The term modern Turkish poetry is a general term given to the understanding of poetry that developed in Turkey, starting with the four (Kaside) odes that $inasi wrote after returning from Paris to describe Re§it Pasha who is Grand Vizier (1850-55) and his reforms, and until the declaration of the Republic of Modem Turkiye in 1923. The poetry of this period is also called new Turkish poetry, Turkish poetry of the modernization period, modem Turkish poetry, poetry developed under Western influence, etc. Many researchers have been suggested under different names about this period. But today, Turkish literature historians call this period Modem Turkish literature. There are 6 basic groups, communities and movements in modem Turkish poetry. These communities or movements have developed under the influence of different aesthetic understandings. The basic philosophical and aesthetic understandings that developed in Europe since the beginning of the European Enlightement Era have also influenced modern Turkish poetry. While the Namik Kemal-Ziya Pasha-Shinasi school followed the rationalist aesthetic approach, the second generation of Tanzimat adopted Immanuel Kant's aesthetic authonomy. While the commities of Servet-i Fünun's representatives adopted young Hegelian aesthetics, which developed in Germany in the second half of the 19th centry, Fecr-i Ati adipted the Nietzschean phonecentric aesthetics. In this respect, the philosophical and aesthetic tendencies that develop in Europe, especially in the nineteenth centry, also guided modem Turkish poetry. In this article, the basic trends in Turkish poetry that developed between 1850 and 1923 will be analyzed in a descriptive way, taking into account aesthetic and philosopic tendencies.

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.

This article offers an initial sketch of a model, semio-pragmaticism, whose ambition is to enable communication studies to be (re)founded on a common paradigmatically pragmatic and operationally semiotic foundation. Beginning with a review of various currents of thought in CIS and related disciplines that share this pragmatic concern for (re)placing the (communicational) subject at the center of the analytical approach to communication, I propose, on this basis, a fundamental synthetic model of communication conceived from and for the understanding of the communicational subject as the necessary and sufficient yardstick for the understanding of communication.

Citations

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.

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.

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.

Music on social media is a relatively new area of research. After examining the concept of engagement (Mayol, 2023), the concept of virality seems to be directly related. This research article aims to explore and analyze the role of music in social networks, with a focus on connections in virality and engagement. By thoroughly reviewing the existing literature, we hope to understand the characteristics of viral music tracks and how they are shared and spread.

In addition to historical consciousness, ‘culture’ is another area where important foundations are laid between the past, the present, and the future, which is transmitted across generations and plays an important role in the construction of social identity. In general terms, ‘culture’ is a special social space that each society constructs within itself and a system of values produced within this space. The field where this system of values is established is the social field. The most important characteristic of this field is that people belonging to a certain land, flag, identity, thought, and environment have learned to live and produce together. One of the most important contributions of such learning is the construction of cultural identity, that is, social memory. Today, when we think of the term ‘culture,’ we think of all the material and spiritual values of a nation, including both written and unwritten works. For instance, Kutadgu Bilig is one of the significant works that has made critical contributions to the development of Turkish literature and cultural heritage. It is highly critical regarding language, meaning, and aesthetics and is a worthy reference artwork in terms of learning about Turkish culture, lifestyle, and thought. Accordingly, this study attempts to interpret Yusuf Has Hacib’s work of art and the essential ideas in his masterpiece within the aesthetic value and meaning framework.

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”.

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 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.

This study explores how advanced learners of Korean shape the language landscape by investigating the use of ‘-(u)lkka’ in chat conversations. The study found that advanced learners of Korean use ‘-(u)lkka’ for three different types of confirmation or suggestion on mobile platforms: 1) yes/no confirmation of previously shared information; 2) wh-confirmation, confirming new information and the interlocutor's intentions; and 3) performative suggestions, proposing ideas for buying or selling items, confirming the interlocutor's intentions on the surface level, while implying the speakers’ performativity on a deeper level. Interestingly, when multiple instances of ‘-(u)lkka’ occur in a single chat conversation, different confirmation strategies are employed, indicating contextual adaptation rather than a fixed approach. These findings reveal the dynamic transformation of the Korean language landscape, focusing on its adaptation to digital platforms and the evolving roles of language agents. Notably, conventional linguistic expressions are shifting towards mobile platforms, expanding the spectrum of language agents to include both language learners and native speakers. This shift empowers learners, enabling them to assume an active role as language agents, no longer dependent solely on native speakers. The study also recognizes the growing significance of artificial intelligence (AI) in contemporary language communication. The findings can contribute to enhancing AI systems and fostering more sophisticated human–AI interactions.

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.

The central issue of this research is to question the notion of hybridity through the activity and internal communication methods of the Director of Internal Communication in the company, in front of those of the organizational communication teacher. We observe in this sense the results of an experiment, over three consecutive years, of a transposition, in the context of university education, of the uses of an internal communication model initially applied and studied in company. This experiment leads us to the conclusion of a transferability, from one world to another, of the model studied, which, although partial, allows us to propose the observation and the definition, as future research paths, a form of hybridity of internal communication that we call Hybrid Internal Communication.

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.

Children's drawings are one of the most important productive actions that enable the child to establish relationships with his environment and the outside world. Each picture drawn contains a piece of the child himself. Because he tries to express his inner world, his way of thinking, his relationship with his environment, and any problems he has; through his paintings. Therefore, due to their iconic qualities, they have a semiotic function and enable the child to be recognized and understood by those around him. As a means of communication or a sign that mediates communication, children's drawings also have aesthetic properties. Aesthetic appreciation in children's drawings transcends traditional norms. It's not about technical proficiency but about the purity of expression. A child's artwork often exudes a raw authenticity, unburdened by societal conventions, which resonates deeply with viewers. In this study, we would like to consider the importance of drawing, which is one of the semiotic function areas of communication in children, the aesthetic aspects of drawings, and how children communicate through drawing.

Women were peace-loving and avoided war unless necessary. Throughout history, women's roles in war have been based on serving in the background, such as nursing duties. In peace as in war, goodness and healing were provided through nurses. Florence Nightingale, who worked as a nurse during the Crimean War, is known for her contributions to the nursing profession and the institutionalization of the profession in the Ottoman Empire. Nurses contributed to patient care for Muslim Turkish soldiers, starting from the Balkan War in 1912, and during the Gallipoli War and World War I. Among these pioneer women was Kerime Salahor. Many portraits and busts of Kerime Salahor were made; The most striking among these is the portrait made by Feyhaman Duran. It reflects his female sensibility of the artist, who carries the spirit of Art Nouveau as well as his impressionist palette. Nazli Ecevit also made a portrait of Kerime Salahor. Sculptors Yervant Osgan and Ihsan Özsoy made a bust of Kerime Salahor. We can also trace the history of Turkish Nursing based on Kerime Salahor's painting and bust. This gradually turns into an effort to understand what women do and experience regarding healing and care, not only in Turkey, but also in the rings of the chain of human history, starting from the earliest times of history via Peircian semiotics. In this article, we evaluate portraits and busts of Kerime Salahor, a symbol of women providing care in wartime in the context of history of nursing, gender, and portraiture.

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 present article concerns the neutrality of a researcher in human and social sciences through objectivity and axiological neutrality. PhD student with disabilities, working on a study about handicap, I will deal with the interaction between the various forms of knowledge ; the proximity with the purpose of the study and the objectivity ; and finally my manner of investigation. Varied thoughts will be suggested for an objective research, keeping in mind that the neutrality of the research cannot be complete.

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.

En Extrême-Orient l’ancien système disparaît dans l’histoire des relations internationales pendant la période 1895-1899 après la guere sino-japonaise, où la tradition asiatique se transforme considérablement par la suite de la modernisation européenne. En principe, c’est par la guerre sino-japonaise que le système traditionnel interétatique de l’Asie orientale se met à céder complètement la place au système moderne international de l’Occident. Les puissances européennes trouvent dès lors un concurrent inattendu, le Japon qui vient de sonner l’heure du partage de l’Asie orientale. Le Japon victorieux est considéré comme une grande puissance en Asie. Il est destiné à jouer un rôle important dans la politique internationale en Extrême-Orient. L’effet immédiat de sa victoire est que la Chine doit conclure un traité inégal avec lui et que les puissances continuent à consentir l’abolition des traités inégaux qu’elles lui ont auparavant imposés. L’indemnité de guerre que doit payer la Chine permettra au Japon de rééquiper et développer son armement et son industrie, et finalement d’établir le système d’étalon-or. Cependant, devenu le concurrent des puissances, le japon se voit privé d’une partie des résultats acquis par ses victoires, c’est-à-dire la possession de la presqu’île de Liaodong, à la suite de l’intervention des trois puissances. La Chine entre dans une période de graves épreves, parce que les puissances entendent bien profiter de ses embarras. Au lendemain de la guerre sino-japonaise, le monde sino-centrique est fini, ainsi que le règime propre coréen. Les grandes puissances occidentales exploitent la faiblesse des pays de l’Asie et réalisent plus particuliérement de vastes programmes d’expansion en Extrême-Orient.

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.

Human beings are naturally inclined towards beauty in terms of taste and senses. This situation has led people to try to evince beauty through their artistic creations. In this context, each community has aesthetic values and elements that are unique to its own culture to understand or reveal beauty. Depending on culture, the aesthetic understanding of each community, nation, or civilization also differs because all the values, beliefs, and traditions inherited from the ancestors can be considered the source of the aesthetics of that society. According to Günay, “culture is a complex structure that encompasses religious beliefs, art, everything that people make, produce, create, learn, and teach” (Günay, 2016, p. 54). It can also be said that the concepts of aesthetics and literature also constitute one of the sub-systems of culture because both concepts appear as a result of human artistic production. Therefore, a work of literature is considered a work of art and has an artistic value in terms of aesthetics. “Like every work of art, a work of literature reveals itself with its aesthetics and intellectual load” (Timuqin, 2013, p. 16). Accordingly, in Turkish literature as a production of Turkish culture, it is possible to see aesthetic elements pertaining to the values of the society in terms of worldview or societal structure in particular times of Turkish history. That is why some concepts such as sublimity, grotesque, tragic, understanding of comic and beauty, etc. also constitute the aesthetic perception of Turkish literature. Hence, this study aims to trace some patterns and motives in Sabahattin Ali's selected narratives within the book titled “Yeni Dünya” [New World] in terms of aesthetics. Selective narratives will be examined from various aesthetic aspects to gain an understanding of the reflection of artistic qualities and to reflect the social perception of the period. Through close reading and examination of Sabahattin Ali's narratives, it will be tried to explore how some aesthetic concepts, elements, or patterns contribute to the overall aesthetic experience of the narratives.

If we think about aesthetics, we see that there are many definitions and interpretations. With the most well-known definition, there are still comments on aesthetics, which is known as beautiful, useful, and pleasing, and this is normal. Since aesthetics is a pleasant field of study, it opens vast doors for those interested in it. Aesthetic understanding can offer different perspectives according to societies. Aesthetics offers an artistic point of view and awakens emotions by appealing to human beings. Straying from its known purpose and definition, we now see that aesthetics is used in advertisements to make products more attractive by affecting human consciousness. Before showing purchasing behaviour, the buyer looks at whether the product appeals to his/her lifestyle, identity and status as well as appealing to his/her needs and buys or does not buy the product according to these features. For this reason, aesthetic concerns come into play for marketers. As it is known, television commercials are one of the types of advertisements that mobilise the emotions of the audience the most. From this point of view, the use of aesthetics in Turkish television commercials is discussed in this study. Firstly, a general framework of aesthetics is drawn and then the relationship between advertising and aesthetics is emphasised. The study endeavours to understand the appearance, construction and positioning of aesthetics in Turkish television commercials. For this purpose, at the end of the study, the aesthetic appearance of an advertisement film selected by random sampling method is presented.

Aesthetics has been the subject of different fields from the past to the present and has been evaluated through various approaches. There are different definitions of aesthetics, but the common aspect is its association with beauty and the senses. Despite its close relationship with fields such as philosophy and art history, everyday aesthetics has developed in a different direction from these fields today, focusing on the ordinary aspects of daily life. Everyday aesthetics reveals the aesthetic value of ordinary and commonplace phenomena. Daily spoken language is such a phenomenon. Before the emergence of everyday aesthetics, studies on aesthetics mostly focused on the literary aspects of language. For example, Turkish is one of the languages in which such studies exist. There are many studies aimed at revealing the aesthetic value of Turkish, whose earliest written products we have started to see since the 7th century. The main focus of these studies is on written language and literary works thought to reflect the aesthetic value of written language. Other studies on the aesthetic dimension of language have also concentrated on written language. However, the daily spoken language of Turkish has not been included in these aesthetic studies. One of the areas where the real richness of Turkish discourse and its aesthetic value are revealed is spoken language. This study aims to provide an opportunity to make inferences about the aesthetic value of the daily spoken language of Türkiye Turkish through the concept of everyday aesthetics. The sample of the study has consisted of the most frequently used formulaic expressions in daily language. The spoken language has been analyzed in terms of everyday aesthetics by considering the functions of these formulaic expressions. While analyzing the formulaic expressions, the evaluation criteria of everyday aesthetics have been taken into consideration, and efforts were made to reveal their aesthetic value based on their alignment with these criteria and their functions in daily life. This study highlights that aesthetics extends beyond the formal and literary domains of language. It illustrates that everyday language usage can also be associated with sub-fields of aesthetics based on various criteria, in addition to the more traditional areas such as formal and literary language. The primary objective of this study is to uncover the aesthetic value inherent in the Turkish spoken language, addressing a gap in this area, and to introduce the concept of everyday aesthetics to the Turkish academic literature within the realm of linguistic performance.

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.

This study analyzed the Harry Potter-Balenciaga meme to explore the impact of new memes generated by Generative Al technology on online meme culture. The concept of memes, introduced by Richard Dawkins in ''The Selfish Gene” as units of cultural information, has evolved into contemporary internet memes, becoming a significant element of online culture. The Harry Potter-Balenciaga video, created using Al technology in 2023, garnered significant attention as an innovative online meme, demonstrating an epistemological expansion in the realm of online memes. It transcended the limitations of traditional meme creation by realizing abstract ideas, leading to the emergence of a new meme genre, the 'Idea Meme.' This study captured this phenomenon by considering the Harry Potter-Balenciaga meme as a new genre. It discussed the meme as an Idea-Realizing Meme, based on Shifman's (2016) traditional meme classification, through semiotic analysis of the images and text. By analyzing the three dimensions(content, form, and stance) of the Harry Potter- Balenciaga meme from a semiotic perspective, the study explained how AI-generated memes overcome the limitations of traditional memes and expand communicative and epistemological possibilities. This research aimed to shed light on the impact of the fusion of Al technology and online digital culture on cultural life and contribute to digital culture studies and online communication research.

The term modern Turkish poetry is a general term given to the understanding of poetry that developed in Turkey, starting with the four (Kaside) odes that Şinasi wrote after returning from Paris to describe Reşit Pasha who is Grand Vizier (1850-55) and his reforms, and until the declaration of the Republic of Modern Turkiye in 1923. The poetry of this period is also called new Turkish poetry, Turkish poetry of the modernization period, modern Turkish poetry, poetry developed under Western influence, etc. Many researchers have been suggested under different names about this period. But today, Turkish literature historians call this period Modern Turkish literature. There are 6 basic groups, communities and movements in modern Turkish poetry. These communities or movements have developed under the influence of different aesthetic understandings. The basic philosophical and aesthetic understandings that developed in Europe since the beginning of the European Enlightement Era have also influenced modern Turkish poetry. While the Namık Kemal-Ziya Pasha-Shinasi school followed the rationalist aesthetic approach, the second generation of Tanzimat adopted Immanuel Kant’s aesthetic authonomy. While the commities of Servet-i Fünun’s representatives adopted young Hegelian aesthetics, which developed in Germany in the second half of the 19th centry, Fecr-i Ati adıpted the Nietzschean phonecentric aesthetics. In this respect, the philosophical and aesthetic tendencies that develop in Europe, especially in the nineteenth centry, also guided modern Turkish poetry. In this article, the basic trends in Turkish poetry that developed between 1850 and 1923 will be analyzed in a descriptive way, taking into account aesthetic and philosopic tendencies.