Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-06
The beliefs of the ancient Turks also shaped their daily lives. Their perspectives on the universe also affected their world model, organization, family structures, mental states, attitudes and behaviors, and as a result of this effect, a unique Turkish culture was formed. Turks saw the universe in three stages. Accordingly, they believed and respected all living and non-living beings in the sky, earth and underground that they also had souls of their own. As a result of this belief, cosmological, cosmogonic and eschatological myths have emerged. The fire spirit, studied within the framework of this belief that affects the daily lives of Turks, is one of the spirits of the earth and also has a cosmic connection. It is aimed to evaluate the attitudes, behaviors, words and traditions that have changed and transformed with the effect of the fire cult from the ancient Turks. It is also aimed to examine the effect of fire, which is considered sacred in the Turks, on them. Keywords: Fire cult, cosmology, cosmogony, yer-sub (earth), Pole star
{"title":"FIRE IN TURKISH CULTURE: A BRIEF EVALUATION ON THE AXIS OF PROVERBS, BEHAVIOURS AND BELIEFS","authors":"","doi":"10.7816/ulakbilge-08-51-06","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-06","url":null,"abstract":"The beliefs of the ancient Turks also shaped their daily lives. Their perspectives on the universe also affected their world model, organization, family structures, mental states, attitudes and behaviors, and as a result of this effect, a unique Turkish culture was formed. Turks saw the universe in three stages. Accordingly, they believed and respected all living and non-living beings in the sky, earth and underground that they also had souls of their own. As a result of this belief, cosmological, cosmogonic and eschatological myths have emerged. The fire spirit, studied within the framework of this belief that affects the daily lives of Turks, is one of the spirits of the earth and also has a cosmic connection. It is aimed to evaluate the attitudes, behaviors, words and traditions that have changed and transformed with the effect of the fire cult from the ancient Turks. It is also aimed to examine the effect of fire, which is considered sacred in the Turks, on them. Keywords: Fire cult, cosmology, cosmogony, yer-sub (earth), Pole star","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128403714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-04
Kyrgyzstan has a contemporary and dynamic structure with the help of its legends, mythology, colourful folklore and culture dating back to ancient times. By the unique combination of these elements fine arts are inspire itself. Throughout the country and in almost all of the society cultural and artistic activities are watched with their interest, and art is present itself at every moment of daily life. At the beginning of the century, in the field of plastic arts while painting and graphic arts were accepted more widely than sculpture, also since the 1960s, a serious development process of sculpture was initiated in this area as well so practices in the field of sculpture became widespread. The indicator of the development in the field of sculpture are public spaces that give the impression of as an open air museum. The capital city of Kyrgyzstan Bishkek has hosted countless sculptors and Bishkek has been as the centre of important artistic developments of the country. Bishkek keeps the memories of the near and distant history with the help of countless sculptures and monuments which are suitable for the spirit of the era and imitate the figure. These sculptures and monuments are carried out by the sculptors who were educated in cities that the important art and education centre of the Soviet era such as Moscow and Leningrad. One of the important artists who is eighty-four years old and experienced the development and change of the Kyrgyz sculpture art is Viktor Arnoldovich Shestopal. Shestopal inspired by the real data of the history and culture of Kyrgyz. And by his numerous monuments and small-scale sculptures Shestopal enriched the heritage of the fine arts in Kyrgyzstan. Also he contributed to the development of plastic arts with the young people that he teaches educated in the state institutions. In this article, the biography of Viktor Arnoldovic Shestopal, who is a living representative of Kyrgyz sculpture was examined. And his works were evaluated in terms of aesthetics and plastic, and a situation assessment was made in terms of Kyrgyz sculpture art. Keywords: Kyrgyzstan, sculpture art, monument, Viktor Shestopal
{"title":"VIKTOR SESTOPAL IN THE ART OF KIRGIZ SCULPTURE IN THE CONTEXT OF FIGURATIVE EXPRESSION","authors":"","doi":"10.7816/ulakbilge-08-51-04","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-04","url":null,"abstract":"Kyrgyzstan has a contemporary and dynamic structure with the help of its legends, mythology, colourful folklore and culture dating back to ancient times. By the unique combination of these elements fine arts are inspire itself. Throughout the country and in almost all of the society cultural and artistic activities are watched with their interest, and art is present itself at every moment of daily life. At the beginning of the century, in the field of plastic arts while painting and graphic arts were accepted more widely than sculpture, also since the 1960s, a serious development process of sculpture was initiated in this area as well so practices in the field of sculpture became widespread. The indicator of the development in the field of sculpture are public spaces that give the impression of as an open air museum. The capital city of Kyrgyzstan Bishkek has hosted countless sculptors and Bishkek has been as the centre of important artistic developments of the country. Bishkek keeps the memories of the near and distant history with the help of countless sculptures and monuments which are suitable for the spirit of the era and imitate the figure. These sculptures and monuments are carried out by the sculptors who were educated in cities that the important art and education centre of the Soviet era such as Moscow and Leningrad. One of the important artists who is eighty-four years old and experienced the development and change of the Kyrgyz sculpture art is Viktor Arnoldovich Shestopal. Shestopal inspired by the real data of the history and culture of Kyrgyz. And by his numerous monuments and small-scale sculptures Shestopal enriched the heritage of the fine arts in Kyrgyzstan. Also he contributed to the development of plastic arts with the young people that he teaches educated in the state institutions. In this article, the biography of Viktor Arnoldovic Shestopal, who is a living representative of Kyrgyz sculpture was examined. And his works were evaluated in terms of aesthetics and plastic, and a situation assessment was made in terms of Kyrgyz sculpture art. Keywords: Kyrgyzstan, sculpture art, monument, Viktor Shestopal","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126742382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-03
The aim of this study is to collect the opinions of pre-school teachers about their attitudes and self-efficacy perceptions towards art activities they apply. The research is designed in a mixed method pattern. Participant Information Form, Preschool Teachers’ Attitude towards Arts & Art Activities Scale Form were used in quantitative research while Semi-Structured Interview Form is used in qualitative research. The quantitative research was carried out with 100 pre-school teachers working in different provinces and schools affiliated with Ministery of National Education in the school year of 2019-2020. The qualitative research was carried out with 10 volunteer preschool teachers that is also participated in quantitative research. In quantitative data analysis, t test and one way analysis of variance (ANOVA) is made by using SPSS.22 statistical analysis program while researcher notes and voice recordings (from the interviews) are used in qualitative data analysis. According to the findings, the average of attitude scale towards Art & Art activities of teachers working in private schools is higher than the teachers working in public schools. Keywords: Preschool education, art activity, attitude, self-efficacy
{"title":"DETERMINATION OF PRESCHOOL TEACHERS' ATTITUDES TOWARDS ART ACTIVITIES AND PERCEPTIONS OF SELF-SUFFICIENCY","authors":"","doi":"10.7816/ulakbilge-08-51-03","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-03","url":null,"abstract":"The aim of this study is to collect the opinions of pre-school teachers about their attitudes and self-efficacy perceptions towards art activities they apply. The research is designed in a mixed method pattern. Participant Information Form, Preschool Teachers’ Attitude towards Arts & Art Activities Scale Form were used in quantitative research while Semi-Structured Interview Form is used in qualitative research. The quantitative research was carried out with 100 pre-school teachers working in different provinces and schools affiliated with Ministery of National Education in the school year of 2019-2020. The qualitative research was carried out with 10 volunteer preschool teachers that is also participated in quantitative research. In quantitative data analysis, t test and one way analysis of variance (ANOVA) is made by using SPSS.22 statistical analysis program while researcher notes and voice recordings (from the interviews) are used in qualitative data analysis. According to the findings, the average of attitude scale towards Art & Art activities of teachers working in private schools is higher than the teachers working in public schools. Keywords: Preschool education, art activity, attitude, self-efficacy","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125034783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-07
The origin of the art work can be based on many places. It is seen that dreams also constitute an important resource for artists by inspiring many works. In this article, dream-themed works of artists from different periods and styles are analyzed. In the study, Giotto di Bondone, Nicolas Dipre, Georges de La Tour, Henry Fuseli, Francisco de Goya, Jean Jules Antoine Lecomte du Nouy, William Blake, Utagawa Toyokuni, Pierre-Cécile Puvis de Chavannes, Odilon Redon, Henri Rousseau, Salvador Dali , Henry Matisse and Frida Kahlo's dream concept works were evaluated. While evaluating the works, the sources of the dream-themed works were searched. It has been determined that the works originate from religious, psychological, literary and cultural influences. Artists have revealed the phenomenon of dream by blending it with the plastic of the painting within their own period features and original sensitivities. The concept of dream and its effect in terms of creating plastic language were examined within the data obtained by literature review and qualitative research methods. The findings obtained are important as they will contribute to the art world and shed light on the period.
艺术作品的起源可以根据许多地方。可见，梦也是艺术家的重要资源，激发了许多作品。本文对不同时期、不同风格艺术家的梦题材作品进行了分析。本研究评价了乔托·迪·邦多内、尼古拉斯·迪普雷、乔治·德·拉图尔、亨利·富塞利、弗朗西斯科·德·戈雅、让·朱勒·安托万·勒孔特·杜·诺伊、威廉·布莱克、宇川丰国、皮埃尔- cciciile Puvis de Chavannes、奥迪隆·雷东、亨利·卢梭、萨尔瓦多·达利、亨利·马蒂斯和弗里达·卡罗的梦概念作品。在评价作品的同时，对梦题材作品的来源进行了梳理。已经确定，这些作品源于宗教、心理、文学和文化的影响。艺术家们在自己的时代特征和原始敏感性下，通过将梦与绘画的可塑性相融合来揭示梦的现象。通过文献回顾和定性研究方法，对梦的概念及其在创造可塑性语言方面的作用进行了研究。获得的发现非常重要，因为它们将为艺术界做出贡献，并阐明这一时期。
{"title":"A WAVE OF DREAMS: DREAM SOURCE PICTURES IN PLASTIC ARTS","authors":"","doi":"10.7816/ulakbilge-08-51-07","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-07","url":null,"abstract":"The origin of the art work can be based on many places. It is seen that dreams also constitute an important resource for artists by inspiring many works. In this article, dream-themed works of artists from different periods and styles are analyzed. In the study, Giotto di Bondone, Nicolas Dipre, Georges de La Tour, Henry Fuseli, Francisco de Goya, Jean Jules Antoine Lecomte du Nouy, William Blake, Utagawa Toyokuni, Pierre-Cécile Puvis de Chavannes, Odilon Redon, Henri Rousseau, Salvador Dali , Henry Matisse and Frida Kahlo's dream concept works were evaluated. While evaluating the works, the sources of the dream-themed works were searched. It has been determined that the works originate from religious, psychological, literary and cultural influences. Artists have revealed the phenomenon of dream by blending it with the plastic of the painting within their own period features and original sensitivities. The concept of dream and its effect in terms of creating plastic language were examined within the data obtained by literature review and qualitative research methods. The findings obtained are important as they will contribute to the art world and shed light on the period.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116853178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-08
Since the history of humanity, the image of women has always been attractive; poetry, as well as painting and sculpture, novels, stories and many other subjects have been the subject.The beauty of the woman, sometimes her ugliness, sometimes her sorrows, sorrows, tears, joys and excitement sometimes inspired a poet or a painter, sculptor, writer, composer. A woman's portrait, her naked body, her nobility, and even her identity have led to wars between very powerful civilizations.In the works of Spanish painter Picasso, one of the most important, different and even the most critically acclaimed artists of the 20th century, the image of woman is frequently encountered. Picasso, who has received many criticisms from some circles, has been approved and regarded as a genius by some circles, especially in his Cubic paintings, depicting women's portraits and women's bodies in different geometric shapes.Picasso stated that he was influenced by many artists and works by saying I get what I need from other artists ve and that he used what they found appropriate in his own works without hesitation.The aim of this study is to examine Picasso's works with a female image in her cubic paintings and to evaluate her perspective towards women. Fort his reason, this study is a qualitative research method which is a due diligence model and the data is analyzed with document analysis method. The results of the study are important in terms of analyzing the image of women in Picasso’s Works and being a source for other scientific researches. Keywords: Picasso, female image, cubism,women portraits, modern art
{"title":"WOMEN IMAGES IN PICASSO'S CUBIC PAINTINGS","authors":"","doi":"10.7816/ulakbilge-08-51-08","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-08","url":null,"abstract":"Since the history of humanity, the image of women has always been attractive; poetry, as well as painting and sculpture, novels, stories and many other subjects have been the subject.The beauty of the woman, sometimes her ugliness, sometimes her sorrows, sorrows, tears, joys and excitement sometimes inspired a poet or a painter, sculptor, writer, composer. A woman's portrait, her naked body, her nobility, and even her identity have led to wars between very powerful civilizations.In the works of Spanish painter Picasso, one of the most important, different and even the most critically acclaimed artists of the 20th century, the image of woman is frequently encountered. Picasso, who has received many criticisms from some circles, has been approved and regarded as a genius by some circles, especially in his Cubic paintings, depicting women's portraits and women's bodies in different geometric shapes.Picasso stated that he was influenced by many artists and works by saying I get what I need from other artists ve and that he used what they found appropriate in his own works without hesitation.The aim of this study is to examine Picasso's works with a female image in her cubic paintings and to evaluate her perspective towards women. Fort his reason, this study is a qualitative research method which is a due diligence model and the data is analyzed with document analysis method. The results of the study are important in terms of analyzing the image of women in Picasso’s Works and being a source for other scientific researches. Keywords: Picasso, female image, cubism,women portraits, modern art","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129959381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-05
The Ottoman Empire had to withdraw from the war by signing the Armistice of Mudros at the end of the First World War. As a result of this armistice, which contains very hars conditions, the Entente States occupied many parts of the empire and began to deploy the Ottoman army. After that, discussions started among the Entente States about the peace treaty with the Ottoman Empire. The most imported issues in the peace negotiations process were the debate on the future of the Straits and whether Istanbul should be left to the Turks. While this issue was discussed among the Entente States at the Paris Peace Conference, it also occupied the agenda in Parliament of Great Britain. This article will analyze the decision of the British Government about the future of Istanbul and the Straits regime and the session held in Parliament of Great Britain to evaluate this decision. Keywords: the Ottoman Empire, the First World War, Great Britain, Istanbul
{"title":"THE SESSION IN PARLIAMENT OF GREAT BRITAIN ABOUT LEAVING ISTANBUL TO THE OTTOMAN ADMINISTRATION","authors":"","doi":"10.7816/ulakbilge-08-51-05","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-05","url":null,"abstract":"The Ottoman Empire had to withdraw from the war by signing the Armistice of Mudros at the end of the First World War. As a result of this armistice, which contains very hars conditions, the Entente States occupied many parts of the empire and began to deploy the Ottoman army. After that, discussions started among the Entente States about the peace treaty with the Ottoman Empire. The most imported issues in the peace negotiations process were the debate on the future of the Straits and whether Istanbul should be left to the Turks. While this issue was discussed among the Entente States at the Paris Peace Conference, it also occupied the agenda in Parliament of Great Britain. This article will analyze the decision of the British Government about the future of Istanbul and the Straits regime and the session held in Parliament of Great Britain to evaluate this decision. Keywords: the Ottoman Empire, the First World War, Great Britain, Istanbul","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128159321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-02
21st century skills are considered as the skills that people need in a changing world such as creativity and innovation, critical thinking, problem solving, communication and cooperation. This study aims to examine 21st century skills of high school students in terms of some variables and to investigate the relationship between students’ academic achievement and 21st century skills. The present study, based on survey model, was a descriptive research. The research was carried out with 323 high school students from different levels and schools in Istanbul. “Multidimensional 21st Century Skills Scale” with 5 sub-dimensions including Problem Solving and Critical Thinking Skills, Information and Technology Literacy Skills, , Social Responsibility and Leadership Skills, Entrepreneurship and Innovation Skills and Career Awareness and “Personal Information Form” were used as data collection tools in the research. The academic success of students was evaluated through the grade point average of the 2019-2020 fall semester. The analysis of the data was carried out quantitatively to evaluate each sub-dimension and all of the scale. According to the results of the research, while the multidimensional 21st century skills of the students measured throughout the scale do not differ significantly according to the gender variable, there is a significant difference in problem solving and critical thinking skills, information and technology literacy skills, entrepreneurship and innovation skills sub-dimensions. While the skills of students’ problem solving and critical thinking skills, information and technology literacy skills, entrepreneurship and innovation skills differ significantly according to their class levels, there is no difference in social responsibility and leadership skills and career awareness sub-dimensions according to the class level variable. Another result obtained in the research is that there is a positive relationship between students’ 21st century skills and academic achievements. As a suggestion, different factors affecting students’ 21st century skills development can be examined. Keywords: 21st Century Skills, High School Students, Academic Achievement, Survey Model
{"title":"AN INVESTIGATION OF 21ST CENTURY SKILLS OF HIGH SCHOOL STUDENTS IN TERMS OF SOME DEMOGRAPHIC VARIABLES","authors":"","doi":"10.7816/ulakbilge-08-51-02","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-02","url":null,"abstract":"21st century skills are considered as the skills that people need in a changing world such as creativity and innovation, critical thinking, problem solving, communication and cooperation. This study aims to examine 21st century skills of high school students in terms of some variables and to investigate the relationship between students’ academic achievement and 21st century skills. The present study, based on survey model, was a descriptive research. The research was carried out with 323 high school students from different levels and schools in Istanbul. “Multidimensional 21st Century Skills Scale” with 5 sub-dimensions including Problem Solving and Critical Thinking Skills, Information and Technology Literacy Skills, , Social Responsibility and Leadership Skills, Entrepreneurship and Innovation Skills and Career Awareness and “Personal Information Form” were used as data collection tools in the research. The academic success of students was evaluated through the grade point average of the 2019-2020 fall semester. The analysis of the data was carried out quantitatively to evaluate each sub-dimension and all of the scale. According to the results of the research, while the multidimensional 21st century skills of the students measured throughout the scale do not differ significantly according to the gender variable, there is a significant difference in problem solving and critical thinking skills, information and technology literacy skills, entrepreneurship and innovation skills sub-dimensions. While the skills of students’ problem solving and critical thinking skills, information and technology literacy skills, entrepreneurship and innovation skills differ significantly according to their class levels, there is no difference in social responsibility and leadership skills and career awareness sub-dimensions according to the class level variable. Another result obtained in the research is that there is a positive relationship between students’ 21st century skills and academic achievements. As a suggestion, different factors affecting students’ 21st century skills development can be examined. Keywords: 21st Century Skills, High School Students, Academic Achievement, Survey Model","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130549653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-30DOI: 10.7816/ulakbilge-08-51-01
Ugliness has been a concept and image that shapes its meaning and definition through beauty. Throughout the ages, the definition of ugliness has also been made as the opposite of beauty. Ugliness, which has been defined and described as the opposite of beauty since the first examples in world literature, has changed its own image in parallel with the change in the understanding of beauty. The understanding of ugliness in classical Turkish poetry contains the reflections of this general tendency. However, classical poetry also presents a characteristic and different picture of ugliness with the effect of its own dynamics. In classical poetry, it can be said that moral understanding is as determinant as physical perception in the emergence of this characteristic picture. In this article, it is aimed to draw a general framework on the understanding of ugliness in literary texts. Afterwards, the physical limits of the ugly understanding in classical Turkish poetry were revealed. In classical Turkish poetry, it was also emphasized with which concepts the perception and understanding of ugliness beyond physical boundaries are discussed. Keywords: classical Turkish poetry, ugly, ugliness
{"title":"UGLY AND UGLINESS IN CLASSICAL TURKISH POETRY","authors":"","doi":"10.7816/ulakbilge-08-51-01","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-51-01","url":null,"abstract":"Ugliness has been a concept and image that shapes its meaning and definition through beauty. Throughout the ages, the definition of ugliness has also been made as the opposite of beauty. Ugliness, which has been defined and described as the opposite of beauty since the first examples in world literature, has changed its own image in parallel with the change in the understanding of beauty. The understanding of ugliness in classical Turkish poetry contains the reflections of this general tendency. However, classical poetry also presents a characteristic and different picture of ugliness with the effect of its own dynamics. In classical poetry, it can be said that moral understanding is as determinant as physical perception in the emergence of this characteristic picture. In this article, it is aimed to draw a general framework on the understanding of ugliness in literary texts. Afterwards, the physical limits of the ugly understanding in classical Turkish poetry were revealed. In classical Turkish poetry, it was also emphasized with which concepts the perception and understanding of ugliness beyond physical boundaries are discussed. Keywords: classical Turkish poetry, ugly, ugliness","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133148326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-30DOI: 10.7816/ulakbilge-08-50-09
One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is "a reaction against Abstract Expressionism". Despite the "subjective" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the "objective" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an "objective" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of "industry, object and art", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of "Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research. Keywords: art, Minimalism, object, Conceptual Art, perception, audience
{"title":"PERCEPTIONAL DIMENSIONS OF AUDIENCE -WORK INTERACTION IN MINIMALISM ART MOVEMENT","authors":"","doi":"10.7816/ulakbilge-08-50-09","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-50-09","url":null,"abstract":"One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is \"a reaction against Abstract Expressionism\". Despite the \"subjective\" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the \"objective\" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an \"objective\" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of \"industry, object and art\", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of \"Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement\", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research. Keywords: art, Minimalism, object, Conceptual Art, perception, audience","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131367795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-30DOI: 10.7816/ulakbilge-08-50-04
Covid-19, a type of the corona virus family, spread from Wuhan, China to the whole world in December 2019 and turned into a pandemic. The Covid-19 pandemic, which threatens the whole world, has caused negative situations in the health, education, industry and many other areas of the countries. Since there is no medicine or vaccine to cure this disease (pandemic) yet, experts in the business focus on drug and vaccine development studies, while country governments are making an intense effort to slow down and eliminate its spread. All kinds of platforms and alternatives should be used effectively in the fight against Covid-19. Visual media studies constitute the most important pillar of the struggle for this purpose. It is of great importance to create awareness in people with communication studies prepared in the fight against the disease. In today's intense information abundance and pollution, it is not easy to get the necessary attention from a large part of the society. It is observed that the sensitivity of the society towards these studies (news, articles, posters, etc.) at the beginning decreased significantly over time and started to lose its effect to a great extent. The job of a visual communication designer is getting harder every day in studies related to the pandemic as well as in other subjects. In order to attract the attention of the audience, it is a necessity to go beyond the known design elements and the same style of expression and prepare them in different structures. In the article, the common design elements used from randomly selected samples among different visual communication studies were categorically classified and defined. Since these definitions and classifications are made with a personal point of view, they are open to all kinds of criticism and interpretation. Keywords: Covid-19, visual elements, visual communication, design
{"title":"EVALUATION OF THE SYMBOLED VISUAL ELEMENTS IN THE COVID-19 PANDEMIC PROCESS IN TERMS OF VISUAL COMMUNICATION DESIGN","authors":"","doi":"10.7816/ulakbilge-08-50-04","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-50-04","url":null,"abstract":"Covid-19, a type of the corona virus family, spread from Wuhan, China to the whole world in December 2019 and turned into a pandemic. The Covid-19 pandemic, which threatens the whole world, has caused negative situations in the health, education, industry and many other areas of the countries. Since there is no medicine or vaccine to cure this disease (pandemic) yet, experts in the business focus on drug and vaccine development studies, while country governments are making an intense effort to slow down and eliminate its spread. All kinds of platforms and alternatives should be used effectively in the fight against Covid-19. Visual media studies constitute the most important pillar of the struggle for this purpose. It is of great importance to create awareness in people with communication studies prepared in the fight against the disease. In today's intense information abundance and pollution, it is not easy to get the necessary attention from a large part of the society. It is observed that the sensitivity of the society towards these studies (news, articles, posters, etc.) at the beginning decreased significantly over time and started to lose its effect to a great extent. The job of a visual communication designer is getting harder every day in studies related to the pandemic as well as in other subjects. In order to attract the attention of the audience, it is a necessity to go beyond the known design elements and the same style of expression and prepare them in different structures. In the article, the common design elements used from randomly selected samples among different visual communication studies were categorically classified and defined. Since these definitions and classifications are made with a personal point of view, they are open to all kinds of criticism and interpretation. Keywords: Covid-19, visual elements, visual communication, design","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126540946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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