128 research outputs found
The Legibility of Serif and Sans Serif Typefaces Reading from Paper and Reading from Screens
No full textIntro -- Acknowledgements -- Contents -- List of Figures -- 1 Introduction -- 1.1 The Origins of this Book -- 1.2 Serif Typefaces -- 1.3 Sans Serif Typefaces -- 1.4 Review Methodology -- 1.5 Conclusions -- 2 Concepts and Research Methods -- 2.1 Concepts -- 2.2 Objective Methods for Measuring the Legibility of Typefaces -- 2.3 Subjective Methods for Measuring the Legibility of Typefaces -- 2.4 The Size of Typefaces -- 2.5 Conclusions -- Part I Reading from Paper -- 3 "Everybody Knows": Reading from Paper -- 3.1 Attitudes of Typographers -- 3.2 Dissenting Voices -- 3.3 Are Serifs Purely Decorative? -- 3.4 Conclusions -- 4 The Legibility of Letters and Words -- 4.1 Reading Letters and Words in Serif and Sans Serif Typefaces -- 4.2 The "Stripiness" of Printed Words -- 4.3 Confusions Among Letters in Serif and Sans Serif Typefaces -- 4.4 Measuring Visual Acuity -- 4.5 Conclusions -- 5 Reading and Comprehending Text -- 5.1 Reading Text in Serif and Sans Serif Typefaces -- 5.2 Comprehending Text in Serif and Sans Serif Typefaces -- 5.3 The Connotative Meaning of Typefaces -- 5.4 Connotations of Serif and Sans Serif Typefaces -- 5.5 Conclusions -- 6 Reading in Context -- 6.1 The Importance of Context -- 6.2 Serif and Sans Serif Typefaces in Newspaper Headlines -- 6.3 Wheildon's Research -- 6.4 More Recent Research -- 6.5 Conclusions -- 7 Younger and Older Readers -- 7.1 Younger Readers -- 7.2 Burt and Kerr's Research -- 7.3 Zachrisson's Research -- 7.4 Other Research with Children -- 7.5 Letter Reversals -- 7.6 Older Readers -- 7.7 Conclusions -- 8 Readers with Disabilities -- 8.1 Readers with Visual Impairment -- 8.2 Shaw's Research -- 8.3 Children in Special Education -- 8.4 Readers with Congenital Visual Impairment -- 8.5 Readers with Acquired Visual Impairment -- 8.6 Readers with Aphasia -- 8.7 Readers with Dyslexia -- 8.8 Conclusions9 General Conclusions to Part I -- 9.1 Key Findings from Part I -- 9.2 Preferences and Connotations -- 9.3 Implications for Previous Assumptions -- 9.4 The American Psychological Association's Current Position -- 9.5 Conclusions -- Part II Reading from Screens -- 10 "Everybody Knows": Reading from Screens -- 10.1 Introduction -- 10.2 Legibility of Serif and Sans Serif Typefaces Using Older Technology -- 10.3 Issues with Screen Technology -- 10.4 Conclusions -- 11 The Legibility of Letters and Words -- 11.1 Reading Letters and Words in Serif and Sans Serif Typefaces -- 11.2 The "Stripiness" of Words Displayed on Screens -- 11.3 Confusions Among Letters in Serif and Sans Serif Typefaces -- 11.4 Conclusions -- 12 Reading and Comprehending Text -- 12.1 Reading Text in Serif and Sans Serif Typefaces -- 12.2 Comprehending Text in Serif and Sans Serif Typefaces -- 12.3 Rapid Serial Visual Presentation -- 12.4 Reading Material on Handheld Devices and Smartphones -- 12.5 Connotations of Serif and Sans Serif Typefaces -- 12.6 Conclusions -- 13 Readers with Disabilities -- 13.1 Readers with Visual Impairment -- 13.2 Readers with Dyslexia -- 13.3 Readers with Age-Related Macular Degeneration -- 13.4 Conclusions -- 14 Reading Text in Internet Browsers -- 14.1 The Legibility of Serif and Sans Serif Typefaces in Internet Browsers -- 14.2 The Research of Bernard and Colleagues -- 14.3 Subsequent Research -- 14.4 Conclusions -- 15 General Conclusions to Part II -- 15.1 Key Findings from Part II -- 15.2 Preferences and Connotations -- 15.3 Implications for Previous Assumptions -- 15.4 Conclusions -- 16 Coda: Lessons Learned -- References -- Author Index -- Subject Index -- Typeface IndexDescription based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Comparing Serif and Sans Serif Typeface Pairings on Maps
No full textabstract: When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar.Dissertation/ThesisMasters Thesis Engineering 201
The Serif-Less Letters of John Soane
No full textAt the end of the long eighteenth century a new style of typeface made its inaugural appearance. Cast as printers' 'Two Lines English' for titles in around 1814 it was later advertised as 'Egyptian' within the 1816 type specimen book of William Caslon IV and issued from his foundry in Salisbury Square, London. This typeface was unusual because although it was classical in structure it was designed without serifs and in block capitals only. It is the first known example of a sans serif typeface, a style that was to revolutionise nineteenth-century printed advertising and which has dominated typography ever since. The origins of this letter are hard to trace but find their roots in the eighteenth century. Until recently, the earliest datable examples of a deliberate serif-less letter were thought to be those made by the sculptor John Flaxman, evidenced by his monument to ‘Capt. R. Willett Miller’ in St Paul’s Cathedral (1803); and his monument to Isaac Hawkins Browne at Trinity College Chapel, Cambridge (1804–5). Other isolated instances of early serif-less inscriptions exist on provincial monuments, such as those to Penelope Boothby at Ashbourne Church, Derbyshire (1793) by Thomas Banks (1735–1805), and, in the same church, a later memorial plaque for her parents, Sir Brooke and Phoebe Hollins Boothby. The serif-less letter had become accepted on monuments by the final decade of the eighteenth century. The popularity of these serif-less letters and their association with classical style and sensibility ultimately produced a demand for their use within the realms of printing and the need arose to develop a sans serif printing type. In recent years, typographic historians have striven to establish the evolutionary path of the sans serif letter and James Mosley indicates that the architect John Soane was amongst the first, if not the first, to produce serif-less titling in his drawings.
This chapter examines the evidence for Soane as an early pioneer of serif-less lettering in Britain, and the progenitor of the sans serif typefaces of the nineteenth and twentieth centuries. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It also proffers suggestions for why Soane promoted the serif-less letter as desirable for inscriptions on buildings as well as for plan, elevation and perspective drawings in the neoclassical style. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It documents his early use of serif-less titling and proffers suggestions for why Soane promoted the serif-less letter as desirable for plan, elevation and perspective drawings in the neoclassical style. In order to establish the earliest example of a sans serif inscription on a Soane building still in existence today.
This historical research documents Soane’s earliest use of the serif-less (sans serif) letterform on his architectural drawings - in order to establish the earliest examples and time-line of both drawn titling and proposals for inscriptions on his distinctively purist neoclassical buildings within his early architectural practice since his return from the grand tour in 1780. The research proves the authors discovery, that the earliest extant surviving buildings by Soane to have a sans serif inscriptional: ‘TOVJOVS FIDELE’, is at Langley Park in Norfolk, England. Proposed from 1784 and drawn in 1790, the south-east Lodges were completed and billed by 1793, with James Nelson being the stonemason, who would have logically cut the serif-less letterforms in his workshops.
Sir John Soane (1753–1837) is one of Britain’s most eminent architects. Best known for his redevelopment of the Bank of England and the Dulwich Picture Gallery, his work is recognised for its pure, neoclassical style. Soane’s career spanned the last quarter of the eighteenth century and first quarter of the nineteenth century and his architectural ideology gave rise to a progressive modernism within architectural practice. Soane’s ideology and respect for the classical also extended to his use of serif-less lettering which he used not only on his plans and drawings but also on the stone inscriptions of some of his buildings. Soane is recognised as a progenitor of a British style of lettering which represents the neoclassical as well as the ‘antique’, which leads, through the last quarter of the eighteen-century to the first commercially cut metal type of c.1816 by the William Caslon IV Type foundry - the pre-cursor of the countless modernist sans serif typefaces of the twentieth century and an increasingly commercial and technological world.
This 4,000-word chapter published in: Pen, print and communication in the eighteenth century by Liverpool University Press, makes a significant contribution of ‘new knowledge’ to type history and provides the platform for future research by the author which goes further back in time, to the origin of the 18th century revival of the ‘primitive’ serif-less Etruscan-Roman letterform. It also provides the context in which to fully document the development and use of the architects ‘skeletal’ titling and the sans serif typefaces used commercially throughout the nineteenth and twentieth centuries. This research therefore, confirms Sir John Soane as a highly influential ‘prophet of modernism.’
Research Question(s):
Is Sir John Soane the progenitor of the commercial sans serif letterform?
What are the earliest examples of Soane’s serif-less titling within his archives?
Is Langley Park the earliest surviving extant example of serif-less inscription on a Soane building
The Serif-Less Letters of John Soane
No full textAt the end of the long eighteenth century a new style of typeface made its inaugural appearance. Cast as printers' 'Two Lines English' for titles in around 1814 it was later advertised as 'Egyptian' within the 1816 type specimen book of William Caslon IV and issued from his foundry in Salisbury Square, London. This typeface was unusual because although it was classical in structure it was designed without serifs and in block capitals only. It is the first known example of a sans serif typeface, a style that was to revolutionise nineteenth-century printed advertising and which has dominated typography ever since. The origins of this letter are hard to trace but find their roots in the eighteenth century. Until recently, the earliest datable examples of a deliberate serif-less letter were thought to be those made by the sculptor John Flaxman, evidenced by his monument to ‘Capt. R. Willett Miller’ in St Paul’s Cathedral (1803); and his monument to Isaac Hawkins Browne at Trinity College Chapel, Cambridge (1804–5). Other isolated instances of early serif-less inscriptions exist on provincial monuments, such as those to Penelope Boothby at Ashbourne Church, Derbyshire (1793) by Thomas Banks (1735–1805), and, in the same church, a later memorial plaque for her parents, Sir Brooke and Phoebe Hollins Boothby. The serif-less letter had become accepted on monuments by the final decade of the eighteenth century. The popularity of these serif-less letters and their association with classical style and sensibility ultimately produced a demand for their use within the realms of printing and the need arose to develop a sans serif printing type. In recent years, typographic historians have striven to establish the evolutionary path of the sans serif letter and James Mosley indicates that the architect John Soane was amongst the first, if not the first, to produce serif-less titling in his drawings.
This chapter examines the evidence for Soane as an early pioneer of serif-less lettering in Britain, and the progenitor of the sans serif typefaces of the nineteenth and twentieth centuries. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It also proffers suggestions for why Soane promoted the serif-less letter as desirable for inscriptions on buildings as well as for plan, elevation and perspective drawings in the neoclassical style. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It documents his early use of serif-less titling and proffers suggestions for why Soane promoted the serif-less letter as desirable for plan, elevation and perspective drawings in the neoclassical style. In order to establish the earliest example of a sans serif inscription on a Soane building still in existence today.
This historical research documents Soane’s earliest use of the serif-less (sans serif) letterform on his architectural drawings - in order to establish the earliest examples and time-line of both drawn titling and proposals for inscriptions on his distinctively purist neoclassical buildings within his early architectural practice since his return from the grand tour in 1780. The research proves the authors discovery, that the earliest extant surviving buildings by Soane to have a sans serif inscriptional: ‘TOVJOVS FIDELE’, is at Langley Park in Norfolk, England. Proposed from 1784 and drawn in 1790, the south-east Lodges were completed and billed by 1793, with James Nelson being the stonemason, who would have logically cut the serif-less letterforms in his workshops.
Sir John Soane (1753–1837) is one of Britain’s most eminent architects. Best known for his redevelopment of the Bank of England and the Dulwich Picture Gallery, his work is recognised for its pure, neoclassical style. Soane’s career spanned the last quarter of the eighteenth century and first quarter of the nineteenth century and his architectural ideology gave rise to a progressive modernism within architectural practice. Soane’s ideology and respect for the classical also extended to his use of serif-less lettering which he used not only on his plans and drawings but also on the stone inscriptions of some of his buildings. Soane is recognised as a progenitor of a British style of lettering which represents the neoclassical as well as the ‘antique’, which leads, through the last quarter of the eighteen-century to the first commercially cut metal type of c.1816 by the William Caslon IV Type foundry - the pre-cursor of the countless modernist sans serif typefaces of the twentieth century and an increasingly commercial and technological world.
This 4,000-word chapter published in: Pen, print and communication in the eighteenth century by Liverpool University Press, makes a significant contribution of ‘new knowledge’ to type history and provides the platform for future research by the author which goes further back in time, to the origin of the 18th century revival of the ‘primitive’ serif-less Etruscan-Roman letterform. It also provides the context in which to fully document the development and use of the architects ‘skeletal’ titling and the sans serif typefaces used commercially throughout the nineteenth and twentieth centuries. This research therefore, confirms Sir John Soane as a highly influential ‘prophet of modernism.’
Research Question(s):
Is Sir John Soane the progenitor of the commercial sans serif letterform?
What are the earliest examples of Soane’s serif-less titling within his archives?
Is Langley Park the earliest surviving extant example of serif-less inscription on a Soane building
1. The Serif-Less Letters of John Soane
No full textPen, print and communication in the eighteenth century.
Editors: Archer-Parré, C. and Dick, M.
Published by Liverpool university Press
ISBN: 978-1-789-62230-0
https://liverpooluniversitypress.co.uk/books/id/53166/
Published in September 2020, with a Book Launch webinar of short talks from contributors on 19 November 2020:
https://www.eventbrite.co.uk/e/pen-print-and-communication-in-the-eighteenth-century-webinar-book-launch-tickets-125925850609
With the Webinar of short talks published on YouTube:
https://youtu.be/icNZfKfMT_I
Book Chapter 14
The Serif-Less Letters of John Soane
Jon Melton
pp.215-228
Abstract.
At the end of the long eighteenth century a new style of typeface made its inaugural appearance. Cast as printers' 'Two Lines English' for titles in around 1814 it was later advertised as 'Egyptian' within the 1816 type specimen book of William Caslon IV and issued from his foundry in Salisbury Square, London. This typeface was unusual because although it was classical in structure it was designed without serifs and in block capitals only. It is the first known example of a sans serif typeface, a style that was to revolutionise nineteenth-century printed advertising and which has dominated typography ever since. The origins of this letter are hard to trace but find their roots in the eighteenth century. Until recently, the earliest datable examples of a deliberate serif-less letter were thought to be those made by the sculptor John Flaxman, evidenced by his monument to ‘Capt. R. Willett Miller’ in St Paul’s Cathedral (1803); and his monument to Isaac Hawkins Browne at Trinity College Chapel, Cambridge (1804–5). Other isolated instances of early serif-less inscriptions exist on provincial monuments, such as those to Penelope Boothby at Ashbourne Church, Derbyshire (1793) by Thomas Banks (1735–1805), and, in the same church, a later memorial plaque for her parents, Sir Brooke and Phoebe Hollins Boothby. The serif-less letter had become accepted on monuments by the final decade of the eighteenth century. The popularity of these serif-less letters and their association with classical style and sensibility ultimately produced a demand for their use within the realms of printing and the need arose to develop a sans serif printing type. In recent years, typographic historians have striven to establish the evolutionary path of the sans serif letter and James Mosley indicates that the architect John Soane was amongst the first, if not the first, to produce serif-less titling in his drawings.
This chapter examines the evidence for Soane as an early pioneer of serif-less lettering in Britain, and the progenitor of the sans serif typefaces of the nineteenth and twentieth centuries. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It also proffers suggestions for why Soane promoted the serif-less letter as desirable for inscriptions on buildings as well as for plan, elevation and perspective drawings in the neoclassical style. It considers the events that led to Soane’s application of serif-less lettering and the reasons he became the principal executor of this radical departure from the roman letter. It documents his early use of serif-less titling and proffers suggestions for why Soane promoted the serif-less letter as desirable for plan, elevation and perspective drawings in the neoclassical style. In order to establish the earliest example of a sans serif inscription on a Soane building still in existence today.
This historical research documents Soane’s earliest use of the serif-less (sans serif) letterform on his architectural drawings - in order to establish the earliest examples and time-line of both drawn titling and proposals for inscriptions on his distinctively purist neoclassical buildings within his early architectural practice since his return from the grand tour in 1780. The research proves the authors discovery, that the earliest extant surviving buildings by Soane to have a sans serif inscriptional: ‘TOVJOVS FIDELE’, is at Langley Park in Norfolk, England. Proposed from 1784 and drawn in 1790, the south-east Lodges were completed and billed by 1793, with James Nelson being the stonemason, who would have logically cut the serif-less letterforms in his workshops.
Sir John Soane (1753–1837) is one of Britain’s most eminent architects. Best known for his redevelopment of the Bank of England and the Dulwich Picture Gallery, his work is recognised for its pure, neoclassical style. Soane’s career spanned the last quarter of the eighteenth century and first quarter of the nineteenth century and his architectural ideology gave rise to a progressive modernism within architectural practice. Soane’s ideology and respect for the classical also extended to his use of serif-less lettering which he used not only on his plans and drawings but also on the stone inscriptions of some of his buildings. Soane is recognised as a progenitor of a British style of lettering which represents the neoclassical as well as the ‘antique’, which leads, through the last quarter of the eighteen-century to the first commercially cut metal type of c.1816 by the William Caslon IV Type foundry - the pre-cursor of the countless modernist sans serif typefaces of the twentieth century and an increasingly commercial and technological world.
This 4,000-word chapter published in Pen, print and communication in the eighteenth century by Liverpool University Press, makes a significant contribution of ‘new knowledge’ to type history and provides the platform for future research by the author which goes further back in time, to the origin of the 18th century revival of the ‘primitive’ serif-less Etruscan-Roman letterform. It also provides the context in which to fully document the development and use of the architects ‘skeletal’ titling and the sans serif typefaces used commercially throughout the nineteenth and twentieth centuries. This research therefore, confirms Sir John Soane as a highly influential ‘prophet of modernism'.
Research Question(s):
Is Sir John Soane the progenitor of the commercial sans serif letterform?
What are the earliest examples of Soane’s serif-less titling within his archives?
Is Langley Park the earliest surviving extant example of serif-less inscription on a Soane building?
NOTE: There was originally a 24-month online embargo on this written chapter from the book's publication date scheduled for Autumn 2020.
Print and eBook listing on WorldCat:
https://www.worldcat.org/title/pen-print-and-communication-in-the-eighteenth-century/oclc/1183833991
Book listing on JSTOR:
https://www.jstor.org/stable/j.ctv153k6fz
ARRO: https://arro.anglia.ac.uk/view/creators/Melton=3AJon=3A=3A.html
ResearchGate: https://www.researchgate.net/publication/343600149_The_Serif-Less_Letters_of_John_Soane
Researcher's Website: http://emfoundry.com/soanesseriflessletters.htm
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Opinions of syrian refugee and turkish citizen pregnant women regarding the ministry of health's practices to combating smoking
No full textLaws have been enacted by the Ministry of Health to protect health against smoking. We aimed to contribute to the literature by examining the opinions of the citizens of the Republic of Turkey, which was presented as a role model by the World Health Organization in the fight against smoking, and of Syrian refugees whose public life was disrupted and migrated due to the war, as well as was examined the effectiveness of the Ministry of Health's practices in this field on pregnant women. The universe of the study consisted of pregnant women who applied to the Harran University Chest Diseases Clinic between December 2019 and April 2021. The sample of this cross-sectional study consisted of 208 pregnant women who agreed to participate in the study. In the collection of the data, a participant identification form, which includes socio-demographic and obstetric characteristics, and a questionnaire to define the opinions of pregnant women on the anti-smoking practices of the Ministry of Health were applied to pregnant women. This study group consisted of 54.3% Syrian Refugee pregnant women and 45.7% of Turkish citizen pregnant women. This study was determined that 63% of Syrian refugee pregnant women and 37% of Turkish pregnant women smoked during their last pregnancy. A significant difference was found between the groups according to the age, presence of a smoker in the family, the smoking status of their spouse, and "State of knowledge of health problems caused by smoking" of Syrian Refugee and Turkish citizens pregnant. Our study is the first study that examines the opinions of pregnant regarding the smoking cessation practices of the Ministry of Health in the field and compares Syrian refugee-Turkish citizens pregnant. Active smoking of pregnant and the rate of exposure to passive smoking by their spouse or others living in-house suggest that smoking is still a major threat for pregnant. It has shown that the practices of the Ministry of Health in the field are known and supported by pregnant, but these practices are far from the inspection mechanisms. [Med-Science 2022; 11(2.000): 540-6
Legibility of serif and sans serif type faces in computer displays
No full text1990 Spring.Includes bibliographical references (pages 43-49).Covers not scanned.Print version deaccessioned 2020.Studies of type faces printed on paper have generally found minimal legibility differences between the many type faces. Modem computers are capable of displaying many of the same type faces available to printers, but few studies have looked at the legibility of these electronically displayed type faces. This study considers whether type faces with serifs are more legible than those without serifs when displayed on IBM PS/2 8513 monitors, when all other legibility variables are experimentally controlled. An experiment compared subjects' reading rates for one text set in serif type and one set in sans serif type. Subjects timed themselves as they read two 600-700 word texts from the computer monitors and answered comprehension questions. Variables of subject age, prior use of computers, vision, and use of corrective lenses were addressed. Analysis of data showed no significant difference in the reading rates of the two type faces. Reading rates for experimental treatments were not significantly different than those for the control, but were significantly different than each other. The variance in the experiment is thus caused by variables other than type face. Uncontrolled variables in experimental design and laboratory set-up appear to have overwhelmed any type face induced effect that may have been present. Further, better controlled experiments are needed to test the appropriateness of type face for computer displays
3-D pain drawings-mobile data collection using a PDA
No full textA large number of the adult population suffers from some kind of back pain during their lifetime. Part of the process of diagnosing and treating such back pain is for a clinician to
collect information as to the type and location of the pain that is being suffered.Traditional approaches to gathering and visualizing this pain data have relied on simple 2-D representations of the human body, where different types of sensation are recorded with various monochrome symbols. Although patients have been shown to prefer such drawings to traditional questionnaires, these pain drawings can be limited in their ability to accurately record pain. The work described in this paper proposes an alternative that uses a 3-D representation of the human body, which can be marked in color to visualize and record the pain data. This study has shown that the new approach is a promising development in this area of medical practice and has been positively received by patients and clinicians alike
Armagan-ı Yasin-i Serif
No full textTarih boyunca farklı coğrafyalarda yaşayan Türkler, geçmişten günümüze kadar pek çok dini kabuletmişlerdir. Tengriçilik (Şamanizm / Kamizm), Budizm, Mecusilik / Zerdüştilik, Manihaizm, Hristiyanlık (Nasturilik), Musevilik / Yahudilik ve İslamiyet Türklerin kabul ettikleri dinlerin en bellibaşlı olanlarıdır. Bu dinlerden Türkleri sosyal ve kültürel bakımdan en çok etkileyen de kuşkusuz ki İslamiyet olmuştur. Türklerin İslamiyet’i kabul ettikten sonra eski inançlarının ve geleneklerinin pek çoğunu terkettikleri, birçok alanda İslami kuralları, Kur’an-ı Kerim’deki emir ve yasakları, Hz. Muhammed’in hadislerini hayatlarının merkezine koydukları bilinmektedir. Türklerin doğum ve ölümle ilgili bazı inanışlarının; mevlit okutma, kandil ve bayram kutlama geleneklerinin temelinde de çoğunlukla İslami kuralların ve inanışların olduğu inkâr edilemez bir gerçektir. Anadolu’da yaşayan Türkler arasında, Kur’an-ı Kerim’in 114 suresinden biri olan ve 36. Sureyi oluşturan Yasin suresi, ayrı bir yere ve öneme sahiptir. 83 ayetten oluşan sure, Müslümanlar tarafından “Kuran’ın Kalbi” olarak kabul edilmektedir. Bu surenin önemiyle ilgili olarak Hz. Muhammed’in sözleri bulunmaktadır. Müslümanlar hem surenin ifade ettiği anlamları hem de Hz. Muhammed’in bu sureyle ilgili olarak söylemiş olduğu sözleri göz önünde bulundurarak doğumdan ölüme kadar hayatın her alanında Yasin-i Şerif okumanın yararına inanmışlar; bununla ilgili bazı geleneklerin oluşmasını da sağlamışlardır. Ramazan ayının her günü farklı bir amaçla Yasin-i Şerif okuma geleneği de bunlardan birini oluşturur. Temeli yüzlerce yıl öncesine dayanan bu gelenek Anadolu’nun farklı bölgelerinde hâlâ devam ettirilmektedir. “Armağan-ı Yasin-i Şerîf” adlı eser de bu geleneğin varlığına ve tarihinin eskiliğine tanıklık etmektedir. “Armağan-ı Yasin-i Şerîf”, Arap alfabesiyle ve Osmanlı Türkçesiyle XX. Yüzyılın başlarında yazılmıştır ve yazarı bilinmemektedir. Dil özellikleri eserin, daha önceki yıllarda yazılmış bir kaynak eserden hareketle yazıldığını göstermektedir. “Armağan-ı Yasin-i Şerîf” adlı eser hâlen Bursalı iş adamı İbrahim Koca’nın arşivinde bulunmaktadır.Having settled in various geographical regions throughout history, Turkish people have adoptedseveral religions from the past to the present. Tengrism (Shamanism / Kamism), Buddhism,Zoroastrism / Mazdaism, Manichaeism, Christianity (Nestorianism), Judaism / Jewishness, andIslamism are among the religions that have been mainly adopted by Turkish people. Among thesereligions, Islamism has undoubtedly had the greatest effect on Turkish people in social and culturalterms.Turkish people are known to have abondoned most of their previous beliefs and traditions, puttingIslamic rules, orders, and prohibitions of the Quran as well as the hadiths of Mohammed in thecenter of their life in many fields. It is an undeniable fact that certain beliefs of Turkish people regarding birth and death, as well as traditions like Islamic memorial ceremonies or celebration ofholy days and religious festivals, are mainly based on Islamic rules and beliefs.Surah Yaseen, the 36th surah among the 114 surahs of the Quran, is of particular value andimportance. Consisting of 83 verses, the surah is recognized as the “Heart of the Quran” byMuslims. Mohammed commented on the significance of this surah. Considering both the meaningsof the surah and Mohammad’s comments on it, Muslims have believed in the merit of reciting Surahal-Yaseen in all fields of life from birth up to death, which has led to the emergence of certaintraditions related to that. One of these traditions is the recital of Surah al-Yaseen for a differentpurpose every day during Ramadan. Dating back hundreds of years, this tradition is still carried onin different parts of Anatolia.“Armagan-i Yasin-i Serif” is a piece of writing that has witnessed the existence and the antiquity ofthis tradition. “Armagan-i Yasin-i Serif” was written in Ottoman Turkish language with Arabicletters by an unknown author in the early 20th century. Lexical features of the work suggest that itwas based on a source book that was written in previous years.“Armagan-i Yasin-i Serif” is currently stored in the archive of Ibrahim Koca, a businessman fromBursa
<span style="font-size: 22.5pt;mso-bidi-font-size:15.5pt;font-family:"Times New Roman","serif"; mso-bidi-font-weight:bold">Superconducting properties of K<sub><span style="font-size:17.5pt;mso-bidi-font-size:10.5pt;font-family:"Times New Roman","serif"; mso-bidi-font-weight:bold">0.2</span></sub><span style="font-size:22.5pt; mso-bidi-font-size:15.5pt;font-family:"Times New Roman","serif";mso-bidi-font-weight: bold">Ba<sub><span style="font-size:17.5pt;mso-bidi-font-size:10.5pt; font-family:"Times New Roman","serif";mso-bidi-font-weight:bold">0.5</span></sub><span style="font-size:22.5pt;mso-bidi-font-size:15.5pt;font-family:"Times New Roman","serif"; mso-bidi-font-weight:bold">Y<sub><span style="font-size:17.5pt; mso-bidi-font-size:10.5pt;font-family:"Times New Roman","serif";mso-bidi-font-weight: bold">0.3</span></sub><span style="font-size:22.5pt;mso-bidi-font-size:15.5pt; font-family:"Times New Roman","serif";mso-bidi-font-weight:bold">CuO<sub>x</sub> powder compacts </span></span></span></span>
No full text646-650<span style="font-size:
15.0pt;mso-bidi-font-size:8.0pt;font-family:" times="" new="" roman","serif""="">Measurements
of the electrical resistivity and thermoelectric power for sintered samples of K<span style="font-size:17.5pt;
mso-bidi-font-size:10.5pt;font-family:" times="" new="" roman","serif";mso-bidi-font-weight:="" bold"="">0.2<span style="font-size:22.5pt;mso-bidi-font-size:15.5pt;
font-family:" times="" new="" roman","serif";mso-bidi-font-weight:bold"="">Ba0.5<span style="font-size:22.5pt;
mso-bidi-font-size:15.5pt;font-family:" times="" new="" roman","serif";mso-bidi-font-weight:="" bold"="">Y<span style="font-size:17.5pt;mso-bidi-font-size:10.5pt;
font-family:" times="" new="" roman","serif";mso-bidi-font-weight:bold"="">0.3CuOx<span style="font-size:15.0pt;
mso-bidi-font-size:8.0pt;font-family:" times="" new="" roman","serif""=""> , system were
carried out. Two sets of the samples were prepared, the first set was sintered
in air and the second set was sintered during flowing oxygen. The temperature
dependence of the resistivity was found to be similar to that of metals.
Further, the zero resistance was attained at <span style="font-size:
15.5pt;mso-bidi-font-size:8.5pt;font-family:" times="" new="" roman","serif""="">91-95 K
depending on the sintering time. The author believes that, the prolonged
sintering time caused oxygen vacancies (which may reside either along
central-cage Cu-O chains) to become positively charged on trapping the hole,
and thus enhance the superconductivity. The thermoelectric power of all samples
was found to possess plus sign and decreases slightly with decreasing
temperature, and then it falls clown to zero, at the critical temperature (Tc).
</span
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