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In this text I discuss how Sámi ways of knowing could be woven into the practices of Sámi research. I introduce three stories of three research projects as examples of attempts to overcome the complex and multifaceted challenges that Sámi society is currently facing. These examples place the Sámi perception of the world and its ontological and epistemological premises and practices at the core of knowledge practices. Sámi knowledge and ways of knowing the world are jointly created and shared in the every-day activities of communicating and acting, being in dialogue with the environment, caring for it, and engaging with the principle that a human being is not the master of nature.

Artistic currents and social protest have long been intertwined. One of the most paradigmatic examples of similarities and proximities between those fields is surrealism. It appeared in the early 1920s as a movement, as it gathered on a collective basis various artists (poets, painters, filmmakers, carvers, photographers, etc.) who shared the same aesthetic principles. Those principles were expressed in manifestos that had been written by a charismatic leader, Andre Breton, whose authoritative methods led to repeated internal challenges, exclusions, and secessions. Like protesters who seek change to the social or political structure, the surrealists sought for a regeneration of the aesthetic norms of their time. Posing as an artistic vanguard, they violently challenged the dominant artistic forms of academism using provocation, scandal, and disruption. But the surrealists did not restrict their criticism to the world of aesthetics; they also set out to challenge the political order by joining the communist movement and by participating in various mobilizations, for example, against colonial wars. Other artistic movements – such as Cobra or Situationism – have adopted the same form of a collective vanguard that intends to challenge both the aesthetic values and the political order. Keywords: civil rights; music; peace

Objective: To investigate sexual behavior changes adopted by People Living with Human Immunodeficiency Virus (PLHIV) on Antiretroviral therapy (ART) in the Northern Region of Ghana. Methods: We employed a cross-sectional survey with a questionnaire to collect data from 900 clients from 9 major ART centers within the region. Chi-square and logistic regression analyses were applied to the data. Results: More than 50% of PLHIV on ART use condoms, reduce sexual partners, practice abstinence, reduce unprotected sex with married/regular partners, and avoid casual sex. Fear of others getting to know patients’ HIV-positive status (χ2 = 7.916, p = 0.005), stigma (χ2 = 5.201, p = 0.023), and fear of loss of family support (χ2 = 4.211, p = 0.040) significantly predict non-disclosure of HIV-positive status among the participants. Change in sexual behavior is influenced by the following: “to avoid spreading the disease to others” (R2 = 0.043, F (1, 898) = 40.237, p < 0.0005), “to avoid contracting other STIs” (R2 = 0.010, F (1, 898) = 8.937, p < 0.0005), “to live long” (R2 = 0.038, F (1, 898) = 35.816, p < 0.0005), “to hide HIV-positive status” (R2 = 0.038, F (1, 898) = 35.587, p < 0.0005), “to achieve good results from ART treatment” (R2 = 0.005, F (1, 898) = 4. 282, p < 0.05), and “to live a Godly life” (R2 = 0.023, F (1, 898) = 20. 880, p < 0.0005). Conclusions: High self-disclosure rate of HIV-positive status was identified, with participants disclosing to their spouses or parents. Reasons for disclosure and non-disclosure differed from person to person.

Desain pencahayaan merupakan salah satu prioritas dalam merancang bangunan gedung dan pemanfaatan pencahayaan alami dapat menurunkan pemakaian energi, namun perlu memperhatikan produktifitas kerja pengguna ruang dengan mempertimbangkan rekomendasi standard iluminasi (level of illuminance), kesilauan(glare), tingkat kecermelangan (brightness) dan efek penghawaan (thermal). Gedung Menara Phinisi Universitas Negeri Makassar menggunakan fasade bangunan berbentuk Hiperbolic Paraboloid sehingga desain gedung ini menjadi panduan dalam menganalisis pengaruh fasade bangunan terhadap pencahayaan alami. Tujuan penelitian adalah mengetahui pengaruh fasade bangunan terhadap tingkat iluminasi, distribusi cahaya alami dan aplikasi bentuk fasade. Metode penelitian kwantitatif dengan menggunakan program Autodesk Echotech untuk mengetahui tingkat iluminasi dalam dan luar bangunan. Hasil penelitian meyimpulkan bahwa terjadi penurunan distribusi cahaya apabila menggunakan fasade bangunan dan bentuk fasade juga berpengaruh terhadap tingkat iluminasi dalam ruang.

Die russische feministische Kunstszene wächst stetig, und weist eine große Heterogenität auf. Dennoch sind nur wenige Akteur*innen international bekannt. Die vorliegende Untersuchung begegnet diesem Problem und setzt sich zum Ziel, eine Strömung innerhalb dieser Szene für den internationalen feministischen Diskurs zu erschließen: Im Fokus stehen Arbeiten, die sich auf subtile und kulturspezifische Art mit traditioneller russischer Femininität auseinandersetzen. Diese Arbeiten inszenieren ein ambivalentes Spiel, das in der Imitation und Irritation des visuellen Kanons besteht. Vorliegend wird dieses künstlerische Spiel als Strategie des Active Self-Othering beschrieben und am Beispiel des Brautmotivs diskutiert. Dabei wird die ikonografisch/ikonologische Methode nach Panofsky hinzugezogen und um die Ikonologie des Performativen nach Wulf und Zirfas erweitert. Die Falluntersuchung verdeutlicht das Potenzial des Active Self-Othering für die feministische Kunst in konservativen und/oder autoritären Gesellschaften. Durch subtile Brüche mit der ikonografischen Tradition erweitern die Künstler*innen das visuelle Repertoire des Femininen. Although the feminist art scene in Russia is ever evolving and highly heterogeneous, only few artists are known internationally. The article addresses this problem and aims to open up a body of artistic works to feminist discussion. The focus is on works of art that develop a specific visual language that is rooted in Russian culture and engage in subtle criticism of traditional images of Russian femininity. The article conceptualizes this ambivalent artistic game, consisting in the imitation and irritation of the visual canon of femininity, as the artistic strategy of active self-othering. This strategy is discussed based on the case study of the bridal motif in contemporary feminist art and using both the iconographic/iconological method (Panofsky), as well as the iconology of performativity (Wulf/Zirfas). The case study highlights the potential of active self-othering for feminist art within a conservative-authoritarian society. Already subtle breaks with the iconographic tradition contribute to the broadening of the rigid Russian visual repertoire of femininity.

Resumen Para preservar la salud de los jovenes de entre 5-17 anos, la Organizacion Mundial de la Salud recomienda niveles de actividad fisica de al menos 60 minutos al dia de actividad fisica moderada o sostenida. Por tomar el caso de Francia, los jovenes son el grupo de edad mas activo y, en general, estan sanos, pero su nivel de actividad fisica y/o deportiva es insuficiente y disminuye de generacion en generacion. La educacion fisica y deportiva y las practicas deportivas de ocio no son suficientes para compensar el descenso de la actividad fisica en la vida cotidiana. Los analisis demuestran que la inactividad contribuye en gran medida al sobrepeso y la obesidad, factores nocivos para la salud. Ademas, se reconoce que el nivel de actividad fisica en la infancia/adolescencia condiciona el nivel de actividad en la edad adulta. Las ninas y los ninos tienen las mismas capacidades fisicas antes de la pubertad. Su potencial de resistencia aerobica es muy alto, por lo que no es necesario restringirlos por miedo al cansancio o al agotamiento durante esfuerzos de menos de 10-15 minutos. En cambio, su potencial de fuerza es moderado y su potencial de resistencia es bajo. El nino esta «preparado» para el deporte de competicion cuando busca comparar sus propias habilidades con las de sus companeros. En el caso de los deportes de equipo, el nino tambien debe comprender el proceso competitivo subyacente: la estrategia y la cooperacion dentro del grupo. Esto no suele ocurrir hasta la edad de 10-12 anos. Las lesiones por uso excesivo, el sindrome de sobreentrenamiento e incluso el sindrome de agotamiento son posibles en los atletas jovenes. Como las secuelas de estos trastornos pueden tener un impacto significativo en el crecimiento oseo y en el desarrollo psicologico del joven, es importante estar alerta y reaccionar tan pronto como aparezcan los signos prodromicos.

En este artículo se analiza la visión que el alumnado de la especialidad de Artes plásticas y visuales del Máster de Formación del Profesorado de ESO, Bachillerato, FP y Enseñanza de Idiomas de la Universidad Complutense de Madrid tienen sobre los conceptos de diseño, arte y artesanía. Desde el curso 2014/2015 se les pide que realicen un pictograma que represente cada uno de estos conceptos, dejando de manifiesto su visión de los mismos o la visión que creen que la sociedad tiene de estos. Además de poder analizar las posibles dificultades que el alumnado tiene para realizar un pictograma, este ejercicio sirve para profundizar en el modo en el que perciben el diseño, el arte y la artesanía, lo que tiene especial relevancia al tratarse de futuros docentes de esta área de conocimiento. Estos pictogramas se analizan a partir de las premisas dadas a cerca de las características que debe cumplir un buen pictograma y, además, en busca de los ámbitos de cada disciplina y los objetos más representados en cada uno de los conceptos, siendo estos los ordenadores para el diseño, las paletas y los pinceles para el arte y los jarrones para la artesanía. Como conclusiones, además de las relacionadas con la representación de los conceptos, se expone el buen funcionamiento de la actividad para introducir en el diseño de pictogramas.AbstractThis article analyzes the vision that the students of the Plastic and Visual Arts specialty of the master’s degree in Teacher Training for ESO, Baccalaureate, FP and Language Teaching at the Complutense University of Madrid have about the concepts of design, art and crafts. Since the 2014/2015 academic year, they are asked to make a pictogram that represents each of these concepts, revealing their vision of them or the vision they believe society has of them. In addition to being able to analyze the possible difficulties that students have in making a pictogram, this exercise serves to deepen the way in which they perceive design, art and crafts, which is especially relevant when dealing with future teachers in this area of knowledge.These pictograms are analyzed from the premises given about the characteristics that a good pictogram must meet and, in addition, in search of the areas of each discipline and the most represented objects in each of the concepts, these being the computers for design, palettes and brushes for art and vases for crafts. As conclusions, in addition to those related to the representation of concepts, the good functioning of the activity to introduce in the design of pictograms is exposed.

Studying searcher behavior has been a cornerstone of search engine research for decades, since it can lead to a better understanding of user needs and allow for an improved user experience. Going beyond descriptive data analysis and statistics, studies have been utilizing the capabilities of Machine Learning to further investigate how users behave during general purpose searching. But the thematic content of a search greatly affects many aspects of user behavior, which often deviates from general purpose search behavior. Thus, in this study, emphasis is placed specifically on the fields of Art and Cultural Heritage. Insights derived from behavioral data can help Culture and Art institutions streamline their online presence and allow them to better understand their user base. Existing research in this field often focuses on lab studies and explicit user feedback, but this study takes advantage of real usage quantitative data and its analysis through machine learning. Using data collected by real world usage of the Art Boulevard proprietary search engine for content related to Art and Culture and through the means of Machine Learning-powered tools and methodologies, this article investigates the peculiarities of Art-related online searches. Through clustering, various archetypes of Art search sessions were identified, thus providing insight on the variety of ways in which users interacted with the search engine. Additionally, using extreme Gradient boosting, the metrics that were more likely to predict the success of a search session were documented, underlining the importance of various aspects of user activity for search success. Finally, through applying topic modeling on the textual information of user-clicked results, the thematic elements that dominated user interest were investigated, providing an overview of prevalent themes in the fields of Art and Culture. It was established that preferred results revolved mostly around traditional visual Art themes, while academic and historical topics also had a strong presence.

I defend the idea that there are universal fictions, and that the Routley-Deutsch-Kapsner way of generating them – namely, with a story including deliberately and explicitly the proposition Everything is true – is still the best one. I reconstruct Wildman and Folde’s Finean criticisms to universal fictions a la Routley-Deutsch-Kapsner based on the idea that the universal quantifier in such fictions may not target the intended range of quantification, that is, all propositions. I show that Wildman and Folde’s argument does not succeed, for they fail to show that every universal sentence has to be understood as involving a restricted quantifier.

The Book of Tea（1906）, a practical literature on the theory of Japanese art and culture, written by Okakura Kakuzo（1863─1913）has some allusions to Goethe’s Wilhelm Meisters Lehrjahre（1795─96）and Wilhelm Meisters Wanderjahre（1829）. Though there has been no precedent for such comment, intensive reading of James Joyce’s Ulysses（1922）has led us to find Okakura’s artistic devices suggest Goethe scattered here and there in his work. From the intertextual perspective, this paper attempts to show that episode 9 of Ulysses illuminated the “portals of discovery” of how Okakura adapted Goethe parallel to the Japanese cultural context in his literature. In order to attain the goal of this paper, first we review the historical background of the publication of The Book of Tea. Second, it is shown that the strange description at the beginning of Ulysses episode 9 is a Joycean paradoxical comical way of twisted unification of Okakura’s serious Japanese art theories and dramatic descriptions of the last chapter of his book. Third, the adaptations of Goethe’s original are exemplified parallel to the context of The Book of Tea. Ultimately, Goethe was given a new birth in the context of modern Japan, as homage to a leading figure who had anticipated the arrival of world literature, which Okakura had earnestly longed for.

その他, Miscellaneous, 聖隷学園浜松衛生短期大学の教育理念には「人の生命は傷つき、病み、死ぬべき弱い存在である。自分と他人とが共有しているこの弱さの自覚と共感と互助こそ、人間理解と愛と感動の基本であって、それが看護の源泉である」と謳われていた。本論考では、キーワードとなっている「弱さの自覚」（Art・ケアリング）に関する教材を精神看護学実習で使用した際の学生の拒絶的な反応の意味と、その際の教育者のありかたの考察を行った。その結果、「弱さの自覚」に関する教材は、学生の自由への不安を強める可能性があった。学生が拒絶的な反応をとる時、教員にとって心理的負担となる。そのため、「弱さの自覚」（Art・ケアリング）を目指す教育のためには、開始終了時間の構築と活用、教員同士の情緒的サポート、カンファレンスメンバーの配置が、安全な教育的構造として重要な視点であると考えられた

『芸術とは，創造者（発信者）によって受容者宛てになされた情報の発信様式であり，芸術表現・芸術作品とは，創造者と受容者とで共有される情報である』と定義し，芸術表現・芸術作品に用いられる“記録媒体”（表現媒体）の発明・進化と，その芸術表現・芸術作品の受容者並びにその芸術表現・芸術作品に係る『コスト負担者』を考えることによって，古代ギリシャ以降現代に至るまでの芸術並びに芸術作品の変遷が，洋の東西を問わず，合理的になされてきていることが理解される．

International audience; Art and other creative approaches can be a resource or a mobilizing strategy for activists and artists. Little work has been done, however, on what happens in the interactions between artists and activists in the daily life of a conflict. We suggest that social mobilizations may be seen as organizing processes as well as mobilizing actions, and we analyze how creative and artistic approaches may contribute to this organizing/mobilizing reciprocal relationship. Based on an analysis of the conflict that accompanied the announcement of the Lejaby plant closure in Yssingeaux in 2012, and which inspired several artists, we show that these approaches, by their capacity to grasp sensitive dimensions, favour spatio-temporal episodes that structure the struggle: some constitute protected spaces, which can correspond to an intimate reflexive time or to a collective moment of synchronization of subjective temporalities ; others correspond to hybridized spaces, which can be sometimes empowering, sometimes theatrical. We thus contribute both to the field of social movement analysis, and to the role of art and creativity in the organization and mobilization within these movements; we also contribute to a relational reading of the spatial and temporal dimensions of organization and collective action, in the tradition of Lefebvre and Massey.; Les démarches créatives ou artistiques peuvent constituer des ressources ou des stratégies de mobilisation pour les activistes et les artistes. La littérature s’est peu intéressée néanmoins aux interactions entre les artistes et les activistes dans le quotidien d’un conflit. Nous suggérons de voir les luttes sociales comme des processus organisants (organizing) autant que comme des actions de mobilisation (mobilizing) et d’analyser en quoi les démarches créatives et artistiques contribuent à cette relation réciproque organizing/mobilizing. A partir d’une analyse du conflit qui a accompagné l’annonce de la fermeture de l’usine Lejaby à Yssingeaux en 2012, et qui a inspiré plusieurs démarches artistiques et créatives, nous montrons que ces démarches, par leur capacité à s’emparer de dimensions sensibles, favorisent des épisodes spatio-temporels structurants pour la lutte : certains constituent des espaces protégés, qui peuvent correspondre à un temps réflexif intime ou à un moment collectif de synchronisation des temporalités subjectives, d’autres correspondent à des espaces hybridés, qui peuvent être tantôt capacitants, tantôt théâtralisés. Nous contribuons à la fois au champ de l’analyse des mouvements sociaux, et du rôle de l’art et de la créativité dans l’organisation et la mobilisation de ces mouvements, mais également à une lecture relationnelle des dimensions spatiales et temporelles de l’organisation et de l’action collective, dans la lignée de Lefebvre et Massey.

This paper describes the results of a research project in Antwerp, Belgium, aimed at developing a spatial analysis approach (‘activity scan’) assessing how the urban fabric on a neighbourhood scale can encourage physical activity and active transport. By outlining a set of recurring spatial challenges and describing the developed innovative toolkit, the research responds to the necessity for design-oriented insights on how to promote active travel and instigate concrete interventions. By critically analysing this co-creative research trajectory, this article emphasizes the need for an interdisciplinary dialogue on what contributes to a movement-friendly urban environment.

本実践は，〈自然/生命〉を視点に，言語と造形によるメディエーションから「芸術の６層」を検証することを目的とした一連の研究のための実践事例である。自然観を核となる「知」ととらえ，「芸術による教育」の構築を目的にタンザニアと日本の小学校において「生命（いのち）のイメージ」を主題に，ワークショップと鑑賞活動を展開した。前報告では，タンザニアでのワークショップの内容と，アフリカの子どもたちが描いた作品を用い，日本で行った鑑賞活動の実践について報告した。本稿では，アフリカの子どもたちの表現をとおした鑑賞活動によって生成された日本の子どもたちの「生命（いのち）」の解釈について報告する

Este artigo tem o objetivo de expor a contra doutrina dionisíaca ao otimismo a partir da discussão sobre a interpretação que o filósofo Friedrich Nietzsche faz de Sócrates no livro O nascimento da tragédia. Nossa discussão traz em perspectiva a crítica nietzschiana ao denominado socratismo estético, o qual coloca a filosofia socrática longe da sua proposta para o dionisíaco na arte. Para tanto, reconstruímos os argumentos de Nietzsche e investigamos o alcance dos mesmos, como também apresentamos as considerações de Paul de Man sobre a tensão emergente. Como conclusão, apontamos para a abrangência dos conceitos de pessimismo e otimismo dentro do escopo construído.

It is suggested that postmodern aesthetics, far from the possibility of being conceived as philosophical aesthetics or philosophy of art (at least as presented by Alexander G. Baumgarten at the beginning of Modernity), would acquire in the current era the physiognomy of an aesthetic pop, whose founding expression would seem to be the aesthetic experience itself and not other conditions attributable to a certain aesthetic canon. In relation to this conjecture, which apparently implies a certain overcoming of the idea of work, we discuss, on the one hand, the connection between art and artificial intelligence and, on the other hand, the implications of Everyday Aesthetics on the concept of experience. Both practices would testify to a renewed aesthetic common sense.

TESIS DOCTORALES Doctoral dissertations María Soledad Campos Lucena: El control de las arcas municipales a través de la rendición de cuentas. La transformación del proceso del Antiguo al Nuevo régimen y la consolidación del modelo liberal: 1745-1914 The control of municipal coffers by means of account rendering. The change from Ancien Régime to the New Regime and the consolidation of liberalism: 1745-1914 Candelaria Castro Pérez: La institución parroquial a través de los registros contables del Señorío episcopal de la Villa de Agüimes. (1500-1860) The parochial institution seen through the account books of the Episcopal domain of the city of Aguimes (1500-1860) José Julián Hernández Borreguero: El Cabildo Catedral de Sevilla: organización y sistema contable. (1625-1650) Administrative and accounting organization of the Seville Cathedral. (1625-1650) Juan Lanero Fernández: El esplendor de la teneduría de libros: la partida doble en los tratados contables ingleses de la dinastia Tudor (1543-1588) Bookkeeping splendor: double-entry in the English accounting treatises at the time of the Tudor dynasty (1543-1588) María Llompart Bibiloni: Un análisis histórico-contable de la Procuración del Real Patrimonio en el Reino de Mallorca, período 1310-1330 An accounting historical análisis of the Royal Exchequer of the Kingdom of Mallorca (1310-1330)

The review article provides a critical analysis of Anatolii Moisiienko’s monograph “Text as an artistic givenness. Problems of poetic language”. The famous linguist and writer is once again interested in aesthetic communication, its general philological context – language, literary, translation studies.The artist-researcher devotes three sections of his book to the issues of language being. The basis of the already tested scientifi c concept is built of the ideas about the world as a special text, about the multidimensional nature of poetics, about the dynamic essence of the image and an integral artistic system. In the applied aspect, the scientist’s attention is drawn to samples of extravagant literature, such as chess poetry, as well as, in general, the creative laboratory of strong language personali ties, their artistic experiments, and innovation.The author of the reviewed monograph consistently proves the idea that the tech nique of poetic creation is important in the work of both the artist of the word, the scientist, and the publicist. All of them wo rk with the facts of a language for which the poetic function is characteristic a priori. The intention for an emotional and aes thetic worldview is laid down in all styles and genres. Artistic tasks are presented to each author, however, they are implemented in different ways, in special techniques of aestheticization – as national, compositional, or linguistic – fi gurative specifi cs. The text is interesting for the scientist as a process, in the embodiment of “movement – development – modifi cation”.The poetological approach draws attention to the fact that any segment of the textual structure is potentially signifi cant for understanding the work as a whole, as a system. In fact, we are talking about syncretic (universal) linguopoetics.

[EN] We analyze the central and right boards of painting of Bosch The Hay Wain, Prado Museum Madrid. We start from the assumption that his creator is a perfect narrator, using a double structure, superficial structure and deep structure; and from the hypothesis that he is, as man of the Renaissance, a connoisseur of the Classic Culture. We pay special attention to the deep structure, and we apply the structural method, starting of the images what we interpret with the Classic authors and with the esoteric alchemy: Bosch relates the story of the Κάδμος family, the founder of Thebes, fundamentally of the primordial god Διόνυσος-serpent, from his fragmentation or σπαραγμός to the original unity., [ES] Analizamos las tablas central y derecha de El carro de heno de El Bosco, Museo del Prado Madrid, desde una metodología estructural: a un significante imágenes de la pintura le corresponde un significado, desdoblado en la pintura en dos modos de significar, superficial y profundo. Obviando aspectos externos o puramente técnicos, dedicamos atención preferente al significado del plano profundo: El Bosco, hombre del Renacimiento, narra, desde el sustento de la Cultura Clásica y en conjunción con la alquimia esotérica, la historia de la familia del fundador de Tebas, Cadmo, y, en ella, fundamentalmente, del dios primordial Dioniso-serpiente: desde su σπαραγμός o fragmentación hasta el regreso a la Unidad.

Rooted in the novel and the mysterious, awe is a common experience in childhood, but research is almost silent with respect to the import of this emotion for children. Awe makes individuals feel small, thereby shifting their attention to the social world. Here, we studied the effects of art-elicited awe on children’s prosocial behavior toward an out-group and its unique physiological correlates. In two preregistered studies (Study 1: N = 159, Study 2: N = 353), children between 8 and 13 years old viewed movie clips that elicited awe, joy, or a neutral (control) response. Children who watched the awe-eliciting clip were more likely to spend their time on an effortful task (Study 1) and to donate their experimental earnings (Studies 1 and 2), all toward benefiting refugees. They also exhibited increased respiratory sinus arrhythmia, an index of parasympathetic nervous system activation associated with social engagement. We discuss implications for fostering prosociality by reimagining children’s environments to inspire awe at a critical age.

Lo studio dei manoscritti coranici piu antichi e fondamentale per conoscere la prima diffusione del testo sacro e soprattutto la sua consistenza. In attesa, ormai fin troppo prolungata, di studi sui materiali ritrovati a Sanaa, lo studioso a cui si devono i maggiori contributi sull'argomento e senz'altro Fran50is Deroche. Suo e anche il piu recente saggio esaustivo e completo, nel quale analizza un esempla re manoscritto coranico, conservato tra varie biblioteche, probabilmente risalente alla fine del VII secolo.1 Si tratta della versione, benche incompleta, piu impor tante e antica e per tale ragione Deroche dedica a tale esemplare un'analisi mi nuziosa con un'acribia difficilmente superabile. La questione della storia del ma noscritto di probabile origine egiziana, le differenti (5) mani dei copisti, e le pe culiarita ortografiche di ognuno e nel complesso, rispetto alla versione contem poranea della vulgata di cUtman e ad altri esemplari antichi, sono tutte affronta te con una capacita e un equilibrio convincenti. L'ampia parte in arabo riprodu ce il testo segnalando ovviamente le peculiarita del ductus consonantico e anche cancellature, interventi di vario tipo e peculiarita di ogni genere. Inserito tra le due parti, un consistente apparato di immagini offre riproduzioni del manoscrit to e di altri materiali citati e utilizzati nel saggio. Il prodotto finale di un percor so cosi argomentato e condivisibile e la datazione del manoscritto e alcune fon damentali considerazioni sullo stato del testo coranico attorno all'ultimo quarto del VII secolo. Senza alcuna valutazione polemica e con un argomentare che procede spedito col fermo vincolo documentale e logico, Deroche seppellisce, se ancora ve ne fosse bisogno, le affascinanti interpretazioni di Wansbrough e quel le, piu recenti, che ipotizzano la circolazione di versioni coraniche alquanto di verse da quella Cutmanica. Allo stesso tempo, dimostra come la grafia coranica fu una costruzione progressiva, che nel caso specifico era gia frutto di una trasmis sione scritta del testo, quantunque continuamente rielaborata e perfezionata per almeno due secoli, giungendo a una fissazione non scevra da problemi e inconsi stenze che anche l'edizione cairina, considerata oggi standard, denota. La ricerca sul testo coranico, con lo spettro di ipotesi piu diverse, da quelle che accettano la visione islamica, a quelle piu scettiche, ha conosciuto negli ul timi anni un nuovo vigore. Il volume curato da Manfred S. Kropp e il piu recen

The symbolism of bird images occupies one of the central places in the system of Romantic worldview. It represents the Romantic attitude towards the outside world in Гайдук С. Образ орла як уособлення поета у поезії епохи романтизмуISSN 2411-4758109general and towards the closest human «partners» in nature, in particular. In literary works, it also shows Romantic orientations on certain artistic traditions: folk, biblical, antique. It is noted that the eagle image is one of the main bird images of the wild fauna which can be found in Romantic poetry. The purpose of the article is to highlight the peculiarities of the eagle symbolism as the personifi cation of poet in the poetry of T. Shevchenko, O. Pushkin, N. Yazykov, and J. Keats. It is stated that the eagle image is the personifi cation of such features of Romantic outlook as freedom, creative inspiration, high spiritual demands. Thus, in Romantic culture, the eagle is a symbol of poet. The poet’s personality is directly associated with such features of this bird as, high aspirations and sharp eyesight. This emphasizes the poet’s need to be over events and situations in order to depict them adequately, without conformism. To a certain extent, this is a manifestation of a Classical tradition. This eagle symbolism is very typical of Classicism. It is indicated that the aforementioned Romantic poets carry such features of eagle as pride, majesty, safety, independent glory, freedom, on the poet image as a creator. Therefore, the eagle image in their poetry becomes the personifi cation of poet, a distinctive symbol of the literary Olympus and literary fame. However, it should be remembered that symbol as one of the most signifi cant components of Romantic poetry is characterized by ambiguity. The ways of representing the eagle image in the works of Romantic poets form a multi-dimensional range of symbols. That is why the interpretation of other symbolic meanings of the eagle image in the poetry of the Romantic era is the prospect of our further research.

Erzurum Arkeoloji Müzesi’nde bulunan toplam on adet madeni haç bu çalışmanın konusunu oluşturmaktadır. Eserlerden altısı Erzurum İli Hınıs İlçesi Parmaksız Köyü’nde yer alan Aşağı Parmaksız höyüğü çevresinde bulunmuş; üçü satın alınarak biri ise Erzurum Kalesi 2008 yılı kazılarında yapılan sondaj çalışmalarında ortaya çıkarılarak müzeye getirilmiştir.Erzurum Arkeoloji Müzesinden alınan izin ile eserler yerinde görülmüş, ölçüleri alınarak resimleri çekilmiştir. Giriş bölümünde haç kavramı ve haçın Hristiyan teolojisindeki yeri ve önemi ele alınmış, bilgisayar ortamında çizimleri yapılan eserler katalog bölümünde tanıtılmıştır. Değerlendirme bölümünde çeşitli koleksiyonlara ait, arkeolojik kazılarda ortaya çıkarılan veya türlü şekillerde müzelerin envanterlerine kaydedilen ve akademik çalışmalara da konu olan benzer örneklerle mukayese yapılarak tarihlendirme önerisi sunulmuştur. Yapılan karşılaştırma ve değerlendirme sonucunda ele alınan eserlerin, tarihlendirilmesi yapılamayan bir eser haricinde, 6-13. yüzyıllar arasına ait Bizans dönemi haçları oldukları sonucuna varılmıştır., A total of ten metal crosses in the Erzurum Archaeology Museum constitute the subject of this study. Six of the artifacts were found around the mound located in the Parmaksız Village of Hınıs District of Erzurum Province, three of them were purchased and one of them was brought to the museum after the soil drilling studies which were carried out during the excavations of Erzurum Castle in 2008.In the introduction, the concept of the cross and its place and importance in Christian theology are discussed. The subject of the study is ten metal crosses in Erzurum Archaeology Museum. First of all, with the permission of the forehead taken from the museum, the artifacts were seen in situ, and their measurements and pictures were taken. Detailed drawings of the crosses made in the computer environment have been added to the catalogue section so that the works can be perceived more clearly. The arrival dates and forms of the artifacts have been presented from the museum records. The works that the article focuses on are grouped as ceremonial-consecrated cross and pendant crosses, and are described and introduced in detail in the catalogue section.A dating proposal is presented in the evaluation section by making comparisons with similar examples belonging to various collections, unearthed in archaeological excavations or recorded in the inventories of museums in various forms and also being the subject of academic writings. As a result of the comparison and evaluation, it has been concluded that the works examined are identified to be the Byzantine crosses which belong to the period of 6th and 13th centuries, except for one work that cannot be dated.

Türk kültür ve inanışlarında ağaç motifi, hükümdarlığın, doğurganlığın, güç ve iktidarın sembolü olarak yer almaktadır. Ata ruhlarının makamı olduğuna inanılan ağacın aile ve soy ile benzerlik kurularak kök ve gövdesinin büyükleri, dal ve yapraklarının ise gençleri temsil ettiğine inanılır. Oğuz Kağan Destanı ve Uygurların Türeyiş Destanı’nda ağaç, önemli bir rol oynarken Şaman inanışında gökyüzüne ulaşmak için bir merdiven gibi tasavvur edilmiştir. Hayat Ağacı, ağaçlarla ilgili inanışlar ve kutsal sayılan ağaç türleri gibi hususlar, Türklerde ağaç kültünün oldukça köklü ve derin manalar taşıdığını göstermektedir.Bu çalışmada Kanlı Kavak adlı Karagöz oyunu, Türklerin ağaç kültü inanışları bağlamında ele alınmıştır. Öncelikle Kanlı Kavak oyununun Karagöz oyunları içerisindeki yeri ve önemine değinilmiş, ardından Türk kültür ve mitolojisindeki ağaç kültünden yola çıkılarak Kanlı Kavak oyununda başat unsur olarak öne çıkan ağaç figürü değerlendirilmiştir. Bununla birlikte oyunda kavak, cin, yılan, çeşme, balta gibi ağaçla ilişkili unsurlar üzerinde durularak oyuna kaynaklık eden halk inanışları ve mitolojik arka plan çözümlenmeye çalışılmıştır., Turks associate the tree motif with the symbols of sovereignty, fertility, authority, and power. The roots and trunk of the tree motif are accepted as the place of ancestral spirits and symbolize the family elders, whereas the limbs and leaves symbolize the youth, thus being analogous to family and ancestry. While shamans consider the tree to be a ladder for reaching the sky, trees are also seen to play a crucial role in the legend of Oghuz Khagan and of the Uyghur’s Türeyiş Destanı [Turkic Creation Myth]. Such issues as the Tree of Life, beliefs concerning the tree, and what kinds of the tree were considered sacred indicate that a tree-centered cult had been quite established and had deep meanings among Turks. This study will address the Karagöz-Hacivat [Punch and Judy-type] shadow play titled Kanlı Kavak [The Bloody Poplar] in terms of Turks’ tree cultic beliefs. The study addresses within its scope the place and importance the play The Bloody Poplar has in Karagöz-Hacivat plays and will attempt to analyze the tree motif that is confronted as a principal element in Kanlı Kavak based on the tree cult in Turkish culture and mythology. Afterwards, the study will attempt to scrutinize the folk beliefs and mythological background that are the source of the play by highlighting the play’s tree-related elements such as the poplar, djinn, the snake, the fountain, and the axe.

Geleneksel mimaride üst örtü olarak kullanılan kubbe, tonoz ve külahların tepelerine yerleştirilen alemler yapıldıkları dönem mimarisine uygun bir şekilde gelişim göstermiştir. Türk sanatında kullanımı İslamiyet öncesine dayanan alem, Türk- İslam mimarisinde ise ilk defa Karahanlılar döneminde görülmektedir. Mermer ve madeni malzemelerden yapılan alemler, Anadolu’da Selçuklular ve Beylikler devri ile gelişimini sürdürmüştür. Osmanlılarda özellikle İstanbul’daki örnekleriyle zirveye ulaşan alemler, üst örtünün tamamlayıcı ve vazgeçilmez unsuru olmuştur. İstanbul’daki erken örneklerde genellikle tepesi hilal şeklinde sona eren alemler görülmektedir. Mimari yapıların üsluplarıyla birlikte alemlerin görünümü de değişmiştir. 18. yüzyılda Barok üslubun etkisiyle hilalin uçları dışa kıvrılmış olup alemler boynuz şeklini hatırlatan bir tasarıma dönüşmeye başlamıştır. 19. yüzyılda ise özellikle Sultan II. Mahmud devrinde etkili olan Ampir üslup alemleri etkilemiştir. Ayrıca bu dönemde hilal ve ışınsal düzenlemeye sahip tasarımlar ile hilal ve yıldız bir arada kullanılmıştır. Alem seçiminde yapıyı inşa ettiren kişinin statüsünün mimaride yabancı etkilerin artmasının ve belirli bir üslup birliğinin olmamasının etkili olduğu söylenebilir. Bu etki aynı dönemde ancak farklı üslupta yapılmış alem türlerini takip edilmesini sağlamıştır. 19. yüzyıla ait 14 farklı yapıya ait alemin incelendiği bu çalışmada farklı üslupları temsil eden alemlerin tasarımları, malzemeleri ve teknikleri incelenmiş olup yapı ile alem arasında üslup birliğinin sağlanmaya çalışıldığı tespit edilmiştir., The alams [finials] placed on the tops of qubba, vaults, and cones used as roofs in traditional architecture developed in accordance with the architecture of the period in which they were built. The alam, whose use in Turkish art dates back to pre-Islamic times, appears to have been used for the first time in Turkish and Islamic architecture during the Kara- Khanid Khanate. The alams made of marble and metal materials continued to develop in Anatolia with the Seljuks and Principalities. During the Ottoman period, the alams reached their peak with the examples in Istanbul and became the complementary and indispensable element on top of the qubba. In the early Ottoman architecture in Istanbul, alams with a crescent shape atop were generally preferred. The appearance of these alams also changed alongside the changes in the style of architectural structures. Under the influence of the Baroque style in the 18th century, the points of the crescent alams were bent outwards and began to turn into a design reminiscent of a horn shape. The Ottoman style, especially during the reign of Sultan Mahmud II, affected the alams in the 19th century. In addition, designs involving a crescent and radial arrangement were used together with the crescent and star in this period. The status of the person who had the structure built, the increase in foreign influences in architecture, and the absence of a certain unity of style unity can be said to have been effective in the choice of alam. This effect enabled alams to be made in the same period in different styles. This study focuses on the alams of 14 different structures belonging to the 19th century that are representative of different styles; examines the designs, materials, and techniques; and has determined the presence of a stylistic unity between the buildings and their alams.

Bu çalışmada, Aydın İlinin Karpuzlu İlçesine bağlı Hatipkışlası Mahallesi’nde, Ilıcasu mevkiinde 2007 yılında bulunan figürinler ele alınmaktadır. Buluntu alanı antik dönemde Karia Bölgesi’ndeki Alinda antik kentinin territoriumunda kalmaktadır. İlk olarak kentte yapılan araştırmalar ve buluntu alanı üzerinde durulmuştur. Figürinlerin konteksti belirlendikten sonra ele alınan örnekler tipolojik, ikonografik ve teknik açıdan değerlendirilmiştir. Yapılan değerlendirme sonucunda dört ayrı tip saptanmış ve bölge özelindeki gelişimleri belirlenmiştir. Daha sonra figürinlerin ikonografik özellikleri benzer bölge örnekleri yardımıyla saptanmıştır. Yapılan değerlendirme sonucunda figürinlerin Geç Klasik ve Erken Helenistik Dönem özellikleri gösterdiği anlaşılmıştır. Benzer örneklerle yapılan tipolojik ve ikonografik karşılaştırmalar, figürinlerin Karia Bölgesi’nde Demeter ve kızı Persephone ile Zeus’un birlikte olduğu kutsal alanlarda yoğunlaştığını göstermiştir. Çalışmada ele alınan figürinler Karia koroplastiği içerisinde bu bölgede yayınlanan ilk pişmiş toprak figürinler olması açısından literatüre katkı sağlamaktadır. Yapılan değerlendirmelere göre Alinda’nın kent suru dışında bir kutsal alanının olduğu önerisi sunulmuştur., The terracotta figurines found in the Ilıcasu within the territory of the site of Alinda, which is the subject of the study, constitute the first examples found and published within the borders of the site. In this context, it contains complementary elements in terms of Carian coroplastic. The figurines evaluated within the scope of the study bear traces of the Late Classical and Early Hellenistic Periods. They reflect the figurine types and iconography that have been determined densely from the sacred areas of Demeter and Korea located within the borders of the Caria. Although the figurines TK.1-4, located within the borders of the ancient site of Alinda and found 21 km east of Labraunda Zeus Sanctuary, present a different typology, when examined iconographically, it has been observed that they are related to the cult of Demeter and Persephone, which are encountered densely in the region. When the iconographic features, which are examined in detail within the scope of the study, are evaluated together with the location of the area, the existence of an extra-urban sanctuary for the city of Alinda is presented as a hypothesis. It is aimed to reach new data that supports this view in the studies that will continue in the city. The figurines discussed in the study not only present new data in terms of the distribution of typology, iconographic connections, and technical similarities to Carian coroplastic but also contribute to the literature.

Dönemi açısından belgeleyici bir rol üstlenerek tarih temalı resim geleneğine büyük katkı sağlayan Osmanlı savaş tabloları, geçmişin hatırasını korumak adına yapılmış olsalar da yüzyıllar öncesine dayanan yaşanmışlıkları ölümsüzleştirdikleri bir gerçektir. Bunun gerisinde yatan en önemli etken ise yönetici zümrenin beğenisini kazanmak adına çalışan sanatçıların yapmış oldukları eserleri siyasi bir tutumla propaganda aracına dönüştürmek ve liderler adına bir güç gösterisinde bulunmak istemeleridir. Bu yüzden de saraya bağlı olarak hamilerinin istekleri doğrultusunda eserlerini üreten ressamlar, askerî başarıları her daim görkemli anlatılarla sunmak durumunda kalmışlardır. Çünkü elde etmiş oldukları zaferler vasıtasıyla liderlerini övmek, bir bakıma onların güçlerini arttırmak ve başarılarını imgelerle sonsuza dek yaşatmak onlar için büyük başarı sayılmıştır. Bu fikrin en seçkin örnekleri de 1870-1876 yılları arasında Sultan Abdülaziz’in saray ressamı olarak çalışan Polonyalı sanatçı Stanisław Chlebowski tarafından verilmiştir. Bu süre zarfında çok sayıdaki resme imza atan sanatçının yapıtları arasında ilk sırayı Osmanlı savaş tabloları almaktadır. Fakat bu eserler yalnızca bir savaş resmi değildir, aynı zamanda Osmanlı’nın askerî anlamdaki görsel belleğine katkı sunan önemli belgelerdir. Bu makalede ise Chlebowski’nin Osmanlı savaş tablolarına yansıyan görsel izlerin takibi yapılarak bazı tespitlerde bulunulmuş, eserlerin Türk savaş resim tarihine kazandırmış olduğu yenilikler üzerine birtakım düşünceler ortaya konulmuştur., Ottoman war tables that majorly contribute to the tradition of historical paintings by taking a role in documenting in terms of its period is a reality that they have made for the sake of old times although they hold a mirror to the experiences dating back centuries. The most important factor behind that is to gain their admiration of the managing group, to carry out the function of propaganda with a political behaviour, and to make a show of strength. For this reason, artists who worked under the palace and produced their paintings in line with the wishes of their patrons have always had to present military achievements with magnificent narratives. Because praise of their leaders through their gained victories, to increase their power in a sense, and immortalise their achievements via imageries are considered as a great success among painters. Furthermore, these paintings also carried out a political mission alongside being artwork. The most outstanding examples of this idea are given by Polish artist Stanisław Chlebowski who served as the court painter of Sultan Abdulaziz in the years between 1870 and 1876. During this period, Ottoman war paintings take first place among the works of the artist who signed many paintings. But these paintings are not only war paintings, they are also important documents that contribute to the visual memory of the historical narrative of the Ottoman Empire in a military sense. In this article, some determinations were made by following the visual traces reflected in Chlebowski’s Ottoman war paintings, and some thoughts were put forward on the innovations that the works brought to the history of Turkish war painting.

İslami dönem cam sanatı, İslam fetihleriyle ele geçirilen Mezopotamya ve Mısır coğrafyasında Roma ve Bizans camcılığının üzerinde yükselmiş ve zaman içerisinde kendi üslubunu oluşturmuş bir sanat alanıdır. Erken İslam döneminden Osmanlı dönemine kadar kullanımda kalmış ve kendi içerisinde form ve süsleme özelliklerinin değişimini kanıtlayan cam eserlerin Anadolu müzelerinde yer alması, Türkiye müzelerinin zenginliğini göstermesi bakımından çok önemlidir.Çalışma kapsamında Erzurum Arkeoloji Müzesi’ne mahkeme kararıyla 2016 yılında kazandırılan, bir bardak, beş kâse ve dokuz şişeden oluşan on beş adet cam kap, yapım ve süsleme tekniği, boyut, işlev, form, süsleme özellikleri ile incelenerek değerlendirilmiştir. Eserlerin kataloglaması, işlevsel formlarına göre yapılmıştır. Değerlendirme bölümünde de önce işlevsel ve gövde formları ve ardından süsleme özellikleri dikkate alınmıştır. Eserler, kazılar ve dünya müzelerindeki benzer cam örnekleri ışığında tarihlendirilmiştir.Cam eserlerin üretiminde on birinde serbest üfleme, dördünde ise kalıba üfleme tekniği kullanılmıştır. Dört cam eserde herhangi bir bezeme bulunmamaktadır. Süslemeli on bir cam eserde ise baskı, aplike, kalıba üfleme ve kesme tekniği uygulanmıştır. Cam eserlerin yalnız birinde kitabe vardır, o da sahibine esenlik dileyen bir yazı olup tarih içermemektedir. Eserler, form ve süsleme özelliklerine göre 7. yüzyıl ile 11. yüzyıl aralığında üretilmiş olduğu anlaşılan İslam camlarıdır., Islamic glassmaking is a delicate art form that was highly admired and adopted from the Mesopotamian and Egyptian glassworking traditions during the Islamic conquests and developed into its style over time. The inclusion of such glassworks in Anatolian museums, a craft technique that remained in use from the early Islamic to Ottoman period, representing the changes in forms and ornamental characteristics, is very important for enriching Turkish museums.In the study, 15 glass containers consisting of one tumbler, five bowls and nine bottles, which were brought to the Erzurum Archaeological Museum by the court decision in 2016, were examined and evaluated. The cataloguing of the works has been done according to the main forms. In the evaluation section, forms and ornamental features are taken into consideration. The artefacts have been dated according to similar examples from excavations and in world museums.11 of the glassworks were produced by free-blowing, four of them by mold blowing. Four containers are undecorated. On the decorated glasses, impressing, applique, mold blowing and cutting techniques were applied. Only one of them has an inscription wishing well-being to its owner and does not contain a date. The works are Islamic glass, which is understood to have been produced between the 7th and 11th centuries according to their form and ornamental features.

Osmanlı Devleti’nde 18. yüzyıl ile birlikte “Batılaşma” olarak adlandırılan dönem başlamıştır. 19. yüzyılda Tanzimat Dönemi’yle birlikte ise yenileşme hareketleri toplumsal ve idari anlamda etkili bir şekilde görülmüştür. İdari anlamdaki değişimler o zamana kadar görülmeyen postane, hükümet konağı, hapishane gibi işlevlerine uygun yeni yapı tiplerini ortaya çıkarmıştır. Osmanlı Devleti döneminde başlayan değişim anlayışı Cumhuriyet’in ilanından sonra da devam etmiştir. Konumu itibarıyla kavşak niteliğinde olan Malatya, Batılılaşma Dönemi’nde Osmanlı Devleti’nin taşralarından biridir. Malatya, farklı zamanlarda Diyarbakır ve Ma’mûretü’l-Azîz Vilayetleri’ne bağlı sancak; Cumhuriyet Dönemi’nde ise bir il durumundadır.Bu çalışmada, günümüz Malatya ili merkezinde yer alan Geç Osmanlı ve Erken Cumhuriyet Dönemi kamu yapılarının mimari özellikleri, koruma durumları ve bu yapıların kentin değişim ve gelişimine etkisi incelenmiştir. 1890 yılından 1940’lı yıllar arasını kapsayan çalışma literatür ve arşiv taraması ile başlamış; alan çalışmasıyla devam etmiştir. Çalışma, Osmanlı Devleti’nde Malatya sancağı olarak anılan günümüz Malatya ilinde kamu yapısı olarak inşa edilen veya kullanılan yapıların ortaya çıkışını bütüncül olarak değerlendirerek mimarlık tarihi, kent tarihi ve mimari koruma alanlarına katkı sağlamayı amaçlamaktadır., In the 19th century, with the Tanzimat Period, the innovation movements were seen effectively in terms of social and administrative aspects. Changes in the administrative aspects have revealed new building types suitable for their functions such as post offices, government offices, prisons, which were not seen until then. The trend of change that started last period of the Ottoman Empire continued after the establishment of the Republic. Malatya, which is a crossroads in terms of its location, was one of the provinces of the Ottoman Empire during the Westernization Period. Malatya was a sanjak connected to Diyarbakir and Mamuret-ul-Aziz Provinces at different times; in the Republican Period, it became a province. In this study, the architectural features and conservation status of the public buildings of the Late Ottoman and Early Republican Periods in the center of today’s Malatya province with the effects of these structures on the change and development of the city were examined. The study started with a literature and archive review and then continued with fieldwork. The study aims to contribute to the fields of architectural history, urban history, and architectural conservation by evaluating the development of public buildings in Malatya city, which was one of the provincial centers of the Ottoman Empire in line with their needs. In addition, the study aimed to provide clear and permanent guidance for other researchers.

The present article examines journalism specialized in art and architecture in the print editions of the cultural supplements of three Spanish newspapers with the highest circulation in the country: Babelia (El País), ABC Cultural (ABC), and El Cultural (previously El Mundo, and currently, El Español) covering a twenty-five-year period. All three supplements consolidate visual arts and architecture into a unified section called Art. The main objective of this research is to analyze the Art sections, using the year 2018 as a case study and the twenty-five-year period (1993 to 2018) to investigate the evolution of cultural supplements. To undertake this study, I used the content analysis method. The results show a noticeable reduction in the length of the cultural supplements during the study period. This decline also entails a significant decrease in art content, with architecture severely affected. The conclusions of this study highlight the current precarious state of cultural supplements, the fundamental role of criticism, and the marginalization of architecture in these publications.

Manzara(Landscape) bir resim türüdür, tarihi içinde kültürü oluştuğu için geleneği bulunmaktadır. Manzara anlayışı, tarihsel süreçlerin gerçeklerine uygun olarak farklı disiplinlerce algılanıp biçimlenmiştir. Fotoğraf gibi bilimsel bir buluşun yaratıcı estetik türlerinden biride manzaradır. Fotoğrafçılar, manzaraya ilgi duymuş ve duymaktadırlar. Dolayısıyla araştırma alanı öncelikle resim ve fotoğrafta manzara türüyle ilgilidir. Günümüzde, 360 sanal tur tasarımları manzara fotoğrafları üzerinden yaratılmaktadır. Bu bağlamda manzara sanatsal bir eser olmanın yanında bir ürüne dönüşmüştür. Ürün, manzaranın geçmişinden beslenen ama aynı zamanda ayrışan nitelikleri ile bilimsel bir etkinlik alanı haline gelmiştir, araştırılması gerekmektedir. Fotoğrafik bu yeni sanal manzara anlayışı dijital teknolojilerle yaratılabilmektedir. Günümüz fotoğrafik manzaralarında insanoğlu, bu manzaranın hem içinde hem de karşısında olabilmektedir. Aksiyon kameraları, zamanın ruhunun bir yansıması olarak, bu hızlı üretim ve tüketim ihtiyacına çözüm üretebilmektedir. Sanal manzaranın, post manzaraya dönüşümünün aşamaları bulunmaktadır. 360 sanal tur post manzaralarının tasarımlanmasında donanımsal, yazılımsal ve grafik uygulamalar belirleyici olmaktadır. Bu manzaralar, algısal, teknik, düşünsel, estetik yeni formatıyla manzaranın vizyonunu resim ve fotoğraf sanatında ki konumunun çok ötesinde geliştirmiştir. Post Manzara son teknolojik gelişmelerin güncellemeleri ile vizyon derinliğinin sanal ve ötesinin olası sonuçlarının keşfine açık medyadır.

Tekstil ürünlerinin tasarımında ve üretiminde sürdürülebilirlik kavramı bir gereklilikten zorunluluğa dönüşmüş ve günümüz çalışmaları da sürdürülebilir yöntemlerin estetik bağlamda yorumlanması ile çeşitlilik kazanmıştır. Geçmişte gerçekleşen pek çok tekstil tasarım ve üretiminin de sürdürülebilir bir bakış sergilenerek ortaya konması, günümüz sürdürülebilir tekstillerinin temelini oluşturmuş ve bu teknikler geleceğe taşınarak geleneğin de sürdürülmesine olanak sağlamıştır. Bu çalışmada da Kore kültüründe geleneksel bir tekstil tekniği olan Bojagi-Jogakbo tekniği; evsel organik atıklarla renklendirilmiş atık doğal kumaşlar kullanılarak yeniden yorumlanmıştır. Çalışma sürecinde; tekniğe dair alanyazın araştırmasının ardından, deneysel boyamalar yapılmış ve en iyi sonuçlar seçilerek nihai ürünün tasarımının gerçekleştirildiği bir uygulama yöntemi izlenmiştir. Böylelikle hem boyar madde hem de malzeme açısından sürdürülebilir bir bakış açısı gerçekleştirilmeye çalışılmıştır. Çalışmada kullanılan evsel atıklara ilave olarak görsel renk çeşitliliğini sağlamak için son tüketim tarihi geçmiş atık kapsamına giren gıda kapsamındaki bitkiler de kullanılmıştır. Evsel organik atıkların kullanıldığı doğal boyama ile renklendirilen atık kumaşlar, Uzak Doğu kırkyama çeşitlerinden biri olan Bojagi ile birleştirilerek bojagilerin bir çeşidi olan Jogakbo’lar tasarlanmıştır. Tasarım uygulamalarında kullanılan kumaşlar 70 gr/m2 - 160 gr/m2 arasında değişen farklı boyutlardaki %100 ipek, %100 keten ve %100 yünlü atık parçalardan oluşmaktadır. Boyarmadde olarak nar kabuğu, muz kabuğu, soğan kabuğu, enginar kabuğu, ıspanak olmak üzere evsel organik atıkların yanı sıra sumak ve hibisküs çiçeği de kumaşların boyanmasında kullanılmıştır. 1000C’de 60 dakikada özütü alınan boyar madde ile yine aynı koşularda boyamalar yapılmıştır. 0.2 gr/L. mordan oranı ile ön, aynı anda ve ard mordanlamalar yapılarak renk gamı elde edilmeye çalışılmıştır. Sonuç olarak; doğal boyama ve bojagi tekniği kullanılarak geri kazanım, tekrar kullanım, ileri dönüşüm vb. sürdürülebilir tekstiller için öne sürülen birçok kavramın bir arada uygulanabileceği ortaya konmuştur., In this study, the Bojagi-Jogakbo technique, which is a traditional textile technique in Korean culture; It has been reinterpreted by using waste natural fabrics colored with domestic organic wastes. Thus, a sustainable perspective has been tried to be realized in terms of both dyestuff and material.In addition to the domestic wastes used in the study, plants that can be considered as waste foods, whose expiration date has passed, were also used to provide visual color diversity. Waste fabrics colored with natural dyestuffs obtained from domestic organic wastes; Jogakbos, a type of bojagi, were designed by combining them with the Bojagi technique, which is one of the Far Eastern patchwork types.The fabrics used in design applications consist of 100% silk, 100% linen and 100% wool waste fabric scraps in different sizes ranging from 70 gr/m2 to 160 gr/m2.As a dyestuff, sumac and hibiscus flowers were used as well as domestic organic wastes such as pomegranate peel, banana peel, onion peel, artichoke peel, and spinach. Dyeing was done under the same conditions with the dyestuff extracted in 60 minutes at 100C. The color gamut was tried to be obtained by making pre, simultaneous and post mordanting with 0.2 gr/L mordant ratio.As a result; It has been revealed that many concepts suggested for sustainable textiles such as recycling, reuse, upcycling etc. can be applied together using natural dyeing and bojagi technique. Keywords: sustainability, textile design, natural dyeing, domestic organic wastes, jogakbo, quilting, bojagi, sustainable design.

Do-it-yourself movement, which originated with the Bauhaus movement and now has applications for many products, is a deconstructive approach to design, but it is also a democratic production and learning movement focused on the individual. To provide consumers with the opportunity to experience production, division of products into parts and production stages provides users with production fulfillment and even design opportunities instead of purchasing ready-made products. Also, the movement is linked with many main motivations such as functionality, uniqueness, and sustainability, is observed as an activity that spreads in different areas today. Although apparel design, which also became an industrial product after the nineteenth century, has progressed into a home product, manufacturing machinery was provided in addition to garment maintenance and repair. Apparel design is a field that requires basic knowledge of anatomy, sewing techniques, and fabric knowledge. The rapid consumption of garments, which can be explained by fashion, has resulted in the widespread use of disposable clothing, creating a production area to be discovered by the new generation via social media. The aim of this research is to examine the DIY kits produced for clothing today and to discuss its effects on clothing production techniques as a democratizing design movement and its reflections on fashion through the design proposals it offers. The data for this study will be gathered through a review of the literature., Kökenleri Bauhaus akımına dayanan ve günümüzde birçok ürüne yönelik uygulamalar öneren kendin yap hareketi, tasarıma yapısökümcü bir yaklaşım olmakla beraber bireye indirgenmiş demokratik bir üretim ve öğrenme hareketidir. Üretimi tüketiciler için deneyimleştirmek üzere, ürünlerin parçalarına ve üretim aşamalarına ayrıştırılması, bireylere hazır ürün satın alma yerine üretim tatmini ve hatta tasarlama olanakları sunar. İşlevsellik, eşsizlik, sürdürülebilirlik gibi birçok ana motivasyon ile eşleşen kendin yap hareketi günümüzde farklı alanlarda yayılım gösteren bir faaliyet olarak gözlemlenmektedir. 19 yy. da bir endüstri ürünü haline gelen giysi ise bu sürecin sonrasında dahi ev içinde üretilebilen bir ihtiyaç olmuş, evlerde giysi bakım onarımının yapılmasının yanı sıra, üretime yönelik makineler dahi bulundurulmuştur. Giysi üretmek için temel düzeyde anatomi bilgisi, temel dikim teknikleri ve kumaş bilgisi gerektirdiği söylenebilir. Moda ile açıklanabilecek hızlı giysi tüketimi, kullan-at giysileri yaygınlaştırmış ve buna bağlı olarak sosyal medya kullanan yeni nesil için keşfedilecek bir üretim alanı yaratmıştır. Bu araştırmanın amacı; günümüzde giysi için üretilen kendin yap kitlerini incelemek ve bunun demokratikleşen tasarım hareketi olarak giysi üretim tekniklerine etkilerini, sunduğu tasarım önerileri üzerinden modaya yansımalarını tartışmaktır. Bu çalışmanın verileri literatür taraması yoluyla toplanacaktır.

This portfolio deals with the work I have been undertaking for the past 20 years. Investigating sense of place at Belas Knap Neolithic long barrow, Cotswolds, England. I have taken an holistic approach in the creation of art that aims to bridge the sensory experience of archaeology, memory and culture. Over the last twenty years I have been responding through my art to place and memory, mapping, interpreting and connecting to the seasonal changes at Belas Knap, a laterally chambered Neolithic long barrow located in the Cotswold Hills, Gloucestershire, South West England (NGR: SP0209 2554).

BACKGROUND Since the birth of the first baby using IVF technology in 1978, over 10 million children have been conceived via ART. Although most aspects of ARTs were developed in animal models, the introduction of these technologies into clinical practice was performed without comprehensive assessment of their long-term safety. The monitoring of these technologies over time has revealed differences in the physiology of babies produced using ARTs, yet due to the pathology of those presenting for treatment, it is challenging to separate the cause of infertility from the effect of treatments offered. The use of systematic review and meta-analysis to investigate the impacts of the predominant ART interventions used clinically in human populations on animals produced in healthy fertile populations offers an alternative approach to understanding the long-term safety of reproductive technologies. OBJECTIVE AND RATIONALE This systematic review and meta-analysis aimed to examine the evidence available from animal studies on physiological outcomes in the offspring conceived after IVF, IVM or ICSI, compared to in vivo fertilization, and to provide an overview on the landscape of research in this area. SEARCH METHODS PubMed, Embase and Commonwealth Agricultural Bureaux (CAB) Abstracts were searched for relevant studies published until 27 August 2021. Search terms relating to assisted reproductive technology, postnatal outcomes and mammalian animal models were used. Studies that compared postnatal outcomes between in vitro-conceived (IVF, ICSI or IVM) and in vivo-conceived mammalian animal models were included. In vivo conception included mating, artificial insemination, or either of these followed by embryo transfer to a recipient animal with or without in vitro culture. Outcomes included birth weight, gestation length, cardiovascular, metabolic and behavioural characteristics and lifespan. OUTCOMES A total of 61 studies in five different species (bovine, equine, murine, ovine and non-human primate) met the inclusion criteria. The bovine model was the most frequently used in IVM studies (32/40), while the murine model was mostly used in IVF (17/20) and ICSI (6/8) investigations. Despite considerable heterogeneity, these studies suggest that the use of IVF or maturation results in offspring with higher birthweights and a longer length of gestation, with most of this evidence coming from studies in cattle. These techniques may also impair glucose and lipid metabolism in male mice. The findings on cardiovascular outcomes and behaviour outcomes were inconsistent across studies. WIDER IMPLICATIONS Conception via in vitro or in vivo means appears to have an influence on measurable outcomes of offspring physiology, manifesting differently across the species studied. Importantly, it can be noted that these measurable differences are noticeable in healthy, fertile animal populations. Thus, common ART interventions may have long-term consequences for those conceived through these techniques, regardless of the pathology underpinning diagnosed infertility. However, due to heterogeneous methods, results and measured outcomes, highlighted in this review, it is difficult to draw firm conclusions. Optimizing animal and human studies that investigate the safety of new reproductive technologies will provide insight into safeguarding the introduction of novel interventions into the clinical setting. Cautiously prescribing the use of ARTs clinically may also be considered to reduce the chance of promoting adverse outcomes in children conceived before long-term safety is confidently documented.

The Purpose of Study: Elâzığ province and its nearby region is investigated because of its being home to historically ancient civilizations. This study was conducted with the idea that detailed information can be obtained about the attitude of the families form Elazig to the concept of local food and whether they include local dishes in their homes.Literature Review/Background: The features that distinguish local dishes from the others are that they are a part of special day celebrations and rituals in traditional meals. Elâzığ, which hosts one of the societies that existed in Türkiye and settled down from the oldest known civilizations, is the heir of a rich culture and one of the most important gastronomic values worth exploring.Method: In this study, data were collected using the semi-structured interview technique, which is one of the qualitative research methods, to promote the local heritage and tastes with gastronomic identity and culinary culture of Elazig and contribute to raising awareness. Content analysis method was used in the evaluation of the data. The recipes for four of the dishes were preserved and recorded as the participants learned from their ancestors. The application of ‘içli köfte’, ‘zilfet’, ‘kofik dolması’ and ‘lobik soup’ was made in Başkent University Gastronomy Laboratories.Results: Analyzing the data, it was observed that the local dishes were cooked by the whole of the participants (N=11) at home, however. when evaluated in terms of the frequency of doing them at home, it could be highlighted that there were significant differences between the two generations.Conclusion: The main findings of the study are that families from Elazig have a high level of local culinary awareness, but there is a significant difference between the two generations.Keywords: Elâzığ, culinary culture, local heritage, products with geographical indications, local dishes., Giriş ve Çalışmanın Amacı: Elâzığ ili ve yakın çevresi, tarihsel olarak eski uygarlıklara ev sahipliği yapması nedeniyle araştırılmaktadır. Bu çalışma Elazığlı ailelerin yöresel yemek kavramına karşı tutumları ve evlerinde yöresel yemeklere yer verip vermedikleri hakkında detaylı bilgi edinilebileceği düşüncesiyle yapılmıştır.Kuramsal/Kavramsal Çerçeve: Yöresel yemekleri diğerlerinden ayıran özellikler, geleneksel yemeklerde özel gün kutlamalarının ve ritüellerinin bir parçası olmalarıdır. Türkiye'de var olan ve bilinen en eski uygarlıklardan yerleşik toplumlardan birine ev sahipliği yapan Elazığ, zengin bir kültürün mirasçısı ve keşfedilmeye değer en önemli gastronomik değerlerden biridir.Yöntem: Bu çalışmada, Elazığ ilinin gastronomik kimliği ve mutfak kültürü ile yöresel miras ve lezzetlerinin tanıtılması ve farkındalık yaratılmasına katkı sağlamak amacıyla nitel araştırma yöntemlerinden yarı yapılandırılmış görüşme tekniği kullanılarak veriler toplanmıştır. Verilerin değerlendirilmesinde içerik analizi yöntemi kullanılmıştır. Dört yemeğin tarifleri, katılımcıların atalarından öğrendikleri şekilde korunmuş ve kaydedilmiştir. Başkent Üniversitesi Gastronomi Laboratuarlarında içli köfte, zilfet, kofik dolması ve lobik çorbanın uygulaması yapılmıştır.Bulgular: Veriler incelendiğinde yöresel yemeklerin katılımcıların tamamı (N=11) tarafından evde pişirildiği görülmüştür. evde yapma sıklığı açısından değerlendirildiğinde, iki kuşak arasında önemli farklılıklar olduğu vurgulanabilir.Sonuç: Araştırmanın temel bulguları Elazığlı ailelerin yerel mutfak bilincinin yüksek düzeyde olduğu ancak iki kuşak arasında önemli bir fark olduğudur.

BACKGROUND Several GnRH antagonist protocols are currently used during COS in the context of ART treatments; however, questions remain regarding whether these protocols are comparable in terms of efficacy and safety. OBJECTIVE AND RATIONALE A systematic review followed by a pairwise and network meta-analyses were performed. The systematic review and pairwise meta-analysis of direct comparative data according to the PRISMA guidelines evaluated the effectiveness of different GnRH antagonist protocols (fixed Day 5/6 versus flexible, ganirelix versus cetrorelix, with or without hormonal pretreatment) on the probability of live birth and ongoing pregnancy after COS during ART treatment. A frequentist network meta-analysis combining direct and indirect comparisons (using the long GnRH agonist protocol as the comparator) was also performed to enhance the precision of the estimates. SEARCH METHODS The systematic literature search was performed using Embase (Ovid), MEDLINE (Ovid), Cochrane Central Register of Trials (CENTRAL), SCOPUS and Web of Science (WOS), from inception until 23 November 2021. The search terms comprised three different MeSH terms that should be present in the identified studies: GnRH antagonist; assisted reproduction treatment; randomized controlled trial (RCT). Only studies published in English were included. OUTCOMES The search strategy resulted in 6738 individual publications, of which 102 were included in the systematic review (corresponding to 75 unique studies) and 73 were included in the meta-analysis. Most studies were of low quality. One study compared a flexible protocol with a fixed Day 5 protocol and the remaining RCTs with a fixed Day 6 protocol. There was a lack of data regarding live birth when comparing the flexible and fixed GnRH antagonist protocols or cetrorelix and ganirelix. No significant difference in live birth rate was observed between the different pretreatment regimens versus no pretreatment or between the different pretreatment protocols. A flexible GnRH antagonist protocol resulted in a significantly lower OPR compared with a fixed Day 5/6 protocol (relative risk (RR) 0.76, 95% CI 0.62 to 0.94, I2 = 0%; 6 RCTs; n = 907 participants; low certainty evidence). There were insufficient data for a comparison of cetrorelix and ganirelix for OPR. OCP pretreatment was associated with a lower OPR compared with no pretreatment intervention (RR 0.79, 95% CI 0.69 to 0.92; I2 = 0%; 5 RCTs, n = 1318 participants; low certainty evidence). Furthermore, in the network meta-analysis, a fixed protocol with OCP resulted in a significantly lower OPR than a fixed protocol with no pretreatment (RR 0.84, 95% CI 0.71 to 0.99; moderate quality evidence). The surface under the cumulative ranking (SUCRA) scores suggested that the fixed protocol with no pretreatment is the antagonist protocol most likely (84%) to result in the highest OPR. There was insufficient evidence of a difference between fixed/flexible or OCP pretreatment/no pretreatment interventions regarding other outcomes, such as ovarian hyperstimulation syndrome and miscarriage rates. WIDER IMPLICATIONS Available evidence, mostly of low quality and certainty, suggests that different antagonist protocols should not be considered as equivalent for clinical decision-making. More trials are required to assess the comparative effectiveness of ganirelix versus cetrorelix, the effect of different pretreatment interventions (e.g. progestins or oestradiol) or the effect of different criteria for initiation of the antagonist in the flexible protocol. Furthermore, more studies are required examining the optimal GnRH antagonist protocol in women with high or low response to ovarian stimulation.

Neste artigo apresentamos uma síntese de colaboração com a Escola de Comunicações e Artes da Universidade de São Paulo (ECA-USP) ao longo de uma década em pesquisa de Comunicação. Nossa contribuição sempre teve origem epistêmica em estudos sobre cultura visual, e apresentamos nossos achados em formato interdisciplinar. Entre os temas mais relevantes, há as noções de irradiação semiótica, publicismo e a contribuição de estudos visuais no conhecimento do fenômeno do acolhimento da publicidade. Destacamos nas conclusões a importância de emoções, sentimentos e sensações sensoriais nos fenômenos atuais da comunicação. O corpo é o artefato da pós-modernidade para fundir história, indústria, publicidade e política através da expressão dos desejos humanos nos discursos da mídia. In this article we present a synthesis of collaboration with the RCT over a decade in Communication research. Our contribution always had an epistemic origin in studies on visual culture, and we present our findings in an interdisciplinary format. Among the most relevant issues are the notions of semiotic irradiation, publicism, and the contribution of visual studies in the knowledge of the phenomenon of the reception of advertising. We highlight in the conclusions the importance of emotions, feelings, and sensory sensations in the current phenomena of communication. The body is the artifact of postmodernity to merge history, industry, advertising, and politics by the expression of human desires in media discourses. En este artículo presentamos una síntesis de colaboración con la Escola de Comunicações e Artes de la Universidad de São Paulo (ECA-USP) durante una década en la investigación de la comunicación. Nuestra aportación siempre tuvo un origen epistémico en los estudios sobre la cultura visual y presentamos nuestros hallazgos en un formato interdisciplinar. Entre las cuestiones más relevantes destacamos las nociones de irradiación semiótica, publicismo y la contribución de los estudios visuales al conocimiento del fenómeno de la recepción de la publicidad. Destacamos en las conclusiones la importancia de las emociones, los sentimientos y las sensaciones sensoriales en los fenómenos actuales de la comunicación. El cuerpo es el artefacto de la posmodernidad para fusionar la historia, la industria, la publicidad y la política mediante la expresión de los deseos humanos en los discursos mediáticos.

U suvremenom se društvu samoprocjena i socijalna recepcija tjelesne manifestacije u osoba s invaliditetom nalazi u vrlo zahtjevnom i izazovnom području. Iz tog se razloga nastoji promovirati „estetika invaliditeta“ s namjerom naglašavanja potrebe prihvaćanja onih „tijela“ različitih od poželjne, socijalno uvjetovane, estetske reprezentacije. U tom bi se pokušaju i umjetnost trebala razmatrati kao zanimljiv medij, budući da kroz proigravanje s prihvatljivim elementima forme može promicati univerzalnost estetike i otkrivati ljepotu u njezinoj nesavršenosti i nedovršenosti. Jer upravo ono drugačije i neshvatljivo u povezanosti s prihvatljivom estetskom formom izražava jedinstvo suprotnosti i omogućuje doživljaj cjelokupne raznolikosti i raskoši ljudske tjelesnosti. U tom se smislu ne potiče samo socijalna senzibilizaciju prema tjelesnoj nesavršenosti, već i pozitivna tjelesna kateksa koja ima jednu od presudnih uloga u definiranju doživljaja sebe, kao i u formiranju vlastitih emocija, predodžbi i ponašanja. Na tom tragu, upravo bi interdisciplinarna suradnja trebala biti osnova za poticanje usvajanja novih paradigmi i estetskih kriterija prema kojima bi svaki pojedinac, usprkos „nepotpunoj ljepoti“, bio metafora posebnog, neponovljivog i jedinstvenog. U svojoj konačnici, takvo uvjerenje može pomoći u postizanju osjećaja samozadovoljstva i samoostvarenja, kao dijela temeljnih dostignuća vlastite egzistencije., Self-assessment and social reception of the physical appearances of people with disabilities take place in a very demanding and challenging area in modern society. For this reason, effort has been made to promote the “disability aesthetics” in order to emphasize the importance of accepting “bodies” that differ from the desirable, socially determined aesthetic representation. As part of this attempt, art should also be considered as an interesting medium, since it can promote the universality of aesthetics and reveal beauty in its imperfection and incompleteness by playing with acceptable elements of form. It is, in fact, something different and incomprehensible combined with an acceptable aesthetic form that expresses the unity of opposites, as well as the experience of diversity and magnificence of the human body. In this sense, it is not not only social sensitization towards bodily imperfection that is being promoted, but also the positive body cathexis, which has one of the crucial roles in defining self-experience and in forming one’s emotions, ideas, and behaviors. In this regard, interdisciplinary collaboration should be the basis for choosing new paradigms and aesthetic criteria, according to which each individual, despite their “incomplete beauty”, would be a metaphor for something special, unrepeatable and unique. Ultimately, such belief can help one achieve a sense of self-satisfaction and self-fulfilment as one of the fundamental achievements of one’s own existence.

On the occasion of the 29th anniversary of the independence of the Republic of Uzbekistan, President Shavkat Mirziyoyev emphasized that the goal of our development should be the Third Renaissance. This strategic idea, in its grandeur, shows the need to aim for a common goal in all aspects of national development. In practice, the head of state expressed the new and clarified content of the national idea of Uzbekistan at the current stage of development. This article analyzes the important role of literature, theater and art in establishing the Third Renaissance in Uzbekistan.