69 research outputs found
Türkiye çocuk edebiyatında iki önemli isim: Sevim Ak, Behiç Ak
No full textAnkara : İhsan Doğramacı Bilkent Üniversitesi İktisadi, İdari ve Sosyal Bilimler Fakültesi, Tarih Bölümü, 2018.This work is a student project of the Department of History, Faculty of Economics, Administrative and Social Sciences, İhsan Doğramacı Bilkent University.The History of Turkey course (HIST200) is a requirement for all Bilkent undergraduates. It is designed to encourage students to work in groups on projects concerning any topic of their choice that relates to the history of Turkey. It is designed as an interactive course with an emphasis on research and the objective of investigating events, chronologically short historical periods, as well as historic representations. Students from all departments prepare and present final projects for examination by a committee, with 10 projects chosen to receive awards.Includes bibliographical references (page 15).Bu makalenin amacı, çocuk öyküleri yazarı Sevim Ak ve Behiç Ak ile ilgili detaylı bilgiler vererek Türkiye edebiyatındaki yerlerinin önemini göstermektir. Bu makale, Sevim Ak’ın yazarlık kariyeri ve kardeşi Behiç Ak’ın sanatçı kişiliği ve Sevim Ak ile işbirlikleri hakkında bilgi veriyor. Makalemiz, Sevim Ak’ın hayat hikayesini anlatırken çocukluğundan itibaren bir yazar olarak gelişimini inceliyor, yurtiçinde ve yurtdışında elde ettiği başarılardan bahsediyor ve yazarlık dışı aktivitelerine de değiniyor. Behiç Ak ‘ın da karikatüristlik kariyerinden ve Sevim Ak ile işbirliğinden bahsediyor. Bu çalışma yapılırken ikinci el kaynakların yanı sıra Sevim Ak ile yapılan röportaj da kullanılmıştır.This article aims to demonstrate the achievements of the Turkish author, Sevim Ak and her brother Behiç Ak in Turkish literature. This article gives information about both Sevim Ak’ s and Behiç Ak’s career and Behiç Ak’s contribution to Sevim Ak’s works with his cartoons. Our project studies Sevim Ak and her brother’s childhood, Her career path, achievements in Turkey and overseas, and finally other projects she participated in. In addition, Behiç Ak’s career as a cartoonist is mentioned. Secondary sources and an interview with Sevim Ak as a primary source is used in this project.by Abdürrahim Özer
Educational messages in Sevim Ak?s stories and novels
No full textSosyal Bilimler Enstitüsü, Türkçe Eğitimi Ana Bilim DalıÜlkemizde 21.yüzyılın başından itibaren edebiyatın yeni bir kolu olarak ön plana çıkmaya başlayan çocuk edebiyatı, çocuğun eğitiminde önemli bir görev üstlenmiştir. Çocuk edebiyatı ürünlerinin çocuğun eğitimi üzerinde etkili olabilmesi için yazarın bir ileti sunması gerekir. Bu iletiler çocuğun hayata dair bilgi edinmesini ve duygusal, ahlâkî, sosyal yönden gelişmesini sağlayacaktır.Günümüzde çocuğa yönelik, eğitsel değeri yüksek eserler veren yazarlarımızın sayısı artmıştır. Bu yazarlarımızdan biri de Sevim Ak'tır.Sevim Ak, çocuk kitabı yazarlığını ayrı bir yazarlık biçimi olarak görmekte ve bu yazarlık biçiminin özel hassasiyetler gerektirdiğini savunmaktadır. Bu nedenle çocuk dünyasına duyarlılıkla yaklaşmış, çocukların aile, toplum, okul sorunlarına eğilirken onların gerçeklerini, hayal dünyalarını göz ardı etmemiş, onları ciddiye almıştır. Eserlerinde yaşamın gerçeğinden kopmadan çocuğa özgü sorunları, korkuları, kaygıları, beklentileri, çocuk-yetişkin çatışmalarını konu edinerek aile yaşantılarına, sosyal çevre yaşantılarına, okul yaşantılarına yönelik eğitsel iletiler sunmaktadır.Bu çalışma Sevim Ak'ın hikâye ve romanlarındaki eğitsel iletileri, araştırmak amacı ile yapılmıştır.Yapılan çalışmada Sevim Ak'ın hikâye ve romanlarındaki eğitsel iletiler, belirlenmiş, bu iletilerin aktarılmasına araçlık eden kişi, olay ve durumlar betimlenmiştir. İletiler, yönelik oldukları yaşantı alanlarına göre sınıflandırılmıştır.Child literature, which takes over as a new branch of literature in our country from the beginning of 21st century, has undertaken an important obligation in the education of the child. The author must present a message for child literature products being effective upon the education of the child. These messages will provide the child gain information about life and develop emotionally, morally and socially.Nowadays, the number of the authors who creates products for child that are educationally high- valved has been increased. One of our these authors is Sevim Ak.Sevim Ak regards child book author ship as a different kind of author ship form, and defends that this author ship form needs special sensibilities. For this reason, she approached to the child world sensitively, didn?t undervalve children?s realities and dream worlds, and take them seriously while inclining to their family, society and school problems. She presetens educational messages for family experiences, social and environment experiences, school experiences pointing problems, frights, anxieties and expectations peculiar to child, child- mature disputes without diverging from the reality of life.This work was done for searching Sevim Ak?s educational messages in her stories and novels.İn the work, Sevim Ak?s educational messages in her stories and novels were identified, the people, the facts and the situations that are meaning of transferring these messages were described the messages were classified according to the branches of experiences that they are directed
The poetics and politics of the uncanny in Sevim Burak's works
No full textThere is not much deep and overarching criticism about Sevim Burak though she is a very prominent author in Turkish literature. However, Sevim Burak discusses conflictual and critical subjects in detail with her short stories, plays and an uncompleted novel. Sevim Burak is an interesting author not only due to the controversial subjects she raises, but also with her different and non-traditional writing style which challenges the grammatical structure of the language and with the different constructions of the texts consisting of both written and visual materials. In this thesis, Sevim burak‟s works are interpreted through the uncanny. Departing from Freud‟s definition of the uncanny as “the return of the repressed”, the analysis of the works is developed benefiting from the frameworks offered by Lacan, Derrida, Dolar and Royle. The characters and spaces are analyzed through the themes of the double, being buried alive, the transgression of the boundary between life and death, and the return of the dead, which can be considered as the basic themes of the uncanny. In this thesis, based on the basic description of the uncanny as the return of the repressed, it is argued that the uncanny enables the expression of recurrent problems or conflicts of the characters about ethnicity, gender, and religious affiliations that are supposed to be repressed or kept hidden
Conceptualizing visual metaphors in high tech products advertising: Results and conclusions from an empirical research
No full textThe use of visual metaphors is a popular method of advertising nowadays. This paper briefly reviews the theoretical framework of metaphorical expression in advertising, and particularly the use of visual metaphors. It then continues with presenting results and findings from an empirical study on the use of visual metaphors in the ads of high-tech products. Given the nature of metaphors, the analysis is based on both qualitative and quantitative readings of the data, in order to reach more insightful conclusions. Based on the research findings and following the theoretical introduction, the paper concludes with implications and guidelines for the marketing utility of exploring the meaning and other features of visual metaphors
Sevim Ak'ın çocuk romanlarının söz varlığı açısından çözümlenmesi
No full textBu çalışmanın amacı, Sevim Ak'ın çocuk romanlarında sözvarlığını oluşturan dilsel öğelerin ve bu öğelerin kullanım sıklıklarının belirlenmesidir. Yazarın çocuk edebiyatı yapıtlarından roman türünde olan 12 kitabı incelenmiştir. Kitaplar içerik analizi yöntemiyle çözümlenmiştir. Verilerin çözümlenmesinde sıklık ve yüzde hesaplamaları yapılmıştır. Çalışmada "Türkçe'nin sözvarlığı" ana kategori; "atasözleri", "deyimler", "ikilemeler", "terimler", "ilişki sözleri", "kalıplaşmış sözler", "çeviri sözcükler", "yabancı sözcükler", "bilmeceler", "tekerlemeler", "argo sözcükler" ve "Anadolu ağızları" ise alt kategoriler olarak belirlenmiştir. Yazarın tüm romanları sözvarlığı açısından taranıp, her bir kitaptaki sözvarlıkları girdikleri sınıfa göre abecesel sıralanarak belirtilmiştir. Her kitap için sözvarlıklarını oluşturan dilsel öğelerin sıklık ve yüzdelerinin belirtildiği çizelgeler oluşturulmuştur. Bu çalışmada, yazarın romanlarında sözvarlığını oluşturan çeşitli öğelere yer verdiği sonucuna ulaşılmıştır. Bu öğeler arasında ikilemelerin geniş yer tuttuğu görülmüş ardından deyimlerin, yabancı sözcüklerin, terimlerin, ilişki sözlerinin, argo sözcüklerin geldiği saptanmıştır. Yazarın romanlarda kalıplaşmış sözlere hiç yer vermediği; Anadolu ağızları, atasözleri, tekerlemeler ve bilmeceleri ise diğer sözvarlığı öğelerine oranla çok daha az kullandığı belirlenmiştir.AbstractThe purpose of this study is to determine the structure and the frequency of vocabulary items in Sevim Ak's children literature novels works. Among the other genres, twelve children novels of the writer were analyzed. The books were analyzed using the content analysis method. The frequency and the percentage calculations were made in analyzing the data. In this study "Turkish vocabulary" is the main category; "proverbs", "idioms", "redublications", "terms", "including expressions showing social relations among people", "fixed expressions", "anagrams", "foreign words", "riddles", "tongue twisters", "slang words" and "Anatolian dialects" are defined as sub-categories. By scanning the content in all the novels of the author, vocabulary items in every book were stated by ranging alphabetically based on their catagories. The charts reflecting the frequency and the percentages of vocabulary items were made for each book. In this study it was concluded that the author includes various items that make up vocabulary in her novels. Among these items it was seen that redublications have an extensive coverage and it was appointed that idioms, foreign words, terms, including expressions showing social relations among people, and slang words come next. In the author's novels, it was deduced that she never included fixed expressions and used Anatolian dialect, proverbs, tongue twisters and riddles much less compared to other vocabulary items
Narrative and reader in flash fictions of Sevim Burak, Ferit Edgü, and Murathan Mungan
No full textÇağdaş Türk edebiyatında 1980'li yıllardan bugüne kadar okurun beklenti ufkunu karşılayan küçürek öykü, bağımsız bir alt tür olarak varlığını sürdürmektedir. Sevim Burak ve Ferit Edgü, türün öncü yazarları arasında kabul edilirken Murathan Mungan, kendine özgü üslubuyla türe yeni bir ses getirmiştir. Sevim Burak'ın Afrika Dansı ve Palyaço Ruşen'i; Edgü'nün Binbir Hece, Doğu Öyküleri, İşte Deniz, Maria, Do Sesi, Avara Kasnak, Nijinski Öyküleri ve Yolun Gittiği Yer adlı kitapları; Murathan Mungan'ın Kibrit Çöpleri türün özelliklerini yansıtan dikkate değer öykülerden oluşmaktadır. Bununla birlikte, Türk edebiyatında küçürek öykü çalışmalarına sıklıkla konu olan bu eserlerin yeterince kapsamlı bir şekilde incelenmediği gözlemlenmiştir. Bu tezin ana varsayımı, küçürek öykünün bütüncül olarak anlamlandırılabilmesi için artistik ve estetik uçların bir arada değerlendirilmesi gerekliliğidir. Bu kapsamda, tezde ilk olarak küçürek öykü üzerine kuramsal tartışmalar gözden geçirilerek hem metin çözümlemesine hem de okur yorumuna bir arada başvurulmasının gerekliliği tartışılmıştır. Ardından, anlatıcının ve okurun rolünün belirlenmesi amacıyla söz konusu yazarların tüm kitaplarında yer alan küçürek öyküler, yapısalcılık ve alımlama estetiği ekseninde çözümlenmiştir. Yapısalcılık bağlamında yapılan inceleme, anlatıcı tiplerini belirlemeye olanak sağlamış ve anlatıdaki boşlukları görünür kılmıştır. Sonra, bu boşluklar aracılığıyla yazar tarafından anlatıya dâhil edilen okurun rolü, alımlama estetiği ekseninde değerlendirilmiştir. Sonuçta Burak, Edgü ve Mungan'ın küçürek öykülerini yorumlamak için ne yazarın niyetinin ne edebî metnin sesinin ne de okurun keyfî yorumunun tek başına yeterli olduğu anlaşılmıştır. Böylece, bir küçürek öykünün ancak yazar-metin-okur üçgeninde anlam kazanacağı ortaya koyulmuştur.Flash fiction, also known as short short story, which meets Turkish readers' horizon of expectation from the 1980s onward, exists as an independent sub-genre in contemporary Turkish literature. Sevim Burak and Ferit Edgü have been accepted as the pioneering writers of the genre while Murathan Mungan has brought a new voice to it through his distinctive style. Sevim Burak's Afrika Dansı (African Dance) and Palyaço Ruşen (Ruşen, the Clown); Edgü's Binbir Hece (A Thousand and One Syllables), Doğu Öyküleri (East Stories), İşte Deniz, Maria (Here, the Sea, Maria), Do Sesi (The C Sound), Avara Kasnak (Idler), Nijinski Öyküleri (Stories of Nijinski) and Yolun Gittiği Yer (Where the Road is Headed); Murathan Mungan's Kibrit Çöpleri (Matchsticks) consist of remarkable pieces that reflect the characteristics of the genre. Although flash fiction research in Turkish literature refers amply to those works, one can observe that they are understudied in terms of theory and textual analysis. The main hypothesis of this study is that for a holistic interpretation of flash fiction it is necessary to consider the artistic and the aesthetic poles together. Within this scope, the thesis first reviews the theoretical discussions on flash fiction and argues the necessity of appealing to both textual analysis and reader's response. Secondly, in order to distinguish the roles of the narrator and the reader, it analyzes all of the stories in the aforementioned books according to the methods of structuralism and reception aesthetics. The structuralist reading has revealed the typology of the narrator and shed light on the narrative gaps. Then, the role of the reader, integrated into the narrative by the author through these gaps, has been evaluated on the axis of reception aesthetics. In conclusion, it is understood that neither the author's intention nor the voice of the text nor the arbitrary interpretation of the reader is single-handedly sufficient to interpret the stories of Burak, Edgü, and Mungan. Thus, it was determined that the meaning of a flash fiction can only be comprehended within the author-text-reader triangle
PCR-Based Screening of Pathogens in Bombus terrestris Populations of Turkey
No full textPurpose: Bumblebees are an important group of insects in the pollination of various vegetables, fruits, oilseeds, legumes, and the fodder crops. Compared to honeybees, they have a wider choice of hosts and a longer flight period. These bees are used especially for the pollination of plants in greenhouses and are commercially produced for this purpose. Recently, serious decreases have been occurring in bumblebee populations due to various reasons such as pathogens, and some of species are even threatened with extinction. Due to the worldwide decline in pollinator insects, determining the distribution and prevalence of bumblebee pathogens is of great importance. Therefore, this study was conducted to determine the incidence and prevalence of pathogens in Turkish bumblebee populations and how much of each pathogen was in bumblebee samples. Methods: A total of 172 Bombus terrestris (Linnaeus,1758) samples (21 samples from commercial enterprises, 79 samples from greenhouses and 72 samples from nature) were randomly collected from 3 provinces (Antalya, Mersin and İzmir) where greenhouse cultivation is intensively carried out in Turkey. Eighty-nine of these samples were collected in the spring and eighty-three in the autumn. The presence of four pathogens (Nosema bombi, Crithidia bombi, Apicystis bombi, and Locustacarus buchneri) was investigated by PCR using universal primers. Results: The overall prevalence of Nosema bombi, Crithidia bombi, Apicystis bombi, and Locustacarus buchneri was determined as 7.55%, 9.3%, 11.62%, and 4.65%, respectively. Co-infections (5.81%) were only detected in wild-caught (nature) samples. C. bombi and A. bombi infections were detected at higher rates in the spring samples than in the autumn samples (p 0.05). Conclusion: The results obtained could be important in determining the prevalence and spread rates of the bumblebee diseases in Turkey and to determine appropriate protection measures. The information gathered should increase our knowledge about the presence of these pathogens in Turkey and could contribute to improve apiarist’s practice. More studies are needed to determine the transmission pathways of these pathogens between the populations. Also, complex pathogen interactions in bumblebee populations should be considered in the future to improve bumblebee health. © The Author(s) under exclusive licence to Witold Stefański Institute of Parasitology, Polish Academy of Sciences 2023
The Use of Literary Metamorphosis in Clarice Lispector and Sevim Burak
No full textThis essay discusses two texts by two literary avant-garde women writers in terms of their use of literary metamorphosis. Although coming from different geographical, linguistic, and cultural backgrounds, interestingly, Turkish author Sevim Burak (1931-1983) and Brazilian author Clarice Lispector (1920-1977) share a common interest in their tendency towards the modernist aesthetic geared towards an experimental literary style. This essay aims to bring Lispector's experimental novel The Passion According to G.H. (A Paixao Segundo G.H.; 1964) and Burak's short story "The Window" ("Pencere"), from her short story collection titled Burnt Palaces (Yanik Saraylar; 1965), together in light of their use of the metamorphosis trope. Both texts challenge desire in fixed signification and closed interpretation, calling instead for a decentered and displaced hermeneutics. In this study, I discuss the use of metamorphosis as a literary trope in The Passion and "The Window" as their major literary tool in the deconstruction of subjectivity in different ways. The study argues that the trope of literary metamorphosis can also be an effective narrative vehicle for opening oneself to different forms and positions of alterity, be it ontological or epistemological alterity
The Use of Literary Metamorphosis in Clarice Lispector and Sevim Burak
No full textThis essay discusses two texts by two literary avant-garde women writers in terms of their use of literary metamorphosis. Although coming from different geographical, linguistic, and cultural backgrounds, interestingly, Turkish author Sevim Burak (1931-1983) and Brazilian author Clarice Lispector (1920-1977) share a common interest in their tendency towards the modernist aesthetic geared towards an experimental literary style. This essay aims to bring Lispector's experimental novel The Passion According to G.H. (A Paixao Segundo G.H.; 1964) and Burak's short story "The Window" ("Pencere"), from her short story collection titled Burnt Palaces (Yanik Saraylar; 1965), together in light of their use of the metamorphosis trope. Both texts challenge desire in fixed signification and closed interpretation, calling instead for a decentered and displaced hermeneutics. In this study, I discuss the use of metamorphosis as a literary trope in The Passion and "The Window" as their major literary tool in the deconstruction of subjectivity in different ways. The study argues that the trope of literary metamorphosis can also be an effective narrative vehicle for opening oneself to different forms and positions of alterity, be it ontological or epistemological alterity
Development of toys in historical process and ceramic toys
No full textSevim, Cemalettin, Gönül, Elif (Anadolu Author)Ceramics, that have existed along with human beings in all stages of life, is one of the most important inventions produced by people to meet their needs. They have entered people’s lives first in the form of pots and pans and later have taken various forms to make life easier for people. They have sometimes taken the form of pots and pans, sometimes roof tiles and sometimes a part of a spacecraft. Ceramics, which has existed in people’s lives to such an extent, after its invention have also served as an entertainment and education tool for children after going through various stages throughout history due to being
easily shaped, produced and obtained. As a result of this characteristic of theirs, toys for children have been made for their entertainment from ceramics since antiquity and these toys have also developed their creativity. Ceramic toy cars, dolls, dinner sets made from ceramics that have been seen throughout history are good examples of such toys. With the advancement of today’s technology, toys have begun to be produced from materials such as plastic, digital materials etc., and these have replaced ceramic toys. While this change has contributed many different games and toys to children’s world, they have
caused ceramic games and toys to enter a process of disappearance. In this study the childtoy relationship, history of toys, the past of ceramic toys and their place in today’s world will be explained
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