The Turkish family structure is the most basic and smallest social sign of Turkish society. Within the network of relationships that starts in the nuclear family and constitutes the larger structure of society, family, and kinship networks allow inferences to be made about the society as a whole. The development of family and kinship networks in Turkish society is also reflected in the linguistic vocabulary. There are many words that define these relationships. The vocabulary constitutes concrete signs of family relations in social life on the basis of the language-society relationship. Words, which are the most concrete signs of language, have taken on an important function in the creation and transmission of the perception that is the source of the Turkish family structure. In determining and analyzing this perception, it is also possible to make a reverse reading through these words. The subject of this study is how the vocabulary and definitions related to the family structure and kinship networks of Turkish society can be interpreted from a sociolinguistic perspective. The sample of the study consists of the vocabulary and definitions of kinship networks in the Güncel Türkçe Sözlük [The Current Turkish Dictionary], which is the standard dictionary of Türkiye Turkish. On the basis of this vocabulary, indicating kinship networks, the Turkish family structure has been first be revealed at a scriptural level. Then, the semantic values of the vocabulary indicating kinship networks according to family structure, gender, generation and age, blood and marriage, types of language, and language contacts have been determined. The social roles attributed to the individual according to this signification have been evaluated by taking into account the theories and methods of sociolinguistics. The aim of this study is to define the Turkish family structure and to analyze the perception of family in Turkish society by considering language-society relations.

Culture, which can be defined as the lifestyle of a nation, is the sum and whole of social experiences and learning. Considering the connotations of the concept of memory such as storage and preservation, it is possible to say that cultural memory provides the continuity of cultural elements in an impersonal area. Cultural memory, with its dynamic structure, includes actions such as “recollection, ‘repetition’ and ‘reviving/keeping alive’ in ensuring the continuity of cultural elements. Literary texts from oral culture to written culture often include these actions by fulfilling a formant function. Therefore, considering literary texts as reflection areas of cultural memory and making analyzes on cultural elements and symbols is one of the text analysis methods. In Turkish culture, ‘horse’ is an important cultural element. As a result of the living conditions brought by the steppe culture in the Turks, the ‘horse’ has become an important part of life and has become one of the main figures of cultural memory in relation to many emotions, thoughts and dreams. Even the existence of many idioms and proverbs about horse in Turkish alone explains the place of horse in cultural memory. Also, horse is one of the cultural symbols that is repeated in many oral, written and visual texts and in various branches of art, and remains alive as it is repeated. Faruk Nafiz Çamlıbel (1898-1973) used horse allegorical in relation to the Turkish nation in his poem called At (The Horse) (1919), which he wrote during the War of Independence, one of the milestones in Turkish history. In the poem, the horse appears with a symbolism that represents the Turkish nation and the ‘independent’ character of the Turkish nation with references to the historical conditions of the First World War (1914-1918) and War of Independence (1919-1923). In this context, in this study, poem called The Horse of Faruk Nafiz Çamlıbel is considered as a cultural memory area and horse is examined as a ‘cultural symbol’. The image of horse drawn in the poem is examined in historical and socio-cultural dimensions and evaluated in the context of the place of horse in Turkish culture.

Korean society is one of the rare nations that brings tradition and the future together. They used the power of development to interpret tradition. While examining the past and presenting it to today's society with various tools, they also reflected the observations and perceptions of other societies with which the Korean people interacted. Recently, the interest and success of Korean cinema in historical subjects has attracted attention. It is observed that in these films, depending on the periods, various Turkish origin tribes and lineages are mentioned, they are processed in many ways, evaluated in terms of society, origin and life, and presented to today's audience. The event takes place in and around a village where the Turkish-origin Jurcen live in the border region. The border divided the Cürcan villages into two. The protagonist of the movie is a little girl living in a Curcan village ruled by the Korean Joseson dynasty. He often crosses the forbidden border region in search of ginseng, the "miracle herb said to resurrect the dead," so that his sick mother can be healed. The Jurceans mentioned in this film are a community whose origins are disputed, but whose Altaic language is undoubted. It is based on the revenge of a girl whose village was raided and all her relatives were killed. However, this historical event is supported by another side event that can be seen as fantastic today and the subject is enriched. In this article, a few basic films of Korean cinema were taken under scrutiny and the way of life of Turkish tribes in these films, how they were handled and how they were shown, especially through the example of "Ashin of North". Historical reality, fictional presentation, the harmony or incompatibility of these two, the perception of historical Turkish societies formed through Korean cinema constitute our analysis.

The values that people reveal in the process of change and transformation can be defined as culture in particular and cultural heritage in general. In terms of preserving cultural assets and passing them on to future generations, the concept of "cultural heritage" is essential. Having ancient values dating back thousands of years, Anatolian geography has hosted many social groups in the socialization process. The Ahi organization, a socioeconomic order where fraternity, honesty, and benevolence are all integrated, has long guided the transmission of cultural legacy and allowed Anatolians to develop their talents in the arts and professions. The Ahi craftsmen ensured the continuation of their profession and passed on the traditional knowledge created by society to following generations with the help of the professional organization that was established under the direction of Ahi Evran. The Ahi organization has common approaches with UNESCO's Living Human Treasures Program in terms of its professional principles and methods. The main purpose of both practices is to transfer the values, philosophy, and nuances of the profession to future generations. In this sense, it is possible to assess traditional craftsmen as actors and actresses who serve society and keep the tradition alive. The identification and promotion of the local actors and actresses, who are the living carriers and developers of traditional knowledge and experience memory, will perpetuate the transfer of cultural heritage. Ahmet Ay, a woodworker and kündekâri craftsman living in Kırşehir, is a traditional connoisseur who has been practicing his art for 40 years. The aim of the study is to record the information provided by the wood and lectern craftsman Ahmet Ay, who was given the title of State Artist of Traditional Handicrafts by the Ministry of Cultureand Tourism in the province of Kırşehir, which is accepted as the organizational hub for the Ahi, and to come up with recommendations for the preservation and transfer of this profession, which has sunk into oblivion. Ahmet Ay's nomination for inclusion in the inventory of "Living Human Treasure" in 2023 is still pending.

Communication provides an understanding of the culture of a society and the symbols, values, and norms within that culture. It is aimed to persuade the target audience by making use of cultural signs in advertisements, which are one of the communication methods. Therefore, the cultural codes of the society in which individuals live are placed in advertisements. While advertisements are influenced by culture, they also influence culture. Advertisements can reflect the cultural characteristics of the society as well as their power to influence and direct societies. In this sense, as advertisements are mirrors of society, they should reflect the culture accurately in order to be successful. Based on the idea that advertising is a cultural sign, in this study, the way culture is presented in advertisements is examined. For this purpose, how the cultural values and norms of Turkish society are presented in advertisements and how they are placed in advertisement texts are emphasized. In this context, ‘Kent Advertisement of Bairam’, which emphasizes the values of Turkish society, was selected and examined. It was emphasized which cultural elements were included in this commercial, and how these elements and characters were positioned. In the advertisement, which was analyzed with the method of cultural semiotics, it was seen that the cultural elements were presented successfully and the characters in the advertisement were positioned in accordance with Turkish culture.

The aesthetics of classical Turkish literature is influenced by a quite rich background. The period of classical Turkish literature covers a period of approximately six centuries in the history of Turkish literature. However, the factors shaping its aesthetics date back much further. The determinants of this aesthetics can be traced back to Sumerian, Babylonian and ancient Indian, Iranian, Greek and Arabic thought. It also bears significant traces of the Roman and Byzantine periods. These traces are generally mythological, theological, philosophical and mystical. In addition to these traces, it is possible to argue that various religions and beliefs, especially Islam, have influenced the aesthetics significantly. Moreover, some ontological, epistemological, psychological and moral theories are among the determinants. Phenomena such as music, plays, rituals, daily life practices and political developments are among the other factors that influence the aesthetics of classical Turkish literature. This study attempts to provide an overview of the determinants of the aesthetics of classical Turkish literature and how they have been transformed into aesthetic expression. By doing so, the study aims to provide a better understanding and recognition of the aesthetics of classical Turkish literature. The main question to be answered in the study is “What kind of perception of art and beauty do the texts of classical Turkish literature have and how is this perception shaped?”. This question will be answered through some examples from the texts of classical Turkish literature. The examples are selected from those that can be used to make general judgments about the aesthetics of classical Turkish literature.

The first and original series of Hababam Class films are important productions that humorously introduce Turkish culture and the young generation of the young Türkiye of that period, their problems, expectations, perceptions of life, positive and negative aspects. The films adapted from Rıfat Ilgaz's book series Hababam Class were released as six films between 1975 and 1981, followed by five films between 2004 and 2021. In this study, the first series of six films between 1975-1981 will be analyzed in terms of the relationship between place and narrative. The place, which gains meaning with the presence of facts, events and characters, and its framework in the narrative, is also able to directly affect the series of events in the film. It has not been overlooked that the interior and exterior of the Hababam Class films, regarded as cult series in Turkish cinema history, are a special dramatic element that influences the plot, tension and emotions of the characters, and that connection between the spatial frame and the narrative has been intuited by the audience in every film. Therefore, the representation of the places in the film and their indicators of the time-memory relationship express both the real and the fictional in the narrative through a series of connections. In this study, based on Umberto Eco's view that "the perception of place is directly dependent on cultural codes", a semiotic analysis of the places in the Hababam Class movies has been made based on Barthes' principles of plain meaning and connotation. It has been determined that the place indicators in these films take place as an important element in the narrative.

When traditional Turkish theater studies are analyzed, it becomes clear that genres are contextually classified as having rural or urban settings. Plays with sural settings are divided into theatrical village plays; the plays with urban settings, on the other hand, are divided into Karagöz, ortaoyunu, and Meddah. Rural chamber plays, which constitute the subject of this study, appear as a type of theatrical village plays. These plays are different in terms of time and content from the theatrical village plays that predominately have ritualistic features and follow the natural calendar. Rural chamber plays are entertaining plays that bring the community together at henna nights, weddings, or a suitable house for the villagers. The body and verbal comedy predominate in the plays, and the game setting is selected from a living area in the village; actors and audience are made up of village residents. With these features, plays fall outside the definition of Western modernist theater. However, they are quite remarkable in that they are a unique genre that includes the concepts of "theater,", "performance" and "theatricality" that changed in the 19th century. These plays, which embody all the dynamics of the Eastern Theater, are crucial as they bring the lifestyle, residents, and settings of a rural area to a theatrical space. Due to urbanization, the reduction of living space in rural areas, and changes in how people view entertainment, this playing technique, which is now all but extinct, contains significant information for creating and redefining the notions of traditional Turkish theater. It is critical to consider, redefine, and evaluate these plays, which reflect the village's agenda in terms of content and structurally the relationship between play, theater, and performance in terms of both cultural heritage and creating a distinct type of theater. The play examples included in this study were chosen from those that were played by residents of the villages of Gülef and Musallar, which are located within the boundaries of the province of Kastamonu. The plays were archived by the participant observation method in the field study. For this reason, they are original examples in terms of demonstrating the traditional theater genres that have been living in Türkiye recently.

N’importe où et quelle période qu’ils soient, les parents mettant au monde des bébés en situation, avec leurs caractéristiques physiques ou psychologiques, éprouvent des difficultés par rapport aux familles normales. Le degré de difficulté varie selon la situation de handicap de l’enfant/bébé. C’est pourquoi les mettre au monde en santé occupe une importance au regard d'eux- même, de leur famille et de la société. L'objectif de cette étude est de déceler la situation dans laquelle les individus ayant des enfants à besoins spécifiques, les changements dans leur niveau de vie, la façon dont la société les considère et les effets psychologiques de cette situation sur elles. Deux ouvrages prennent place, l'une par turque et l'autre par littérature japonaise, dans cette étude comparative effectuée. Parallèlement à l'œuvre « Avez-vous du Blue ? » par Uzun Ö, publiée comme une étude autobiographique dans la littérature turque et vue même dans le média ; l’œuvre « Un Problème Personnel » par Kenzaburo Oe rémunérée par le prix Nobel et comme l'une des figures les plus importantes dans la littérature japonaise contemporaine forme le cadre de l'étude. Originellement publié sous le nom de Kojintekina Taiken, « Un Problème Personnel » différencie par l'usage des noms réels des personnes de chez l'autre. Cependant, cela ne change ni l’importance de l’œuvre dans le monde littéraire ni la place de l’auteur dans sa vie privée. Comme ils sont deux de type autobiographique et donnent l'exemple des familles avec un enfant en situation, ces ouvrages différents par deux auteurs de différentes cultures marquent le même dénominateur. Par entremise de cette étude, on tentera de révéler les similitudes, les différences et les modes de vie s'accrochant à la vie parmi des familles ayant un /des enfant(s) handicapé(es). Les troubles que l'on éprouve individuellement parmi les membres de la famille et leur positionnement à un point différent dans la société exigent une approche multifonctionnelle au travail. Par conséquent, les travaux seront discutés en utilisant les données de la psychologie et de la sociologie et évalués dans la méthode éclectique (pluraliste) sous le toit de la littérature scientifique comparative.

Language and language-specific structures, words, and idioms used by a society are an integral part of its culture. They reflect the cultural values of the society, and play an essential role in the transfer of these values to future generations. Quotations, idioms, and proverbs in a language are particularly decisive in this regard, and are the subject of many studies, both linguistic and cultural. Proverbs and idioms, in particular, are of great interest to scholars studying culture and language. In this study, we focused on the role of proper names in proverbs and idioms, and their importance in cultural transmission. We examined the meanings and significance of these special names in various proverbs and idioms, and attempted to determine their underlying meanings. Through a scanning method, we identified the names of people and places used in proverbs and idioms, and analyzed the proverbs and idioms in which they appeared. We also provided the meanings of these names in the sources, and discussed their significance in the context of the proverb or idiom. Although the number of proverbs and idioms with proper names is quite high, it is been limited in this study to those in which the same proper name was repeated multiple times. By focusing on these, we were able to gain a deeper understanding of the signs and meanings of these proper names, and their role in cultural transmission. In conclusion, this study sheds light on the importance of proverbs, idioms, and proper names in cultural studies, and highlights the need for further research in this area.

Space and time are existential phenomena that constitute the two fundamental planes of existence. The fact that the notion of space is met with the word "mekân", which derives from the root of “kevn” (existence) in Turkish, indicates an important link between space and existence in Ottoman culture. The relationship between space and human beings is twofold. While humans transform the space they live in, space shapes human life. Spaces produced, inherited, or naturally inhabited by humans acquire a semantic field within culture. Therefore, a place may have cultural codes that may seem foreign to outsiders. For the Ottoman culture, which today has no living members and has limited data in terms of social history, these cultural codes can be analyzed by examining literary texts. The perception of space is influenced by and reflects the philosophical and religious background of the culture. In Ottoman culture, existence is not seen as a value. The idea of wahdat/unity, which everything reflects the divine being, is widespread. Accordingly, space acquires an important symbolic indicator function. Every element in the garden has a symbolic meaning. For example, gardens are seen as a copy of "cennet" (paradise), which means a hidden/protected garden and the rose signifies Muhammad, and the tulip signifies the unity of God. The garden also reflects the aesthetic perception of Ottoman culture. A beautiful Ottoman individual is a garden in its entirety, as every part of it resembles a plant. Unorganized wilderness or dilapidated buildings in disrepair are unaesthetic. This situation can be read as indicators of the Ottoman civil-city (medeni-medine) relationship and the patronage relations of Ottoman poetry. Finally, the garden can also mirror social relationships through the personification of plants.

The Turkish language, like many other languages, has been influenced by foreign vocabulary throughout its history. The adoption of foreign vocabulary in the Turkish language has had a significant impact on its culture. The incorporation of words from other languages, especially Arabic, Persian and French, has enriched the Turkish language and expanded its vocabulary. This allowed for greater precision and nuance in communication and also helped preserve the cultural heritage of these other languages in Türkiye. Moreover, the adoption of foreign words has also been a reflection of the cultural exchange and influence that has occurred throughout Türkiye’s history. However, it should be noted that it also has a negative impact on the language. This article aims to examine the positive and negative impacts of foreign vocabulary, especially French which has been adopted in the Turkish language on its culture. The study will focus on the historical context in which the words were adopted, the origins of the words and their current usage in the Turkish language. The study will also examine the cultural significance of these words and how they influenced Turkish culture. Additionally, the article will explore the role of language in the formation of cultural identity and how the incorporation of foreign vocabulary into the Turkish language has affected the formation of Turkish identity. The study will use a combination of historical and linguistic analysis to gain a comprehensive understanding of the subject.

Nowruz, which is widely celebrated in Turkish communities on March 21 every year, is considered as the beginning of the new year and spring in ancient calendars. The aim of this study in this context is to give information about how the Nowruz tradition is kept alive in Kyrgyz culture. The study group consists of 29 B1-level students who are learning Turkish at Kyrgyz-Turkish Manas University in Kyrgyzstan. It is important to communicate with the target audience based on cultural similarities and traditions in teaching Turkish. In this direction, the data in the study were obtained by having students write about Nowruz and were examined by content analysis. Within the scope of the data obtained, it was determined that various games are played on Nowruz, national dishes are prepared, juniper is burned to ward off evil, “sümölök”, which is unique to Nowruz, is cooked, and people visit each other. As a result of the research, based on the student sentences, it was determined that Nowruz brings people together sociologically and that the sense of unity and social solidarity among the people is maintained by cooking “sümölök”.

Over the past decade, social networks have become ubiquitous in our daily lives, transforming the way we interact, communicate and share information (Kaplan and Haenlein, 2010). Today a majority of French people have a sustained and regular presence on social networks. At the same time, music has always been an essential part of human culture, arousing emotions and memories, and influencing our tastes and preferences (Holbrook and Schindler, 1989). Through an in-depth review of the existing literature, we seek to understand what factors influence users' engagement with music on social networks.

Semiotics is a transdisciplinary project by its very nature and from its very beginning. I will not, however, enter into a detailed discussion of the very subtle questions concerning the concept of transdisciplinarity, which should be posed in ontological-epistemological and methodological terms. In this article, however, I will attempt to evoke the positions or postures of contemporary semioticians who have devoted themselves to the development of the theoretical foundations of this science of meaning and communication, i.e., semiotics. Indeed, the central purpose of this work is to demonstrate the transdisciplinary nature of contemporary semiotics in three stages. First, I will demonstrate the status of semiotics as a transdisciplinary project by exploring the positions of some representative semioticians on the transdisciplinary nature of this discipline. Secondly, I would like to present a selection of my collective and individual projects and works, carried out over the last two decades, which can prove the transdisciplinarity of semiotics. I would say that I have accomplished a certain transdisciplinarity thanks to the semiotic spirit without knowing it, like Mr. Jourdan. Thirdly, with a view to creating new research programs in the sense of Latatos (Latatos, 1978), or exploring new fields in the sense of Kant (Kant, 1995), I would like to consider an epistemological renewal of semiotics by laying the groundwork for the five axes: spatiality, agentivity, temporality, narrativity, and sociality. It goes without saying that these axes are intimately connected. Three major events such as the Anthropocene, the Covid-19 pandemic, and artificial intelligence, have inspired me to reconceptualize the epistemological foundations of the semiotics of the future.