24 research outputs found
A Play of Custom: Besa Yahut Ahde Vefa
No full textŞemsettin Sami is a well-known figure in Turkish culture and literature, especially for his very important works in the fields of language and lexicography. However, he has a lot of unknown aspects which played second fiddle to this welldeserved reputation. Playwriting is one of them.Ş. Sami, as he engaged in the other genres of literature, didn’t neglected the drama and wrote several plays. His play Besa yahut Ahde Vefa which published in 1292 AH, is one of his first writing experiences in this genre. Besa yahut Ahde Vefa is a drama which was written according to an apprehension that had been a trend under name of national theatre in ‘Tanzimat’ era. In other words, the work, as it is highlighted by setting off in the title, is a play of custom. In the play the events occur around this custom and tradition called Besa that belongs to people of Albania which is the birthplace of Sami. Besa is a kind of oath and extremely important among Albanian customs. In this article, the play Besa yahut Ahde Vefa is reviewed and discussed with regard to fiction which oriented to reflect the custom, and the approach of the author to aforementioned customŞemsettin Sami, Türk kültür ve edebiyat tarihinde özellikle dil ve sözlükçülük alanlarında yapmış olduğu son derece önemli çalışmaları ile tanınan bir şahsiyettir. Ancak onun biraz da bu haklı tanınmanın gölgesinde kalan ve çokça bilinmeyen başkaca yönleri de vardır. Oyun yazarlığı, bunlardan biridir. Ş. Sami, diğer edebiyat türleriyle uğraştığı gibi tiyatroyu da ihmal etmemiş ve bu türde oyunlar kaleme almıştır. Hicrî 1292 yılında yayımladığı Besa yahut Ahde Vefa adlı oyunu, bu sahadaki ilk kalem tecrübelerindendir. Besa yahut Ahde Vefa, Tanzimat döneminde milli tiyatro adı altında moda olan anlayışa bağlı olarak kaleme alınan bir tiyatro eserdir. Başka bir ifadeyle eser, başlıkta da öne çıkarılarak vurgulandığı gibi bir töre oyunudur ve oyun, Ş. Sami’nin doğduğu yer olan Arnavutluk halkının bir âdeti/töresi veya anlayışı üzerine döner: Besa. Besa, bir tür yemindir ve Arnavut töresinde son derece önemlidir. Bu makalede Besa yahut Ahde Vefa oyununun, bütünüyle töreyi yansıtmaya dönük olduğu dikkatlerden kaçmayan kurgusu ve yazarın söz konusu töreye yaklaşımı ele alınmış ve incelenmeye çalışılmıştı
Mihr u Vefâ masnavies in Turkish litterature and Mihr u Vefâ masnavi written by unknown author
No full textMihr ü Vefâ hikâyesinin kaynağı İran edebiyatıdır. Edebiyatımızda bilinen en eski Mihr ü Vefâ mesnevisi Ümmî İsâ tarafından yazılmıştır. Ümmî İsâ'dan bu yana yazılan Mihr ü Vefâ mesnevilerinin mensur biçimleri de bulunmaktadır.Çalışmamızın konusunu mensur Mihr ü Vefâ hikâyesi oluşturmaktadır. İnceleme ve tenkitli metin olarak iki bölümden oluşan tezimizin tenkitli metin kısmı iki nüsha karşılaştırılarak ortaya konmuştur. İnceleme kısmında ise hikâye modern yöntemlerle ele alınmıştır. Metnin görünen yapısı altındaki derin yapıya ulaşmak için farklı yöntemler kullanılmıştır. Yöntemlerin metnimize uygulanmasından önce, kullanılacak yöntemin esere uygunluğu gözden geçirilmiştir. Elimizdeki metnin hikâye olduğu göz önünde tutularak, araştırmamız sırasında anlatı biçimlerine uygun yöntemler seçilmiştir. Bu yöntemler içinde Mihr ü Vefâ hikâyesine en uygun olduğunu düşündüğümüz hikâye tekniği, biçimbilim ve arketipsel sembolizm yöntemleri ile eser incelenmiştir.Üç ayrı yöntem ile incelenen eserden elde edilenler sonuç bölümünde tartışılmıştır.The origin of Mihr u Vefa is from Persian Literature.The oldest Masnavi of Mihr u Vefa wasWritten By Ummi Isa. Since from Ummi Isa there are prose forms of Mihr u Vefa. The subject of our study consists of Mihr u Vefa Story. Our thesis consists of analysis and examining parts and the the examining part is presented by comparing the two copies.In the analysis part the story is discussed with the modern methods. Different methods are used to reach the deeper structure of the story which is beyond the appearance. Before applying the methods to our text, the suitability of the methods that will be applied to the text are checked. Considering that our text is story, the methods that are suitable for the narration forms are selected. Among these methods the most suitable story as we thought for the Mihr u Vefa Story, the morphology and archetypal symbolism are the methods which the story is analyzed.The results that are acquired with three diffrents method from the text is discussed in the conclusion part of the story
Injuries Requiring Surgery in Dancers Performing High-Demand Dances
No full textAim: Dancers are professional athletes. Dance injuries resemble sports injuries, however, they push the limits of anatomy and physiology for rightful expression of the esthetics. In this study, we examined a group of dancers and injuries which required surgery to understand the associated factors (age, gender, dexterity, dance style) and also the time to return to their full capacity. Methods: 75 members of the Fire of Anatolia professional dance group (55 ethnic folk, 12 modern ballet, 8 Caucasian folk dancers) (mean age: 26.8±5.2; 17-38 years) performers were evaluated between the dates February 2009 and February 2016. The dancers suffered 14 orthopedic injuries requiring surgery during a six-year period. Nine of surgeries (64.2%) were the result of an acute trauma requiring meniscal repair in three due to meniscus tears, ACL reconstruction in two (one of them had to also undergo primary repair of the posterolateral corner of the knee) due to ACL tear, PCL reconstruction in one due to PCL tear, open medial patellofemoral ligament repair in one due to acute patellar dislocation, percutaneous fixation of the scaphoid in one due to scaphoid fracture and an extensor tendon repair of the hand in one due to extensor tendon cut. Five of the surgeries (35.7%) were due to chronic injuries consisting of deep infrapatellar bursitis treated by open bursectomy in one, arthroscopic fat pad resection due to Hoffa’s fat pad impingement in two, and arthroscopic resection of an symptomatic medial plica in two patients. Findings: Fourteen (12 male, 2 female; mean age: 30±5.45, range: 22 to 38) dancers out of 75 members (18.7%) of this high-demand dance group suffered injuries requiring surgery. Twelve (85.8%) of these injuries were at the knee joint and two (14.2%) were in the hand. There was no statistically significant difference between the mean ages of the dancers with and without injuries (p>0.05). Males suffered an injury 8.64 times more than females according to logistic regression analysis (p=0.003). Results: Male dancers are more susceptible to injuries that require surgery when compared to female dancers. All of the operated patients continue with their careers in dancing and arthroscopic surgery does not pose a threat to the career of the dancer. Level of Evidence: Level of evidence III. Retrospective cohort study </jats:sec
A note on the factorization of iterated quadratics over finite fields
No full textLet be a monic quadratic polynomial over a finite field of odd
characteristic. In 2012, Boston and Jones constructed a Markov process based on
the post-critical orbit of , and conjectured that its limiting distribution
explains the factorization of large iterates of . Later on, Xia, Boston, and
the author did extensive Magma computations and found some exceptional families
of quadratics that do not seem to follow the original Markov model conjectured
by Boston and Jones. They did this by empirically observing that certain
factorization patterns predicted by the Boston-Jones model never seem to occur
for these polynomials, and suggested a multi-step Markov model which takes
these missing factorization patterns into account. In this note, we provide
proofs for all these missing factorization patterns. These are the first
provable results that explain why the original conjecture of Boston and Jones
does not hold for all monic quadratic polynomials.Comment: 13 page
Overuse Injuries in Professional Anatolian Folk Dancers A Descriptive Study Verified with MRI
No full textWOS: 000423073300003PubMed ID: 28988265BACKGROUND: Professional dancers are artists as well as athletes who push their bodies beyond limits for aesthetic expression. Therefore, overuse injuries are common. We present our findings on overuse injuries in Anatolian (Turkish) folk dancers. METHODS: The Fire of Anatolia dance group comprises of 82 dancers (37 male, 45 female) with a mean age of 27.96 +/- 5.05 yrs (range 18 to 38). Forty-one dancers from this group presented to our clinic between February 2009 and April 2016 with complaints of pain, and 25 of them had magnetic resonance imaging (MRI) for verification. The type, frequency, and anatomical locations of their overuse injuries as found on MRI were investigated. RESULTS: We evaluated a total of 70 overuse injuries in 25 dancers. All injuries were seen on separate occasions, and multiple injuries in the same dancers at separate times were recorded. Most of the overuse injuries were seen around the knee joint. Ankle ligament injuries were not seen in our study, in contrast to ballet and modern dance. Overuse injuries were observed in the knee in 68% of cases, thigh in 24%, lumbar region in 24%, feet in 20%, shoulder in 16%, and hip in 12%. CONCLUSIONS: Overuse injuries occur mostly in the knee region in Anatolian folk dancers. There were no statistically significant differ-ences between dancers with and without overuse injuries in terms of age, sex, and dance style (p>0.05)
Overuse Injuries in Professional Anatolian Folk Dancers: A Descriptive Study Verified with MRI
No full textBACKGROUND: Professional dancers are artists as well as athletes who push their bodies beyond limits for aesthetic expression. Therefore, overuse injuries are common. We present our findings on overuse injuries in Anatolian (Turkish) folk dancers. METHODS: The Fire of Anatolia dance
group comprises of 82 dancers (37 male, 45 female) with a mean age of 27.96±5.05 yrs (range 18 to 38). Forty-one dancers from this group presented to our clinic between February 2009 and April 2016 with complaints of pain, and 25 of them had magnetic resonance imaging (MRI) for verification.
The type, frequency, and anatomical locations of their overuse injuries as found on MRI were investigated. RESULTS: We evaluated a total of 70 overuse injuries in 25 dancers. All injuries were seen on separate occasions, and multiple injuries in the same dancers at separate times were recorded.
Most of the overuse injuries were seen around the knee joint. Ankle ligament injuries were not seen in our study, in contrast to ballet and modern dance. Overuse injuries were observed in the knee in 68% of cases, thigh in 24%, lumbar region in 24%, feet in 20%, shoulder in 16%, and hip in
12%. CONCLUSIONS: Overuse injuries occur mostly in the knee region in Anatolian folk dancers. There were no statistically significant differences between dancers with and without overuse injuries in terms of age, sex, and dance style (p>0.05).</jats:p
TRAUMATIC KNEE INJURY PATTERNS IN ANATOLIAN FOLK DANCERS: A CASE SERIES AND LITERATURE REVIEW
No full textWOS: 000497315600001PubMed: 31543518Lower extremities, especially the knee region, are susceptible to traumatic injuries because of long-lasting hard landings and impacts. Most of the injuries described in the literature are associated with ballet. in this review study, the authors tried to present the traumatic knee injury patterns of the Anatolian folk dance. the Fire of Anatolia dance group consists of 82 dancers (37 males [45.1%] and 45 females [54.9%]) with the mean age of 27.96 (SD = 5.05) years (range: 18-38 years). the major folk dances of the region are Zeybek, Halay, Horon, Teke, Roman, Karsilama, Bar and Lezginka ("the Caucasian"). the dancers suffered from 9 orthopedic injuries requiring surgical treatment (3 meniscus tears, 4 anterior cruciate ligament tears, 1 posterior cruciate ligament tear, 1 patellar dislocation) during a 10-year period. the authors investigated solely the traumatic injuries of these folk dance styles and aimed at revealing the traumatic knee injury patterns in this case series and literature review. on the one hand, the Anatolian folk dancers experienced meniscus tears following frequent squats and twists on single leg stances, typical of Horon and Zeybek. on the other hand, anterior cruciate tears happened after jumps and landings in the Caucasian (Lezginka jump) dance. A posterior cruciate ligament tear was also seen after the Caucasian dance landing. the split figure in the Karsilama dance ended up with patellar dislocation. Certain dance figures seem to be related to specific types of injuries
337 Relationship of patellofemoral angles and tibiofemoral rotational angles with jumper’s knee in professional folk dancers: an MRI analysis
No full text121 Association of spinopelvic alignment, lower extremity alignment, hamstring tightness, lower extremity range of motion with landing patterns in ballet dancers, folk dancers and football players
No full text123 Return to dance following arthroscopic knee surgeries: what are the differences between return to sport and return to dance
No full text
