47 research outputs found
Non-coding RNA networks in cancer
No full textThousands of unique non-coding RNA (ncRNA) sequences exist within cells. Work from the past decade has altered our perception of ncRNAs from 'junk' transcriptional products to functional regulatory molecules that mediate cellular processes including chromatin remodelling, transcription, post-transcriptional modifications and signal transduction. The networks in which ncRNAs engage can influence numerous molecular targets to drive specific cell biological responses and fates. Consequently, ncRNAs act as key regulators of physiological programmes in developmental and disease contexts. Particularly relevant in cancer, ncRNAs have been identified as oncogenic drivers and tumour suppressors in every major cancer type. Thus, a deeper understanding of the complex networks of interactions that ncRNAs coordinate would provide a unique opportunity to design better therapeutic interventions
Narrative and nation: A dialogue betwen [!] Homi Bhabha, "Leni" Riefenstahl and Franz Neumann
No full textO objetivo deste artigo é demonstrar a importância da narração na construção do consenso em torno da ideia de nação nacional-socialista, especificamente pela análise do filme de Leni Riefenstahl “Triunfo da Vontade”. Considerando que a cinematografia era controlada pelo Estado totalitário, procuraremos ilustrar os recursos de convencimento narrativos utilizados nesta propaganda nazista. Para tanto, utilizaremos tanto a análise crítica de Franz Neumann sobre a desconstrução da ideia de nação sob Hitler – um dos autores (mais desconhecidos) da Teoria Crítica/ Escola de Frankfurt –, quanto Homi Bhabha – um dos principais expoentes do pós-colonialismo – para fundamentar o papel e importância da(s) narrativa(s) sobre a formação do Estado nacional.The purpose of this article is to demonstrate the importance of narration in building consensus around the idea of the National Socialist nation, specifically by the analysis of Leni Riefenstahl's film "Triumph of the Will". Given that the cinematography was controlled by a totalitarian state, we will seek to illustrate the resources of persuasion by narrative used in this Nazi propaganda. For so much, both critical analysis of Franz Neumann on deconstruction of the idea of nation under Hitler - one of the authors (most unknown) of the Critical Theory / Frankfurt School, - as well as Homi Bhabha's analysis - one of the leading exponents of post-colonialism - will be useful author to support the role and importance of account(s) on the construction of the national state perception
Elizaveta, Leni y Agnès: tres mujeres que cambiaron el cine
No full textThe canonical records have made the work of the women of the seventh art invisible, eclipsing them with masculine figures. However, the revisiting the films has made them into part of history and film theory. We shall escape the established notion of man directed films, focusing on how the genre and “the thing of women” were established by the Soviet, German and French films, and its difference with the classic Hollywood model and its representations of princesses in need of being rescued or unchained by unconsented kisses.
We believe that feminine influence, powerful, vibrating, creative -sometimes controversial-, is not a recent phenomenon. We intend to bring to this paper the contribution to the film genre by Elizaveta Svilova editor and creator of the kino-eye; the figure of Leni Riefenstahl, even though her association with German expressionism does not seem completely direct, it originates in the same context; and the works of Agnès Varda, the lady of the Nouvelle Vague. Three indispensable women who have left their mark and made the world know that the women can see, tell, experiment, and are able to create works of art and monsters.
The choise of these three women is not trivial. Elizaveta Svilova is probably the best known editor to have worked in the USSR, even though her name is barely mentioned in most of the usual sources on Soviet film history. As editor of “The man with a movie camera” (1929), she is responsible for the technique and poetry of the film. It is through her that we access the raw material and the possibilities of manipulation, where filmed shoots are assembled and “organized”, the special and visual effects, fades, overlaid and frozen images, fast forward, split screens, several rhythms and inserts; with effects which are not random, for they are weighted with meaning and they are, ultimately, the method of the film.
External to the German expressionism movement, yet equally necessary of being referred to for its temporal proximity, there is the controversial Leni Riefenstahl. Before being director, she starred in several “mountain” films, almost a subgenre of German film in the 20’s. Gubern describes these films as “a promethean emblem of the heroes that dared to conquer he summit, with resonance between pagan and fascist” (Gubern, 1973 quoted by Kairuz, 2009). “Triumph of the will” (1935) directed by Riefenstahl, is an outstanding piece of epic proportions (“wagnerian”).
Current studies developed in France about the films by Agnès Varda make no emphasis in matters of genre, “the author is studied as a cinéaste instead of a feminist director” (Lee, 2008 quoted by Vallejo, 2010). Her vanguard language and aesthetic experimentation offer a different way to see and represent women.Los relatos canónicos han invisibilizado el trabajo de las mujeres en el séptimo arte, eclipsándolas con figuras masculinas. Sin embargo, la relectura de sus películas las han convertido en parte de la historia y teoría del cine. Escaparemos al relato instituyente de las películas dirigidas por directores hombres, haciendo foco en cómo el género y la “cuestión de la mujer” se constituyeron para el cine soviético, alemán y francés, y su diferencia con los modelos clásicos de Hollywood y sus representaciones de princesas necesitadas de ser rescatadas o desencantadas por medio de besos no consentidos.
Creemos que la influencia femenina, poderosa, vibrante, creativa -a veces controvertida-, no es un fenómeno de los últimos años. Queremos traer a este escrito el aporte al género cinematográfico de Elizaveta Svilova montajista y gestora del Cine-Ojo; la figura de Leni Riefenstahl, que si bien su asociación con el expresionismo alemán no parezca del todo directa proviene del mismo contexto; y la obra de Agnès Varda la dama de la Nouvelle Vague. Tres mujeres imprescindibles, que han forjado un sello propio y que le han hecho saber al mundo que las mujeres miramos, contamos, experimentamos, podemos crear obras de arte y monstruos.
La elección de estas tres mujeres no es baladí. Elizaveta Svilova es probablemente la editora más conocida que ha trabajado en la URSS, y sin embargo, su nombre apenas se menciona en la mayoría de las fuentes habituales de la historia del cine soviético. Montajista del “El hombre de la cámara” (1929) es la hacedora de la técnica y la poesía del film. Por medio de ella accedemos al material en bruto y las posibilidades de manipulación donde se ensamblan y “organizan” los registros filmados, los efectos especiales y trucas, fundidos, sobreimpresiones, imágenes congeladas, aceleración, pantallas partidas, diversos ritmos e intercalaciones, con efectos que no son azarosos, están cargados de sentido y son, en definitiva, el método de la película.
Un poco por fuera del movimiento del expresionismo alemán, pero igualmente necesaria de ser referida por su cercanía temporal, está la polémica Leni Riefenstahl. Antes de dirigir, protagonizó varios films “de montaña”, todo un subgénero del cine alemán de los años ’20. Gubern describe estas películas como “un canto prometeico a los héroes que se atrevían a conquistar las cimas, con resonancias entre paganas y fascistas” (Gubern, 1973 citado por Kairuz, 2009). “El triunfo de la voluntad” (1935) de Riefenstahl ya como directora, es una obra asombrosa de proporciones épicas (“wagnerianas”).
Los estudios actuales sobre los filmes de Agnès Varda realizados en Francia no hacen hincapié en cuestiones de género, “la autora es estudiada como cinéaste más que como directora feminista” (Lee, 2008 citado por Vallejo, 2010). Su lenguaje de vanguardia y experimentación estética ofrecen otra forma de mirar y representar a la mujer.Os relatos canónicos tornaram invisível o trabalho das mulheres na sétima arte, eclipsando-as com figuras masculinas. No entanto, a releitura de seus filmes converteram- -nas em parte da instituição da história e teoria do cinema. Escaparemos nós também ao relato institucional dos filmes dirigidos por diretores homens, fazendo enfocando em como o gênero e a "questão da mulher" se constituíram para o cinema soviético, alemão e francês, e sua diferença com os modelos clássicos de Hollywood e suas representações de princesas precisadas de ser resgatadas ou desencantadas por meio de beijos não consensuais.
Achamos que a influência feminina, poderosa, vibrante, criativa -às vezes controversa-, não é um fenômeno dos últimos anos. Queremos trazer a este escrito o contribua ao gênero cinematográfico de Elizaveta Svilova montajista e gerente do Cinema Olho; a figura de Leni Riefenstahl, que conquanto sua associação com o expressionismo alemão não pareça do todo direta provém do mesmo contexto; e a obra de Agnes Vagda a dama da Nouvelle Vague. Três mulheres imprescindíveis, que têm deixado um selo próprio e que lhe fizeram saber ao mundo que as mulheres olhamos, contamos, experimentamos, podemos criar obras de arte e monstros.
A escolha dessas três mulheres não é trivial. Elizaveta Svilova é provavelmente a editora mais conhecida que trabalhou na URSS e, no entanto, seu nome mal se menciona na maioria das fontes habituais da história do cinema soviético. Montajista do “O homem da câmera” (1929) é a hacedora da técnica e a poesia do filme. Através dele acedemos ao material em bruto e as possibilidades de manipulação onde se montam e “organizam” os registros filmados, os efeitos especiais e trucas, fundidos, sobreposições, congelamentos de imagem, aceleração, telas partidas, diversos ritmos e intercalações, com efeitos que não são aleatórios, estão carregados de sentido e são, em definitiva, o método do filme.
Um pouco por fora do movimento do expresionismo alemão, mas igualmente necessária de ser referida por sua cercania temporária, está a polémica Leni Riefenstahl. Dantes de dirigir, Riefenstahl protagonizou vários filmes “de montanha”, todo um subgénero do cinema alemão dos anos '20. Gubern descreve a estes filmes como “um canto prometeico aos heróis que se atreviam a conquistar as cumes, com ressonâncias entre paganas e fascistas” (Gubern, 1973 citado por Kairuz, 2009). “O triunfo da vontade” (1935) de Riefenstahl já como diretora, é uma obra espantosa de proporções épicas (“wagnerianas”).
Os estudos atuais sobre filme-os de Agnés Varda realizados no França não fazem finca- -pé em questões de gênero, “a autora é estudada como cinéaste mais que como diretora feminista” (Lee, 2008 citado por Vallejo Vallejo, 2010). Sua linguagem de vanguardia e experimentação estética oferecem outra forma de olhar e representar à mulher
Nieuwe vondsten van zeldzame planten in 2005, 2006 en ten dele 2007
No full textOp 27 april 2007 overleed onze dierbare collega en NHN-staflid Ruud van der Meijden, sinds vele jaren auteur van de ‘Lijst van zeldzame planten’. Zijn plaats bij het samenstellen van deze publicatie zal worden ingenomen door degene die ook zijn werk aan de Heukels’ Flora van Nederland zal voortzetten, Leni Duistermaat. Overigens bespeuren de bewerkers van de lijst een steeds grotere onbalans tussen vondsten die stoelen op herbariummateriaal (en meldingskaartjes) en digitaal aangeleverde bestanden. Dit heeft verregaande consequenties voor wat betreft de controleerbaarheid en voor de actualiteit. Bovendien constateren de auteurs dat er in toenemende mate belangstelling is ontstaan voor geürbaniseerde tuinplanten. De aanvoerroutes, tuincentra, inzaai en aanplant ter verfraaiing, zijn echter verre van onopzettelijk te noemen. De auteurs stellen zich op het standpunt te proberen de lijst zoveel mogelijk te beperken tot wilde soorten of hoogstens tot urbane soorten die zich in het buitengebied hebben weten te vestigen of taxa die door hun invasieve karakter tot een pest kunnen uitgroeien. Voorbeelden van (tuin)soorten die niet meer vermeld zullen worden zijn: Agastache foeniculum, Alcea rosea, Briza maxima, Carex pendula, Chrysanthemum multicaule, Coreopsis rosea, Euphorbia dulcis, Gaultheria shallon, Helleborus lividus subsp. corsicus, Helianthus cucumerifolius, Ipheion uniflorum en Lavatera thuringiaca.
Als spontane adventieven werden Callitriche terrestris, Grindelia cf. squarrosa, Paspalum dilatatum, Sideritis romana, Solanum carolinense, Tragus racemosa en Euphorbia prostrata gevonden.
Als waarschijnlijk bestendige, maar uitgezaaide nieuwkomers konden we Pimpinella peregrina en Chaerophyllum aureum (Gouden ribzaad) begroeten. De eerste vindplaats van Artemisia verlotiorum is door bouwactiviteiten helaas alweer verdwenen. Lelie-cultures bleken een bron voor Sida-soorten (S. cordifolia, S. rhombifolia en S. spinosa). Van de echt indigene taxa verdienen Apium repens (Kruipend moerasscherm), Filago arvensis (Akkerviltkruid) op de Hoge Veluwe en Galium sylvaticum (Boswalstro) in het Gooi zeker vermelding. De water- dan wel moerasplanten Lagarosiphon major, Aldrovanda vesiculosa en Ludwigia peploides zullen zich mogelijk handhaven.
Met de tweede vondst, na de Kwade Hoek (Goeree) nu op Griend, lijkt Inula crithmoides, zich goed in ons land thuis te voelen. Bovendien werd eindelijk het bestaan van Carex davalliana (Veenzegge) in ons land door materiaal bevestigd. Niet bij Groningen, maar in de Kathager Beemden in Limburg.
On the 27th of April 2007 our beloved colleague and inspiring NHN-staff member Ruud van der Meijden, fellow author of the ‘List of rare plants’ since many years, passed away. Leni Duistermaat, who will also continue Ruud’s work on the Heukels’ Flora, agreed to take his place. We became aware that there is a growing misbalance between old fashioned herbarium sheets and digital records and databases. It takes months to make all these different databases comparable with Florbase, our overall database. As a result of this delay the most important function of the List – letting people know what’s new within a relatively short period of time! – is gradually decreasing, so we often wonder whether this List formula is the most adequate medium in this internet-dominated period of time. Another matter is how to cope best with the ongoing hunger for urbanized garden escapes. In 1984 we stated that species introduced as seed for oil production, or to feed birds or as fruit for human consumption were no longer regarded as adventitious and thus were no longer mentioned in the List. Species used and sold here for ornamental purposes by garden centres are – in our view – to be excluded from the ‘wild flower’ list presented below.
The only exceptions we intend to make are when there are signs that the species is moving from urban to a more ‘rural’ environment or when a former unknown (ornamental) species develops into a plague threatening the local flora. Obvious garden escapes which shall not be mentioned again are: Agastache foeniculum, Alcea rosea, Briza maxima, Carex pendula, Chrysanthemum multicaule, Coreopsis rosea, Euphorbia dulcis, Gaultheria shallon, Helleborus lividus subsp. corsicus, Helianthus cucumerifolius, Ipheion uniflorum, and Lavatera thuringiaca. Less suspect are Callitriche terrestris, Grindelia cf. squarrosa, Paspalum dilatatum, Sideritis romana, Tragus racemosa, Solanum carolinense, and Euphorbia prostrata. The newcomers Pimpinella peregrina and Chaerophyllum aureum, found in large amounts, appeared to be purposely introduced.
Unfortunately the first location of Artemisia verlotiorum was destructed already, due to building activities. Careful study of Lily-fields resulted in several Sida- species (S. cordifolia, S. rhombifolia and S. spinosa). Some very rare – or even probably extinct – indigenous taxa were (re) discovered: Apium repens, Filago arvensis (Hoge Veluwe), and Galium sylvaticum (het Gooi).
Time will tell whether the aquatics Lagarosiphon major, Aldrovanda vesiculosa and Ludwigia peploides are here to stay. Inula crithmoides, after being found earlier near Kwade Hoek (Goeree) reached the island of Griend in the Wadden Sea. Carex davalliana, it was mentioned in literature long ago for the Province of Groningen, was discovered in the Kathager Beemden in Limburg; a wish becoming true at last
Recenzja: Tropienie świata, czyli "Obok kanonu" Andrzeja Gwoździa
No full textTRAILING THE WORLD, OR ANDRZEJ GWÓŹDŹ’S OBOK KANONUThe review concerns the book of Andrzej Gwóźdź Obok kanonu. Tropami kina niemieckiego. The author of the reviewed monograph shows selected situations and themes from different movies. He looks also at the earliest history of the German cinema. Gwóźdź describes the works of such wellknown film directors as Leni Riefenstahl or Rainer Fassbinder. The reviewer assesses the author’s idea of three parts of the book as logical and correct. It helps the reader to analyse and understand the poetics of the cinema and its dependence on the culture or the whole social situation. Gwóźdź shows the cinema as a symbolic system and its function in different moments of the German history. His analysis is well thought out and synthetic. The reviewer proves the ability of A. Gwóźdź to create such a lucid structure of his monograph that the reader can easily find the main sense of the film position in the context of other arts music, architecture and the modern life.TRAILING THE WORLD, OR ANDRZEJ GWÓŹDŹ’S OBOK KANONUThe review concerns the book of Andrzej Gwóźdź Obok kanonu. Tropami kina niemieckiego. The author of the reviewed monograph shows selected situations and themes from different movies. He looks also at the earliest history of the German cinema. Gwóźdź describes the works of such wellknown film directors as Leni Riefenstahl or Rainer Fassbinder. The reviewer assesses the author’s idea of three parts of the book as logical and correct. It helps the reader to analyse and understand the poetics of the cinema and its dependence on the culture or the whole social situation. Gwóźdź shows the cinema as a symbolic system and its function in different moments of the German history. His analysis is well thought out and synthetic. The reviewer proves the ability of A. Gwóźdź to create such a lucid structure of his monograph that the reader can easily find the main sense of the film position in the context of other arts music, architecture and the modern life
O epidítico como recurso para a representação dos contemporâneos na epistolografia de Plínio, o Jovem
No full textOriginally a communicational, ordinary and private genre, epistolography became an object of literary appreciation in the hands of Pliny the Younger, who, by organizing texts written by him to friends and publishing them in a collection, used his letters as a tool to create pictures of himself and of public and private life during the late first century and early II AD. Among the more than two hundred letters that comprise books I to IX of Pliny"s correspondence, there are several texts whose main subject is portraying men and women of his times. In such cases, the author employs expedients of epideictic oratory to elaborate images of his contemporaries. In this context, the letters in which praise is addressed to still living contemporaries of Pliny stand out, since that kind of attitude was not, according to Cicero (De or. II, 341-342), seen under positive light in Roman context. Analyzing the epistolary genre from a literary perspective, we aim at demonstrating how and with what functions Pliny used epideictic speech instruments in the text of the thirteen letters in which there are praises to men who are alive and still active in the society of the time. To do so, we used elements from Discourse Analysis as presented by Maingueneau; the concept of representation set by Roger Chartier; and ancient theorization about epistolography and epideictic genre. As results, we propose that the praise offered in Pliny"s laudatory letters feature images of exemplary individuals, both because of their moral virtues and due to their involvement with the literary culture of their time, whether by acting on philosophical, oratorical or poetic practice. These textual images set the tone of Pliny"s optimism in relation to his contemporary times, which plays an important part in his role as a supporter of Trajan's government.Gênero de caráter originalmente comunicacional, cotidiano e privado, as cartas foram utilizadas por Plínio, o Jovem, que organizou textos enviados por ele a amigos e os publicou em formato de coleção, como objeto de apreciação literária ao mesmo tempo em que instrumento para a formulação de imagens de si e da vida pública e privada durante o final do século I e início do II d.C.. Entre as mais de duzentas epístolas que compõem os livros I a IX da correspondência desse autor, há um grande número de textos cujo objetivo principal é retratar, elogiosamente, homens e mulheres de sua época. Nesses casos, o autor emprega recursos próprios do epidítico oratório para formular as imagens desses contemporâneos. Destacam-se, nesse contexto, as missivas em que o louvor é destinado a coetâneos de Plínio ainda vivos, uma vez que esse tipo de atitude não era, de acordo com Cícero (De or. II, 341342), apreciada em contexto romano. Analisando o gênero epistolar a partir de uma perspectiva literária, procuramos demonstrar como e com quais funções Plínio utiliza o discurso de tipo epidítico no texto de treze cartas em que há louvores a homens vivos e ainda atuantes na sociedade da época. Para tal investigação, nos apropriamos de referenciais da Análise do Discurso apresentados por Maingueneau; do conceito de representação definido por Roger Chartier; além das próprias concepções antigas sobre epistolografia e gênero epidítico. Com isso, verificamos que os louvores efetuados nas cartas laudatórias de Plínio apresentam imagens de indivíduos exemplares tanto em razão de suas virtudes morais quanto pelo envolvimento com a cultura letrada de sua época, seja pela atuação na prática filosófica, oratória ou poética. Essas imagens textuais são marcadas especialmente pelo otimismo de Plínio em relação à contemporaneidade, que leva a considerar seu papel como apoiador do governo de Trajano
AS CONTRIBUIÇÕES DOS ESTUDOS SOBRE INTELIGÊNCIA HUMANA
No full textBased on the work of Howard Gardner, the author of the Multiple Intelligence Theory (IM), and through research we have carried out in this field, we attempt at understanding intelligence in a different manner from the one proposed by the classic models. We argue that the understanding of a pluralist view on the human mind inspires a pedagogy of singularity in which teaching involves recognizing students’ multiple ways of learning. We also highlight the responsibility of physical education teachers in allowing for different ways of teaching a certain content or a type of sport. In this article we offer a few contributions which aim at improving pedagogical propositions on how to teach sports.Keywords: intelligence – learning – sport pedagogyDe los estudios de Howard Gardner, autor de la teoría de inteligencias múltiples (IM) y por medio de las investigaciones que hemos emprendido en este campo, entendemos la(s) inteligencia(s) de una manera diferente de los modelos clásicos. Defendemos que la comprensión de una visión del pluralista de la mente humana inspira una pedagogía de la singularidad, en la cual enseñar implica reconocer las maneras múltiples de aprender de un alumno. Hablamos, también, de la responsabilidad de los profesores de la educación física en dejar disponible diferentes caminos para enseñar un mismo contenido o la misma modalidad deportiva. Señalamos, en este artículo, algunas contribuciones que tienen como objetivo mejorar las propuestas pedagógicas para enseñar el deporte.Palabras-clave: inteligencia, aprendizaje y pedagogía del deporte.A partir dos estudos de Howard Gardner, autor da teoria das Inteligências Múltiplas (IM) e por meio das pesquisas que temos empreendido neste campo, nos propomos a compreender a(s) inteligência(s) de uma maneira diferente daquela proposta pelos modelos clássicos. Defendemos que o entendimento de uma visão pluralista da mente humana inspira uma pedagogia da singularidade, na qual ensinar envolve reconhecer os múltiplos modos de aprender de um aluno. Destacamos, ainda, a responsabilidade dos professores de Educação Física em disponibilizar diferentes caminhos para ensinar um mesmo conteúdo ou modalidade esportiva. Apontamos, neste artigo, algumas contribuições visando melhorar as propostas pedagógicas para se ensinar o esporte
Analisis Ketercapaian Indikator Standar Proses pada Ma Addzuriyatus Sholihin
No full textThis article aims to determine the standard of the research process at MAAdzuriyatus Solihin ciparay Bandung. This research is a qualitative research bycollecting data in the form of observation, interviews and documentation. The results ofthis study indicate that the achievement of process standards at MA Adzuriyatus SolihinCiparay Bandung is 91.42% when compared to the entire maximum score that shouldbe achieved in the standard process. This study recommends in-depth. indicators thathave not been achieved optimally, especially school indicators carry out the learningprocess with a maximum of 36 students in the study group and the teacher conducts goodclassroom management with 12 criteria. According to the author, the principal mustconduct an evaluation and supervision of the way to teach in the class, also conducttraining for teachers who have not been able to achieve standard process indicators.Because in learning the class of educators plays an important role in the learningprocess. This is intended to improve the quality of education and satisfaction ofcommunity expectations.Keynotes: process standards, educators, student
O Prólogo de Pérsio como profissão de fé
No full textIn this paper, a poetic translation of the prologue to Aulus Persius Flaccus` Saturae, taking into consideration formal aspects of the Latin original. After brief consideration about the author`s style, marked by obscurity and concision, it offers an analysis of the poem, relating it to the tradition to which it is affiliated - both Roman satire and Greek invective. Finally, it points out in the prologue the themes that will be predominant in the satires and that in great measure organize Persius` poetic agenda.Apresenta uma tradução poética do prólogo das Saturae de Aulo Pérsio Flaco, satirista do período neroniano, que leva em consideração os aspectos formais do original latino. Após fazer breves considerações sobre o estilo do autor, que é marcado por obscuridade e concisão, oferece uma análise do poema, relacionando-o com a tradição a que se filia – tanto a sátira romana como a invectiva grega. Aponta, ainda, no prólogo, os temas que serão retomados pelas sátiras que se seguem e orientarão em grande parte o fazer poético de Pérsio
Women In Ibnurrefik Ahmet Nuri Sekizinci S Stories
No full textbnürrefik Ahmet Nuri Sekizinci, Türk tiyatrosunun ilk emektarlar ndan biri olarak an l r. Ondokuzuncu yüzy l n ikinci yar s nda, de i en Osmanl kültür ve sosyal hayat n n tan ve gözlemcisiolarak öne ç kard tipleri, sosyal olaylar devrin ve kulland türün imkânlar do rultusundazaman zaman gelenekle ili kilendirerek zaman zaman çeviri ve adaptasyonla zaman zaman damodern tiyatro teknikleriyle kaleme al r. Kad n ve kad n n dünyas , kad n erkek ili kileri, de i ensosyal hayatta kad n n kendisine yeni rol aray lar onun eserlerinde yads namayacak bir yeresahiptir. Sekizincinin sosyal meselelere dair fikirlerini tiyatro metinlerinde, dergiler için kaleme ald yaz larda oldu u gibi hikâyelerinde de görmek mümkündür.Bu çal mada bnürrefik Ahmet Nuri Sekizinci nin Latin harflerinin kabulünden önceyay mlanm dokuz hikâyesi tespit edilerek Latin harflerine aktar m yap lm , daha önce MehmetRebii Baraz taraf ndan Latin harflerine aktar lan sekiz hikâyesiyle birlikte kad n temas esas al narakde erlendirilmesi amaçlanm t r. Türk edebiyat nda kad n n yerine dikkat çekilmi , yazar n k sabiyografisi verildikten sonra öncelikli olarak hikâyelerde kad n erkek ili kileri ve davran ekilleri altba l klar etraf nda tasnif edilmi tir. Sonras nda hikâye metinlerinin yay nlanmam olmas sebebiylehikâyeler kendi içinde özetlenerek de erlendirilmi , öne ç kan ba l klar çerçevesinde kad n, kad n nannelik vasf ve sosyal rollerinin de i en hayata uyum sürecinde ortaya ç kard sorunlar tespitedilerek bunlar n i leni i kar la t rmalar yap larak de erlendirilmi tir.Ibnurrefik Ahmet Nuri Sekizinci, is known as one of the first veterans of the Turkish theater.In the second half of the nineteenth century, The author emphasizes the types and socialphenomena that the Ottoman culture and social life as a witness and observer, from time to time inrelation to tradition and occasionally using translation and adaptation, from time to time withmodern theater techniques. Women and the world of women, the relationships between women andmen, the search for a new role for a woman in a changing social life has a place that can not be deniedin his works. It is also possible to see Sekizinci s ideas about social affairs in his theater texts and alsohis writings he recieved for the magazines and in his stories.In this study, nine stories published before the acceptance of the Latin letters of Ibnurrefik AhmetNuri Sekizinci were transferred to the Latin alphabet and it was aimed to be evaluated on the basis ofthe women's theme together with the eight stories which were previously transmitted to the Latinletters by Mehmet Rebii Baraz. In Turkish literature, attention has been given to place of women, andafter a short biography of the author has been given, women and men relations and behavior patternsin stories are classified under subheadings. Since the story texts have not been published yet, thestories have been summarized within themselves and the problems that the women, women'smotherhood qualities and social roles have emerged in the changing chronological harmony processhave been identified and evaluated by comparing the works
