouveau movement. Industrialization and urbanization processes have shaken traditional social structures and required people to adapt to new lifestyles in cities. This transformation showed itself in the works of Art Nouveau artists with themes such as the complexity of the streets, the decoration of the buildings and the dynamism of the urban environment. By combining the organic forms of nature and the ornamentation of man-made structures, the artists have produced works that reflect the complexity and richness of city life. While the Art Nouveau movement, which influenced many art movements, centered on nature, the vegetal, curved motifs used by the artists found their place in most of the works of the period. In this way, artists offer an expression of respect to the harmony and freedom of nature. In this research, the definition, history, characteristics, artists and the styles they used were also examined while the works they produced were discussed. The artists of Art Nouveau have shaped their works by adopting the philosophy of this movement. One of the prominent figures of this period was William Henry Bradley. Bradley's unique style and creative approach have made a huge impact in the field of graphic design. His works expanded the boundaries of graphic design, reflecting the aesthetics and ideals of the period. This has also affected future generations and formed one of the cornerstones of modern graphic design. Bradley's innovative approach to graphic design and his contributions to the Art Nouveau movement inspired other designers of that period. In this direction, while the Art Nouveau movement is explained in the study, the works of William Henry Bradley, one of the most important artists of the period, were examined. The Art Nouveau movement is not only an art movement of the period, but also a legacy that inspires the future. Such movements, which emerged in different periods of art, have added depth to the art world by reflecting the intellectual, cultural and social ground in which humanity has evolved. Art Nouveau's innovations and creative approaches to graphic design are still alive and influential today, making it remembered as an unforgettable artistic experience. The influence of Art Nouveau and Bradley on graphic design is still felt today. By adopting organic forms, flowing lines and aesthetic balance, the designers keep the legacy of this movement alive. Contemporary graphic design, as pioneers like Bradley did. International Journal Of Humanities And Art Researches 2023-12-19T12:42:30Z Research Article application/pdf eng https://ijhar.net/paper/download?id=318 ISSN: 2687-4385 https://ijhar.net/paper/download?id=318 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 350-369 https://ijhar.net/paper/download?id=318 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/319 2023-12-19T12:42:23Z 5

Çocuk Kitaplarında Karakter Tasarımının Yeri ve Önemi Öğr.Gör.. Gültekin ERDAL Öğr.Gör.,Erdal,Gültekin Character, design, children's book, student designs Children's books play an essential role in the child's development process. The child learns to choose and recognize while learning by having fun. The first personality that the child recognizes in the book that bears his name is undoubtedly the character of the story. The child uses distinctive visual archetypes with his general structure. With a common belief, the character formed in the child's mind is not different from what he knows. Therefore, the child distinguishes characters more through visual recognition. Each spectrum, from the character's body structure to his clothes and physical features to his facial expressions, is a memorable picture for the child. Often these pictures allow that character to live outside the book's story. At this point, the character is a living person, independent of the book, living in the child's world. The fact that the child can communicate with the people around him shows that he can interact with them. That character's story, stance, discourses, actions, and plans can be identified with the child's story in the real world. He dresses like a character, lives visible, and can use similar discourses. Characters that are important to the child and that are good or bad mood are discussed in this article. The characters Bursa Uludağ University TBMYO Graphic Design Program students designed in the illustration lesson were discussed. It was given the importance that the designed characters could create their own stories independent from the story told in children's books. It has been emphasized how each character can create a personality with their own story without breaking away from the book's story. The bond that the characters created by the students with the child's world are depicted. In this article, children's books and characters, which we can accept as the child's virtual world, have been redesigned and tried to reach the child's imagination. How the story of the virtual hero can be created with his physical appearance is shown with sample drawings. It has been tried to explain why the virtual character created with the character in the child's mind can identify with himself and how he can be a partner in his story. It has been revealed that the characters with a good story can create positive developments in the life of the child, and in this respect, the characters drawn, created, or depicted in children's books are at least as important as the story of the book. Each character in a good children's book has different and recognizable archetypes. In this way, the character is distinguished from the others by the narratives of his own story. The internal structures of the characters to be created for children's books are as important as their physical appearance. In addition to their physical features, such as short stature, prominent ears, blue eyes, and long hair, the characters should also have archetypes that reflect their inner world, such as being nervous, well-behaved, moral, obedient, and not telling lies. Honest because the character who does not have his own story may not have a place in the child's book and imagination. Designing a character is equivalent to getting his story to be read, which is pretty much a design job. The first piece in good character design is the basic principles known as archetypes. Archetypes represent personality and character traits with which we identify as human beings. In children's books, each character's story comes pre-written by its author. However, creating humanoid characters with appropriate roles, physicality, or personality traits still requires specialist skill and effort. The designer must ensure that each drawn form is created creatively, uniquely, and meaningfully. To make this connection, the designer or illustrator must follow an author's written words and bring their personality, point of view, humor, and insight into the story. For a children's book to be good material, the characters play an essential role in the child's imagination. In this sense, the character design of the children's book, which is the article's subject, is emphasized. The research is based on the evaluations of the characters, which are the subject of the homework titled "Character and design" in the illustration lesson of Bursa Uludağ University TBMYO Design Department students. Visual documents classified in document analysis, one of the essential data sources of qualitative research method, were examined, drawings, colors, and created characters were evaluated, and theories were formed. It is understood that the characters designed by Bursa Uludağ University TBMYO Design department students in the illustration lesson are much more than beautiful drawings. Many children's books can cause problems with the symbolic understanding between the natural world and the book, not only because of their carelessness but also with misdirection and distorted language. Developments in the child's ability to transfer information from picture books to the real world, symbolic understanding, analogical reasoning, fantasy, and reality can be limited. More importantly, this situation, which seems to be a child's problem, may pose a severe risk to the cultural structure and future of the country. Character design in children's books should attract children's attention and amuse them in the story. With imaginary creation, these characters will be shaped as a behavior model that defines human beings and continues over time, as Butkus puts it. In this sense, each character should have their characteristics. These features help children distinguish and remember characters from each other. It is essential that the character is designed to take part in different positions and emotional situations in the story and that the designs reflect themes appropriate to the age and interests of the children. Perhaps another purpose of the characters is to make them look more dynamic and impressive thanks to their flexible and moving structure with a seductive rhythm and can establish a page hierarchy. While keeping the story flowing effortlessly, the layout and action depicted on the pages can make the reader enjoy the book until the end. International Journal Of Humanities And Art Researches 2023-12-19T12:42:23Z Research Article application/pdf eng https://ijhar.net/paper/download?id=319 ISSN: 2687-4385 https://ijhar.net/paper/download?id=319 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 370-382 https://ijhar.net/paper/download?id=319 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/320 2023-12-19T12:42:15Z 7

Topluma Hizmet Uygulamaları Kapsamında Düzenlenen Bilim Şenliği Hakkında Öğretmen Adaylarının Görüşleri Doç.Dr.. Sevgül ÇALIŞ ; Doç.Dr.. Nurcan KAHRAMAN Öğr.Gör.,Erdal,Gültekin Science teacher candidates, Community service applications, Science fairs The Community Service Applications (CSA) course was introduced for the first time in the Faculty of Education in Turkey during the 2006-2007 academic year. This course was added to the new teacher training program by the Council of Higher Education (YÖK), alongside theoretical courses. The purpose of including this course in the education faculty program was to enhance teacher candidates' awareness and sensitivity to social issues since teaching is considered to be one of the socially responsible professions.The content of the CSA course includes concepts of society, community service practices, and social responsibility; social responsibility projects in terms of social and cultural values; identifying current social problems; preparing projects for the solution of identified social problems; voluntary participation in social responsibility projects individually and in groups; participating in social responsibility projects in various institutions and organizations; attending scientific events such as panels, conferences, congresses, symposiums as audience members, speakers, or organizers; and evaluating the outcomes of social responsibility projects (Council of Higher Education [YÖK], 2018). In this study, during the spring semester of the 2022-2023 academic year, prospective science teachers who took the CSA course aimed to transform their "Science Street Activities" projects into a science fair outside the classroom. The purpose of this research is to evaluate the opinions of prospective science teachers who participated in the Science Street activities and the science fair during the spring semester of the 2022-2023 academic year in the CSA course. The following research questions were investigated in line with the objectives of the study.1-What are the opinions of teacher candidates regarding the "Fun Science Street" (science fair) activity? 2-What are the opinions of teacher candidates regarding the contribution of the science fair activity to their own development? 3-What are the opinions of teacher candidates regarding the role of science fairs in science education? Thirteen prospective science teachers who took the THU course participated in the study. All of the students are in their second year of the program. Only one participant is male, while the rest of the students are female .The CSA course consists of a one-hour theoretical session and a two-hour practical session, totaling three hours. Due to the decision made by the Council of Higher Education (YÖK) following the Gaziantep-Kahramanmaraş earthquake that occurred on February 6, 2023, the 2022-2023 academic year's spring semester started as online education in February. The course was co-taught by two instructors. The initial weeks focused on introducing the course and the project. Student Activities. Following the Gaziantep-Kahramanmaraş earthquake that occurred on February 6, 2023, the earthquake victims were hosted in different cities. The middle school where the science fair will take place also has a significant number of students from the earthquake-stricken region. Additionally, trauma reactions have been observed even in individuals who were not directly affected by the earthquake (Kirman, 2023). These reactions were also observed by the instructors among our students who took the THU course. Therefore, it was aimed for the upcoming activity to be enjoyable for both the teacher candidates and the students. The teacher candidates were advised to choose activities that are simple, engaging, and fun.The implementation took place a middle school located in the Yıldırım district of Bursa. Yıldırım is a socioeconomically disadvantaged area compared to other districts in Bursa. During the 11th week, the teacher candidates visited the implementation school and created a "Fun Science Street" in the entrance corridor of the school. This study aims to gather the opinions of prospective science teachers regarding the process of organizing and implementing a small science fair. It is planned to address the role of science fairs in science education and the perspectives of the candidates on what they gained from participating in such an event and their experiences during the preparation process. Therefore, the teacher candidates were asked to prepare reflective reports twice throughout the process. The first report includes their opinions on activity selection and preparation during the fair's preparation stage, while the second report focuses on their emotions and thoughts after the fair has been held. This study utilizes a qualitative data analysis method. Student reports were analyzed and interpreted using a systematic framework, following the qualitative data analysis approach suggested by Miles and Huberman (1994). When asked about their feelings and thoughts regarding the activity, the teacher candidates generally expressed that they enjoyed participating in such an event and had a lot of fun. In addition to the enjoyable nature of the activities, they placed great emphasis on the satisfaction they derived from seeing the students having fun. Reflective reports from the teacher candidates frequently mentioned that the experience of interacting with middle school students was exciting for them. It should be taken into consideration that the THU course is a second-year, fourth-semester course, and this was the first middle school visit for these candidates as teacher trainees. When examining the reflective reports in terms of the contributions of participating in such a project, a common perspective can be identified as the experience of "feeling like a teacher." The teacher candidates mentioned that they felt like teachers while spending time with middle school students during the activity, and this feeling also influenced their perspective on the profession. Another aspect highlighted by the participants as a contribution of being involved in the project is the opportunity to prepare experiments with simple materials. The teacher candidates noted that they observed that laboratory conditions were not necessary for every science experiment. They also mentioned that they realized simple experiments could increase middle school students' interest in science. One participant (K12) even mentioned that through this activity, they were able to establish a stronger connection between science and everyday life. International Journal Of Humanities And Art Researches 2023-12-19T12:42:15Z Research Article application/pdf eng https://ijhar.net/paper/download?id=320 ISSN: 2687-4385 https://ijhar.net/paper/download?id=320 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 383-403 https://ijhar.net/paper/download?id=320 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/321 2023-12-19T12:42:06Z 2

Parasal Aktarım Mekanizması Kanalı Olarak Kredi Kanalının Bibliyometrik Analiz ile Bilimsel Haritalaması Dr.. Gülsen ALKAÇ ÖZDEMİR Öğr.Gör.,Erdal,Gültekin Monetary Transfer Mechanism, Credit Channel, Bibliometric Analysis, Consumption, Consumer Behavior The effect of monetary transmission mechanism channels on countries differs according to the economic conditions of the countries. The degree to which the credit channel affects developed and developing countries is different according to the level of development of financial markets. Considering the effects of the credit channel on the real economy, the level of influence of the credit channel on the country's economies in different periods is also different. Therefore, the effectiveness of this channel is discussed by researchers. Unlike existing studies, the aim of this study is to reveal the current research situation on the monetary transmission mechanism channel with bibliometric analysis, which is one of the scientific mapping methods, and to contribute to the determination and planning of future research areas. The data required for bibliometric analysis was extracted from the Web of Science database according to the keywords determined on July 22, 2023. The obtained data were analyzed through the Biblioshiny application within the Bibliometrix R package program. As a result of bibliometric analysis, the most influential authors in the world working on the credit channel, which is one of the monetary transmission mechanism tools, the institutions of these authors, the annual scientific publication production amount, the number of citations, the conceptual structure of the research carried out, the intellectual development status, the current themes in the field and the status of research collaborations are effective with visual maps. It is seen that the USA is far ahead in terms of the number of publications among the leading countries in which publications are made on the subject of credit channel, which is one of the instruments of monetary transmission mechanism, followed by China and England. The list of most productive institutions includes universities, as well as institutions such as the International Monetary Fund (IMF) and the American Central Bank. While it is seen that the USA is far ahead of other countries in the total number of citations received by the publications, the number of citations received by the authors from Turkey is 150, and Turkey is in the 12th place in the ranking of the most productive countries. It can be stated that the most frequently used keywords in the literature on the subject of credit channel, which is one of the monetary transmission mechanism tools, are the words transfer, monetary policy and credit, and these keywords also constitute the main theme of the relevant literature. When the intellectual cooperation is examined, it is seen that there are certain cliques among the authors and that there are bilateral and triple collaborations especially among certain authors. When the cooperation between countries is examined, it is seen that especially the cooperation from the USA is made with Europe and the Far East. When the collaborations of the authors from Turkey are examined, it is seen that the cooperation from Turkey to other countries is 5, while the cooperation from other countries to the authors in Turkey is 14. In this sense, it can be suggested that Turkish authors be more active and seek cooperation potentials. When the changes in the conceptual structure are examined, it can be stated that the keywords especially investment, limitations and determinants are important themes, which are explained as the motor themes on the credit channel, one of the monetary transmission mechanism tools. As the main themes, it is seen that the themes such as transmission, monetary policy and credit occupy a large place among the main themes and are the themes that concern different research areas of the field. To these basic themes, one group of themes such as shocks, intermediary costs and interest rates can be added, and another group of themes such as credit channel, interest channel and demand. Niche themes consist of themes such as capital, innovation, house prices, time, financial crises, China, economy and government. Emerging or isolated themes, on the other hand, consist of themes such as unit root, flow, triad, empirical evidence, economic growth, and profitability. Policy decisions affecting the credit channel of monetary transmission will have significant positive or negative effects on consumers' daily life and consumption behavior. Since the external financing premium caused by credit market disruptions affects borrowing decisions, it is reflected in the total private consumption demand. This effect of credit channel also affects consumer behavior. In addition, analyzing the effects of credit on consumption at both the aggregate and individual levels is important in directing consumer behavior and determining the role of credit in stimulating the economy. This study was carried out by analyzing only the publications in the WOS database, which were obtained using the filters specified in the method section. It can be suggested that future research should be carried out using foreign databases such as Scopus and national databases such as Dergipark. In this way, the direction of development in the field can be seen from a wider perspective. Many qualitative and quantitative researches can be done in the future by using trending topics and images on the thematic map. International Journal Of Humanities And Art Researches 2023-12-19T12:42:06Z Research Article application/pdf eng https://ijhar.net/paper/download?id=321 ISSN: 2687-4385 https://ijhar.net/paper/download?id=321 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 404-431 https://ijhar.net/paper/download?id=321 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/322 2023-12-19T12:41:58Z 2

Eski Uygurcada Mañjuśrī Bodhisattva’yı Anlatan Bir Terim Üzerine Doktora. Alican ÖZKAN Öğr.Gör.,Erdal,Gültekin Mañjuśrī Bodhisattva, Tibetan Budhism, Old Uyghur, Mañjusrīnāmasaṃgīti Siddhartha Gautama was born to Śuddhodāna and Mahāmāyā, who ruled in the city of Kapilavastu (now Padaria in southern Nepal) and belonged to the Śakya tribe. At the age of 29, after encountering various afflictions such as birth, death, old age and disease on the streets of Kapilavastu, he went into a six-year retreat. As a result of the hermitage, he reached enlightenment at the age of 35 and became Buddha. After reaching the rank of Buddhahood, he travelled and preached in many places throughout his life to spread the Buddhism doctrine he established. The event that really enabled the spread and development of Buddhism was the acceptance of Buddhism by King Aśoka in 274-237 BC. This enabled the doctrine to spread within India and to neighbouring countries. In the first century AD, disagreements among believers on various issues led to schism. As a result, Buddhism was divided into sects such as Hīnayana (Small Vehicle), Mahāyāna (Great Vehicle) and Vajrayāna (Diamond Vehicle), which later emerged as a branch of Mahāyāna. Mañjuśrī Bodhisattva has a very important place in all sects of Buddhism, and is considered to be one of the greatest disciples, especially in the Mahāyāna sect. In Sanskrit, Mañju means "beautiful" and śrī means "good fortune, virtue, great master", and he appears as the "Bodhisattva of Wisdom" in order to destroy ignorance. Mañjuśrī, the personification of transcendent (superior) wisdom, is the first Bodhisattva mentioned in Buddhist texts. For this reason, his name is often mentioned in the Lotus Sutra in connection with Śakyamuni. He is known as the "Prince of Dharma" because of his deep wisdom. His mantra is "oṃ a ra pa tsa na dhīḥ" in Tibetan and "oṃ arapacana dhīḥ" in Sanskrit, and members of the Mahāyāna sect believe that worshipping him will give them permanent memory, wisdom, intelligence and eloquence. According to Chinese sources, the Turks were in contact with Buddhism during the First Kokturk Khaganate. Xiao Min Di, the founder of the Northern Zhou Dynasty, had a Turkish temple built in his capital and his successor Mukan Khan had an inscription erected at the point where he accepted Buddhism. In addition, the Buddhist monk in the embassy delegation sent to Tapar Khan by the North Qi emperor played an important role in Tapar Khan's acceptance of Buddhism and presented him with the Mahāparinirvāna Sutra. By 840, as a result of the collapse of the Uighur Khaganate of Otuken, the Uighurs migrated to various geographies such as Kansu and the Tarim Basin. As a result, Buddhism increased its influence among the Uighurs. The oldest surviving documents date back to the IXth century. This shows that translation activities intensified at this time. This study is based on a certain phrase and its meaning in the Old Uyghur Mañjusrīnāmasaṃgīti of Tantric Turkish Buddhism based on Tibetan Buddhism. For this reason, analysing the text, taking into account the previous studies on the text, the meanings of the phrase in different languages, and the term meanings within the Buddhist doctrine constitute the skeleton of the study. For this reason, the method of document analysis, also known as document analysis, which is used to analyse the content of written documents in detail and systematically. The Old Uighurs, who adopted the Buddhist faith, translated the terms into their language while translating the texts of their own faith into their language. As a result, the terms belonging to Mañjuśrī, which have an important place in all sects of Buddhism, have found their equivalents in Old Uyghur in many works, especially Mañjusrīnāmasaṃgīti. The Old Uyghur phrase v(a)şir kädiltürtäçi uluġ käđilŧürtäçi ärür is translated in the Sanskrit version as वज्रज्वालाकरालालाक्षो वज्रज्वालािशरोरुहः । (vajrajvālākarālākṣo vajrajvālāśiroruhaḥ) वज्रावेशो महावेशः शताक्षो वज्रलोचनः (vajrāveśo mahāveśaḥ śatākṣo vajralocanaḥ), In the Tibetan version rdo rje 'bar ba mig mi bzaṅ / skra yaṅ rdo rje 'bar baste / rdo rje 'bebs pa 'bebs pa che / mig brgya pa ste rdo rje'i mig, in the Chinese version as 熾焰金剛施惡眼 金剛頭髮如焰熾 金剛降臨大降臨 具足百眼金剛眼 (Chì yàn jīngāng shī è yǎn jīngāng tóufà rú yàn chì jīngāng jiànglín dà jiànglín jùzú bǎi yǎn jīngāng yǎn). A footnote in BT VIII provides information about the section v(a)şir kädiltürtäçi uluġ käđilŧürtäçi ärür in the Old Uyghur version. Kara and Zieme gave the meaning of "niederwerfen" for "kädiltür-" in the mentioned footnote and based on the example of "kärt-" used for humiliation in Kashgarli's work, they said that the word in the Old Uyghur work is a translation of the Tibetan text with a second meaning. He translated the sentence in the text as "Vajra-Niederwerfender, großer-Niederwerfender. (He who brings down the Vajra, he who brings down the great)" (1976: 103). On page 84 of Wayman's work published in 1985, the relevant passage is translated as "diamond-chain and great chain". In the footnotes section of the work, Narendrakīrti (75-3-2) is translated as "a lightning-type lustre called "diamond" is emitted from all the pores. This is called a chain, and as these chains accumulate without encountering any obstacles, they are called 'great chains'." In 2020, the Khyentse Foundation published the Global Report on the 200th birthday of Jamyang Khyentse Wangpo. In the Global Recitation of MAÑJUŚRĪ-NĀMA-SAṀGĪTI《聖妙吉祥真實名經》全球持誦 [Universal Recitation of MAÑJUŚRĪ-NĀMA-SAṀGĪTI] published by the Khyentse Foundation within the scope of Jamyang Khyentse Wangpo's 200th birthday celebrations in 2020, Sanskrit and Chinese versions of the text are given and English translation is made. The translation of the relevant passage on page 77 is "Vajra-cascade, great cascade". R. Davidson in The Litany of Names of Mañjushri translated the relevant passage as "...he is Vajravesha, in exalted possession... [...He is Vajraveśa, in exalted possession...]" and added a footnote for the word Vajraveśa and associated it with Vajraveśa, one of the four gate guardians (1981: 28). In addition, the relevant passage in the Mongolian version včir baγulγaγči yekede baγulγaγči is given the meaning of "baγu-: to decrease or become smaller, to go down or go away, to fall; to descend, to get off, to get off a riding animal or bicycle; (aeroplane) to land; to settle, to camp; to stand by, to stand in the way; to surrender, to give up and give up" in the Mongolian-Turkish dictionary (Ferdinand, 2003:113). The phrase can be translated as "Lightning (sacred instrument used in Buddhist ceremonies as a symbol of 'durable goods') descender, marvellous descender" International Journal Of Humanities And Art Researches 2023-12-19T12:41:58Z Research Article application/pdf eng https://ijhar.net/paper/download?id=322 ISSN: 2687-4385 https://ijhar.net/paper/download?id=322 International Journal of Humanities and Art Researches, Aralık 2023 , Issue: 4 , Volume: 8 , Pages: 432-441 https://ijhar.net/paper/download?id=322 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/310 2023-09-17T23:21:01Z 5

Çağdaş Seramik Sanatında Geleneksel Kırkyama Tekniğinin Kullanımı Dr.Öğr.Üyesi. Fulya SAVAŞ ; Öğr.Gör.. Seyfullah BÜYÜKÇAPAR Öğr.Gör.,Erdal,Gültekin Patchwork, Ceramic, Traditional, Art, Fabric Handicrafts have emerged to meet the needs of individuals such as covering and protection since the existence of human beings. The handicrafts, which developed with the skills and skills of people over time and changed according to the natural conditions, have come to reflect the cultural characteristics, artistic tastes, traditions and customs of the society in which they emerged. Kırkyama, which is the cultural richness of Anatolia from part to whole; It is one of the traditional Turkish Handicrafts. Kırkyama is known in Anatolia with names such as forty pare, patchwork bundle, lady dillendi bey liked. In this article, the most commonly used term 'pattern patch' in Turkish culture will be used. The English equivalent of patchwork, which is widely known in other countries, is '’patchwork’'. The Turkish equivalent of the combination of the words 'patch' yama, 'work' means 'patch work'. In Turkish culture, the word forty; It is known that it comes from proverbs such as splitting hair and forty years of memory. Kırkyama is a handicraft art that emerged as a result of recycling waste clothing and fabric pieces. Since it is the whole of patience and manual labor, it is also seen as a symbol of solidarity. Every country has its own unique patchwork practices in its culture. Patchwork technique is used in many countries around the world today. The motifs, patterns and fabric features of the visual culture of each country in their own geography are buried on patchworks such as bundles, bedspreads and pillowcases. Patchwork technique is used in a wide range of industrial home textile products, interior and exterior decoration designs of architectural structures and the fashion industry. International Journal Of Humanities And Art Researches 2023-09-17T23:21:01Z Research Article application/pdf eng https://ijhar.net/paper/download?id=310 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=310 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 248-260 https://ijhar.net/paper/download?id=310 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/311 2023-09-17T23:20:56Z 2

Ülkeler Coğrafyası Perspektifinden Filipinler Cumhuriyeti Prof.Dr.. Emin ATASOY ; Dr.Öğr.Üyesi. Evren ATIŞ ; Dr.Öğr.Üyesi. Baubekova Gaukhar KONYSPAEVNA Öğr.Gör.,Erdal,Gültekin Republic of Philippines, Countries’ Geography, Far East Asian States The Republic of the Philippines, which is the most populous Catholic Christian population of the Asian continent, is both a Southeast Asian country and an archipelago, a Monsoon and ASEAN country, and a Pacific state surrounded by the Pacific Ocean waters. This ocean country, which does not possess land borders, consists of 7641 islands. The islands of Luzon, Negros, Mindanao, Palawan, Cebu, Panay and Samar constitute the country's largest ones in terms of both area and population. Nevertheless, Bohol, Boracay, Siargao, Samal, Camiguin, Cebu, Siquijor, Malapascua, Bantayan, Coron, Panglao and Palawan are among the most famous sea tourism centers and the most beautiful islands of the Asian continent. The Philippines, which has six different sea coasts, has a total coastline of 36289 kilometers and is the fourth country with the longest coastline in the world after Canada, Russia and Indonesia. Furthermore, this island country is the 13th most populous country in the world with a population exceeding 115 million and since it has a Muslim population of more than 6 million within its borders, it also constitutes one part of the Islamic world. In this study which was centered on the geography of countries, the geographical location, physical geography and human geography characteristics of the Republic of the Philippines were investigated. The agriculture, industry, energy and tourism potential of this island state were addressed, and the main national characteristics unique to this country were attempted to be emphasized. Furthermore, different geographical issues such as the country's historical and political development, economic structure and natural resources, demographic and social characteristics of the national population, ethnic and religious structure were tackled in the article. The Republic of the Philippines, when compared to other states of our planet, some features and developments unique to and seen only in this country were also addressed in the article. Besides, the most positive and negative features of the Philippine Islands as well as the main touristic advantages and disadvantages of the country were investigated in this study. The primary purpose of this study is to promote this far east Asian state to the curious readers by investigating the geographical, demographic and economic potential of the Republic of the Philippines. The second primary purpose is to introduce the national and geographical features, tourism and natural resources, natural and cultural tourism attractions, economic and tourism potential of the Republic of the Philippines to the relevant readers. The third primary purpose of the study is to publicize the positive and negative features, weaknesses and strengths, national advantages and disadvantages of the Republic of the Philippines to the readers. The fourth primary objective is to reveal the multidimensional country identity card and geographical portrait of the Republic of the Philippines and analyze this archipelago under a magnifying glass from the perspective of the geography of the countries. The Philippine Islands exhibit some differences from one another in terms of their geographical location and natural geographical features, socio-cultural structures and natural resources, tourism resources and tourism potential. The Philippine islands with very low tourism potential and with very few tourist centers are composed of Samar, Leyte, Marinduque, Dinagat, Tablas, Polillo, Guimaras, Masbate and Catanduanes. These islands are the least known and least popular in terms of tourism, and are also the largest Philippine islands visited by the fewest foreign tourists. Palawan, Luzon, Cebu, Boracay, Panglao, Bohol, Mindanao, Coron, Bantayan, Siargao, Panay, Negros, Siquijor, Mactan and Samal are the most popular Philippine islands as they are visited by the largest number of foreign tourists. Nevertheless, Palawan, Boracay, Coron and Bohol are among the world-famous and most popular Philippine islands, which undoubtedly comprise the country's tourism showcase and a source of national pride. The Philippines is both home to the world's most beautiful beaches and islands, and has the most dangerous volcanoes and animals of our planet. While the Philippines, on the one hand, has architectural wonders of 50-60-story high skyscrapers and ultra-luxurious complexes with pools, it, on the other hand, possess heartbreaking poverty landscapes and ugly slums. Since the Republic of the Philippines is a very colorful and multifaceted country full of contrasts and contradictions, it is difficult to define, describe and explain its characteristics. As there are many common features among the Philippine islands, they also have some unique geographical, touristic and cultural characteristics. Different nationalities and ethnic communities live side by side on different islands, different local languages are actively spoken, different faith communities practice their faith side by side and different customs and traditions coexist. Therefore, the Philippine Islands are very similar to one another in terms of both their social and cultural characteristics and their economic, ecological, demographic, geographical and tourism characteristics; however, they are very different from each other as well. The culture of the Philippines, which has been under the impact of different civilizations and states for centuries, has acquired and shaped its national identity under the influence of Indian, Portuguese, Arab, Chinese, American, Malay, Japanese, Korean and Spanish cultures. The Philippines, situated at the crossroads of Islamic and Christian civilizations, in the transition zone of Asia and Oceania, has turned into a bridge country where both races and nations are merged as a result of its interesting geographical location. The Philippine nation in this day and age reflects a cultural mix of ethnic minorities and religious identities, deep-rooted civilizations and colonial states, languages and colorful traditions. This interesting geographic location, this particular demographic synthesis, this unique cultural mix and this one-off hybrid population mix makes its presence evident in every region and every state of the Philippines. Since there is very limited number of studies on the geography of the Philippines in our country, it is anticipated that the present article will contribute to the relevant geographical literature. Consequently, the Philippines is both an underdeveloped Southeast Asian country, a monsoon country with abundant rainfall, an archipelago state with no land neighbors, and the most populated Christian country in the Asian continent. International Journal Of Humanities And Art Researches 2023-09-17T23:20:56Z Research Article application/pdf eng https://ijhar.net/paper/download?id=311 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=311 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 261-293 https://ijhar.net/paper/download?id=311 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/312 2023-09-17T23:20:50Z 7

Endülüs Medeniyetinin Kökleri ve Bir Arada Yaşama Tecrübesi Dr.. Şevket YILDIZ Öğr.Gör.,Erdal,Gültekin Al-Andalus, Roots, Living together. Spain is a South-Western European country located primarily on the Iberian Peninsula. In this region, the first known settlers are the Iberian people. Spain, which came under Roman rule in the second century BC, was invaded by the Germanic peoples at the beginning of the fifth century AD. First the Vandals and then the Visigoths settled here and established their dominance. At the beginning of the eighth century, with the Islamic conquests, Arab and Berber peoples came and settled in this region. While Eastern Rome resisted for a long time the military campaigns that started in the middle of the seventh century and ended with the victory of the Muslims, the Western Roman lands were conquered without much resistance in the first century of the Hijrah. Iberia, located at the south-west end of Europe, could not show a significant resistance against the Islamic soldiers coming through North Africa and in a short time, it came under complete Islamic domination. This region, which was named Al-Andalus after the conquest, became one of the most important centers of the Islamic world in the Middle Ages. Islamic civilization set one of its best examples in Al-Andalus. Rome's Cordoba took the name Kurtuba with the conquest and was the source of the emergence of a new civilization. Kurtuba, which became one of the most important Islamic cities in a short time, competed with Baghdad and Cairo. With the coming together of the peoples of the Middle East, North Africa and South-West Europe in Kurtuba, the Andalusian society emerged, and Andalusian became a supra-identity in which Arab, Berber and Spanish identities melted. The culture and civilization environment created by this new society had a distinguished place both in the Islamic world and in Europe. Al-Andalus, with its Islamic roots, was influenced by three main basins during the establishment period and experienced a new transformation and change with each basin. The influence of Damascus comes first among these major changes that follow each other chronologically. It seems to be a natural and inevitable process that Al-Andalus, which became a governorship affiliated to the Damascus Umayyad Caliphate since the conquest, was predominantly under the influence of Damascus in its first years. On the other hand, in this period, Al-Andalus was officially subordinate to Damascus, but de facto subordinate to the governorship of North Africa. For this reason, from the first years, North Africa and thirdly Egypt have always had an influence on Al-Andalus. To understand the emergence of any civilization well and correctly, it is generally referred to the foundation period. In this study, it is aimed to deal with the establishment of the Andalusian civilization by going down to its roots. Among these roots, Hejaz, Egypt, and North Africa come first. Later, Iraq and especially Baghdad form the main roots of Andalusian civilization. On the other hand, Europe and the Mediterranean are among the roots of this new civilization. In particular, South-Western Europe and the Western Mediterranean are the main roots. The part up to this point constitutes the geographical roots of the Andalusian civilization. Parallel to these, there are also historical roots. The Umayyads in the east and the Roman and Visigoth dominations in the west constitute the most important roots of Al-Andalus. Looking at their political roots, Fatimids, Almoravids and Almohads, besides the Abbasids, each shaped or somehow influenced the political structure of Al-Andalus as Islamic states belonging to different geographies. On the other hand, Byzantium, France, Normandy, and the Spanish kingdoms in the North (Castil, Neon, Aragon, Navarra) have been on the main agenda of Andalusian political life for centuries. On the other hand, different ethnic elements take place in the formation of the new civilization, which creates ethnic roots. Al-Andalus consists mainly of Arabs, Berbers, Slavs, and Spaniards. These peoples formed a common culture, the Andalusian culture, together as Muslims, Christians, and Jews, without assimilation with their different religious identities and without experiencing any assimilation pressure. There are certain cities that have been the source of the formation of Andalusian culture and have been the main hearths of science and culture in Al-Andalus. Kayravan was the first stop of the Andalusians as one of the first Islamic cities established in North Africa. Later, Alexandria attracted the attention of Andalusians with its important scholars and madrasahs. Mecca and Medina were the main sources of science and culture in Al-Andalus. In the following years, the interaction of Al-Andalus with Baghdad and other Islamic cities gradually increased. Al-Andalus is one of the best examples of not only living together, but also creating a common culture and civilization together. The harmony and solidarity that the Arab peoples, the founding elements of Islamic civilization, and the newly converted Berber and Spanish peoples in the Iberian Peninsula showed during and after the conquest, went down in history as an experience unique to these lands. Contrary to the oppression and coercion that the Jewish community has been subjected to since the Roman period in Iberia, it is also one of the privileges of this civilization that it has become a part of Andalusian culture freely and wholeheartedly. Jewish scholars in Al-Andalus, speaking and writing in Arabic, became an integral part of this culture. Great philosophers such as Ibn Dawud and Maimonides, poets such as Ibn Ezra and Kasmune bint Ismail, and great statesmen such as Hasdai bin Shaprut were very influential in Al-Andalus. Christians, too, quickly adapted to the Andalusian culture and created a literature written in Spanish with the Arabic alphabet called Aljamiedo. The capital Kurtuba hosted Christian students from European cities -individually or in groups- and these students became the main representatives of Islamic culture and science in their own countries. International Journal Of Humanities And Art Researches 2023-09-17T23:20:50Z Research Article application/pdf eng https://ijhar.net/paper/download?id=312 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=312 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 294-302 https://ijhar.net/paper/download?id=312 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/313 2023-09-17T23:20:41Z 3

Genç Erişkin Bireylerde Algılanan Ebeveyn Tutumları ile Duygusal Zekâ ve Öfke Kontrolü Arasındaki İlişki Yüksek Lisans. Müge AĞIR EZGİN ; Dr.Öğr.Üyesi. Bahar AKOĞLU Öğr.Gör.,Erdal,Gültekin Emotional intelligence, Trait anger, Perceived parental attitude Emotional intelligence is as important as intellectual intelligence for individuals to continue their lives efficiently and competently. The development of emotional intelligence can be related to the structure of the brain and it can be affected by external factors. Emotional intelligence is thought to be an effective factor in anger control as well as perceived parental attitudes. There are previous studies in the literature showing that individuals with high emotional intelligence are more successful in anger control than other individuals (Baltacı, Demir, 2012; Tetik et al., 2014). Rewarding or punishing behaviors of parents can cause serious problems in child development. This situation is problematic in the development of sense of self and it has a considerate impact on the emergence of mental problems. Perceived parental attitudes of individuals can affect their childhood as well as their personality traits in young adulthood (Şanlı & Öztürk, 2012). Studies in the literature have revealed that there is a relationship between perceived parental attitudes and anger (Şimşek, 2006). Shute, Maud, and McLachlan (2019) stated that remembered negative parenting styles were associated with maladaptive schemas, trait anger, and depression symptoms. This research has a descriptive and cross-sectional study design in which the relational survey model is used. Relational screening method aims to find the relationship between two or more variables and how they change together (Karasar, 2009). The research is cross-sectional since it covers a certain time period. Sociodemographic Information Form, Rotterdam Emotional Intelligence Scale, Perceived Parental Attitude Scale, and a Trait Anger-Anger Styles Scale were used in this study using the relational screening model. The population of the study is young adults between the ages of 20-35 living in Istanbul. For the sample of the study, 384 people between the ages of 20-30 were determined by convenience sampling. The data collected for the research were analyzed with the SPSS 25 program. The relationship between continuous variables was examined with the Pearson Correlation Coefficient. The research findings showed that there is a positive correlation between emotional intelligence and emotional warmth of the mother and father, and negatively correlated to the mother's rejecting attitude. In line with the results of the research, it has been concluded that perceived parental attitudes are very important for the development of emotional intelligence of individuals. It has been determined that perceived rejecting parental attitudes have a negative effect on emotional intelligence. It has been observed that the emotional intelligence was positively correlated with anger control. The emotion regulation technique that was highly correlated with anger control was the self- focused emotion regulation ability. These findings can be expressed as the increase in the emotional intelligence level of the individual facilitates anger control. In addition, as the emotional warmth and overprotectiveness of the parents increase, young adults’ anger control skills increase, and as the parents' rejecting attitudes increase, the trait anger and the reflection of anger also increase. Pozzi et al. (2020) determined that amygdala reactivity is affected in negative parental attitudes. Previous studies have shown that perceived parental attitudes can play an effective role on individuals' brain chemistry, in accordance with their emotion regulation skills and anger. It is important to consider all research findings together and make some suggestions for future studies. In the present study, it has been seen that parental attitudes can be very important for the development of an individual's emotional intelligence. For this reason, it seems very important to provide psychoeducation to parents about the role of parenting styles in the emotional development of the child and to support parents in adopting more democratic child-rearing attitudes. Equally important is that parents are encouraged to recognize and regulate their own emotions and express their anger appropriately. As a result, it was observed that both emotional intelligence and anger control were related to perceived parental attitudes, and there was also a relationship between emotional intelligence and trait anger and anger projection. It is thought that examining these three variables together will bring a new perspective to the clinical interventions applied in anger control, questioning the relationship with the parents in finding the source of anger and using methods to improve the emotional intelligence of the individual in developing anger control skills. Considering the limitations of our study, it is thought that one of our most important limitations is that our sample consists of participants between the ages of 20-30 and the generalizability of our findings to all young adults is low. According to the American Psychological Association (APA), young adulthood encompasses the ages of 20-35. To overcome this limitation, it is thought that it is important to reach participants between the ages of 20-35 in future studies and to replicate the study in this age range. Another limitation of our study is that only three different parental attitudes were measured. Measuring different types of perceived parental attitudes in future research is important in terms of contributing to revealing the relationship between parental attitudes with emotional intelligence and anger control. Considering the findings and limitations of the study together, it is recommended to replicate the study with a sample where different parenting attitudes are also measured and the power of representing young adulthood is higher. However, in future studies, it is recommended to control some sociodemographic variables that may affect the parenting styles such as the education level of the participant's parents, socioeconomic levels, and the traumatic life events that may affect the emotion regulation and anger control skills of the participants. International Journal Of Humanities And Art Researches 2023-09-17T23:20:41Z Research Article application/pdf eng https://ijhar.net/paper/download?id=313 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=313 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 199-213 https://ijhar.net/paper/download?id=313 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/314 2023-09-17T23:20:36Z 2

Sinop Boyabat İlçesi’ndeki Erken Cumhuriyet Dönemine Ait İlkokul Yapılarının Morfolojik Olarak İncelenmesi Öğr.Gör.. Tümay GÜNEŞ ; Dr.Öğr.Üyesi. Selim KARTAL Öğr.Gör.,Erdal,Gültekin Early Republican Period, Educational Buildings, Primary Education Buildings, Boyabat The period in which there was an intense modernization movement from the first years of the foundation of the Republic (1920-1950) is known as the Early Republican Period. Early Republican Period in itself; The First National Architecture Period, which emerged in 1908 and dominated until the 1930s, the rational-functional architectural period that started after the 1930s and continued until the 1940s, and finally, the period of architecture that started in the 1940s and dominated the 1950s. It can be classified as the Second National Architecture Period, in which the idea of returning to regional architecture with the idea of creating works in accordance with the conditions of the country gained weight. The main objective of the primary education policy of the Early Republican Period was to increase literacy in a short time and to develop the ideology of the new regime by spreading it. Therefore, importance was given to the design and construction of many primary school buildings of different scales and features. Within the conditions of the First National Architectural Period, certain types of projects were created and tried to be implemented. The type projects prepared within the body of the Ministry of Education reflect the dominant architectural lines and character of the Neo-Ottoman or First National Architecture style of the period, like other public buildings. One of such projects is the Gazi and Latife schools built in Ankara. This project, designed by Mukbil Kemal Taş, was one of the most implemented projects in the Early Republican Period. The project, which is the first example of Gazi Schools opened in every city throughout the country in the Early Republic Period, designed with a symmetrical plan understanding, consists of a rectangular mass in the north-south direction in the middle and outflowing masses adjacent to it. The roof of the building, which has wide eaves, is covered with hipped and tiles. The fringes of the masses that protrude at both ends of the rectangular mass are made wider. The entrance doors of the school have low arches. Apart from that, the windows on the lower floor have low arches, while the windows on the upper floor have pointed arches. Type projects contain some differences according to the characteristics and needs of the place where the building is built. Examples of this type of project, which were implemented in the Early Republican Period (1920-1950), were also built in the Boyabat district of Sinop. During this period, there are three Republican Period primary school buildings in Boyabat district. These structures are Girls' Vocational High School (Former Dumlupınar Primary School), İnönü Primary School and Dumlupınar Primary School. These schools are located in the center of the district. Today, only Dumlupınar Primary School serves in accordance with its original function. Within the scope of this study, Girls' Vocational High School (Old Dumlupınar Primary School), İnönü Primary School and Dumlupınar Primary School were handled in the plane, plan and facade, structure, material, form composition-mass analysis, spatial relations and relationship analysis scheme and morphological analyzes were made. . The plan characteristics of primary school buildings examined in the literature in the Early Republican Period can be classified as H, Rectangle, L, T, U plan schemes. Apart from these plan schemes, there are also free plan schemes designed according to the region they are located in. It is possible to divide primary school buildings into three main groups according to their façade features: balconies, entrances from the middle axis and entrances from the corner axis. When the Vocational High School for Girls, İnönü Primary School and Dumlupınar Primary School are examined on the site plan, it is seen that the orientation of each building is different. The approach to the buildings is with a direct connection from the main road to the garden in the Girls' Vocational High School, a separate road special for the school from the side street in the İnönü Primary School, and the entrance to the school garden from the street road in the Dumlupınar Primary School. There are two main entrances to the Girls' Vocational High School, a main and a warehouse entrance to the İnönü Primary School, a main entrance to the Dumlupınar Primary School on the ground floor and one for the first floor, and two exits to the backyard. Girls' Vocational High School (Former Dumlupınar Primary School) and İnönü Primary School located in the Boyabat district of Sinop are educational buildings built as H-plan type on a rectangular area at the base under the influence of Early Republican Period architecture. In the general plan scheme, an H-plan type appearance has been given by overflowing the corner masses from the main walls. It has similar plan features with the type projects drawn by Mukbil Kemal Taş, the architect of Gazi and Latife Schools. Girls' Vocational High School (Former Dumlupınar Primary School) and İnönü Primary School reflect the characteristics of the I. National Architecture Movement. Dumlupınar Elementary School, on the other hand, was built with a free plan scheme as Z plan type, unlike the Early Republic period type projects. Since Dumlupınar Elementary School is located in an environment where there are examples of traditional civil architecture, it is understood that the plan scheme is shaped freely according to the needs. There is no symmetry in the plan and façade plane. Access to some places is in the form of space within the space, and there is no direct connection from the circulation areas. The plan scheme of this school differs from the Girls' Vocational High School (Old Dumlupınar Primary School) and İnönü Primary School in this respect. Girls' Vocational High School and İnönü Primary School are similar to the structures of the I. National Architecture Period with their roof form, façade symmetry and entrance from the middle axis. Dumlupınar Elementary School differs from the other two schools in terms of its facade characteristics. While entrance is provided from the middle axis in Girls' Vocational High School and İnönü Primary School, entrance is provided from the corner axis in Dumlupınar Primary School. The façade of Dumlupınar Elementary School with rectangular windows is plain and simple. As a result, Girls Vocational High School and İnönü Primary School show the characteristics of the I. National Architecture Period in terms of plan scheme and facade characteristics, and Dumlupınar Primary School shows the characteristics of the Second National Architecture Period. International Journal Of Humanities And Art Researches 2023-09-17T23:20:36Z Research Article application/pdf eng https://ijhar.net/paper/download?id=314 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=314 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 214-228 https://ijhar.net/paper/download?id=314 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/315 2023-09-17T23:20:23Z 7

Geleneksel Takıda Aşırılık: Mursi Kadınları Örneği Arş.Gör.. İzzet ZORLU ; Doç.Dr.. Nesrin YEŞİLMEN Öğr.Gör.,Erdal,Gültekin Labret, Jewelry, Extremism, Tradition, Mursi Women. Jewelry is one of the phenomena that are among the indispensables of every society and tradition, both today and in its historical process. Today, although there is no distinction between men and women in jewelry, the connotation of women occurs spontaneously when it comes to jewelry, and it is even evaluated as a whole in the literature. Every society shapes its jewelry concept according to its lifestyle, belief, and geography. In addition to adornment, jewelry carries many meanings and has the feature of conveying nonverbal messages as a means of expression. It is seen as a privilege to be a more recognizable individual or to have a large piece of jewelry for a defining identity within the tribe, a social passport, or even to be able to wear it on one's body. As the pursuit of beauty results in such lip jewelry, this tribe shows that the effort to look beautiful somehow is decisive in the form of the design. Many communities worldwide are known and differentiated by the jewelry they use. For example, women belonging to the Mursi Tribe, living in the Omo River valley, about 100 km north of the Kenyan border, in the far southwest of Ethiopia, are world-renowned and distinguished by the jewelry they wear. The unique jewelry tradition of Mursi Women is extraordinary (in other words, extreme) jewelry that not every woman can accept and use. In this context, research has been carried out on a phenomenon that has traditionally been going on for centuries, the jewelry culture of Mursi Women, which can be described as extreme, and the existence of similar examples in the world. While conducting vertical research on the Mursi Tribe, which has an extremist tradition, it has been determined that different cultures such as Iran, Iraq, Brazil, Cameroon, Ecuador, Mexico, Peru, Bolivia, Argentina, and Chile used labrets for a period of time in their histories. Examples of extremism, called fashion and applied today, also found a place in this research. Traditionally, the Mursi tribe adorned themselves through ear and lip plates, bracelets, body scraping, and painting. It is seen that this tribe also used jewelry as a weapon of war. Bracelets worn by women are not just for decoration, they are used to slap wrists in a martial art called bracelet duel. This bracelet is made of iron and adjusted to fit the woman's wrist perfectly. There is an opening on the inside of the wrist with two round projections on either side that are used to strike an opponent. Only strong women can wear these bracelets called Ula. It is found on both wrists of the strongest women. The study also had some determinations and outputs in the socio-cultural field. For example, today, where even intangible cultural assets have become commodified, it has become remarkable what the cultural wealth of the Mursi Tribe has evolved into in the 21st century. Some results have also been obtained as to whether the culture, which is the subject of the research, is maintained by the Mursi because it is in their genetic code or because of purely material expectations. Putting on lip plates, smearing their faces in clay, and wearing baby skirts over their heads is always done to look even weirder and make more money from enchanted tourists. It was observed that they demanded clothes, empty plastic bottles, razors, plastic beads, soap, and balloons when they could not get money. They use most of these materials for a purpose they have developed in their own imagination. For example, balloons are used to store money inside. It is certain that the Mursi contributed to the country's economy by attracting tourists. On the contrary, it is known that there was tremendous pressure on Mursi women to give up the body modification tradition from various parties, including the Ethiopian government and Protestant missionaries. They are also aware that the Mursi tribe's lip plaques exclude them from education, social and economic well-being. Government officials say lip modifications represent an "uncivilized" tradition that should be abandoned. International Journal Of Humanities And Art Researches 2023-09-17T23:20:23Z Research Article application/pdf eng https://ijhar.net/paper/download?id=315 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=315 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 229-247 https://ijhar.net/paper/download?id=315 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/316 2023-09-17T23:20:12Z 2

Çiftlik Güvenlik İdaresi’ni Eleştirel Teori ve Kültür Endüstrisi Kavramı Işığında Yeniden Düşünmek Dr.Öğr.Üyesi. Nadir BUÇAN Öğr.Gör.,Erdal,Gültekin Farm Security Administration, Photography, Documentary Photography, Frankfurt School, Critical Theory, Traditional Theory, Culture Industry The subject of this research is the photographic documentation work carried out by the Farm Security Administration (FSA), which is defined as the largest documentary photography work in the history of the United States and is characterized as a pinnacle in documentary photography. Conducted between 1935 and 1943, this collective documentation work, referred to as the FSA for short, aimed to bring photographic visibility to the harsh conditions of agricultural workers, who were most affected by the Great Depression, drought and sandstorms, and to bring about social change by creating public opinion about the problems. Therefore, the documentary photography project carried out under the umbrella of the Farm Security Administration was also a project with ideological implications and consequences. The photographic medium, especially photographic approaches, which are characterized as "straight" and "documentary" and are assumed to represent the world in an "objective" and "direct" manner with a naturalistic understanding, are a product of Enlightenment thought and traditional theory, which are the foremost critical haunts of Frankfurt School theorists. Therefore, it can be easily argued that the FSA project, which is a documentary photography project documenting the negative effects of the Great Depression of the 1930s on rural areas, is a project that can be subjected to critical readings of Frankfurt School thinkers, especially Adorno and Horkheimer. For this reason, this research aims to understand and explore the political value of the photographic images produced by FSA photographers in the light of the concept of culture industry and critical theory developed by the Frankfurt School, and in order to achieve this goal, the semiotic method, one of the methods of image analysis, was used. Documentary photographs produced within the scope of the FSA project are signs that represent people, events and phenomena and convey their meanings to the receiver. Therefore, discovering the meanings hidden in the documentary images produced within the scope of the project necessitates the semiotic method, one of the methods of image analysis. Exposing the aspects of cultural products that produce and reproduce the status quo and questioning the role they play in the ideological and discursive sphere, members of the Frankfurt School problematized what was going on at the cultural level rather than the economic level. Their use of the concept of the culture industry was meant to refer to the fact that industrial cultural products give rise to relations of power/power and thus enable the production and reproduction of domination. Therefore, Adorno and Horkheimer explored how domination is culturally constructed. Skeptical of the economic determinism of classical Marxism, these thinkers criticized Marx for ignoring the cultural level. The domination of the upper classes over the lower classes was not only due to their domination over the economy, that is, their ownership of the means of production. The production and reproduction of the status quo also stemmed from cultural domination. For this reason, the Frankfurt School theorists, who refused to explain power relations only in terms of political economy, aimed to fill the gap left by classical Marxism. In the School's view, the reproduction of the status quo also necessitated the continuity of the control of consciousness. The role of the mass media, the "culture industry" as the School called it, in the capture of all layers of consciousness could not be underestimated. Therefore, one of the main arguments of the School was that domination was also cultural, operating through cultural products and messages. Thus, in the thinking of School members, culture emerges as a management strategy for manipulating the masses under late capitalism. Therefore, Adorno and Horkheimer, members of the Frankfurt School, developed the concept of culture industry, which refers to the industrialization of culture under late capitalism and its transformation into a mass deception. Adorno and Horkheimer are characterized as technological and cultural pessimists because of their focus on the reactionary ideological effects of mechanical reproduction. According to these thinkers, industrial culture is not a natural and spontaneous culture, but an artificial culture programmed from above and consciously for the masses. The Frankfurt School members' criticism of society is also characterized as critical theory, and critical theory defines itself through the opposition to traditional theory, that is, positivism. Traditional theory, which equates knowledge with perception and thus tries to cover up the historicity of the status quo and present it as unchanging, is one of the main critical junctures of critical theory as it is capitalism's understanding of science and knowledge. In this research, it is concluded that the photographic documentation carried out by the FSA corresponds to the epistemological limits of traditional theory, as it presents a naturalistic and factualist approach. This photographic research, by addressing the truth about agricultural workers in its perceivable or observable aspects, elicited emotions such as pity and compassion in the viewer, which prevented a genuine critical attitude on the part of the viewer. By concealing the historicity of social contradictions, the FSA work emphasized the immutability of the status quo and resulted in social control. Therefore, another finding of the research is that the photographic medium, in the specific case of the FSA work, functioned as a culture industry. Dorethea Lange's Migrant Mother and other works in the project exemplify both the negative ideological effects of culture industry products that affirm the status quo and the inadequacies of empirical social research. As a result, it can be argued that FSA images as cultural products function to affirm rather than negate the status quo. International Journal Of Humanities And Art Researches 2023-09-17T23:20:12Z Research Article application/pdf eng https://ijhar.net/paper/download?id=316 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=316 International Journal of Humanities and Art Researches, September 2023 , Issue: 3 , Volume: 8 , Pages: 303-331 https://ijhar.net/paper/download?id=316 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/299 2023-08-19T13:42:57Z 4

Beden Eğitimi ve Spor Öğretmenlerinde Eğitim Programı Okuryazarlık ve Öğretim Yeterlik Düzeyleri Araştırmacı. Umut GÜLPEK ; Prof.Dr.. Şenay ŞAHİN Öğr.Gör.,Erdal,Gültekin physical education, sports, curriculum literacy, teaching efficacy It is up to educational institutions and teachers to train individuals who have the ability to use the information open to everyone through a filter and use it correctly and appropriately (Özpolat, 2010). For this reason, although education is individualized and differentiated (Şenyurt ve Önal, 2019), it is a planned action that should attach importance to raising individuals who can solve problems, learn to learn, have strong interpersonal communication, are prone to cooperation, and have national values and a global perspective (Parlar, 2012). Within the framework of these actions, education programs are also the basis of education systems designed to train people with the characteristics needed by the society in a planned manner. According to Alsubaie (2016), education programs should show continuity, not static, in order to be representative of change. This continuity is carried out by the teachers who are the main implementers of the program. For this reason, it is very important for teachers to develop their awareness of how they perceive the curriculum and how they can transform it into practice. This concept, also known as program literacy, has been defined differently in the literature. According to Akınoğlu and Doğan (2012), curriculum literacy, which is thought to make significant contributions to education. For Karagülle, Varki and Hekimoğlu (2019), it is an equipment that combines theory and practice, facilitates the realization of gains, and can increase the benefits of training plans to be made. Particularly in the literature, it is seen that limited research has been conducted on physical education and sports teachers and pre-service teachers' awareness of curriculum literacy and determining their teaching proficiency levels. In this study, first of all, physical education and sports teachers and teacher candidates' education program literacy levels and physical education teaching proficiency levels will be examined. Finally, it will be examined whether there is a relationship between physical education and sports teachers and teacher candidates' educational program literacy and physical education teaching proficiency levels. The sample of the study consists of a total of 234 participants, 128 of which are active physical education and sports teachers in Bursa and 106 teacher candidates continuing their education in Uludağ University Physical Education and Sports Department. In order to determine the literacy proficiency levels of Physical Education and Sports Teachers and teacher candidates, the "Educational Program Literacy Scale" (EPOYS) developed by Bolat (2017) and consisting of 29 items was used. In order to determine the physical education teaching proficiency levels of Physical Education and Sports Teachers and teacher candidates, the “Physical Education Teaching Competency Scale (PEÖYÖ)” developed by Humpries, Hebert, Daigle and Martin (2012) and adapted to the conditions of our country by Erbaş, Varol and Ünlü (2014) was used. The scales were delivered to the teachers online, and the pre-service teachers filled the scales in the university campus. There was no difference between teachers’ and teacher candidates’ mean scores of EPOYÖ total (????232=-,459, p=.646), reading (????232=-,661, p = .509) and writing (????232=-,227, p=.821) sub-dimensions. Teachers’ and teacher candidates’ total scores of BEÖYÖ (????232=-2,285; p <.05), proficiency in applying scientific knowledge in physical education (????232-2,037;.05), teaching proficiency about appropriate skill level (????232=-4,257; p<.05), differences proficiency in explanations (????232=-3,338; p<.05) and proficiency in assessment scores (????232=-2,587; p<.05) differed significantly. When these sub-dimension scores and BEÖYÖ scores of the teachers were compared with the teacher candidates, it was seen that they had statistically significantly more adequate teaching skills. When the scale scores were compared in terms of gender groups, the EPOYÖ (????83= 0,249, p =.804) and BEÖYÖ (????83=-1,144; p = .256) scores of female physical education and sports teachers and teacher candidates were found to be similar. In male teachers and teacher candidates, while EPOYÖ (????147=-0,779, p =.477) scores were similar, there was a difference in the BEÖYÖ (????147=-2,004; p=.047) scores. Accordingly, it is seen that male physical education and sports teachers' teaching competencies are higher than male teacher candidates.It was also examined whether the academic success of the teacher candidates and their participation in the professional experience application had an effect on the scale scores. It was found that the academic success of the teacher candidates caused a significant difference on the EPOYÖ (F3,101= 3.425; p <.01) scores. Finally, it was observed that there was a statistically significant positive correlation between physical education and sports teachers and teacher candidates' total EPOYÖ scores and total BEÖYÖ scores, and between all sub-dimensions of both scales. The educational program literacy levels of physical education and sports teachers and teacher candidates were found to be “quite good”. It can be said that male teachers consider themselves more competent than male teacher candidates.The most significant difference among the teacher candidates with four different academic achievements is between the teacher candidates with an average of 2.00-2.50 and 3.50-4.00. This finding supports the opinion of Kana, Elif, Kana ve Elkıran (2018) that as the academic achievement of teacher candidates increases, their program literacy levels increase. For this reason, it can be said that the candidates who are more successful in the physical education and sports teaching department will be better program literate. It has been determined that the program literacy levels and teaching proficiency levels of physical education and sports teachers do not differ significantly according to their professional seniority. As a matter of fact, according to the results of the research conducted by Aslan and Gürlen (2019), it was determined that the curriculum literacy levels of the teachers did not differ significantly according to the length of service years in the profession. A high level of positive correlation was found between program literacy and teaching proficiency levels and between all sub-dimensions . According to this result, it can be said that curriculum literacy and teaching proficiency skills of both teachers and teacher candidates are related to each other, and a potential proficiency problem in any of these dimensions can directly affect the other skill area. International Journal Of Humanities And Art Researches 2023-08-19T13:42:57Z Research Article application/pdf eng https://ijhar.net/paper/download?id=299 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=299 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 11-26 https://ijhar.net/paper/download?id=299 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/300 2023-08-19T13:42:51Z 5

Camda Sanat, Sanatsal İncelikte Üfleme Tekniği ve Anadolu Medeniyeti Öğr.Gör.. Gültekin ERDAL Öğr.Gör.,Erdal,Gültekin Glass, glass technology, glass shaping, blowing technique Although Glass has been used for 5000 years, it has never lost value. It seems that Glass will not lose value in the future. Although new modified raw materials are being discovered with today's technology, Glass, As it is today, will have the most trusted, used hygiene and features that can make its buyers happy tomorrow. Glass, used in many technologies such as packaging, insulation, and production, especially in heavy industry, has never lost its value. However, new technological materials that we can call intermediate or modified are produced. Glass is the only unrivaled product that will always occupy our agenda, with abundant raw materials, easy to process due to its core being sand. We can quickly see how important Glass is in daily life. So much so that the Glass and its products, which can be seen everywhere, may often be unaware of. Because the place of Glass in daily life has become ordinary and an inseparable part of life, assuming that Glass is out of daily life, its place and importance can be better understood. One can encounter a massive lack of list that could be multiplied, such as light bulbs, lenses, microscopes, telescopes, cameras, eyeglasses, mirrors, televisions, windows, and mirrors. From the opposite point of view, the lack of this list reveals what will be missing from the comfort of daily life. So much so that he may encounter that this deficiency is not a comfort but a necessity; for this reason, it is not surprising that Glass is a reliable and preferred material for production on a sectoral basis and for daily life. Glass is a transparent, indestructible and highly durable material. Being stainless, waterproof, and a good insulator makes it a material that can bring it to mind in almost every field and be used efficiently. This article discusses glass, one of the oldest known materials, and the blowing technique, one of the glass-forming methods. The blowing technique is a method that is used to shape it by blowing with a long metal pipe called a pipe. This technique is also frequently used in the production of handmade glass products. Glass masters still heavily use the blowing technique, which is the oldest glass-forming method. In addition to the blowing technique, seven different techniques are used in shaping the glass. Among these techniques, eight methods are performed: compression, blowing, tossing, winding, inside-out turning, pouring, pouring-rolling, and drawing. This article is a research that re-examines humanity's view of glass and focuses on blowing the oldest glass shaping technique. It is widely speculated that the word glass derives from the Latin name "glastum," a forest flower from which Glass was made in the past. Another approach is that the word "glass" comes from amber, which means "glass sun" in English (welsh). Glass is an inorganic (inorganic) substance that is transparent and translucent, liquid at high temperatures. In addition to being transparent and breakable, unbreakable glasses can be made, and even fabric can be woven by turning them into fine yarn. Glass, one of the oldest decoration and kitchenware materials, can be used in almost every area today. The glass was first used around Mesopotamia around 2500 BC to produce objects such as beads and jewelry. The latest techniques, including core forming and glass blowing, initiate glass manufacturers' application of valuable materials in shipbuilding. The functional and decorative properties of glass have continued to evolve with technical progress. In the first use of glass, it is seen that most of the items are produced for women. There are bracelets made of glass, clasps, and necklaces of colored beads. Glass, first used as a decoration tool for women, was later produced for tools, equipment, and containers in which women were at the forefront. Two basic techniques were used in glass vessels found in Anatolia in the 1st millennium BC. In general terms, these are the inner-mold mold and pressing techniques. Although the blowing rod was not invented in this period, the glass blowing technique has been known and used since ancient times. With the development of technology, it has started to be made by hand-forming machines. It may be unrealistic to consider machine forming simply as a time saver. Because while the machine gives consistent and perfect results in mass production, it can also save labor. Of course, in machine forming, significant design problems such as heat transfer, stability of metals, and bearing clearance must be solved. The situation is not easy in the processing and shaping of handmade glass. This job has several essential tools—a blowing wand, crucible glass removal rod, scissors, tongs, hooks, and hot glass holders. The temperature of the material being worked on requires the tools to be used in forming to be heat resistant or suitable for glass. Glass material; can be shaped by eight methods such as compression, blowing, tossing, winding, inside-out, pouring, pouring-rolling, and drawing. Each glass material is processed with a shaping method suitable for its structure. Some glass forming methods can be used for many glass materials. This research has shown that glass processing methods have forced new techniques, and glass has become increasingly important daily. So much so that the regions where glass can be processed have begun to be accepted as the cradle of civilization. Beads considered the infancy of glasswork, form the basis of glass art in Anatolia. The experience of beadwork has shown its effect on ceramics, porcelain, and glass making in Anatolia for a long time. Because in traditional Anatolian glassmaking, instead of making the glass transparent, the opposite has been taken. It can be easily seen that products that almost move away from glass and approach the appearance of ceramic and porcelain are given. On the other hand, the Ottoman art of glassmaking achieved technical success and produced “clean, immaculate” products. With this article, not only the importance of glass civilization has been mentioned, but also the unfoundedness of the accusations ignoring Ottoman glass art has been revealed. The examples shown in pictures 1 and 2 reveal the true story of Ottoman glass art. International Journal Of Humanities And Art Researches 2023-08-19T13:42:51Z Research Article application/pdf eng https://ijhar.net/paper/download?id=300 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=300 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 27-38 https://ijhar.net/paper/download?id=300 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/301 2023-08-19T13:42:44Z 5

Güzel Sanatlar Lisesi Müzik Ve Resim Öğretmenlerinin Uzaktan Eğitim Sürecinde Uygulamalı Derslerin Etkililiği Üzerine Görüşleri Araştırmacı. Melike YILMAZ ÇAL ; Prof.Dr.. Rüyam KÜÇÜKSÜLEYMANOĞLU Öğr.Gör.,Erdal,Gültekin Fine Arts High School, Music Teacher, Art Teacher, Applied Lessons, Distance Education For Fine Arts High Schools, where there are intensively applied courses and theoretical courses are supported by applied courses, the distance education period brings more disadvantage than advantage to teachers and students in terms of the effectiveness of applied courses. In the research, qualitative research was applied to determine the opinions of Fine Arts High School Painting and Music Teachers on the effectiveness of applied courses in the distance education process. In line with the findings obtained from the interviews with the Fine Arts High School Painting and Music Department teachers; It has been determined that the applied lessons held online during the pandemic period are not as efficient as face-to-face education, and distance education platforms are not sufficient for applied music and painting lessons, especially the connection and technical problems experienced during the lessons, and this situation negatively affects the education process. Common problems according to participant comments; It was categorized as “Absence”, “Assessment”, “Connection Problems” “Internet Quota Problem”, “Lack of Motivation” and “Parent Indifference”. It has been concluded that distance education should not be preferred for applied courses except in compulsory cases, a special application should be developed to be able to do it, and they want to continue the training of applied courses face-to-face in the post-pandemic period. In this study, the phenomenology design, which is a method that focuses on understanding lived experiences, was used. Semi-structured interview technique was applied, and the obtained data were analyzed by content analysis. The study group of this research consists of 7 painting and 14 music teachers working at Bursa Zeki Müren Anatolian Fine Arts High School during the 2020-2021 Fall Semester distance education period. The main purpose of Zeki Müren Fine Arts Anatolian High School is to enable students to receive education in the fields of music or painting in line with their interests and abilities; to prepare for higher education programs that require special abilities; foreign language learning; to grow up as creative and productive people who can make interpretations and applications in line with their abilities; to enable them to recognize national and international works of art. As a result of the research, the general opinion of the participating teachers; Unless a special application or program is designed, applied courses should be conducted face-to-face in line with the necessary precautions. While seeing is important for Art Teachers, hearing is at the forefront for Music teachers. According to the opinion of all Fine Arts High School teachers; Web programs and software used in distance education could not provide sufficient technological support. Problems originating from the software and the internet negatively affect the efficiency and teaching of the course, especially in the application-oriented departments and courses. It was stated by the teachers that different software suitable for their fields should be developed for application-based departments and courses. For Music Teachers, the most important problem on the basis of the branch is the "Synchronization Problem", while the "Sound Quality" problem comes right after it. These problems are followed by "Connection Quality", "Challenges in Group Work" and "Failure to Meet Technical Requirements". While the most important branch problem for Art Teachers is “Instant Feedback Difficulty”, “Visual Expression Difficulty” comes second. The fact that it is not possible to see all the details of the work done from the camera in the field of painting and that the error cannot be intervened immediately reduces the efficiency of online courses. The difficulties experienced in the expression of the event to be told or the mistake that is intended to be shown are also one of the leading problems experienced in this process for teachers. Unfortunately, the distance education decision taken during this difficult process did not lead to a very positive process and results in Fine Arts High Schools where applied courses are dominant. Participants emphasize that practical lessons should be done face-to-face, and if this is not possible with full capacity, the classes should be diluted with the hybrid model and face-to-face education should be continued. In the event that face-to-face education is not possible, it is stated that applied courses should be taught with software and platforms specially prepared for the fields, but only in this way, the efficiency of the courses can be obtained. International Journal Of Humanities And Art Researches 2023-08-19T13:42:44Z Research Article application/pdf eng https://ijhar.net/paper/download?id=301 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=301 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 39-56 https://ijhar.net/paper/download?id=301 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/302 2023-08-19T13:42:36Z 2

Üniversite Öğrencilerinin Okuldan Memnuniyet Düzeyleri ve Akademik Başarıları Arasındaki İlişki: Fen Bilgisi Öğretmenliği Örneği Araştırmacı. Yüsra ÇAVDAR ; Doç.Dr.. Sevgül ÇALIŞ Öğr.Gör.,Erdal,Gültekin Academic success, student satisfaction, pre-service science teacher In order to meet the demand for higher education in our country, an environment of competition between universities has emerged as a result of the increase in the number of private and state universities in recent years. In this competitive environment, universities come to the fore with the opportunities they offer to students as well as quality education in order to be preferred by students. With the increase in the need for qualified, trained students in the global world, it is seen that the investment made in universities, the quality of education and the interest in satisfaction studies also increase. Since the graduates of universities that accept students with higher scores in the university exam and are thought to provide quality education services are considered more qualified, such universities can provide easier employment opportunities. For this reason, students are expected to prefer universities that are thought to provide quality education more. There are many factors that determine the university preferences of students. Among these, there are factors such as the academic success of the university, its campus, student life, job opportunities of graduates, and opportunities within the departments. In this context, it is assumed that students will choose a university that suits their career goals and personal preferences (Egelioğlu and et al., 2011:15). Student satisfaction is accepted as an important data in terms of the quality of undergraduate education given by universities (Uygur and Yelken 2017:2). Because satisfaction that students receive from education is considered as an indicator of the quality of the educational institution. For this reason, most universities pay attention to regularly conducting satisfaction surveys to evaluate their efforts in quality improvement processes and to improve their service quality. For universities that care about quality in education, it is important how students are evaluated. Student assessments are not the only source of information in determining the quality of education, but they provide useful information. Although there are many studies on the concepts of student satisfaction and academic success (Altaş, 2021; Alver, 2005; Şahin et al., 2011; Naralan and Kaleli, 2012; Burgaz and Ekinci, 2007; Jafarova and Demirtaş, 2020) there are few studies examining the relationship between these two concepts both in our country and in the world literature (Egelioğlu et al., 2011; Koç and Arkan, 2021; Edraki et al., 2011; Samdal et al., 1999). For this reason, in this study, it was desired to investigate the relationship between prospective science teachers' levels of satisfaction with school and their academic achievements. For this reason, it was desired to seek answers to some research questions. These are: 1) Is there a significant relationship between pre-service science teachers' level of satisfaction with school and their academic achievement? 2) How academically successful are the pre-service science teachers? 3) What is the level of satisfaction of pre-service science teachers from school? Relational survey model, one of the quantitative research methods, was used in the research. In the relational screening model, it is tried to determine whether the variables change depending on each other and if there is a change, how it happens (Karasar, 2012:79). The universe of this study consists of students studying Science Education at Bursa Uludağ University. The participants of the study consisted of 105 teacher candidates studying at Bursa Uludağ University Faculty of Education Science Teaching Department in the 2021-2022 academic year. The "A Student Satisfaction Scale" which was developed by Tatar (2017:218) was used as a data collection tool to determine the satisfaction levels of prospective science teachers at school. The scale consists of 7 parts: the physical conditions of the university, the infrastructure of the university, the library facilities of the university, the courses and course contents, the characteristics of the academic staff teaching the course, the characteristics of the university staff other than the academic staff teaching the course, and the student profile. There are a total of 100 items in 7 sections of the scale. In answering each item; Likert type 5-point measurement option was used as “1-Not at all satisfied, 2-Not satisfied, 3-No idea, 4-Somewhat satisfied, 5-Very satisfied”. The reliability coefficient of the scale was found to be 0.97 by Tatar et al. However, in this study, the reliability coefficient of the scale was found to be 0.96. The academic achievement scores of the science teacher candidates were obtained from the student information system as of the 2021-2022 fall semester, after all the grades of the previous semester were entered. In the study, the data were evaluated according to the SPSS 28.0 package program. Students' academic achievement and satisfaction were interpreted with descriptive statistics. In the study, quantitative data collected with the help of the satisfaction scale and academic achievement scores were subjected to normality tests. Kolmogrov - Smirnov test applied data were found to be in accordance with normal distribution (Satisfaction: p=0.2, p>0.05; GPA: p=0.102, p>0.05). Pearson correlation analysis was applied to determine the relationship between the two. In this study, which was conducted to examine the relationship between the academic achievement scores of science teacher candidates and their satisfaction with school, no statistically significant relationship was found between students' school satisfaction and academic achievement scores. In order to increase the level of satisfaction in the quality of education, training and the management style of the college to maintain its continuity; meetings should be held with the students, academic and administrative staff of all classes, where student complaints about the school's purpose, philosophy, mission, vision, the introduction of the instructors, orientation and cohesion, opinions about the curriculum and management style are heard and their expectations are determined, and scientific and social activities that will increase cooperation should be organized. International Journal Of Humanities And Art Researches 2023-08-19T13:42:36Z Research Article application/pdf eng https://ijhar.net/paper/download?id=302 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=302 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 57-66 https://ijhar.net/paper/download?id=302 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/303 2023-08-19T13:42:30Z 3

Türkçenin Yabancı Dil Olarak Öğretilmesinde Kelime Sıklığı: Anadolu Hikâyeleri Dizisi Örneği (A1-A2) Araştırmacı. Seda ÖZTEKİN ; Doç.Dr.. Şükrü BAŞTÜRK Öğr.Gör.,Erdal,Gültekin Anatolian Stories, Word Index, Teaching Turkish to Foreigners. Man is the only creature in the universe that uses language by expressing his social communication skills with words. Due to this feature, every individual needs language. There are an average of seven thousand languages in the world, each of which is related to a language family. Although the alphabets of the words and the way they are written change in expressions, the ideas, feelings and thoughts that are wanted to be expressed can be expressed with the language they use. Every language has its own culture, values and rules. The vocabulary is the mirror of the language and the expressions used in the language also express the power of the language. Turkish is a very rich language thanks to its centuries-old history in terms of vocabulary. Millions of people in many countries in the east, west, south and north of the world speak Turkish as their mother tongue or as their mother tongue. This shows the world's interest in Turkish and this interest is increasing day by day. For this reason, teaching Turkish as a foreign language has become an important field. It is known that a systematic teaching style should be adopted at the beginning of the most important elements in language teaching. For this, scientific studies are needed. As a result of the need for language learning, which has been going on for centuries and will continue as long as humanity exists, foreign language teaching, which has been carried to different and advanced dimensions over the years, has been put into a system towards the middle of the 1900s. In this way, the frequency studies, lecture techniques, and studies on preparing course materials that we are examining today shed light on how language teaching should be. Teaching Turkish to foreigners has continued since the day Turks started to communicate with other nations. Language teaching, with the studies prepared by scientists in the past, enabled important steps of the stairs to be climbed and allowed Turkish teaching to settle in a systematic way. Today, Turkish education is given to foreigners, taking into account the achievements of the Common European Framework of Reference for Languages (D-AOBM). Frequency studies are important in teaching Turkish to foreigners in order to be able to teach vocabulary appropriate to the levels. Vocabulary teaching is currently carried out by Turkish teachers during the lesson. Textbooks that significantly support the lecture and storybooks suitable for levels are also important parts of vocabulary teaching. The general content of these course materials is suitable for the levels according to the conclusion reached in the direction of the academic studies, but in order for a course material to be fully prepared in accordance with the level, extensive research should be done and then taught to the students. The course materials also contribute to the reinforcement of the correct words that the target language learner should use in daily life after the lesson. Especially since the story books deal with the words and phrases in which the daily language is spoken, by telling the subject, they help the words and phrases to be better remembered and consolidated. Considering the deep-rooted history of Turkish and the power it has created by spreading over wide geographies, it is possible to say that the factors affecting the vocabulary of the above-mentioned descriptions are as follows: The social beliefs, religious beliefs, traditions, cultural elements of the people who live the language and those who keep it alive, the interaction of the society with people-groups belonging to different cultures; such as marriages with different cultural identities, commercial relations. There are many academic studies on teaching target words according to levels in teaching Turkish as a foreign language. From these academic studies, the most frequently used target word lists in Turkish were determined for A1-A2 basic level Turkish teaching. In the course materials used in the field of teaching Turkish as a foreign language, these lists and D-AOBM gains are taken into account and Turkish as a foreign language is taught. The course materials, which are prepared by using the target words intensively in the text content, help the target audience to adapt to the daily life faster by adapting to the language. Teaching appropriate words helps the individual to prepare for the country he or she wants to live in, its culture and rules. The aim of this study is to contribute to the language teaching systematic that has an important role in language teaching and is needed, and to examine the compatibility of the vocabulary elements in the determined story set with the vocabulary acquisitions of the Common European Framework of Reference for Languages (D-AOBM). Document analysis, one of the qualitative research methods, was used in the study. During the data collection phase, first of all, five books in the Anatolian Stories Series prepared by Yunus Emre Institute were obtained from the library of Bursa Uludağ University ULUTÖMER In the findings section, in order to determine the vocabulary in the story books, the stories were first transferred to the computer as a page-line index, provided that the current page numbers were fixed. In the second stage, the page-line index was converted to a word index. A frequency list was prepared by making a word frequency study for each story. The frequency list, which includes the words of the five stories created, has been added to the findings section. In the conclusion part, the frequency of use of all story books was examined and interpreted. In the study, the compatibility of the story books in the Anatolian Stories Series prepared by Yunus Emre Institute with the DAOBM vocabulary acquisitions was questioned, and in the conclusion part, the frequency indexes in different books were compared with the Anatolian Stories frequency index and comments were made. It is aimed that this study will set an example for new language teaching materials to be prepared. International Journal Of Humanities And Art Researches 2023-08-19T13:42:30Z Research Article application/pdf eng https://ijhar.net/paper/download?id=303 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=303 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 67-85 https://ijhar.net/paper/download?id=303 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/304 2023-08-19T13:42:19Z 3

Fen Eğitimi Alanında Yapılan Beyin Temelli Öğrenme Nitel Çalışmalarının İncelenmesi Doktora. İbrahim Enes TOSUN ; Doç.Dr.. Şirin İLKÖRÜCÜ Öğr.Gör.,Erdal,Gültekin Meta-Synthesis, Pre-school, Secondary school, Teacher training, Brain-Based Learning Current research and technological advancements in the field of education allow for the development of new methods and approaches that enable students to have more effective and enduring learning processes. In this context, educational approaches that consider students' cognitive processes and the principles of brain function, such as brain-based learning, hold significant importance. In this study, it is aimed to provide comprehensive and in-depth information on the more effective and efficient use of the brain-based learning approach by examining the qualitative studies conducted with the brain-based learning approach in science education through the meta-synthesis method. The study is expected to contribute to the design and use of the brain-based learning approach more effectively in teacher education programs and professional development activities. In addition, it is thought to be important in terms of providing a perspective on the effects on academic achievement, interest levels, motivation and attitudes of students of different age groups and educational levels. The aim of this study is to conduct a meta-synthesis of academic articles and theses, including qualitative research methods, focusing on the application of the brain-based learning approach to science education. This research aims to provide a broad understanding of how the brain-based learning approach has been applied in science education over an eleven-year period by providing information about its outcomes, potential benefits and limitations. For this purpose, the following questions were sought to be answered. 1. What are the general characteristics of qualitative studies using brain-based learning approach in science education? 2. How does the general result of the brain-based learning approach in science education in terms of education and training? 3. How does the positive result of the brain-based approach in science education for teachers and students? 4. How does the negative result of the brain-based approach in science education for teachers and students? Method In this research, the meta-synthesis method was chosen from qualitative research designs to examine the qualitative studies in the field of brain-based learning, identify general trends through an inductive approach, and evaluate them with a critical perspective. Data Collection. The steps followed in the research are presented: 1. Firstly, after determining the research questions, a literature review was conducted to identify relevant keywords for the search. 2. The time frame and databases for the literature search were determined. The years 2012-2022 and the databases SCOPUS, SCIENCE DIRECT, ERIC, DERGİ PARK, YÖK TEZ were selected for the literature search. 3. Criteria were established for the selection process of the studies. Initially, a total of 561 studies were found both nationally and internationally, using the keywords "brain-based learning," "brain-based education," "brain-based teaching," and "beyin temelli öğrenme." These studies were subjected to several exclusion criteria, including: o Being conducted in Turkey between 2012-2022, o Being published as journal articles in academic journals, o Being a master thesis, o Being doctoral dissertations, o Involving qualitative research methods and data collection tools, o Including sub-disciplines within science education such as physics, chemistry, biology education, o Clearly stating the research method and design, o Clearly specifying the sample of the study. Findings. The research methods and data collection tools used in the studies are summarized in Table 1. Depending on the purpose of the study, different data collection tools were used by researchers, such as research open ended questions and interview notes. Among the conducted studies, most of the studies were conducted at the university and higher levels, followed by the elementary school level. It is noticed that there are fewer qualitative method studies in the intermediate levels, such as middle school and high school. The studies indicate that the implementation of brain-based learning in education focuses on five main themes: "Supporting the creation of enriched learning environments," "Supporting the improvement of classroom atmosphere," "Supporting teachers' relationships with students," "Supporting students' cognitive development," and "Supporting students' affective development." According to Table-4, the use of brain-based learning in science education has many advantages for teachers can be summarized as the achievement of meaningful and lasting learning, improvement in students' academic achievements, increased interest and motivation in the subject matter, and establishment of effective communication between teachers and students, for students can be summarized as making the lesson more interesting, appealing to different senses, enhancing retention, involving experiments and observations, promoting group work and peer learning, developing scientific process skills, facilitating effective communication with both the teacher and classmates, fostering a classroom environment of trust and respect, and optimizing external factors such as seating arrangement and classroom ventilation to support learning. According to Table 5, when considering the disadvantages of using the brain-based learning approach in science education from the teacher's perspective, it can be mentioned that designing activities suitable for different learning styles can be challenging and time-consuming, or the designed activities may not appeal to all senses. Additionally, there may be difficulties in maintaining classroom management during activities, accessing colourful boards or different visual and auditory materials, and conducting activities in overcrowded classrooms. These situations can be expressed as disadvantages. When looking at the disadvantages of the brain-based learning method in science education from the student's perspective, it is observed that there can be excessive noise in the classroom during activities, and the designed activities may not appeal to all senses. Conclusion and Discussion This study is limited to six articles and three theses, and it provides an important contribution by addressing the gaps in the literature of this field. The findings indicate that the use of the brain-based learning approach in science education has positive effects on students' academic achievements, interests, and motivation. However, the study also highlights the emerging disadvantages, the challenges that may be encountered in implementing this approach, and the potential negative effects on students. This study is an important step in better understanding the value and potential of the brain-based learning approach in science education. Furthermore, developing recommendations to overcome the challenges encountered in implementing the brain-based learning approach and identifying strategies for implementation can contribute to the success of studies and practices in this field. International Journal Of Humanities And Art Researches 2023-08-19T13:42:19Z Research Article application/pdf eng https://ijhar.net/paper/download?id=304 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=304 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 86-101 https://ijhar.net/paper/download?id=304 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/305 2023-08-19T13:42:11Z 3

Türk Deniz Tarihinin Turgut Reis ve Uluç Reis Adlı Romanlara Yansıması Doç.Dr.. Erol OGUR Öğr.Gör.,Erdal,Gültekin Halikarnas Balıkçısı, historical novel, Uluç Reis, Turgut Reis After the entry of the Turks into Anatolia, they also try to establish dominance in the seas. However, the creation of a naval force and the entry into naval wars with the Westerners happens during the Fatih period. II. Bayezid vas the first Sultan who realized the importance of a naval strategy for the Ottoman Empire. II. Bayezid realized that this progress could only be sustained if there was a naval power that dominated the high seas. During the reign of Sultan Suleyman the Magnificent, the Turks created a tremendous naval force in the Mediterranean and experienced the most glorious period of naval history. The entry of the pirate Barbaros Hayrettin, who founded a state in Algeria, into the Ottoman service started a new era in the Mediterranean. The novels of the Halikarnas Balıkçısı that are the subject of the study are historical novels that take their subject from Turkish naval history. Novels and stories that take their subjects from history are of great importance. Historical novels and stories should give the reader an awareness of history because interpreting history means historical consciousness in a sense. The publication of historical novels in the West began immediately after the French Revolution. Historical novels are influential in forming of national awakening, unity, and togetherness among the people. The novelist should study the social situation of the period he is going to write about and the customs and traditions of the people well. When examining historical novels, the time of the event is considered first. Because the main element that determines the historical novel is time, first it should determine the time of the case in the novels, and it should be emphasized whether this time continues chronologically. Novels should also be evaluated in terms of social time. The novel of Uluç Reis is the first of the author's historical novels. it is a 506-page voluminous book published in 1962. It describes the events from the birth of Uluç Ali to his death. The novel begins in June 1557. Turgut Reis’s novel is the author's second novel in the field of historical novels. The first edition was published in 1966. In terms of volume, it is shorter than the Uluç Reis novel, and it is 312 pages. The historical events in this novel are the same as the previous one. The novels contain the following events that took place in history II. bayezid's abstention on helping Muslims in Spain The Conquest of Rhodes and the surrounding islands Turgut Reis and the Wars He Participated in Preveze Victory Rüstem Pasha's grand viziership and political games in the palace Uluç Ali (Sword Ali) The conquest of Tunisia The Crusader navy's Capture of Tunisia Conquest of the twelve islands Charlemagne's Expedition to Algeria The conquest of Cerbe The Siege of Malta and the Martyrdom of Turgut Reis II. Selim's accession to the throne and the conquest of Cyprus The Battle of Inebahti (Lepanto) Uluç Ali Reis Captain-i Derya The Conquest of Tunisia In a historical novel, the author may reveal small side events and characters related to the main event from time to time in order to make his work more impressive and to keep the reader's interest high. However, it is the most important thing to keep from historical reality while doing this. The Fisherman of Halicarnassus Turgut Reis and Uluç Reis tried to stay true to the historical personality of Turgut Reis in his novels. He tried to use the historical findings he had in creating his work. Thus, he tried to portray the great Turkish sailors such as Turgut Reis and Uluç Reis as a living personality in the reader's mind. The initiation of Turgut Reis and Uluç Reis into seafaring and the heroics they gained in this field are described in detail in the novels. Bodrum’s social life, lifestyle, traditions and surroundings; 16. Insights into the state politics of the century, The development of the struggle between the West and the Ottomans depending on the political Decibels of Europe, That piracy and pirates had a huge share in the development of Ottoman maritime; Information such as a very detailed description of the naval battles between the Ottoman Empire and the European crusader alliance and the combat Decoys used in these wars are included in the novels. Halikarnas Balıkçısı also refers to the neglect of seafaring during the Ottoman Empire. In particular, his comments on the disorders in the functioning of the state starting from the Kanuni Sultan Süleyman period are noteworthy. While the author gives the life story of these two heroes of our maritime history, on the other hand, he is in a state of questioning related to a period of the Ottoman Empire. In the novels, the heroes commemorated with the victories they achieved in our maritime history have their lives from birth to death. The author has fictionalized the epic lives of these sailors, who are not as well-known in our Turkish naval history as Barbaros, but who had a significant share in the development of Turkish shipping and the establishment of dominance of the Ottoman Empire in the Mediterranean and Africa. Thus, he also aimed to create a history consciousness in the reader. Turgut Reis's novel also describes the lifestyle of Bodrum and its surroundings based on centuries shaped by the sea. In the novels, the development of the heroes from childhood, the lifestyle-related to seafaring are presented to the reader. In particular, he combines what is known about the life of Turgut Reis with the power of fiction as a writer who knows the region where he was born and lived well. The birth of Turgutca and the naming ceremony show that the author knows the way of living very well based on tradition. Although the Halikarnas Balıkçısı wrote these novels based on historical reality. Even so, it is essential to approach the text knowing that this is not a date. It will be the correct way to read novels with this way of looking and a critical approach. International Journal Of Humanities And Art Researches 2023-08-19T13:42:11Z Research Article application/pdf eng https://ijhar.net/paper/download?id=305 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=305 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 102-114 https://ijhar.net/paper/download?id=305 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/306 2023-08-19T13:42:05Z 5

Afiş Tasarımının Kültür Sanat Organizasyonunda Kullanımı: Fluxus Örneği Dr.. Aynur KARAGÖL Öğr.Gör.,Erdal,Gültekin Organization poster, poster design, Fluxus art, art poster, festival poster, visual design As of the 20th century, when conceptual art developed, artists produced on the idea that art ideas are more important than the form of art. This new perspective, which developed with the understanding of modern art, caused the concepts to come to the fore. Conceptual art is formed by deliberately moving away from the visual presentation of the work and considering the meaning of the work to be expressed in words. By giving the artists the courage to use different materials, it caused everything in life to be transferred to art. Fluxus (flow art) was announced with a manifesto by Lithuanian/American artist George Maciunas in the USA in the early 1960s, when the most striking examples of modern art were given. They organized festivals in Asia, Europe and America, bringing together artists who produce in literature, music and plastic arts. Fluxus, meaning “flow”, draws life into art through the use of events, sounds and materials. Many important avant-garde artists have been on Fluxus, including Joseph Beuys, Dick Higgins, Alice Hutchins, Yoko Ono, Nam June Paik, Ben Vautier, Robert Watts, Benjamin Patterson, and Emmett Williams. The first Fluxus event was staged at the AG Gallery in New York in 1961, followed by European festivals in 1962. The principal centers of Fluxus activity are New York, Germany and Japan. Fluxus has played an important role in opening up definitions of what art can be. It has profoundly influenced the nature of art production since the 1960s, which saw various art forms and approaches exist and develop side by side. Fluxus, which started as a small but international network of artists and composers, has also been designated as the name of a quarterly magazine. Posters used to promote international Fluxus events from 1962 to 1977 are in the Fluxus Collection by Gilbert and Lila Silverman at the Museum of Modern Art. Fluxus and its distribution of images (via mailers, newspapers, posters, etc.) provide the necessary data to build an understanding of the network of associated artists and the performative side of art. Organizations are announced through graphic design studies. With its two-dimensional design elements, graphic design adds value to organizations with special works in promotion and publicity activities. Poster art is the oldest and most known method for promotion and announcement. As a media, poster provides mass communication. In this respect, poster design is the most prominent of the graphic promotional products. There is the issue of page layout as a basic element in poster design. While designing the layout to ensure the page layout, it is emphasized that a successful design can be made by using design principles such as balance, proportion, hierarchy, continuity, integrity and emphasis. The existence of certain rules can be thought to be successful only if these rules are followed. Design principles and page layout play a role in conveying the poster works created by editing the content to the target audience. A symmetrical or asymmetrical design may be preferred as a basic page layout with the visual and text elements of the composition. The more catchy and memorable the work, the more successful it can be considered. In poster designs and organizational studies where they are used, the most important goal is to reflect the content to the target audience with visual editing. With descriptive quality analysis, the scope of the study was limited to typography, visual element, color usage, which is the main element of poster design, as well as preferences in page layout. The posters included in the study were determined as a sample of seven by random selection technique. While the poster designs are examined in terms of quality, the main purpose of the data analysis process is to make sense of the raw data. For this purpose, the researcher interprets the data obtained from the observations by getting to the core of the subject. The designs were examined in terms of typography, color, visual element and page layout. It is seen that typography is dominant in designs. In addition, it is thought that the use of visual elements is avoided with the use of typography in compositions. visual elements; consists of abstract shapes and indefinite figures. In typography, it is determined that it is played with serifs and no serifs, upper and lower case, letter-word-line spacing (spaces). In the page layout, apart from the use of rows, columns and grids, it is seen that spaces that can disrupt the balance are not avoided. Compositions are also shaped with symmetrical and asymmetrical preferences. It is understood that the Fluxus art organization posters were influenced by Fluxus, which we can describe as an art attitude. International Journal Of Humanities And Art Researches 2023-08-19T13:42:05Z Research Article application/pdf eng https://ijhar.net/paper/download?id=306 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=306 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 115-126 https://ijhar.net/paper/download?id=306 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/307 2023-08-19T13:41:59Z 3

Tasarım Bölümü Öğrencilerinin Girişimcilik Eğilimleri ile Beyin Baskınlığı Arasındaki İlişkinin İncelenmesi Prof.Dr.. Rıdvan EZENTAŞ ; Öğr.Gör.. Hülya BOZYOKUŞ Öğr.Gör.,Erdal,Gültekin design, entrepreneurship, entrepreneurial tendencies, brain dominance analysis Design is the process of creating solutions based on design thinking, creative thought, aesthetic understanding, and functionality. Design aims to improve the user experience, provide visual appeal, and enhance usability of a product or service. Design can be applied in various fields such as fashion and graphic design, and when combined with entrepreneurship, it becomes an effective tool in creating new products or brands and gaining a competitive advantage for businesses. Entrepreneurial inclination refers to the desire or ability of an individual to have entrepreneurial characteristics such as generating innovative ideas, taking risks, managing resources, establishing and developing businesses. Ned Herrmann claims that the brain hemispheres exhibit differences in the distribution of professions within the framework of holistic brain technology. The left brain is more effective in performing sequential tasks, while the right brain has the ability to multitask simultaneously. Encouraging entrepreneurship and evaluating the entrepreneurial dominance analysis of individuals are crucial for Turkey and other developing countries. This study aims to provide guidance on job opportunities and employment creation for students in the Design Department of Bursa Uludağ University Vocational School of Technical Sciences (TBMYO). It investigates the relationship between "entrepreneurial tendencies" and "brain dominance analysis values". The main objective of the study is to determine whether there is a relationship between entrepreneurial tendencies and the dominant hemisphere in the brains of students studying in the Design Department of Bursa Uludağ University Vocational School of Technical Sciences. In this context, the following research questions will be addressed: 1. What is the relationship between entrepreneurial tendencies and brain dominance based on the personal information of students in the Design Department? 2. What are the correlations between entrepreneurial tendencies and brain dominance among students in the Design Department?. The study included 81 students studying in the design department. The survey consists of three sections. The first section includes 5 questions related to gender and entrepreneurial history. The second section includes the "University Students Entrepreneurship Scale" developed by Yılmaz and Sünbül (2009), consisting of a total of 36 questions. The third section of the survey utilizes the "Hermann Brain Dominance Analysis Form" developed by Ned Herrmann, comprising a total of 14 questions. The 50 questions in the second and third sections of the survey are answered on a 5-point Likert scale, ranging from "Strongly Disagree" to "Strongly Agree". In the analysis of the data obtained in the study, SPSS 28.0 software program was used. In this study, prior to the administration of the questionnaire, a measurement was conducted with 33 participants, and the Cronbach's alpha reliability coefficient of the University Students' Entrepreneurship Scale was found to be 0.962. The Cronbach's alpha reliability coefficient of the Hermann Brain Dominance Analysis Form was calculated as 0.841. The overall Cronbach's alpha reliability coefficient for the questionnaire was found to be 0.964. The data was found to follow a normal distribution, and parametric tests such as independent t-test, Pearson correlation, and regression analysis were used for analysis. According to the results of this study, a significant difference was observed between the entrepreneurial tendencies and gender of the students in the design department. Statistically, it was determined that men have higher entrepreneurial tendencies compared to women. Furthermore, there was no significant difference in terms of entrepreneurial tendencies, right brain dominance, and left brain dominance between the design department students who received entrepreneurship education and those who did not. In addition, it was found that there was a significant difference in entrepreneurial tendencies between the design department students who perceive themselves as having an entrepreneurial personality and those who plan to start their own businesses in the future. However, no significant difference was observed in terms of right brain dominance and left brain dominance. According to the analyses of this study, no significant difference was found between design department students who have previously engaged in entrepreneurial activities and those who have entrepreneurial tendencies and have right-left brain dominance. This study's regression analyses revealed a positive and high correlation between entrepreneurial tendencies and right-left brain functions. According to the regression analyses conducted in this study, the most suitable model for the relationship between entrepreneurial tendencies and right brain dominance is a parabolic curve, while the most suitable model for the relationship between entrepreneurial tendencies and left brain dominance is a cubic curve. Furthermore, the multiple regression analysis revealed that the model for the relationship between entrepreneurial tendencies and right-left brain dominance is a plane equation given by "Entrepreneurship = 1.936 * Right Brain Dominance + 1.634 * Left Brain Dominance + 42.258". International Journal Of Humanities And Art Researches 2023-08-19T13:41:59Z Research Article application/pdf eng https://ijhar.net/paper/download?id=307 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=307 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 127-143 https://ijhar.net/paper/download?id=307 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/308 2023-08-19T13:41:51Z 5

Sanatçının Annesi: Umberto Boccioni’ye Ait “Materia” İsimli Eser Üzerine Değerlendirme Dr.. Altay ALDOĞAN Öğr.Gör.,Erdal,Gültekin Umberto Boccioni, Materia, Futurism Looking at the history of art, it is seen that many painters occasionally use family members as models. It is known that among these individuals, especially the "mother" figure is frequently preferred. Starting with Albrecht Dürer's "Portrait of the Artist's Mother" (1514) and ending with Andy Warhol's "Andy Warhol's Julia Warhola" (1974) and covering a period of more than four hundred years, the book Artist's Mother” (2009) shows that this subject is frequently included in the art of painting. Here, it should be said that the depicted "mother" figure can be constructed as one of the parts that make up the content of the painting, and even interpreted with an evaluation to be made over the identity of the "artist's mother". Right here, it should be said that the work "Materia" by Umberto Boccioni (1882-1916), which allows such a analysing, is the subject of this research. It is aimed to analyze this work, which will be discussed in connection with this subject, based on its relationship with Bergonsian thought and futurist approaches, which contributes to the emergence of form and content. In accordance with this purpose, the problem of this research is to evaluate the work studied from the identity of the "artist's mother", especially based on Bergonsian thought, and to examine the role of the mentionedidentity values in the analysing of the painting. In this research in which a descriptive examine was made; based on the information obtained as a result of the literature review on futurist art, Bergson philosophy, Umberto Boccioni and the painting "Materia" by this artist, the painting analysis was made. Before starting on to the study of the work, it would be appropriate to briefly make mention of futurism. Futurism; while the avant-garde developments were taking place in France, it can be summarized as a developing attitude against the cultural incompatibility caused by the dominance of the Renaissance and Neo-classical understanding in 19th century Italian painting. At the heart of this movement is the idea of destroying the respect and longing for the past in order to develop new ideas. However, at this point, it must also be said that modernity-derived concepts such as mechanization, technology and speed, which are among the industrialization-based developments that shaped 20th century Europe, are glorified. As another important point, it is important to mention the relationship between the futurist understanding and Bergson's philosophy in order to understand the works produced within this movement, especially in the context of simultaneity and the depiction of movement. The relationship between "Bergson's thought", which was mentioned above especially in the context of "duration" and "movement", and the futurist artists' depiction of movement is quite clear in bringing together the static moments that constitute movement in the same surface and presenting these different moments to the auidence simultaneously. Therefore, it will be easier to comprehend the futurist thought when looking at the samples in the futurist art of painting in the light of the information given about Bergson's philosophy. After making mention of Futurism in general terms, it can be said that "Materia", one of the most important works of Futurist art, embodies images of the feast-like atmosphere, dizzying speed and dynamism of modernity seen in almost all futurist paintings. These interpenetrative images on the canvas surface disappear and reappear, conveying a simultaneous point of view to the audience. This painting of the artist, who tried to convey the spirit of his age with this method, has all the qualities of a typical futurist work in terms of presenting an enthusiastic view of modernity. At the same time, another important point in the work is the Bergsonian thought that shapes the title, form and content of the painting. Basically, this work, which was tried to apply the ideas contained in the famous philosopher's book "Matter and Memory", looks at issues such as matter, time and memory with references from this philosophy, thus strengthening the futurist form of expression. However, when we take a moment to look beyond the philosophical connections, it is possible to say that the identity of the "artist's mother" has quite individualistic side, that it combines futurist expression with the artist's emotions, and that this approach adds contextual richness to the painting. Based on all these connections, the work analyzed indicates that "Materia", which manages to reflect the spirit of its time quite effectively, also shows the spirit of its creator on the same surface and offers the viewer a glimpse of Boccioni's experience of modernity. International Journal Of Humanities And Art Researches 2023-08-19T13:41:51Z Research Article application/pdf eng https://ijhar.net/paper/download?id=308 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=308 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 144-155 https://ijhar.net/paper/download?id=308 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/309 2023-08-19T13:41:22Z 13

Hieronymus Bosch’un Eserlerinde Fantastik Unsurların Etkisi Dr.Öğr.Üyesi. Serdar DARTAR Öğr.Gör.,Erdal,Gültekin Painting, Fantastic Element, Hieronymus Bosch, Art, Mythology In every period, the painters gave direction to their works based on the concepts they were interested in; They reflected the subject they wanted to tell by using different elements in their works. The concept of “fantastic” has been seen in most works since the existence of societies. Many factors such as the period in which people live, their beliefs and value judgments have been effective in the use of fantastic items. Fantastic elements found in written and unwritten sources were handled in the works of painters in different periods, with different styles. In literary products such as legends, epics, poems and stories, fantastic elements, which are quite common in mythology, have attracted the attention of painters. Some of the painters dealt with nightmares; some of them reflected extraterrestrials in their works on the basis of religious elements. Elements that are the reflection of the unreal world have existed in cinema as well as literary genres. Literary works using fantastic elements have been adapted to the cinema and interdisciplinary perspectives have also emerged. The existence of a large number of literary products in which the concept of fantastic is handled in the field of literature and the adaptation of novels to cinema among these products are among the examples emphasized in the research. In this study; The reflections of the fantastic world descriptions, which have a different place in the art of painting, on Hieronymus Bosch's paintings are focused on. First of all, the concept of fantastic has been explained and evaluated in terms of its meaning with the information obtained from different sources, and the works of different artists such as Francisco Goya, Giuseppe Arcimboldo, Franz Stuck, Johann Heinrich Füssli, Ernst Fuchs are included. With the work analysis method, the pictures were evaluated as technical and content; The usage patterns of fantastic items were examined and explanations were made on the meanings they symbolized. Finally, the works of Hieronymus Bosch were examined in terms of the use of fantastic elements in line with the purpose of the study. In general, an analysis of how the concept of fantastic is handled in painting and how the concept is conveyed by painters has been tried to be presented. It was also among the findings that the concept of fantastic manifested itself as a movement called "fantastic realism" much later. In line with the terms examined in the study and the works of the artists, it was seen that the concept of fantastic often took place in the field of art and gained a different dimension with the pictorial elements that have symbolic meanings in the paintings. At the stage of data collection in the research, firstly, the concept of fantastic, which is the subject of the study, was emphasized, and literature related to the concept was searched, and information was obtained from different sources for the analysis of the works of the painters related to the theme. In addition to the studies on fantastic painting, analyzes were made on fantastic realism, and answers were sought to questions such as how the concept of fantastic found its place in literature and cinema, and what kind of relationship there is between the concepts of surrealism and fantastic. In the light of the findings, the relationship of Hieronymus Bosch's works with fantastic and unreal themes was examined. It is possible to see the most concrete examples of this relationship in the extraterrestrial beings that the artist includes in his composition. However, in Bosch's paintings, besides the physical indicators, these indicators also have fantastic meanings in terms of content. In terms of the meaning in question, the concepts of heaven and hell, which are the subject of the pictorial elements created by the artist in his paintings, the reflection of the pain that people have suffered while being punished, the criticisms about the gradual deterioration of the society in which people live, the advice to be given, while forming the subject of most of the artist's works, gives an idea about the content. Various creatures in the depictions of heaven and hell set an example for the use of the concept of fantastic by bringing an unusual atmosphere to the works. In terms of subject, the works, in which religious contents are also widely used, have been important in terms of including fantastic world descriptions. In line with the findings obtained in the research, it has been seen that the fantastic elements that dominate the works of Hieronymus Bosch are also the elements that shape the attitude of the painter. International Journal Of Humanities And Art Researches 2023-08-19T13:41:22Z Research Article application/pdf eng https://ijhar.net/paper/download?id=309 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=309 International Journal of Humanities and Art Researches, Ağustos 2023 , Issue: 1 , Volume: 8 , Pages: 156-173 https://ijhar.net/paper/download?id=309 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/294 2023-06-12T18:43:05Z 5

Reflection of Migration Phenomenon on Contemporary Artworks Arş.Gör.. Sibel KURTOĞLU ; Prof.Dr.. Birsen ÇEKEN Öğr.Gör.,Erdal,Gültekin phenomenon of migration, contemporary art, installation The concept of migration, which has been a part of our lives for centuries, can be defined as a person's compulsory or voluntary departure from one place to another. There are many social, economic, political and cultural reasons underlying migrations. These reasons can be shortened through social events and the concept of migration can be considered as the sub-cause of these events. Artists, who cannot remain indifferent to social events, can be the visual source of the period they live in, and as a reflection of the events of the age lived years later, they attribute the quality of being a source to their works. This quality of the artist enables him to make artistic interpretations with a creative and critical understanding by dealing with the phenomenon of migration within the framework of social events, and provides an approach to the problems experienced from a different perspective. In this research, the phenomenon of migration, which the artists dealt with after 2000, was examined through works of art and the artist and his work's manifesto were mentioned with explanations. The common point in the works of artists who are in different geographies, but who deal with other dimensions of the same subject, which is handled through conceptual art, is that the drama is being watched or a deadly journey continues in front of the eyes. In the studies carried out within the scope of the subject, the effects of migration, which is not old like migration, but increasing for different reasons today, affect the artists and their reflections on contemporary art practices are supported by visuals. The works of artists that deal with a struggle for life and the approach of artists who perform applications on contemporary art practices to the works are examined. The phenomenon of migration, which has existed in life since primitive times, is one of the unchanging concepts of human history. This phenomenon, which affects every segment of society, has become a problem that cannot be ignored for artists who deal with such social and social problems. . In this study, the phenomenon of migration was historically limited to post-2000 and examined in the perspective of contemporary art. As a result of the researches, the artist's manifesto and the artist's functioning were discussed through a total of 8 works within the scope of concept art within the limitation of contemporary art, and the scope of his works was examined. First of all, the fact that the artist has the quality of being a mirror of his age can enable the artist to deal with the problems of the society he lives in under the conditions of the day. The word "society" mentioned here should be understood not only as the country in which the artist lives, but also as the age and period in which he lived. Because the problem of a region with a different language, identity and geography can be the subject of the work of an artist living in a different country. The universal language of art reveals itself at this point. For example, the lifeless body of Aylan, who drowned in the Syrian War or in the Aegean; These tragedies remove the artist's language, culture, geography, in short, the borders and make art a single language and a single meaning. A universal situation such as migration brings art out of a local dimension and into a universal one. Considering the works of art that examine this definition, some artists create their works by directly experiencing the problem of immigration and being a migrant, while some artists create their works through interactions they experience through communication tools such as news, visuals and social sharing. The common point in the works of artists who are in different geographies, but who deal with other dimensions of the same subject, which is handled through conceptual art, is that the drama is being watched or a deadly journey continues in front of the eyes. Within the scope of this research, investigations of the phenomenon of migration have been made in the context of refugee migration and the reflection of this issue on contemporary art practices has been examined. In this context, the literature reviews and visual examinations, and the works made after 2000, which produce productions with art approaches such as installation, printing and installation, especially from contemporary art practices, have been interpreted. This research, which deals with the reflection of a subject that cannot be ignored, aimed to both change the art practices in contemporary art and show the themes in contemporary art approaches. International Journal Of Humanities And Art Researches 2023-06-12T18:43:05Z Research Article application/pdf eng https://ijhar.net/paper/download?id=294 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=294 International Journal of Humanities and Art Researches, Haziran 2023 , Issue: 2 , Volume: 8 , Pages: 98-113 https://ijhar.net/paper/download?id=294 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/295 2023-06-12T18:42:59Z 2

The Effect of the Concept of Pandemic on Housing and Fictional Space Designs Arş.Gör.. Turgut KALAY ; Dr.Öğr.Üyesi. Çağrı YALÇIN ; Doç.Dr.. İ. Emre KAVUT Öğr.Gör.,Erdal,Gültekin Pandemic, Housing Design, Fictional Space Design, Mobile Spaces Affecting human life; natural disasters, wars, pandemics (outbreaks) etc. Social breaks, such as social breaks, also affect social life and cause some vital changes. The pandemic, which is still in effect today, sets an example for these social breaks. Therefore, pandemics (epidemics) that affect social life with a wide spread feature affect both residential life and working life. This situation has caused the human-space relationship to change within the framework of pandemic conditions. To give an example, during the pandemic process, people have been affected socially and psychologically by staying under quarantine in the residences, which we have described as living spaces, more than ever before. Houses provide heating, shelter, storage, etc. for people. Can be expressed as the spaces they use to meet their vital activities. With the effect of changing conditions and technology over time, different functions and needs lead to changes in housing design and spatial organization. From this point of view, the housing, which is primarily affected by the universal changes affecting human life, should be designed as functional and flexible spaces that can respond to these changes. In epidemic situations such as the pandemic that affects social life, where social distance is minimized, new needs have paved the way for structural and functional changes in buildings. Especially in cities, buildings and interiors, new design guides that regulate human mobility and social life have begun to emerge. Along with the concept of pandemic, housing maps and spatial definitions in minds have changed. This situation causes users to be directed to mobile spaces with functional design features. Mobile spaces are used as temporary accommodation units in social breaks that affect human life, considering a sheltered and isolated life. Especially affecting human life; After natural disasters, wars and pandemics (epidemics), people need to provide the basic requirements they need to continue their vital activities. With the technological advances in the world reaching a serious point, many space designs; It appears as a fictional space through cinema works, serials and animations. Although fictional spaces are expressed as spaces that do not exist in reality, it deals with many current social issues within the framework of design criteria. Many design proposals are seen both in cinema works and futuristic designs, especially in terms of providing spatial isolation in the fictionalization of pandemic spaces. The venue functions as a fictionalized movie scene. In this context, the scene is formed within the framework of the scenario and characters by evaluating the building elements, equipment elements and furniture together. Pandemics affect people's social life and cause social breaks. It is seen that this situation, which is related to epidemics as a global threat, affects every individual in the society psychologically. In this context, social isolation has become a necessity in space and housing designs. In order for functional, perceptual and sensory communication to respond to the conditions experienced in pandemic conditions, space designs should be considered as solution-oriented and functional. Houses are places that meet the need for shelter, which is one of the basic living needs of the communities in which they are located. Therefore, the necessity of social isolation comes to the fore within the scope of the content of the pandemic conditions. These conditions shape the dwellings by partially or completely re-functionalizing them. Thus, portable, demountable, relocatable mobile space design approaches emerge and are formed in line with the needs of people. In this study, it is aimed to examine the effect of the concept of 'pandemic' on housing and fictional space designs. In addition, it is examined how mobile space design examples will respond to the needs in case of a possible pandemic. In the study, single scanning model was preferred by using qualitative methods. First of all, in line with the researches, the concept of pandemic was defined based on the literature and the deadly epidemic diseases (pandemics) that occurred in the history of humanity were mentioned. The structure of the research was created by compiling the conceptual information based on the literature. Then, the relationship between housing design and pandemic was examined and examples were presented on mobile space designs. The concept of fictional space has been defined within the framework of literature resources and mobile space design examples have been examined. Results and suggestions were presented by making spatial evaluation within the framework of information and visual readings in the literature obtained. International Journal Of Humanities And Art Researches 2023-06-12T18:42:59Z Research Article application/pdf eng https://ijhar.net/paper/download?id=295 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=295 International Journal of Humanities and Art Researches, Haziran 2023 , Issue: 2 , Volume: 8 , Pages: 114-128 https://ijhar.net/paper/download?id=295 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/296 2023-06-12T18:42:53Z 5

The Tree of Life in Turkish Culture, Its Use in Tiles and Ceramics as a Motif Dr.Öğr.Üyesi. Koza KURT KIRTAY Öğr.Gör.,Erdal,Gültekin Tree of Life, Cypress, Tree, Motif, Decoration, Tile, Ceramic. The tree, which is the most commonly used pattern in myths involving the creation of the world and the existence of humanity, primitive humanity attributed divine characteristics to it by reaching deep into the soil with its roots, reaching into the sky with its branches, surpassing other living beings in size, and having a long life span. Apart from the cosmic, divine beings who have always been watched in the sky, there has been a tree after animals and humans, which has grown from seed. Such respect, interest and fear felt towards the tree in various societies on Earth gradually led to the formation of the tree cult and it was accepted as sacred from the most primitive beliefs to the divine religions. In the cultures where it is used, the tree of life, also called the “Cosmic Tree”, the “World Tree”, the “Evliya Tree”, the “Ridvan Tree”, the “Tuba Tree”; axis mundi is known as a universal motif symbolizing all the relationships between the universe and life, as well as concepts such as heaven, heaven, abundance. In Turkish mythology, the connection between heaven and earth was established with a tree or mountain motif. The tree of life is also related to the structure of the universe. The universe pole is considered equivalent to the tree or mountain motif. This formation, which is sometimes interpreted as a “universal column” and sometimes as a “cosmic mountain”, corresponds to the concept of the center. It is also stated that the tree of life has seven branches, and each of these branches corresponds to the floors of heaven. It is rumored that the fate of people is written on the leaves of the same tree, and when each of them falls, a person's life ends. In addition, it is accepted that living things contain their own water, which is the source of life. References to the tree of life are made not only in Turkish societies, but also in almost all belief systems. “In the Zoroastrian religion, the fruits of the tree of life (white homa) nourish the holy souls in heaven, and the angels could not go beyond. It is in the center of paradise in the Torah. It is written that this will be a vine branch. It is written in the Qur'an that the Sidra Tree (Sidred al-Muntaha) is located on the seventh floor to the right of Allah's throne in heaven. This was the limit of heaven, and the angels could not go beyond it,” it is said. After the acceptance of Islam, the tree of life is kept equal to the Tuba Tree, which is said to exist in heaven, and in some Islamic sources the tree of life is referred to as the “Tuba”. The origin of Muslim societies in culture, art and literature is Hazrat Mahdi. “It is imagined that there is a tree in the paradise of the occasion, which is the position of the Prophet, whose branches reach all the layers of paradise from top to bottom. It has also been reflected in living spaces as an important symbol in Turkish societies and has often been used in decorative arts. When the Seljuks began to settle in Anatolia in 1071, the Turks blended their cultural and artistic knowledge with the traditions of the Anatolian geography and created new works in many areas. Cultural accumulations play an important role in establishing a connection between past and future generations by being formed in life and transferred to the future in a way of change, deceleration and continuity. The motifs used in the tiles have been shaped under the influence of the historical past of the geographies they lived in, such as Central Asia, Asia, Mesopotamia and Byzantium, and have become material culture data documenting their past. In this context, they have transformed their lives, which are intertwined with nature, into an element of decoration from the images they used as a symbol in the past. The blending of the elements that the Turks brought with them when they settled in Anatolia with the existing ones is very important for the formation of Anadolu Selcuklu art in the process of formation. It is the qualified formations and cultural diversity that enabled the birth of Seljuk art in the Anatolian geography. Turkish tile art in Anatolia, as in the decorative art, has developed with the influences of Central Asian, Turkish, Iranian, Syrian, Sassanid and Great Seljuk, as well as Armenian and Byzantine cultures of Anatolia before the conquest. Tiles, which are a branch of art that develops with architecture, have started to decorate buildings with their sedentary life. They have decorated their lives intertwined with nature with tile surfaces. In particular, they were complementary to religious and civil structures, and they were processed in different forms from each other in decorations. They have also given place to the tree of life motif many times. They took part in compositions with plant motifs such as pomegranate, poppy, lion, various bird figures and dragon. The tree of life, which is usually seen alone or surrounded by birds in the early periods in Anadolu Selcuklu art, was processed together with various accompanying animals in later periods. The examples seen alone in this period are seen only in religious architecture. Compositions in this way are seen on many stone artifacts. Divriği Ulu Mosque, Yakutiye Madrasa, Konya Fine Minaret Madrasa, Erzurum Double Minaret Madrasa are among the most well-known examples where the tree of life motif is used. The tree of life motif is usually included in Seljuk tiles together with bird figures. The motif of the bird in the middle and on the side of the figure, Priority Arik; “the axis of the universe from the perspective of the Shamanic traditions, the Shaman's spirit the ladder in the journey between the worlds, seeing as that accompanies the birds represents the spirit Shaman. According to Islamic belief, the symbol of paradise is perched on the tree, the birds of paradise. On the other hand, Kubad Abad with his comment that the starling birds that flock to a tree in the every morning as if they are having a meeting can be the inspiration for these pictures.” The motifs interpreted as the tree of life, especially those found on the figured tiles of the Kubad Abad Palace, differ from each other formally. Some of them are in the form of a tree, while others are in the form of palmettes, poppies, pomegranates, cones, or other combinations of motifs on a branch. In the past, it was also used on tiles along with some motifs whose symbolic expression was present. The tree of life motifs seen on the Seljuk palace tiles have been processed many times with the underglaze technique and there are also various lüster examples. During the Ottoman period, the tree of life motif was usually called cypress, cypress. In Iznik ceramics, it is seen in the late period of the “Baba Nakkas” ecol in the 1520s. Cypress motifs 16. while the century found more intensive use in Iznik ceramics on plates, cups, jugs and similar uses are rarer on items. During the period, it is seen that the tree of life, placed in the center, is accompanied by tulip, carnation, hyacinth, crockery flowers, large curved leaves and cloud motifs seen in a naturalistic style on plates with leaf slice edges. The varieties of tree motifs used in Ottoman tiles are depicted as religious and civil architectural surfacing, and usually evergreen, coniferous. As it forms the most depicted group in tiles, cypress trees are seen as dominant in compositions in patterns that are more symmetrical and accustomed to the numerical balance of motifs. The compositions created with the axis of the pattern were used together with naturalistic flowers such as tree of life, tulip, rose, Decanter, hyacinth. Cypress trees on tiles in the Crown Apartments, Favorites Apartment, New Mosque Hünkar Kasrı, Hagia Sophia Library and Eyüp Sultan Tomb in Topkapı Palace, 16. End of the century, 17. It is one of the magnificent examples belonging to the century. The tree of life, which has been seen as a link between worlds throughout world history, has existed in the cultures of societies in accordance with their lives and beliefs, and has been included in Turkish culture as a cultural element that has been used for centuries through its reflection on tiles. International Journal Of Humanities And Art Researches 2023-06-12T18:42:53Z Research Article application/pdf eng https://ijhar.net/paper/download?id=296 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=296 International Journal of Humanities and Art Researches, Haziran 2023 , Issue: 2 , Volume: 8 , Pages: 129-143 https://ijhar.net/paper/download?id=296 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/297 2023-06-12T18:42:46Z 3

The Form Analysis of Bekir Sıdkı Sezgin The Muhayyer Sümbüle Mevlevî Âyîn-i Şerîf Doç.Dr.. Sıtkı AKARSU Öğr.Gör.,Erdal,Gültekin Âyin-i Şerif, Mevlevi Âyini, Turkish Music Forms, Bekir Sıdkı Sezgin, Composition Analysis. The term Ayin is used in the history of religions, Sufism and Turkish religious music. It is of Persian origin and carries the meanings of ceremony, procedure, style of worship, customs and traditions. It also expresses various musical ceremonies and worship styles belonging to different religions in some sects. Collective ceremonies have turned into a certain ritual and include bodily movements as well as prayers and works read aloud within the rules adopted by the community. It has manifested itself since the earliest times of mankind that the bodily movement and vocal expression in this ceremonial atmosphere in the rituals. He shaped the contents of the rites that all social causes and mystical elements in human life such as birth, death, seasonal periods, protection from disasters. In fact, it has been ensured that there is an order and continuity in the practices due to the function attributed to the rites by the political structures. The use of the concept of ritual in Islamic geography depends on its occurrence in religious sources. However, when we look at its spread, Persian has had an influence on mystical practices in terms of culture(Başoğlu, 2020: 367). The origin of the word Ayin is based on Persian and the Turks used this word exactly. But Arabs preferred words that have the same meaning like "Hadran, Hafle, Urs"(Tıraşçı, 2020: 20). This word which is widely used in Turkish culture was mostly used in Mevlevi ceremonies in the field of Turkish music. These types of music composed are called “Âyin-i Şerif”. The biggest religious form of Turkish music is the "rite" form (Macit, 2021). Mevlevis do it with the intention of worship apart from the prayer, we also perform the ritual of turning called Sema accompanied by the Âyin-i Şerif. (In the real sky, the dervish says and remembers Allah at every turn. Zikr-i Hafi. This too is worship (Tosun, 2020).) The works were composed by great musicians which the works performed during the "Sema". It is also difficult to compose these works, which are in a special classification in terms of shape. The Mevlevi sect has been instrumental in raising important names in music through rituals with this difficult aspect. The old Mevlevi lodges can also be considered as the first Turkish conservatories outside the palace (Özkan, 1998: 82). In this study, it is aimed to determine the formal features of "Muhayyer Sümbüle Âyin-i Şerif", whose composition belongs to Bekir Sıdkı Sezgin. It is intended to be detected the musical aspect of the work and the structure of motifs, sentences and chapters. It is thought that this study will serve to field studies on classical Turkish music. Method In the study was used descriptive survey model, which is one of the qualitative research methods. Scanning model is a descriptive model as it exists a situation that exists in the past or present. It is a research approach that tries to define the event, individual or object that is the subject of research in its own conditions and as it is (Karasar, 2005: 77). Universe and Sample The universe of the study consists of all the Mevlevi Ayins that have been composed until today. The sample is composed of the lyrical note of Muhayyer Sümbüle Âyin-i Şerif composed by composer Bekir Sıdkı Sezgin and related sources made about the field. Data Collection and Analysis The notes of Muhayyer Sümbüle Ayîn'i Şerif, which will be analyzed first were obtained from the web environment during the data collection phase(www.mutrıban.com). The measures in the note are numbered for convenience. In addition, vertical lines were used in the note in order to increase the clarity of the measures in the musical sentences. Findings and Comments In total 251 measures were used in 4 parts of the work. There are 46 measures in the 1st Chapter (1st Selam); In the 2nd part (2.Selam) 22 measures; 175 measures in Section 3(3.Selam) and 8 measures in Section 4(4.Selam). There are 8 musical sentences in the 1st Selam, 3 musical sentences in the 2nd Selam, 19 musical sentences in the 3rd Selam, and 2 musical sentences in the 4th Selam. There are 32 musical phrases in total. Conclusion and Recommendations "Âyin-i Şerifs" have been the products of composers who are generally affiliated with that group, due to being a Mevlevi tradition, form of worship and ritual. It is difficult and unwelcome that trying to write the Mevlevi ritual without knowing that community. But is rare the writing of such comprehensive and high-level works in today. There are 167 Ayin-i sharifs used in ritual ceremonies. Maybe it meets the demand. Therefore, although the composition of such important works makes incredible contributions to the field of Turkish music, a work to be done for the composition of the rites, competence and competence points should not be overlooked in every step to be taken. International Journal Of Humanities And Art Researches 2023-06-12T18:42:46Z Research Article application/pdf eng https://ijhar.net/paper/download?id=297 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=297 International Journal of Humanities and Art Researches, Haziran 2023 , Issue: 2 , Volume: 8 , Pages: 144-172 https://ijhar.net/paper/download?id=297 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/298 2023-06-12T18:42:40Z 5

Jean Lurçat and His Impact on Tapestry Wovens Doç.Dr.. Özlem ERZURUMLU JORAYEV ; Prof.Dr.. Lütfü KAPLANOĞLU Öğr.Gör.,Erdal,Gültekin Jean Lurçat, Tapestry, Goblein, Woven Picture. Weaving, developed by people with the need for covering and protection, is a document that contains the social and cultural values of the period in which it was practiced in history. Observations and inspirations from the living environment led weavers to seek aesthetics and beauty, applications were decorated with colors and patterns, and pictorial expressions reflecting the lived period were developed. It is known that the oldest examples of pictorial weavings, which are known as tapestry, woven painting, tapestry, and tapestry, Goblen were woven in Egypt. In this tradition, which has been going on for centuries, in the Middle Ages, subjects such as mythological and religious scenes, war and hunting depictions were studied by famous painters of the period and applied as classical tapestry weavings in workshops. The decrease in the importance given to handicrafts with the industrial revolution also decreased the demand for tapestry, and the subject gained importance again with the "Arts and Crafts" movement, which supported the unity of art and craft. Supporting the designs realized in cooperation with handicrafts and industry in Bahaus schools in Germany enabled the training of artisans/craftsmen. Re-emphasizing tapestry weavings, on the other hand, provided an environment for the application of tapestry works that go beyond the classical tapestry perception and take place in contemporary art, with the movement initiated by Jean Lurçat. Cosmos, Nature, living things have been the most studied subjects by Lurçat, and her works with detailed and strong accents have formed the artist's signature over time. The versatile artist, who has illustrations and lithography works, jewellery, mosaic and ceramic works, decor designs, poems as well as books written on tapestry, is one of the most important names in the contemporary form of tapestry. The works of the artist, who draw attention with his unique style, talent and multicolored style that he created and developed, have been exhibited in many national and international galleries and museums. The innovations that Lurçat brought in tapestry technique and design were clearly seen in his works. One of the most important innovations brought by the artist in technique was the use of black and white numbered cardboard instead of the traditional colored cardboard design used in practice. In addition, while shading was made with thirty thousand different color tones in the application of classical tapestry weavings, the amount of color was reduced to twenty-five, thirty different tones, and color transitions were made with scanning lines by using larger loops. These technical innovations brought by the artist in practice carried the tapestry identity to a different dimension and made a real "Tapestry Renaissance". Another important step taken by Lurçat is being a pioneer in the organization of the Lausanne Tapestry Biennial with Pierre Pauli. Lausanne has become the center of modern tapestry and has hosted artists from many parts of the world. An international platform has been created where artists can follow current practices. Lurçat, which was influential in the spread of tapestry production in France and all over the world in the twentieth century, has undoubtedly revolutionized the art of tapestry with its innovations in tapestry technique and design. There have been breaks in the tapestry tradition, which has been practiced with the cooperation of designers and weavers for centuries, and tapestry works of artists who both weaving and designing have emerged. As a result of the movement initiated by Lurçat, it also created an environment for the application of three-dimensional textile sculptures. Apart from Tapestry Art, Textile Art and the concept of Fiber Art, which has a wider scope and reflects the way of expression in the works of many of today's artists, was born. When the reflection of the effects of the innovations brought by Lurçat to the present is observed, it is seen that thanks to the diversity of the materials used and the subjects covered in contemporary tapestry examples, and the free intervention of the artists during the application, very rich expression differences have been captured. In classical tapestry applications, while the warp threads are colored with weft threads so that they are not effective on the surface, and therefore illustration, it is noteworthy that in current examples, warp threads are also used as a means of expression and visual expressions are enriched. Today, the tapestry phenomenon is handled in the context of Fiber Art and positioned within Contemporary Art. The method followed in this study; Giving a brief place to the history of tapestry is to examine Jean Lurçat's artistic approach, the innovations he brought, through literature records and practices. The article focuses on the influence of Jean Lurçat on tapestry weavings. International Journal Of Humanities And Art Researches 2023-06-12T18:42:40Z Research Article application/pdf eng https://ijhar.net/paper/download?id=298 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=298 International Journal of Humanities and Art Researches, Haziran 2023 , Issue: 2 , Volume: 8 , Pages: 173-198 https://ijhar.net/paper/download?id=298 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/293 2023-03-16T19:55:14Z 5

Traditional Textile Art Carpet and Conceptual Art Dr.Öğr.Üyesi. Mustafa GÜRGÜLER Öğr.Gör.,Erdal,Gültekin Carpet, traditional, conceptual art, Pazırık carpet, Bayeux Tapestry The gap arising between human relations is a product of post-industrial technology. The reflection of this situation on the human spirit emerges as a global problem. The proposed solutions are insufficient for the modern individual at the social level. As the crisis of the new generation modern age forces people to search continuously for a new identity, it also directs artists to draw attention to different disciplines, including the material, but this search deepens the gap that emerged. We need to be in a constant state of change, examine different cultures and, when necessary, include them for our works as artists or designers. However, due to the original approach, these rules should not be considered as strict and insurmountable or as containing radical rules. From this point of view, the carpet form, which is a textile product in the article, did not become an integral part of the space on the walls of European painting architectural structures, but gave meaning to the space again. In addition, the transformation of painters' drawings into tapestries on weaver looms has been a part of this approach, and the carpet has also been used as an element that enriches the composition in the art of painting. The temporal and spatial continuity within the classical narrative structure appears in line with the traces of traditional roots with contemporary expression in the spatial arrangements carried out by Rudolf Stingel and Şakir Gökçebağ. Looking at the main center of the article; It is aimed to reach the mind of the target audience by opposing a classical aesthetic understanding of art by getting rid of the traditional meaning and choosing from ready-made objects existing in both artists and giving a different meaning within the new structure. Thus, it is far from traditional narration, but by making use of it, it transforms into a new work of art. This is an interdisciplinary understanding of art and at the same time, the transformation of the carpet, that is, the textile material, into a usable art material by transposition. In this article, the art of "carpet weaving" which emerged with the use of textile-based materials produced by traditional methods and produced by the artists of two different cultures, with the comparative and narrowed sampling method, and its current interpretations are discussed. Since the explanation of the materials used in the historical process, Pazırık Carpet and its technical expansion is a separate study, it has been left out of the research, so the visuals of different periods from the varieties of Turkish carpets are given little place. International Journal Of Humanities And Art Researches 2023-03-16T19:55:14Z Research Article application/pdf eng https://ijhar.net/paper/download?id=293 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=293 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 85 https://ijhar.net/paper/download?id=293 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/287 2023-03-14T19:36:43Z 7

Peşkir (Towel) Wovens Made By Ballıpınar Village Pomaks Doç.Dr.. Zeynep Balkanal Öğr.Gör.,Erdal,Gültekin Handicrafts, Peşkir (Towel), Shuttle Weaving, Pomak, Ballıpınar Village Peşkir (towel) weavings, whose functionality was at the forefront in the past, gave the best examples of hand weaving. Peşkir (towel) weavings have found a wide area of use in daily life from palaces to public tables within the framework of tradition and custom in Turkish culture. In the field research carried out in the village of Ballıpınar, napkins, carpets, rugs, bags, saddlebags, various embroideries, braids, embroidered headscarves and clothes that the local people used to wear, etc. were found. handicraft example has been reached. Peşkir (towel) weavings, which are the original samples woven by the local people in the past, were chosen as the research subject. The general purpose of the research; The aim of this study is to determine the materials used in peşkir (towel) weavings produced by Ballıpınar Village Pomaks in Balıkesir Province, Erdek District, their technical properties, color and composition properties, the tools and equipment used in their construction and their usage properties and to bring them to the literature. Documenting these products obtained during the field research carried out in the region and transferring them to future generations is also one of the aims of the research. In order to collect the data in the research, one-to-one interviews were made with the local people and photographs were taken to document the towel weaving. The material used in peşkir (towel) weaving, technical features, purpose of construction and use, tools and equipment used in its production, etc. information has been recorded. Written literature on the subject was searched to be used in the writing phase of the research. Peşkir (towel) weavings, which have a special importance in Turkish handicrafts and are included in the scope of the research, are found in the dowry of every young girl in almost every house in the region. All of the peşkir (towel) weavings examined were produced from cotton yarn and plain weave. Since the looms used in the past were double-framed, the peşkir (towel) weavings in the region were produced in the bezayağı weaving technique. Patterns made on two opposite short sides of peşkir (towel) weavings are woven in various colors with cotton yarn and additional scarf in the form of sprinkling or scrolling. Patterns are created with the addition of weft, as in ribs knitting. During the field research, a large number of samples made in the same design were found. The technical and compositional properties of the different patterned peşkir (towel) weavings in the region and included in the research are presented in the research. This study, which was prepared in order to bring the peşkir (towel) weavings in the region to the literature, is important in terms of transferring them to future generations. International Journal Of Humanities And Art Researches 2023-03-14T19:36:43Z Research Article application/pdf eng https://ijhar.net/paper/download?id=287 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=287 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 14 https://ijhar.net/paper/download?id=287 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/288 2023-03-14T19:36:37Z 3

Yedi İklim Yabancılar İçin Türkçe and Ucimo Srpski 1 Cultural Transfer in Basic Level Textbooks Araştırmacı. Maja MILOSAVLJEVIC ; Prof.Dr.. Süleyman EROĞLU Öğr.Gör.,Erdal,Gültekin Culture, Culture Transfer, Turkish Teaching to Foreigners, Yedi İklim Yabancılar İçin Türkçe Textbooks, Ucimo Srpski 1 Textbook. Human beings possess a distinctive feature that sets them apart from other living organisms; their ability to communicate through language. From the moment they are born, humans are immersed in a cultural environment, which enables them to communicate using language - the creator of culture. Language helps individuals comprehend life within the cultural framework and is an essential element that defines their humanity. Culture, in turn, is the most critical aspect that shapes the identity of a nation. Language and culture play a significant role in establishing a national identity, with culture molding the language of the people and language serving as the guardian and transmitter of culture. As a result, learning a language is not just about acquiring linguistic skills, but also acquiring the culture that is embedded within the language. Given the importance of language and culture in human life, it is evident that language teaching should not be detached from cultural contexts. Teaching a language with an emphasis on its cultural context can facilitate long-lasting and effortless learning, as well as promote more accurate and effective communication between individuals. A culture-oriented approach to teaching foreign languages can eliminate students' biased attitudes toward the target culture and enhance their motivation to learn the language. Therefore, there is a pressing need for course materials that not only focus on the language's structure and function but also analyze the cultural codes of the target nation. Textbooks are the primary resource used by students both in class and during extracurricular language learning. Therefore, it is crucial to develop textbooks that provide students with a cultural guide, incorporating both the grammatical rules of the language and its cultural features. In this regard, comparative studies analyzing the cultural elements presented in foreign language textbooks and contributing to the development of common cultural criteria are imperative. This study aims to comparatively analyze the cultural elements presented in Yedi İklim Yabancılar İçin Türkçe and Ucimo Srpski 1 textbooks, which teach Turkish and Serbian as foreign languages at a basic level. Using qualitative data analysis, the study seeks to determine which cultural elements were utilized, at what level, and to what extent for transferring the target culture in these textbooks. International Journal Of Humanities And Art Researches 2023-03-14T19:36:37Z Research Article application/pdf eng https://ijhar.net/paper/download?id=288 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=288 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 27 https://ijhar.net/paper/download?id=288 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/289 2023-03-14T19:36:32Z 2

Van Meher Gate Sanctuary A Suggestions For Reassessment And Conservation Dr.Öğr.Üyesi. Mustafa GÜLEN Öğr.Gör.,Erdal,Gültekin Van, Urartu, Meher Gate, Cultural Heritage, Conservation Cultural heritage; it is a collection of tangible and intangible values related to our culture and history as a cultural and social process, experiences gained through the realization of certain events. Archaeological sites, which constitute an important part of cultural heritage sites, are cultural assets that need to be addressed with their different qualities, potentials and problems.Archaeological assets, which can disappear much more easily and quickly than other cultural heritage items, need to be documented and protected. Preserving the archaeological heritage and presenting it to the public is one of the issues emphasized in the statutes of international organizations such as UNESCO, ICOMOS and the Council of Europe. Turkey is very rich in archaeological culture with different elements such as archaeological sites and monuments. One of the regions where this richness is seen is the City of Van, located in the Eastern Anatolia Region. The Meher Kapı Sanctuary of the Urartian Kingdom in the city is located 7 km northeast of the Van Castle, on the southern slopes of Zımzım Mountain. Construction date BC. The building, which is the last quarter of the 9th century, is defined as one of the open-air sanctuaries of the Urartian Civilization in the literature. The building and its surroundings have been severely damaged today. The focus of this study is to understand the point where the preservation and presentation approaches of the building have reached today, to understand the transformation of this heritage in the historical process, and to raise awareness about the preservation of the monument. In this context; field study and literature review were made. By mentioning the prominent conservation and presentation approaches in the world and in Turkey, suggestions have been made to make the city one of the important tourism destination centers with its maintenance and repair, improvement of its immediate environment, increasing transportation opportunities and effective promotion activities. Thus, it is thought that this qualified cultural property will make an important contribution to both the protection of its immediate surroundings and the promotion of the city. International Journal Of Humanities And Art Researches 2023-03-14T19:36:32Z Research Article application/pdf eng https://ijhar.net/paper/download?id=289 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=289 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 42 https://ijhar.net/paper/download?id=289 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/290 2023-03-14T19:36:04Z 5

Semiotic Analysis of The Songs Used in The Pepee Cartoon in The Context of Concepts Dr.Öğr.Üyesi. Mehmet Yiğit ERSOYDAN Öğr.Gör.,Erdal,Gültekin Cartoon, Child song, Concept, Semiotic, Music, Pepee. It is known that children's songs are used to provide individuals with the concepts of social values and norms in the early period. The purpose of this research is to make a semiotic analysis of the songs used in the Pepee cartoon in the context of concepts. For this purpose, the lyrics of the songs used in the Pepee cartoon were analyzed by making content analysis in the context of the relationship between the signifier, the signified and the sign, according to Saussure's semiotic model. The basic assumption in content analysis is to search for messages and the communication to enlighten the people who receive these messages. In this context, the sections taken from the words of 5 children's songs used in the Pepee cartoon and determined as random (random) were analyzed. In accordance with the principle of clarity, other aspects were ignored, and analysis was made only in the context of "concepts". It is imperative that the principle of salience be adopted from the outset in semiotic research. According to the uncertainty principle, a decision is taken at the beginning of the research and the compiled facts are described with only one aspect "from one aspect", ignoring all other aspects. The indicators obtained as a result of the content analysis of the determined Pepee songs were also compared with the concept categories chart (Appendix 5) in the MEB preschool program. The indicators obtained as a result of the content analysis of the children's songs used in the Pepee cartoon; colors, cleanliness, size, shapes and sense organs. Among these indicators, only the concept of cleaning is not included in the concept categories chart of the MEB (Ministry of Education). The indicators obtained as a result of the content analysis are consistent with the concepts that the Ministry of Education plans to teach to children in the preschool program and included in the Annex 5 concept categories chart. The indicators obtained as a result of the content analysis of the five children's songs randomly determined from Pepee songs are consistent with the concepts that the MEB plans to teach children in the preschool program; It reveals that the children's songs used in the Pepee cartoon were composed for a pedagogical purpose, in order to teach children the basic concepts that have universal validity at an early age, through songs. International Journal Of Humanities And Art Researches 2023-03-14T19:36:04Z Research Article application/pdf eng https://ijhar.net/paper/download?id=290 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=290 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 55 https://ijhar.net/paper/download?id=290 International Journal of Humanities and Art Researches

oai:https://ijhar.net/oai/view:ijhar:article/292 2023-03-14T19:35:52Z 3

The Case Study Of Mathematics Teachers' Application Of The Brain-Education Relationship İn Their Lessons Doç.Dr.. Şirin İLKÖRÜCÜ ; Doç.Dr.. Menekşe Seden TAPAN BROUTİN Öğr.Gör.,Erdal,Gültekin Brain based learning, mathematics education, case study This study answered the questions of how master's mathematics teachers describe the relationship between brain-based learning and the teaching approach that they have been trained in and how they use it in the design of lesson plans. The participants of this study were composed of three mathematics teachers. A case study, one of the qualitative study methods, was used. The study endured 14 weeks. Data were collected through document analysis, semi-structured interviews, and group interviews. Content analysis was used to evaluate the data. According to the findings, it was understood that the teachers described their lessons in three themes the structure and parts of the brain, mental activities of the brain, and activities that activate the brain. It has been noticed in the explanations that teachers pay more attention to the factors that activate the brain in the process of designing their lessons. In particular, it was understood that students paid more attention to their prior knowledge, associating their knowledge with daily life and their motivations. However, they did not tend to consider individual differences positively in designing their lessons. It has been observed that teachers were undecided about taking their students' physiological needs into account in their lessons. It is clear that the teachers with different lengths of experience drew attention to the similar features of the active use of the brain in mathematics education and incorporated them into their lesson plans. The results provided insight that the brain-based education approach in the mathematics teaching program could be beneficial for the teachers’ education. Therefore, it is recommended to disseminate brain-based education training for teachers International Journal Of Humanities And Art Researches 2023-03-14T19:35:52Z Research Article application/pdf eng https://ijhar.net/paper/download?id=292 ISSN: 2687 - 4385 https://ijhar.net/paper/download?id=292 International Journal of Humanities and Art Researches, Mart 2023 , Issue: 1 , Volume: 8 , Pages: 68 https://ijhar.net/paper/download?id=292 International Journal of Humanities and Art Researches YToyOntzOjQ6InBhZ2UiO2k6MTtzOjU6InF1ZXJ5IjtzOjE1NToiYTo3OntzOjQ6InZlcmIiO3M6MTE6Imxpc3RyZWNvcmRzIjtzOjE0OiJtZXRhZGF0YVByZWZpeCI7czo2OiJvYWlfZGMiO3M6Mzoic2V0IjtOO3M6MTA6ImlkZW50aWZpZXIiO047czoxNToicmVzdW1wdGlvblRva2VuIjtOO3M6NDoiZnJvbSI7TjtzOjU6InVudGlsIjtOO30iO30=