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This paper discusses the differences between Japanese and Chinese homomorphic two-character Chinese verbs "V syutu-suru" in terms of auto-eternity and meaning. First, we discussed the difference in Intransitive/Transitive of "V syutu-suru " in Japanese and Chinese. As a result, both Japanese "V syutu" and Chinese "V chu" can be divided into three types of usage: intransitive verb, transitive verb, and reflexive verb. However, in the case of reflexive verb, the case in which the action subject moves involuntarily can be handled in Japanese and Chinese, whereas the case in which the action subject moves voluntarily cannot be handled. This paper pointed out that the latter case is common in Chinese. Next, we discussed the difference of the meaning between "V syutu-suru " in Japanese and "V chu "in Chinese. As a result, the Japanese/Chinese homomorphic "V syutu" has two major meanings, "move" and "appear". However, when expressing the meaning of "movement," it was clarified that the case of expressing "movement of a per son/thing from inside to outside" can be s upported in both Japanese and Chinese, but when expressing the derivative "abstract movement," it is just to support in either Japanese or in Chinese. In addition, while the Japanese word "V syutu-suru " in certain cases, such as reporting an actual scene, "teiru" expresses the meaning of "in progress," the Chinese language takes it as the result (completion) of "V chu," so the aspect particle "zhe" or the adverb like "zhengzai" indicating "in progress" cannot be used. And there are many other Chinese "V chu" verbs besides the 29 examples in this paper. These examples can be thought of as corresponding to the Japanese compound verbs "V dasu" and "V deru". Therefore, it remains to be seen whether and when Chinese "V chu" corresponds to Japanese compound verbs or to Japanese Chinese verbs.

Lietuvos mokslinėje literatūroje vis dar vyksta diskusija, kuri lietuvių kalbos sąvoka – kūrybiškumas ar kūrybingumas – yra tinkamesnė vartoti kūrybos psichologijoje, edukologijoje ir kitose srityse. Šiame darbe kūrybiškumas ir kūrybingumas apibrėžiami kaip kuriančio subjekto išsiugdomas gebėjimas kurti naujus materialius ar idealius objektus. Taip pat tai yra proceso, veiklos produkto ir aplinkos savybė, ypatumas ar charakteristika. Straipsnyje aptariama kūrybiškumo ir kūrybingumo sąvokų vartosena Lietuvos autorių mokslinėse publikacijose, analizuojami šių sąvokų prasminiai skirtumai. Atliktame kiekybiniame tyrime apžvelgtos visos lietuvių kalba parašytos mokslinės publikacijos, kurių pavadinimuose yra minėtos sąvokos, paskelbtos nuo 1979 iki 2019 m. pabaigos. Per šį laikotarpį 400 mokslininkų pateikė 426 publikacijas, kurios atitinka pavadinimo ir kitus atrankos kriterijus. Nustatyta, kad sąvoka kūrybiškumas yra priimtinesnė daugumai (80,75 %) Lietuvos tyrėjų. Šią sąvoką randame 76,76 % publikacijų pavadinimuose ir 68,08 % darbų tekstuose. Kaip parodė publikacijų analizė, mokslininkų išsakyti kūrybiškumo ir kūrybingumo atskirties argumentai yra gana abejotini, tad sąvokų prasmės yra tapačios. Abi (kūrybiškumo ir kūrybingumo) sąvokos yra tinkamos vartoti apibūdinant kūrėją, kūrimą, kūrinį ir aplinką. Kūrybiškumo sąvokos vartosena yra platesnė ir prasminis laukas didesnis už kūrybingumo. Siekiant išvengti sąvokų vartojimo painiavos, siūloma mokslinėje literatūroje vartoti vien tik kūrybiškumo sąvoką arba žodžius kūrybiškumas ir kūrybingumas laikyti sinonimais. The Lithuanian scientific community has not yet reached a decision which Lithuanian word, “kūrybiškumas” or “kūrybingumas” (both translated into English as “creativity“), is more suitable for use in the creative psychology, educology and other domains. This article defines the words “kūrybiškumas” and “kūrybingumas” as the acquired abilities of the creative subject to manifest new material and ideal objects. In addition, the two words are described as a property or characteristic of the product of activity and of the environment. The author reviews the usage of terms “kūrybiškumas” and “kūrybingumas” in the scientific publications of Lithuanian authors, and analyzes meaningful differences of the words. The quantitative research assesses all the publications in Lithuanian language which contain at least one of the terms in their titles and which were published between 1979 and 2019. During this period, 400 scientists submitted 426 publications which meet the previously mentioned criteria. It was found that the term “kūrybiškumas” is accepted by the majority of the Lithuanian researchers (80.75%). This word is found in 76.76% of publication titles and 68.08% of texts. The analysis of publications revealed that the meaningful difference between the words “kūrybiškumas” and “kūrybingumas” can be doubted, therefore the meaning of the two terms is the same. Both words (“kūrybiškumas” and “kūrybingumas”) can be used to describe the creator, the creation process, the work or the result, and the environment. The term “kūrybiškumas” is broader and the meaning is somewhat wider than that of the term “kūrybingumas”. In order to avoid the confusion related to the use of the two terms, the author suggests to use only the word “kūrybiškumas”. Alternatively, the terms “kūrybiškumas” and “kūrybingumas” should be considered as synonyms.

In this dissertation, I develop a discourse analysis guided by the analysis categories of Bakhtin's Theory, in Shirley Vilhalva's poem Lamento Oculto de um Deaf, corroborating the Cultural, Historical, Political and Social growth of the Deaf Community. I present research contributions developed in the field of Literature, Deaf Literature, Deaf Culture, Visual Literature, such as: the contributions of Eagleton (2006), Wrigley (1996), Peixoto (2016), Nascimento (2006), Karnopp (1999), Skliar (1998) and others. From the analysis of the meaning of the poem, through bibliographic studies related to the Deaf Community and its Literature, I search in the categories of analysis provided by Bakhtin's Theory, the historical, cultural, social, political and ideological relationship of the Deaf Community towards the Community Listener. The motivations for this research are given by the need for this Deaf Community to wake up to poiesis (creation) of their own literary productions, looking at the "I" (deaf community) and to the "other" (hearing community), finding themselves in the other and in herself, in a dialogical relationship between “me and the other”. As a general objective, I intended to analyze the meanings present in the corpus, which directly influence the militancy of the Deaf Community. As specific objectives, broadly study Bakhtin's theory and its categories; describe the constructions of meaning in the written poem based on Bakhtinian categories and, finally, extract from the descriptions cultural, social, historical and political expressions present in the poem. The research has a Discourse Analysis approach, using the categories of Bakhtin's Theory: Authorship, Ideology, Style and Aesthetics, Polyphony and Chronotopy to extract and describe, within the universe of meaning, the power relationship between Deaf Communities and Listener. In the analysis results, I highlight the universe of meaning contained in the poem, evidencing the categories of Bakhtin's Theory in the corpus excerpts. Therefore, Deaf Literature is narrated as an area of knowledge in different spaces, both in formal and informal social environments, in signed or written text, paintings and poems, representing and recording a diverse audience in Culture, History, Social, Ideology and the Militance of a people that seeks to seal its voice as a Deaf Community. With this work it is expected to highlight the Deaf Literature and the experiences of the Deaf Community, thus contributing to the education of the deaf, with the academy and society. Nenhuma Nesta dissertação, desenvolvo uma análise de discurso norteada pelas categorias de análise da Teoria de Bakhtin, no poema Lamento Oculto de um Surdo, de Shirley Vilhalva, corroborando com o crescimento Cultural, Histórico, Político e Social da Comunidade Surda. Apresento contribuições de pesquisas desenvolvidas no campo da Literatura, Literatura Surda, Cultura Surda, Literatura Visual, tais como: as constribuições de Eagleton (2006), Wrigley (1996), Peixoto (2016), Nascimento (2006), Karnopp (1999), Skliar (1998) e outros. A partir da análise de sentido do poema, através de estudos bibliográficos relacionados com a Comunidade Surda e sua Literatura, busco nas categorias de análise fornecidas através da Teoria de Bakhtin, a relação histórica, cultural social, política e ideológica da Comunidade Surda frente a Comunidade Ouvinte. As motivações para esta pesquisa se dá pela necessidade dessa Comunidade Surda despertar para poiesis (criação) de suas próprias produções literárias, olhando para si mesma o “eu” (comunidade surda) e para o “outro” (comunidade ouvinte), encontrando-se no outro e em si mesma, numa relação dialógica entre “mim e o outro”. Como objetivo geral, pretendi analisar os sentidos presentes no corpus, os quais influenciam diretamente à militância da Comunidade Surda. Já como objetivos específicos estudar amplamente a teoria de Bakhtin e suas categorias; descrever as construções de sentido no poema escrito com base nas categorias bakhtinianas e por fim, extrair das descrições expressões culturais, sociais, históricas e políticas presente no poema. A pesquisa tem uma abordagem de Análise de Discurso, em que utiliza as categorias da Teoria de Bakhtin: Autoria, Ideologia, Estilo e Estética, Polifonia e Cronotopia para extrair e descrever, dentro do universo de sentido, a relação de poder entre as Comunidades Surda e Ouvinte. Nos resultados das análises, destaco o universo de sentido contido no poema, evidenciando as categorias da Teoria de Bakhtin nos trechos do corpus. Logo, a Literatura Surda é narrada como área de conhecimento em diferentes espaços, tanto em ambientes sociais formais, quanto informais, em texto sinalizado ou escrito, pinturas e poemas, represetando e registrando um público diversificado na Cultura, na História, no Social, na Ideologia e na Militância de um povo que busca chancelar a sua voz como Comunidade Surda. Com este trabalho espera-se dar destaque à Literatura Surda e às experiências da Comunidade Surda, contribuindo assim para a educação de surdos, com a academia e a sociedade.

The aim of the article is to analyze the French phrase tomber amoureux and the prefixed Polish verb zakochać się. The analysis aims to see if the semantic contents of the two verbs, which result of their constructions, are exactly the same. The invariant of tomber, which has both locative and non-locative / abstract uses, is complex and includes two basic meaning elements: downward movement and contact, which the language selects according to the given use. On the other hand, the phrase tomber amoureux can be analyzed as a collocation, where tomber is a collocator. The Polish predicate is built on the basis of kochać (psychological verb), with the prefix za-. Polish attaches considerable importance to the prefix, the meaning of which is added to that of the verbal base. The analysis reveals that tomber amoureux expresses a change of state and underlines the beginning of the action, while zakochać się emphasises the intensity of the feeling to which the verbal base refers. Le but de l’article est d’analyser la locution française tomber amoureux et le verbe polonais préfixé zakochać się. L’analyse vise à voir si les contenus sémantiques des deux verbes, qui résultent de leurs constructions, sont exactement les mêmes. L’invariant de tomber, qui englobe des emplois locatifs et non locatifs / abstraits, est complexe et comprend deux éléments de signification de base: le mouvement vers le bas et le contact, que la langue sélectionne en fonction de l’emploi donné. De l’autre côté, la locution tomber amoureux peut être analysée comme une collocation, où tomber n’est qu’un collocateur. Le prédicat polonais est construit sur la base de kochać (verbe psychologique), avec le préfixe za-. Le polonais attache une importance considérable au préfixe, dont le sens s’ajoute à celui de la base verbale. Il résulte de l’analyse que tomber amoureux exprime un changement d’état et souligne le début de l’action, tandis que zakochać się met en évidence l’intensité du sentiment auquel se réfère la base verbale.

The aim of the paper is to present the premises of the interpretative approach, with its internal diversity and methodological implications. While the first part of the paper discusses possible meanings connected with the concept of an interpretive approach, the second focuses on methodological implications and choices inspired by interpretivism.

Purpose: Setting meaningful goals for the rehabilitation process after acute illness is essential for rehabilitees recovery. The aim of this study was to understand the meanings of the goal setting situation with professionals from rehabilitees point of view. - Method: We included 20 acute stroke and back pain rehabilitees (mean age 66 y) who set goals with a multidisciplinary rehabilitation team. Data was collected by interviewing the rehabilitees after the goal setting situations. A qualitative analysis from a phenomenological perspective using Spiegelberg’s seven-phase meaning analysis was performed to reveal meanings. - Results: The five meanings were identified as: (i) “trust in the rehabilitation situation, professionals, oneself, and relatives;” (ii) “respectful presence;” (iii) “confusing awareness;” (iv) “disturbing pain;” and (v) “fear of unpredictability.” When professionals committed to working in a patient-centred manner, the rehabilitees felt respected and they trusted professionals and thus their self-efficacy was empowered. Moreover, relatives were an important support in the situation. However, disturbing pain and fear of the future limited patients level of participation in the situation. - Conclusion: Rehabilitee commitment to rehabilitation can be supported with equality in communication and presence of relatives, while pain and uncertainty because of changed health limit participation in a goal setting situation. peerReviewed

Arapçada isim, fiil ve harf olmak üzere üç kelime çeşidi vardır. Bunlardan biri olan ismin anlamını belirlilik açısından ele alan marifelik nekrelik konusu, kastedilen mananın doğru bir şekilde anlaşılması ve yorumlanması için büyük önem arz etmektedir. Araştırmamız giriş, üç bölüm ve sonuçtan meydana gelmektedir. Girişte araştırmanın konusu, amacı, yöntemi ve kavramsal çerçeve hakkında genel bilgi verilmiştir. Birinci bölümde marife isim olan zamir, hâs (özel) isim, işâret isimleri, mevsul isimler, başına lam-ı tarif gelen isimler, marifeye muzaf olan isimler ve nekre-i maksude konuları; ikinci bölümde nekre isim ve çeşitleri örneklerle anlatılmıştır. Üçüncü bölümde marife ve nekre kelimelerin anlam üzerindeki etkileri Arapça eserlerden, hadislerden ve ağırlıklı olarak ayetlerden örnekler verilerek ele alınmıştır. Sonuç bölümünde ise konu genel olarak özetlenmiştir. There are three types of words in Arabic language, namely nouns, verbs and letters. Among them, the subject of definiteness and indefiniteness which deals with the meaning of the nouns in terms of definiteness is of utmost importance for the correct understanding and interpretation of the implied meaning. This study consists of introduction, three parts and conclusion. Introduction part provides general information about the subject matter, objectives and conceptual framework of the study. First part deals with pronouns as definite noun, proper nouns, demonstrative nouns, adjective affixes (mevsul nouns), nouns with ال prefixes genitives of possessive constructions and implied meaning of the indefinite nouns (nekre-i maksude) whereas second part deals with indefinite noun and its types along with several examples. In the third part, the effects of definite and indefinite words on the meanings are studied under the light of examples from Arabic works, hadits and particularly verses of Koran. In conclusion, the subject matter of the study is broadly summarized. 93

Göstergebilim, toplumları ve bu toplumların kültürüyle ilgili olgu ve olayları incelemeye ve yorumlamaya yarayan eleştirel bir yaklaşımdır. Bu özelliğinden dolayı, göstergebilimi bir anlamlandırma sanatı olarak tanımlamak doğru olacaktır. Bu sanat, belirli bir dizge içinde yer alan örtük ve soyut kavramlarda dâhil olmak üzere dilsel ve dilsel olmayan olan tüm kavramları çözümleme ve anlamlandırmayı kendisine görev saymaktadır. Sözü edilen dizge, içinde barındırdığı tüm kavram ve sembollerin birbirine eklemlenmesiyle oluşan belirli bir anlam evrenini temsil etmektedir.Göstergebilimsel anlamda, dizge, birden fazla alt bölümü temsil eden kapsayıcı bir terimdir. Bilimsel olsun olmasın bu bölümlerin her biri farklı çalışma alanlarını temsil etmektedir. Bu çalışma alanlarından birisi de göstergelerin birbiriyle olan anlamlı etkileşimiyle ortaya çıkan edebiyattır. Günlük hayatta kullanılan sıradanlaşmış bir dil dizgesinden uzakta, başka bir dil dizgesiyle oluşturulan edebiyat eserlerinde yer etmiş dilin doğası, edebi bir metnin karmaşık ve değerli yapısını ortaya koymaktadır. Sanat eserindeki bu değer ve karmaşıklık, metni gizemli bir şekilde üreten yazarın dilsel devriminden kaynaklanmaktadır. Yazarın sistematik çabasıyla, metinde ilk okumada fark edilebilen göstergelerin yanında fark edilemeyen örtük gösterge ve sembollerin de kullanılması, eseri keşfedilmesi gereken gizem dolu anlamlı bir bütün haline dönüştürmektedir.Bu gizemli anlam evrenini ortaya çıkarma ve bilinmeyeni bilinir, görünmeyeni de görünür hale getirerek açıklama işi ise göstergebilimcilerindir. Göstergebilimciler, çevrelerinde olup biteni kullandıkları bir üstdil vasıtasıyla anlamlandırabilme yeneteniğine sahip sanatkârlardır. Göstergebilimsel analizi gerçekleştirme (anlamlandırma) yetisine sahip olan bu sanatkârlar kendilerine sunulan anlamlı bütünlerde, anlamın nasıl oluştuğu sürecini irdeleyen ve açıklayan anlam avcılarıdır.Bu çalışmanın araştırma nesnesi, derin anlam katmanlarından yüzeysel anlam katmanlarına doğru oluşturulmuş bir yapıyla okuyucunun beğenisine sunulmuş George Orwell'ın Bin Dokuz Yüz Seksen Dört anlatısıdır. Anlatının değerini belirleyen olgu, Orwell'ın kapsamlı hayal gücü ve göstergeleri kendi dizgesi içinde seçme ve birleştirmedeki ustalığı olmuştur. Çalışmanın odak noktası dil ve edebiyat ile ilgili olduğu için, inceleme yazınsal göstergebilim eleştirisi kapsamında gerçekleştirilmiştir. Yazınsal göstergebilim; dil, edebiyat ve göstergebilim alanlarının birbirleriyle olan sıkı etkileşimi sonucu ortaya çıktığı için, bu çalışma disiplinlerarası bir bakış açısıyla yürütülmüştür. Bu bağlamda, Orwell'ın anlatısındaki anlam evreninin yapısal düzenlenişi, Greimas'ın yazınsal göstergebilim yaklaşımı çerçevesinde çözümlenmiştir. Bu yaklaşımdan dolayı, çözümleme etkinliği boyunca anlatının yüzeysel yapısından derin yapısına doğru bir çözümleme yöntemi belirlenmiştir.Bu çalışma beş ana bölümden oluşmaktadır:İlk bölümde, bu araştırmanın temelini oluşturan göstergebilimsel eleştiri teorisine ilişkin genel bir tartışma başlatılmıştır. Tartışma boyunca, anlamlı bütünün oluşmasını sağlayan gösterge, gösteren, gösterilen ve anlamlandırma gibi temel kavramlara ve anlamlama sürecine değinilmiştir. Daha sonra da çalışmanın dayandırıldığı temeller ve çalışmaya yön veren ana ve alt araştırma soruları tanımlanmıştır.İkinci bölümde, modern göstergebilim çalışmalarına yön vermiş önemli kişilere ve görüşlerine yer verilmiştir. Sonra, bu kişilerin ve göstergeler üzerine yaptıkları çalışmaların genel göstergebilim çalışmalarına nasıl bir katkı sağladığı irdelenmiştir. Son olarak da, çağdaş göstergebilimcilerin çalışmalarına ve bu çalışmaların, disiplinlerarası bir çalışma alanı olarak ortaya çıkan yazınsal göstergebilime nasıl katkı sağladığı tartışılmıştır.Üçüncü bölümde, disiplinlerarası çalışmalara öncülük eden yazınsal göstergebilimin tarihsel gelişimi, ilgi alanı ve sınırları ortaya konmuştur. Alana katkı sağlayan göstergebilimciler ve çalışmaları incelenmiştir. Daha sonra da, bu çalışmayla yakın ilişkisinden dolayı Greimas'ın göstergebilimsel yaklaşımı ve metin çözümle araçları üzerinde durulmuştur.Dördüncü bölümde, metnin yapısını oluşturan farklı türdeki anlam katmanlarına, bu anlam katmanlarına nüfuz edebilmek için göstergebilimsel inceleme seviyelerine, alan içi temel kavramlar dizinine, çözümleme araçları ve tekniklerine yer verilmiştir. Sonra, çözümleme sürecine geçmeden önce, yazınsal göstergebilim kuramı çerçevesinde bu çalışmanın kuramsal boyutu ve çözümlemeye yön verecek olan yöntem detaylandırılmıştır. Göstergebilimsel okuma edimi boyunca, Orwell'ın anlatısındaki anlam evreninin oluşmasına katkıda bulunan yüzeysel ve derin anlam katmanları ve bu katmanların oluşturucu ögeleri ortaya çıkarılmıştır.Beşinci ve son bölüm de ise, bir önceki bölümde gerçekleştirilen çözümleme sürecinde elde edilen bulgular araştırmanın temel ve alt soruları çerçevesinde tartışılmış ve yorumlanmıştır. Araştırma konusunun, daha sonraki araştırmacılara ışık tutması açısından araştırma boyunca karşılaşılan zorluklar, edinilen tecrübeler aktarılmış ve konu ile ilgili önerilerde bulunulmuştur. Semiotics is a critical approach to analyze and interpret the facts and incidents related to societies and their cultures. Therefore, it is possible to define it as an art of signification of signs produced by people. Semiotic theory enables to analyze both linguistic and non-linguistic signs including implicit and abstract concepts within a system. The system represents a specific semantic universe which is created thanks to the articulation of those concepts and signs with each other.In a semiotic sense, semiotics is the system which has the characteristics of being an umbrella term divided into many sub-divisions. Whether scientific or non-scientific, each of these divisions stands for different branches. One of those branches is the literature of which semantic universe is created by the intimate interaction of signs with each other. It is the literary language, far from conventional language, that makes the texts precious and complicated. The value and complexity of the work of art stem from the linguistic revolution of its author who generates the text mysteriously. As a result of the usage of implicit signs and symbols, the text turns into a enigmatical meaningful whole which needs to be discovered.It is the work of semioticians to unfold that arcane semantic universe, which is full of complex and implicit signs, systematically. Semioticians are the experts who can always ascribe a meaning to the goings-on around them with their metalinguistic ability. They are the sign hunters who can investigate the meaning formation process of all kinds of texts to reveal all the implicit and invisible facts to make the work of art understandable.The research object of this study is George Orwell's Nineteen Eighty-Four narrative which is presented with a sophisticated structural organization from the deep to the surface meaning layers. What makes the text worthwhile is, in fact, the world of imagination of Orwell and the mastery of him in selection and combination of signs. Literary semiotics criticism and its analysis procedure are mainly considered through the analysis as the focal point of this study is related to language and literature. Thus, the study has been conducted with an interdisciplinary perspective based on language, literature and semiotic fields. In this respect, the structural organization of the semantic universe of Orwell's narrative has been analyzed within the scope of Greimas's semiotic analysis trajectory. Through the analysis, a systematic procedure from the surface to the deep structures has been strictly followed.Accordingly, this study consists of five main parts:In the first part, a general discussion related to the semiotic criticism theory that established the base of the study was initiated. Through the discussion, the significant elements that contributed to the formation of sings as a meaningful whole were addressed within the scope of the terms sign, signifier, signified, and signification. Then the background and purpose of the study with the main and sub-research questions were explained.In the second part, the premises of general semiotics with leading figures and the contributions of their studies to the contemporary semiotics were discussed. Later, the relationship of the studies of these figures with the literary semiotics was handled.In the third part, the historical development of the literary semiotics theory as a transdisciplinary approach, and critical semioticians and their studies were considered. Especially, Greimas's semiotic approach and his analysis instruments were dwelled on.In the fourth part, different meaning layers of the text, the levels of a systematic semiotic analysis, basic concepts, instruments, and techniques were presented in detail. The theoretical frame of the study and the procedure were elaborated regarding the literary semiotics theory. Throughout the analysis, each of the semantic structure of Orwell's Nineteen Eighty-Four narrative with the formative elements of these structures was tried to unfold to be able to reach the semantic organization of the text in both surface and deep structures.In the fifth part, obtained findings during the analysis process in the previous part were interpreted within the framework of the stated research questions earlier. Finally, the study was completed with important suggestions for the subsequent researchers. 326

Bakgrund: Bipolär sjukdom är en kronisk sjukdom som medför lidande för individen. Sjukdomen kännetecknas av återkommande maniska och depressiva perioder. Den påverkar individens livsvärld och hens upplevelse av sin hälsa. Sjuksköterskan har en betydande roll i att stödja dessa patienter. Syfte: Syftet är att beskriva patienters upplevelser av att leva med bipolär sjukdom. Metod: En kvalitativ metod användes och baserades på sex självbiografier som analyserades med innebördsanalys. Resultat: I resultatet framkom fem teman. Dessa är: upplevelsen av att leva i becksvart mörker och det klaraste ljus, att uppleva skam, upplevelsen av att förlora kontrollen över sitt liv, att uppleva rädsla samt betydelsen av trygghet och stöd för att minska ensamheten. Diskussion: Personer med bipolär sjukdom upplever både hälsa och ohälsa beroende på vart i sjukdomen de befinner sig. Familjen och samhället har en inverkan på hur individen upplever sin tillvaro. Med stöd från en sjuksköterska kan personerna delvis kontrollera sin sjukdom. Deras verklighet förändras ständigt och stöd från sjuksköterskan är betydelsefullt. Konklusion: Personer med bipolär sjukdom upplever starka känslor som påverkar deras liv. För att personerna ska känna sig sedda och bekräftade måste sjuksköterskan visa öppenhet inför individens unika livsvärld. Background: Bipolar disorder is a chronic disease that entails suffering for the individual. The disease characterized by recurrent manic and depressive episodes. It affects the individual's lifeworld and his or her's health experience. The nurse has a significant role to support these patients. Aim: The aim is to describe patients' experiences of living with bipolar disorder. Method: A qualitative method was used and was based on six autobiographies analyzed with meaning analysis. Results: The results showed five themes. These are: the experience of living in the pitch-black darkness and the clearest light, the experience of shame, the experience of losing control of their life, the experience of fear and the sense of safty and support to reduce loneliness. Discussion: People with bipolar disorder experience both health and illness, depending on their current state of disease. The family and society have an impact on how the individual experience their existence. With support from a nurse the person can achieve control of the disease. Their reality is constantly changing and support from a nurse is important. Conclusion: People with bipolar disorder experience strong emotions that affect their lives. For people to feel seen and recognized the nurse must show candidness to the individual's unique lifeworld.

Bahçe ve unsurları klasik Türk şiirinin başlangıcından itibaren en çok kullanılan dış dünya unsurlarıdır. Bugüne kadar bahçe ve unsurlarıyla ilgili olarak birçok çalışma yapılmış olup bu çalışmalar genelde makale düzeyinde kalmıştır. Hâlbuki klasik Türk şiirini etkileyen en önemli dış dünya faktörü olan bahçe ve unsurları, makalelerle hatta birkaç eserle anlatılamayacak kadar kapsamlıdır. Makalelerde ve bazı eserlerde bahçe ve unsurlarından biri ya da bir türü ele alınmıştır. Bahçe ve unsurlarından herhangi biriyle ilgili yazılan bir eser diğerlerine dair yeterli ve gerekli bilgiyi vermez. Bundan dolayı tezde bahçe ve unsurları bir bütün olarak ele alınmış, bahçe ve unsurlarının diğer kelimelerle olan anlam ilişkileri irdelenmiştir.Bahçe ve unsurlarıyla ilgili yapılan çalışmalarda genelde bahçe unsurlarının yan başlık olarak kullanıldığı gözlenmiştir. Tezimizde bunun tersi yönünde bir yol izlenmiştir. İncelenen divanlardan seçilen nazım birimlerinde, bahçe unsurlarıyla anlam ilişkisi içerisinde olan kelimeler yan başlık olarak kullanılmıştır. Bu yan başlıklar altında, seçilen beyitlere yer verilmiş ve tahlil yöntemi kullanılarak anlam ilişkisinin açıklanması yoluna gidilmiştir.Tezimiz beş bölümden oluşmaktadır. Bölüm başlıkları sırasıyla divanı incelenen şairler, din, evren, insan ve insani hâller ile sosyal hayat şeklinde sıralanmaktadır.Tezde konuyla ilgili olarak farklı sonuçlara ulaşılması dikkat çekicidir. Bahçe unsurlarından birçoğunun birden fazla yan başlıkla anlam ilişkisi içerisinde olması; birden fazla yan başlığın bir bahçe unsuruyla anlam ilişkisi içerisinde olduğunun görülmesi; bahçe unsurlarının sevgili ve âşığın dışındaki durumlar için de kullanılması; yüzyıllara, coğrafi şartlara, sosyal ve siyasi duruma, şairin eğitimine, mizacına, hayatına ve dinî anlayışına göre bahçe ve unsurlarının kullanımın değişiklik arz etmesi ve bazı şairlerin daha önce hiç kullanılmayan bazı anlam ilişkilerine yer vermeleri dikkati çeken hususlardan bazılarıdır. The gardenand its elements are the most used external World elements since the begining of classical Turkish poetry. Until today, many studies have been done about the garden and its elements, which are the most important external world factors affecting the classical Turkish poetry, are so comprehensive that they can not be explained by the facts or even by a few. In the articles and in some works one or a kind of garden and its elements are taken up. A work written about any of the garden and its elements doesn't give sufficient and necesarry information about the others. Therefore, the garden and its elements are considered garden and its elements with other words are examined.In the studies related to the garden and its elements, it is observed that the garden elements are generally used as side heading. In our thesis a way has been followed in the opposite direction of this. In the verses selected from the divans being examined the words in semantic relationship with the garden elements were used as side title. Under these side titles, selected couplets were included and the semantic relationship was explained using the method of analysis. The thesis consists of five parts. These titles are listed as poets whose divan was examined, religion, universe, human and humanistic behaviours and social life respectively.Different results have been reached in the thesis. It has been seen that many of the garden elements are in semantic relation with more than one side title. It has also been observed that more than one side title is in a semantic relationship with a garden element. Garden elements are also used for situations outside of dear ond lover's. The use of gardens and elements has changed according to centuries, geographical conditions, social and political situation, poet education, humor, life and religious understanding. It has been observed that some poets have included some semantic associations that have never been used before. 520

Tâhâ sûresini meânî ilmi açısından inceleyen bu çalışma giriş, üç bölüm ve sonuçtan oluşmaktadır. Giriş bölümünde çalışmanın önemi, amacı, kaynakları, Tâhâ sûresi ve meânî ilminin genel çerçevesi hakkında bilgiler verilmiştir.İlk bölümde haber ve cümle hakkında bilgiler verildikten sonra sûrede mevcut olan haberi cümleler, bu cümlelerin gayeleri, inşâ ve bununla bağlantılı olarak emir, nehiy, istifhâm, nida ve bunların sûredeki gayeleri açıklanmıştır.İkinci bölümde sûredeki müsnedün ileyh ve müsnedin durumları ile filin müteallakları ve sözün zâhirî duruma uygun gelmemesi konuları ele alınmış, son bölümde ise sûredeki kasr, fasıl, vasıl, îcâz ve itnâb üslupları incelenmiştir. This study which analyzes the sura of Tâhâ in respect of meânî science consists of introduction, three chapters and result. Within the introduction part information has been given about the importance, purpose and resources of the study and about the general framework of sura of Tâhâ and meânî science.In the first chapter, after giving general information about haber and sentence; existing haberi sentences in the sura, purposes of these sentences, inşâ and in relation with this; order, prohibition, question, vocative and their purposes within the sura have been explained. In the second chapter states of musnedun ileyh and musned within the sura, mutellaks of the verb and subjects where the word doesn't show compliance with the ostensible situation were evaluated. In the last chapter styles of kasr, fasıl, vasıl, îcâz and itnâb have been analyzed. 94

The research I present within this thesis is a meaning analysis of contemporary shamanism for practitioners in the north of Norway and Sweden. I have used ethnographic research methods of observation, participation, conversations, interviews, context research and analysis of written texts. My aim has been to research the meaning of the sacred in the lives of contemporary shamanic practitioners, by using a theoretical framework from psychology of religion made by Paloutzian (2005). By using this frame I have focused on practitioners understanding of spiritual beliefs and ultimate concerns. As to view how these come forth in expressions of self-definition, values, goals, purposes and attitudes. My conclusions have been that contemporary shamanism is viewed as a spiritual understanding of the world that is expressing itself differently within cultural practices and geographical spaces. It is a worldview that is connecting people through shared beliefs and understandings. These understandings create strong values on how we should act with eachother, nature and our own self, as we are viewed as belonging to each other in a spiritual perspective. These values come in conflict with social and political structures built on other values and attitudes. Practitioners speak of a call for change in structures, the need of understanding our history and our belonging with eachother and nature for our own wellbeing and our world to survive. As some engage in social activism and other social engagements, others view their goal as to”walk in beauty”(Gaup 2007).

This paper is concerned with the contrastive relationship between English and Serbian in terms of adjectival compounds. The empirical part of the research has been done on the sample of over 1500 examples of compound lexical items on adjectival sentence positions, selected from a corpus of around one million words sourcing from various works of written language. A number of corresponding units from both languages has been determined on the basis of translation equivalence, followed by an analysis of their meaning analysis. The results have established ten potential kinds of relations between the original compounds in English and the equivalent/correspondent form in Serbian when there is a difference in meaning, with interpretations of the linguistic and extralinguistic reasons that condition the change. The majority of around 65% equivalents/correspondents in the target language are concurrent with the semantic content of the lexeme in the source language.

Bilişsel dilbilim alanında sözlü mizah üzerine yapılan çalışmaların, bilişsel süreçleri açıklamada önemli katkıları olmuştur. Anlamsal şemalar aracılığı ile mizahı açıklamaya çalışan dilbilimsel yaklaşımlar (Attardo, 1997, 2001; Attardo ve Raskin, 1991; Coulson, 2001; Raskin, 1985) bu alana yeni bir bakış açısı sunmuştur. Fıkralar anlam bulanıklığı içerdikleri için bu bilişsel süreçleri açıklamada önemli rol oynarlar. Bu çalışmanın amacı fıkraların anlamsal işlemlenmesi sırasında kullanılan bilişsel süreçleri ortaya çıkarmaktır.Çalışma için iki deney yapılmıştır. İlk deneyde kullanılan yöntem göz izleme aracıyla sözcük düzeyinde anlam bulanıklığı içeren kısa fıkraların iki farklı grup tarafından nasıl işlemlendiğini araştırmaktadır. Deneyden önce bir gruba (n=18) kısa fıkra okuyacakları söylenerek yönlendirme yapılmış, ikinci gruba (n=18) okuyacakları parçalarla ilgili bilgi verilmemiştir. Okuyacağı parça konusunda beklentileri şekillenen deneklerin okuyacağı tümcelerin içeriği hakkında herhangi bir bilgisi olmayan deneklerden farkı incelenmiş, fıkralarda anlam canlanmasının ne derece stratejik ya da otomatik kontrole bağlı olduğu geri dönüş sayısına ve fıkra anlamı taşıyan sözcüklerdeki toplam odaklanma süresine bakılarak karşılaştırılmıştır. Ardından, toplanan veriler yüzde ve istatistiksel analizler yoluyla değerlendirilmiştir.İkinci deneyde ise fıkra işlemlenmesinin geliştirilmiş dilbilimsel şema kuramlarına (Raskin, 1985; Attardo ve Raskin, 1991; Attardo, 1997; 2001) uygunluğu ölçülmüştür. Bu deneyde de, deneklere kısa fıkralar ve bu fıkraların gülmece içermeyen türleri okutulmuş (küçükken bana yaramaz diyorlardı artık büyüdüm ve yarabiliyorum / küçükken bana yarama diyorlardı artık büyüdüm ve uslandım) bu iki tümce arasındaki fark aynı şekilde geri dönüş sayısı ve toplam odaklanma süreleri açısından incelenmiştir.İlk deneyin sonucunda, fıkralarda anlam canlanmasında otomatik kontrolün önemli olduğu bulgulanmıştır. Fıkra okuyacakları söylenmeyen deneklerde tümce içinde daha az geri dönüş ve anlam bulanıklığı olan sözcüklerde daha az odaklanma süresi gözlemlenmiştir. İkinci deney sonucunda ise kısa fıkra okuyan denekler, bu fıkraların gülmece içermeyen türlerine kıyasla odaklanma süresi ve geri dönüş sayısı bakımından daha fazla zaman harcamışlardır ve bu sonuç dilbilimsel mizah kuramları (Raskin, 1985; Attardo ve Raskin, 1991; Attardo, 1997; 2001; Coulson, 2001) ile örtüşmektedir. Studies on verbal humor in cognitive linguistics have contributed a lot to understanding the cognitive processes. Linguistic approaches (Attardo, 1997, 2001; Attardo and Raskin, 1991; Coulson, 2001; Raskin, 1985) which aimed to explain humor with the help of semantic scripts (a.k.a. frames) have given new insights to the field. Since jokes are the texts that contain ambiguity, they have important roles in accounting for these cognitive processes. The aim of this study, thus, is to explore these processes and analyze meaning activation during the comprehension of a joke.Two experiments were carried out in order to see on ? line processing of the jokes. In the first experiment, the study examined the eye movements of two groups of participants while they processed one ? liner jokes. Before the experiment, participants in one group (n = 18) were manipulated by explaining that they were going to read one ? liner jokes whereas the participants in the other group were told nothing about the content of the paragraphs. The differences between the participants in the first group, which were pre ? conditioned to read a joke, and the participants in the second group, which had no idea about what to read, were compared via the number of regressions and total fixation duration on the joke meaning carrying word (punchline) of the sentence in order to see whether joke meaning activation is subject to strategic or automatic control. Later, the collected data were analyzed by means of percentage and statistical analysis.In the second experiment, the study tested the script theories of humor developed by Raskin (1985), Attardo and Raskin (1991) and Attardo (1997, 2001). This time, participants? eye movements were monitored in order to find whether there were differences between the processing of one liners and their non ? joke counterparts (küçükken bana yaramaz diyorlardı artık büyüdüm ve yarabiliyorum vs. küçükken bana yaramaz diyorlardı artık büyüdüm ve uslandım). Similarly, total fixation durations on joke meaning carrying words and the number of regressions upon encountering the joke meaning were measured and the differences between one ? liners and their non ? joke counterparts were measured.In the first experiment, the study found out that meaning activation in jokes is subject to automatic control. Participants who did not know that they were going to read jokes made fewer regressions and shorter fixations on joke meaning words. In the second experiment, participants needed more time ? longer fixation duration and more regressions - to process the one ? liners than their non ? joke counterparts suggesting that participants exerted more cognitive resources on script ? switch trigger (the word carrying joke meaning). This result has been found consistent with the script/frame theories (Raskin, 1985; Attardo and Raskin, 1991; Attardo, 1997; 2001; Coulson, 2001). 128

Bu çalışma, İstanbul'daki Taksim Cumhuriyet Meydanı'nın (TCM) bugünkü kullanıcılarının sosyo?ekonomik konumlarını, meydanı kullanım biçimlerini ve bu yerin meydan niteliğiyle ilgili değerlendirmelerini incelemesinin yanı sıra, temelde buraya ne anlam yükledikleri sorusunu sormaktadır. Genelde kamusal alanlar özelde ise meydanlarla ilgili birçok çalışma olmasına karşın bu sosyolojik çalışmayı diğerlerinden ayırt eden nitelik meydanın kullanıcılarının bakış açısına sahip olmasıdır. Çalışma kullanıcı algısına odaklandığı için de yöntem olarak derinlemesine görüşme (yirmi bir kullanıcı) ve saha anketi (yetmiş birkullanıcı) uygulanmıştır. Ek olarak, meydanın fiziksel düzenlemesine etkisi olan meslek odası, belediye, dernek gibi kurumlardan beş uzmanın görüşlerine yer verilmiştir. TCM'nin sosyo?ekonomik, biçim, kullanım ve anlam boyutları arasında olduğu varsayılan ilişkilerin detaylı bir incelemesinden elde edilen bulgulardan yola çıkarak sonuç bölümünde bu boyutları kapsayan kimi önermeler geliştirilmiştir. Çalışmanın genel bir çıkarımı olarak ise; TCM'yi kullanan insanlar bu kentsel yerin simgesel anlamı üzerinde gündelik yaşamlarında çok az düşünmektedirler ve meydanın anlamı buradaki çeşitli zaman ve uzam katmanlarına bağlı olarak çeşitlenmiş ve hatta birçok gündelik kullanıcı için belirsizleşmiştir. Bu çeşitlilik ve belirsizlikte, insanların burada süregiden siyasi?ideolojik çatışmaların farkındalığının da etkisivardır. Simgesel bir kent meydanının anlamına kent sosyolojisi merceğinden yaklaşan bu çalışmanın benzer konularda ileride yapılacak araştırmalara bu yönde bir katkı sağlaması amaçlanmıştır. This study aims to ask what meaning the current users of Taksim Republican Square (TRS) in Istanbul attach to it, besides an understanding of the socio?economic profile of its current users and their forms of usage as well as evaluations of its public square quality. Despite the many research on the public spaces and public squares in particular, what separates this sociological one is its viewpoint of the user. Because of the emphasis on the user?s perception of TRS, twenty one in?depth interviews and seventy one field surveys with the place users were applied as the method of analysis in addition to the five expert interviews to also include the opinions of the institutions with an influence on the physical arrangement of the square. Following a detailed analysis of the possible relationships among these socio?economic, form, usage, and meaning dimensions of TRS, some propositions are made with respect to these variables based on the findings from the field.The larger implication of the findings is that people hardly think of TRS in symbolic terms in daily life and the meaning of TRS today is multiplied and blurred for them due to the multiple temporal and spatial layers. In this multiplicity and ambiguity of meaning, people?s awareness of the continuing political and ideological struggles over the place also has an influence. In approaching to the question of the meaning of a highly symbolic public square from an urban sociology perspective; this project will contribute to future research on similar topics. 194

ÖZET ADA'95 İÇİN GENİŞLETİLMİŞ ANLAM ANALİZÖRÜ Genişletilmiş anlam kuralı, bir yazılım dilindeki standart anlam kurallarından farklı olarak, uygulandığı yazılımın kalitesini arttırmak için tasarlanmış bir anlam kuralıdır. Bu tezde Ada yazılım dili için bir anlam kuralları kümesi tasarlanmış ve bu kuralların yazılım kalitesi üzerindeki etkinliği tartışılmıştır. Tezde ayrıca, Ada yazılım kodlarının bu anlam kurallarına uygunluğunu tesbit edebilen bir yazılım aracının geliştirilmesi anlatılmıştır. Bu yazılım aracının etkinliği bir örnek üzerinde tartışılmış, ayrıca geniş bir Ada yazılımı kodu üzerinde denenmiştir. IV ABSTRACT AN EXTENDED SEMANTIC ANALYZER FOR ADA'95 An extended semantic rule is a rule which we expect a program in a particular language to obey in addition to the standard semantic rules enforced by the compiler for the language. Such extended semantic rules may be necessary to ensure that software has certain software quality attributes. In this work, an Extended Semantic Rule Set (ESRS) that contains certain semantic restrictions for Ada' 95 programs is defined and the effectiveness of that rule set to increase software quality attributes of Ada codes is examined. The work done in this thesis also describes the design and implementation of a software tool, a Semantic Analyzer (SCA) that checks the compliance of a given Ada code to the Semantic Rule Set. The effectiveness of the Semantic Analyzer is discussed on sample input and its output is analyzed for a large set of previously compiled Ada code. 67

ÖZET Bu çalışmanın amacı hergün birlikte yaşadığımız mimari mekanlara ilişkin bir anlam analizi altarnatifî sunmaktadır. Bu amaçla birinci bölümde Anlama ilişkin genel bir yaklaşım sunulmuş ve göstergebilime değinilmiştir. Böylece tezin teorik altyapısı oluşturulmuştur. Bu bağlamda insan-bina arasında görsel bir üetişimin söz konusu olduğu ve üetişimin görsel öğelerin biçimsel ve simgesel değerleri ile kurulduğu, mimari mesajların düzanlamsal (denotative) ve yananlamsal (connotative) anlamlar taşıdığı birinci bölümün giriş konusu olarak ele alınmıştır. İkinci bölümde dil ve mimarlık ilişkisi üzerinde durulmuştur. Bu bölümde geçen ilk iletişim yaklaşımı mimarlık için dilin, spontane ve doğal olma özelliğini ele alan yaHaşımdır. Bir başka yaklaşım dilin edebi amaçlarla kullanış biçimim model alarak üslup kavramım belirler. Üçüncü bir kümede dilin iç yapısıyla ilgili Özelliklerden mimari analizlerinde yararlanmak isteyen görüşler toplanabilir. Bir diğer yaklaşım Heidegger'in düi varoluşsal olarak açıkladığı yaklaşımdır. Yine bu bölümde Aristoteles'in `doğanın varmak istediği en son erek, insana hizmet etmektir` formülünden yola çıkarak insan-bia ilişkisi irdelenmiştir. İnsan; mekanik kavramlarla açıklanabilen maddesi (beden), bu açıklamanın dışında kalan düşünen yam (ruh) olmak üzere iki alt kümede ele alınmıştır, özetle insanın mekanizmasına cevap veren binanın fonksiyonları, ruhuna cevap veren ise sembolik değerler olmaktadır. Üçüncü ve son bölümün konusu ise Tezde önerilen Mimarlıkta Anlam Analizinin kuramı ve analize ilişkin örneklerden oluşmaktadır. vı SUMMARY A STUDY FOR MEANING ANALYSIS IN ARCHITECTURE Principal aim of study is to propose an alternative for analysis of meaning regarding architectural space. For the same purpose, in the first chapter generic issues were scrutinizedas an approach to desingnate meaning and semiology was frequently referred to. The underlying cause to take such a course of study may briefly be explained as follows: The structural forms, in lieu of nurturing similarities of material substance-genetic diminutio-by only referring to them or creating association of ideas would properly present us the human beings a substantial base for our existence by way of setting forth primal samples, codes, symbols and signs. For, according to C.N. SHULTZ, architecture is a means of enterpretation to present individual the sense of proper existence. By such interpretation, the adjacent houses hugging each other under the divine vault of heavens bear evidence to animate being of human on this planet of vastness. Environmental aesthetic represents itself as a discipline delving deep into studying the stimulating effect of nature or the environment onto the mortals and visual impression of such effect onto affective domains and which transform itself to cognitive reaction. By the same token, the objective datum incepting from object (the environment) or the subjective values originated from (i.e. the observer) show their effect. Nevertheless, this assertation mainly focused on assessing tangible information that is emanating from object (environment) and leaves subjective values such as cognitive charts, image, perception, and period of socialization, for a further study to be conducted at a superior level of conteplation. The first Chapter creating grounds to this thesis voiced ideas as to indeed, a material visual relationship was in existence between the person and building form, and elements of such mutual intercourse were formed by formative and symbolic values. Semiology is a discipline attempting to study formation of signs and effects of the same over social behavior. vuC.H. MORRIS progressively argued that three varying forms of approach were in case for the concerns of signs, which are respectively syntactic, semantic and pragmatic. Syntactical (speculative) meaning meaning from disposition of a building form within its environment. Meaning of signs allude to manner and attitude, idea, and norms which are presented or suggested by an element. Meaning of signs allude to manner and attitude, idea, and norms which are presented or suggested by an element. Pragmatic approach is related to symbols which substantially reflecting information about utilization of object. Sign, on the other hand, is each and every means procuring communication by suggesting a thing which it is not it. Signs are, According to description of K. BUHLER, for the conveyor a symptom of cognitive concept (what's going on in the mind) and a symbol of the message intended to be communicated. For the receiver, it is a signal of manifestation. Charles Sanders PIERCE's metaphysical theory with three elements considers sign as an element of relationship dividing such relationship into three sub-sections: 1. The singular fact not communicating to any othar facts, 2. The fact communicating to other facte, 3. The fact communicating to second and third facts. Charles MORRIS applied this model to concept of signs, defining the three phases of communication by signs. 1. Communication by signs with a single element: Communication between its own substance and the environment created withing itself. Formative plane or formative dimension. 2. Communication by signs with its dual element - Communication established between itself and the substance it represented or replaced; cognitive plane or cognitive dimension. 3. Three-elements communication by signs: Communication established between itself, the substance it represented or replaced and the user/interpreter: favorable plane or favorable dimension. In regards of communication, the architect aims at conveying information to urban spectator is a desinned or applied architectural scope. The information which is transformed into figures by assistance of codes is canalized into to the receiving audience. vuiThe receiver, by reversing the same procedure, decodes the information which reached to itself in a form of figures and translates it into linguistic symbols. Thus, `physical symbol` is translated into `semantic information`. Indeed, each and every sign refers to a content via a form (an explanatory/audible image). On grounds that either the conveyor or the receiver being knowledgeable of the code and using the same linguistic system (arrangement), the receiver decodes the audible image consist of sounds, reaching to itself. On the same second as the heap of sounds reached to our brain, it is no longer a mere sound but an audible symbol. (Audible sound is not a simple sound having material qualities), on the contrary, it is intellectual trace of sound, which at a visual plane will be transformed into a visual image. Sign as a means of signification Sign : The matter, trace, symbol at which signification is attributed to. The architectural signs are tangible notions utilized to illustrate references made by the architect to past, experience, culture and technology, etc. Or in case the time is considered as evolutionary, they progressively become traces of architectural norms and rules. These are connotative signs. The denotative signs on the other hand, are indicators of function. When a sign is conveyed to us or when using it we expect to obtain obvious results, i.e., we reach to system of expectations. For this very reason, the fondation of communication would represent itself as common forms of behavior or the systems of general symbols connected to `life styles`. Charles Sanders PIERCE describes the signs as symbols which invites attention of person to an object by blindly forcing it. For instance, if I am required to pss over a stair step, I must advance by stepping my feet one by one, and even though I choose to proceed over an even level ground I still have to raise my feet in turns.. Object of utility : denote a function. `Objects shown` (their content) constitute function of utilization.. Signification : In a sign, formation of a relation between which being shown and what shows it, is called signification. The common dictionary meaning of word or sign is denotation, but when they are pertinent to implication group then they signify connotation. IXThe Second Chapter involves the relationship between language and architecture. The initial communicative approach scrutinized in this Chapter takes as a a quihkebbehce kpe aqqnoacp which uses as a model the characteristic of spontaneous and natural application of language. An other approach delineates utilization of syntax, the language model designed literary aims by using concept of style. A third group may amass ideas regarding exploitation of architectural analyses to interpret the inner formation of language. (Architectural Syntax, dictionary of Architecture, grammatical concepts of design). Still a further philosophical approach mentions Heidegger's existentialist approach to language. (Heidegger expatiates language as divine inspiration (disclosure) which serving the means of commonucation). The language is house of being. Talking is a form of existing which discloses the hidden metaphor within the language. According to Umberto ECO, architecture is a process, a means of mass communication. Sign of architecture, on the other hand is comprised of a connotative plane as well as plane of content (composition). As the style communicates the function it is firmly established onto a code, i.e. a system of expectations and customs. Nevertheless, plane of composition is comprised of initial and secondary functions. The initial functions contain material activities having the same meaning that is use by tradition of functionalism. the secondary functions, in their turn hold dear meaning what is called the `symbolic values` by the art historians. The initial functions are communicated by a denotative and the secondary functions by a connotative process. As it is seen, struggle for grasping the meaning of architectural style in general applies to mechanisms of an inner determination (describing a function) or referral to an external reality (implication of a meaning). This Chapter also scrutinizes the relationship öf man and building by taking Aristotle's formula of `the ultimate goal of the nature is to serve the man` as a starting point Human being was referred to under two sub-groups which consist of material being (the physical body) which could be explained by using mechanical concepts and the thinking being (soul) which is left out the initial reference made. Briefly, the functions of a building communicates to mortal mechanism of man and the symbolic values communicate to its soul. According to G.N. SCHULTZ, `Architecture is the proper basis giving the sense of being to man`. The symbols, however, are products illustrating and explaining conditions of life. Different living conditons are demonstrated by varying symbols. The symbols (works of art) are means of actualization life. Therefore, withoutsymbols human being is stripped off its foundation of being within its environment In short, if the human being is able to find the symbols constituting grounds for its existence, it would capture the signification being communicated to by its psychological needs personality and orientation, therefore, would dwell in that specific environment and perceive the geniusloci. Consequently, the dwelling area would not be the space (a mere concept of abstraction), but the place (specific environment), thus, architecture would create geniusloci. Architectural codes as a means o signification The code: a system of symbols referring a fact; a codex. According to JACKSON, the code being an element of communication is an equivalent of system or organization which relates to the elements or accumulation of a declaration form to each other by means of doing so procures comprehension of the same. The code, is comprised of architectonics, i.e., group of organized architectural ideas and the rules organizing such architectural ideas. For a long time, it was thought that the representative arts could be diminished to concepts of basic elemental geometrical forms. If such is the case, what we have here would be a sample of codes to which we could attain by attempting to analyze the elements with which a language my be interpreted. A code which may serve as a metalanguage or more synthetic codes are obtained. This sort of analytic possibilities ought to be thoroughly examined if we decide to compare an architectural phenomenon with a linguistic phenomeonon, whereas, we may produce a metalanguage which can sufficiently identify the same with the same terms. For instance, we may desire to code a particular view by designing the same with suggested architectural solution and attach various architectural formations to such view and its vicinity. If we apply here substantial geometrical code elements such as pyramids, corneal shapes, etc., then, it would be significant to describe architecture via particular geometrical codes. The interest of the last and final Chapter contains samples relating to Theory of Analysis of Architectural Sense and the mode of analysis. The designations contained in the theory are as follows: XIDenotative Signs; these are symbols evolving from function of the product, such as cave, protection, safety, glass, collection of water, stairs, climbing, etc.. Connotative Codes are on nthe other hand, would be codes relating to function (plan, cross-section, etc.). The common denominator of connotative signs and codes is function. Connotative Signs: are symbolic signs borne by the product. By using these signs we may be able to create meaning by making references to architectural past, experience, culture and technology or to various architectural rules. Connotative codes; are keys referring to symbolic values. Within the architectural space one may create codes by using code elements such as vacancy or occupancy, topographical relations, rhythm, repetition, poise and balance, symmetry- asymmetry, dominance of focusing point, etc... The common denominator of connotative signs or codes their both having symbolic values. Xll 49

Starting with a brief overview of current usages (Sect. 2), this paper offers some constituents of a use-based analysis of ‘fallacy’, listing 16 conditions that have, for the most part implicitly, been discussed in the literature (Sect. 3). Our thesis is that at least three related conceptions of ‘fallacy’ can be identified. The 16 conditions thus serve to “carve out” a semantic core and to distinguish three core-specifications. As our discussion suggests, these specifications can be related to three normative positions in the philosophy of human reasoning: the meliorist, the apologist, and the panglossian (Sect. 4). Seeking to make these conditions available for scholarly discussion, this analysis-sketch should not be viewed as final or exhaustive.