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Gülten Dayıoğlu is one of our authors, who has contributed many works to our literature. Gülten Dayıoğlu's science fiction works have become widely read in children's and young adult literature, undergoing multiple printings. One of these works is Işın Çağı Çocukları. One of the most important characteristics of works in the science fiction genre is their ability to derive their narrative from science. In these works, it is essential to carefully examine and use concepts in a way that does not lead to misconceptions in the readers' minds. Conceptual misconceptions can make subsequent learning more difficult or even hinder the learning process. In children's literature, it is considered necessary to identify any conceptual misconceptions and, if present, explain them to the child readers to correct these misconceptions. In this work, analysis of Gülten Dayıoğlu's novel Işın Çağı Çocukları is made in the context of conceptual misconcepiton on scientific concept. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Design Architecture & Engineering (FBU-DAE) / Tasarım, Mimarlık ve Mühendislik Dergisi is the property of Journal of Design Architecture & Engineering and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bu çalışmada James Cameron’un Avatar: Suyun Yolu (2022) filmi ekolojizm ideolojisinin temel kavramları ve unsurları açısından nitel betimsel içerik analiziyle, filmde yer bulan yeni tematik yönelimler ve motifler çerçevesinde incelenmiştir. Ekolojizm çok farklı ekollere bölünse de bu mikro ideolojiye yön veren çekirdek fikirleri ve anahtar kavramları ekoloji, bütüncülük, sürdürülebilirlik, çevre ahlakı, kendini gerçekleştirme, insan ve doğa arasındaki ilişkiyi yeniden tanımlama ve tasarlama, doğanın ve yaşam biçimlerinin bütünlüğünün korunması, bütünlüğe dair çeşitlemelerin teşvik edilmesi ve kalitatif yaşam biçimlerinin somut ve derhâl uygulanması olarak tanımlanmaktadır. 2000 sonrası Amerikan bilimkurgu sinemasında çekilen gişe rekoru kıran filmlerde güçlü bir ekolojist vurguyla dikkat çeken Avatar serisinin ikinci filmi Avatar: Suyun Yolu filmi inceleme için amaçlı örneklem olarak seçilmiştir. Sonuç olarak, Suyun Yolu’nda ekolojizme yön veren fikirlerin işlendiği, “sığ ekolojizm” olarak ifade edilen ekolojist perspektifin daha güçlü bir şekilde yer bulduğu, doğa, insan ve türler arasındaki ilişkinin yeniden, görece insanın hiyerarşik yerini sorgulayan, dengeli bir perspektifle yorumlandığı görülmüştür. Topluluktan dışlanmışların durumu, kültürel aktarım sürecinde yeni ve eski nesil arasındaki karşıtlık, düşmanca saldırganlık ve anlatı yapısında süreğen mücadeleye karşı tavrın ne olacağı konusunda filmdeki tematik yoğunlaşma ve motif çeşitlemeleri, klasik Hollywood ve anaakım sinemanın sınırlarını ele alma konusunda tartışma sağlamaktadır.

Technological advances, in addition to satisfying the needs of society, have also profoundly affected the world of human thought. Human interest in technology and cinema's inability to act independently of technology have revealed the science fiction genre in cinema. He was first interested in the science fiction genre in literature, and then science fiction appeared as a genre in cinema. This genre is divided into subspecies by experiencing changes over time, mainly interacting with fantasy, horror genre, and other genres. The dystopian narrative has influenced the narrative forms and processing of motion pictures with its unique style. This study, it is aimed to reveal the world of the future and the characteristics of the future person through the dystopian narrative; In this context, the movie "I am Mother" was determined as the sample of the study and was examined with the descriptive analysis method. Based on this goal, in today's day when the distinction between machine and human is becoming increasingly blurred; "What is a human being?" the answer to the question and the concept of a designed human equipped with artificial intelligence has been evaluated within the framework of a dystopian narrative. On the other hand, the motion picture analyzed in the scholarship tried to explain in detail the pessimistic results that will emerge in society on the human and artificial intelligence axis in the near future as artificial intelligence becomes stronger. In the conclusion part of the academic work, the forms of representation of dystopian narrative in cinema were evaluated based on dystopian narrative. In this context, the overlap of the representations created with the characteristics corresponding to the narrative genre of the film "I am Mother", which is an example of a narrative in the study, made the research important. [ABSTRACT FROM AUTHOR]

Science fiction themes include space travel, colonization in space, terraforming a planet where life is difficult, cosmic oceans and their mythologies, aliens, alien civilizations, alien invasion, future stories; travel to the future, travel to the past, other time streams, ukroni (a possible slice of history), immortals, end of the world, post-apocalyptic societies; robots, electronic brains and artificial intelligence; fourth dimension and others, parallel worlds, microscopic worlds; Mutants, clones, human-machine splits. This article aims to evaluate some of Nâzım Hikmet's poems in his Son Şiirleri in terms of science fiction themes. In these poems, the poet deals with the theme of traveling to the Moon, Mars and stars. It uses "passenger missiles" and "cosmos ships" in these space travels. It deals with the issue of whether there are intelligent beings other than humans in the cosmos. The poet deals with the subject of the destruction of the Earth after the disaster. Words such as "cosmos road", "missile porthole", "Moon", "Mary", "Sun" and "stars" used by the poet in his poems are related to space, the main subject of science fiction literature. The mentioned cosmonauts Yuri Alekseyevich Gagarin and German Stepanovich Titov also bring space to mind. Space studies are intense; It is natural that science fiction themes were reflected in the poems of the poet, who lived in the Soviet Union during the years when these works were broadcast on radio, newspapers and magazines. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Selcuk Communication / Selcuk Iletisim is the property of Journal of Selcuk Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study seeks an answer to the question of "What are the design potentials of dystopian architecture in the near future?" and aims to present a breakdown of the relations between the related potentials. In this context, the similarities and differences between the concepts of utopia and dystopia and the points where the concepts feed each other's definition and fields of study are examined through literature review. The prominent suggestions and emphases of the leading figures in the context of space are discussed, and implicit relationships are evaluated. The study focuses on developing an original spatial understanding of the future by tracing hope and tragedy at the spatial scale of dystopian architecture. Greene, on the semantic similarities and differences of the concepts of utopia and dystopia, Zahrani on the end of utopia, Pereira on the role of architecture in dystopian fiction writing, MacLeod and Ward on the way dystopian elements in contemporary cities are associated, Was on architectural details in science fiction, Knutz on new typological searches in design fiction, Coleman on the role of architecture in dystopian fiction writing. problems, Crosbie to utopia and the search for the main figure in dystopia, Schneekloth to the themes that reproduce and distort the world, Kraftl to hope and pleasure in the context of housing, Sprecher and Leblanc to atopia, Scott to technoutopia, Mihailescu to dystopian fiction, Miller to the dystopian side of post-apocalyptic hope forms in feminist ideology and Picon refer to the ways in which the themes of the near future are read through the city. In this direction, it is concluded that dystopian collages can be developed over themes that are completely dependent on reality, as opposed to superficial prejudices that are heavily fed from the past and present. Dystopian architecture continues to exist as a successor rather than an opposite of utopia architecture, and gains spatial mobility to the extent that it interprets futuristic themes through existing variables. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Muhasebe ve Vergi Uygulamalari Dergisi (MUVU) / Journal of Accounting & Taxation Studies (JATS) is the property of Ankara Serbest Muhasebeci Mali Musavirler Odasi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study has been carried out in order to question the ethical problems that big data-based products cause or may cause on privacy, and to reveal redictions for the future, in today's world where big data technology has developed and entered every area of our lives and brought privacy discussions with it. In this direction, 8 scenes selected from the "The Entire History of You" episode of the Black Mirror series, based on science fiction films and TV series that can reflect the future, were analyzed according to the semiotic analysis methods of Sassure and Barthes, and were examined in the context of ethical discussions on privacy in big data. According to this analysis, it was seen that the big data product with augmented reality and internet of things features in the series caused violations of personal and personal information privacy. It is thought that these violations will contribute to the ethical dimension of privacy in future big data studies. [ABSTRACT FROM AUTHOR]

Copyright of Mecmua is the property of MECMUA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to analyze the concept of Orientalism by considering Edward W. Said’s theories on this subject and its critics through science fiction movies. A Trip to the Moon (1902) can be considered as the first movie ever made and also the first science fiction movie. Thus it is an ideal example for the historical reading of science fiction movies. As in previous examples, this study examines the relationship between movies and science fiction to deal with the effect of social events. Therefore, while analyzing the history of science fiction movies, this study aims to examine the transfer of cultural conflict to space. In order to achieve this goal, Edward W. Said’s perspective has been selected, a controversial figure whose works are still influential. In this study, the qualitative research method is used and the observation and interpretation of space in science-fiction movies is discussed. Consequently, this study was developed according to these readings, and it has been derived that there is no evidence of “Said’s Orientalism concept” in the design of Science Fiction Movies.

Existentialism, which tries to reveal the essence of human beings and emphasizes the importance of being human, proceeds through certain themes. These are concepts such as existence, nothingness, depression, freedom, alienation, responsibility, loneliness. Humans, while forming their essence, gives a spiritual war under these themes. Factors such as the advancement of technology, the loss of values, and the alienation of people from nature are the results of existential themes. The long story named Şebek Romanı, written by Ayşe Şasa in 2004, focused on the concept of religion. Drawing attention to corruption through the concept of “şebekleşme”, Şasa has constructed the techno-civilization of the year 2075. While advancing through the concept of religion, the heroes embarked on a journey to find their own essence. This journey passes through existentialist themes. The heroes living in the technocivilization she has constructed, bear the traces of existential themes. In this article; Şebek Romanı, a sci-fi parody, and story of the heroes that carry traces of existential themes were examined. Based on the concept of religion, the traces of the existentialist themes that the heroes were influenced by while reaching their essence were tried to be determined. The examination is divided into four sub-titles as depression, loneliness, alienation and freedom which are the main themes of existentialism. [ABSTRACT FROM AUTHOR]

Ethical issues regarding non-humanoid intelligence that can turn the dark visions of science fiction into science fact are multiplying and becoming the focus of popular attention as intelligent machines become almost ubiquitous. Artificial intelligence (AI) algorithms or thinking machines bring with them a number of ethical problems as they take on serious obligations of modern life and move towards becoming an indispensable stage of social life. In this study, which includes thematic problems related to artificial intelligence supported systems, which are launched as transformative technology, it is aimed to clarify the responsibility areas of artificial intelligence and what the ethical concerns and problems about artificial intelligence are. In the article, which draws attention to the fact that artificial intelligence has the potential to redefine our traditional moral concepts, ethical approaches and moral theories, the need for ethical principles in artificial intelligence design is demonstrated with examples from current research in the field of technology. Emphasizing that we are rapidly approaching a period in which the design, distribution and control of new technologies and technological processes are transferred to machines, the aim of this study is to avoid any technological straying that may occur depending on the speed of innovation. The article calls on both policy makers and legislators to meticulously process ethical values and principles into AI under the guidance of philosophy in order to resolve the ethical problems that arise in AI and to alleviate concerns. [ABSTRACT FROM AUTHOR]

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF Dergisi) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The science-fiction genre, which is derived from the basis of synthesizing contemporary scientific data with imagination and having important reflections in various branches of art such as literature, theatre and cinema, has a very wide field of interest, especially in the field of literature. Literary works have tried to deal with the science-fiction genre by using the objective realities of science, technical elements of technology and futureoriented predictions. The authors have tried to keep the readers' sense of curiosity fresh by blending these issues with the fictional world they have created, and they have tried to create a structure that is both entertaining and stimulating in terms of thought. The phenomenon of utopia, which can be described as the first stage of the effort to reach a good society and to create such an understanding of society, stands out as an important genre that is widely used and utilized in the literary field. Utopias, which are perceived as impossible social designs today and are handled more positively, can also be called the distant target areas that humanity wants to reach. Utopian fictions, which are sometimes intertwined with the genre of science fiction, emphasize the shortcomings of the present and the perfection of the future in literary texts. The concept of dystopia, which can be described as the evil twin of the concept of utopia in the 20th century, means "bad place" in Turkish. The idea of dystopia and the dystopian works inspired by this thought began to appear mostly in the 20th century. World wars, economic depressions, genocides and the invention and use of nuclear weapons in this century, have formed the fertile ground for the development of dystopian literature. It is seen that both utopian-dystopian and technology-related science-fiction elements are used extensively and intensively in the works of Şöhret Doğruyol Sağbaş, who writes works especially for children in Turkish literature and stands out with his teacher-author identity. In this study, it will be tried to be explained in which functions and how the utopian-dystopian and technology-related science-fiction features in two novels, named Ütopyaya Yolculuk and Androtopyaya Yolculuk, written by the author, are used. [ABSTRACT FROM AUTHOR]

In this article, everyday technology, which tends to expand without limits, is discussed in the context of contemporary practices that start from antenatal to death and that correspond to the desire for immortality of modern man. For this purpose, it is examined how technology intervenes in life and death through the episodes of Arkangel, Right Be Back, and San Junipero in Black Mirror, the popular science fiction series. In this study, the current social and human dilemmas that appear in the narratives are discussed, without ignoring the technical analysis of the series. In this respect, gene based medical studies that reformat the body, smart and synthetic technologies that add a new dimension to digital control and surveillance, contemporary medical and technoscientific assumptions about death and immortality are debated. The theoretical framework of this article consists of theoreticians such as Jean Baudrillard, David Le Breton and Byung Chul Han who consider that the change in social structure and relations is mainly driven by technology and critically approach this unavoidable trend. According to the main argument and inference of this research, technologies that can descend to every part of the body are no longer just the comfort and convenience extensions of daily life, and they affect almost all ontological processes between existence and extinction by being articulated with human destiny. However, this global trend is also the loss of the natural and the real for the modern characters who are deprived of the human conditions such as pain and death that make life precious. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Culture & Communication / Kültür ve İletişim is the property of Imge Publishing House and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Climate fiction novels, especially since the second half of the 20th century, have been defined as a genre as well as being evaluated within genres such as science fiction and dystopia. Climate fiction has important potential to raise awareness of climate change, to convey the devastating effects of global warming and changes that we are not aware of. The study has primarily focused on what climate fiction means as a concept, its relationship with other genres, its boundaries and diversity, and examined Kurbağa Adası and Köpekli Çocuklar Gecesi with comparative method, based on the themes attributed to this genre. Climate fiction works make inferences for the near future while revealing the consequences of climate change and global warming. While Kurbağa Adası by Selim Erdogan draws attention to the subject with reference to Istanbul, Oya Baydar performs the same function on a global scale in Köpekli Çocuklar Gecesi. The fact that the works were written in 2019 is a sign that they look from the same perspective. Our aim is to explore how climate change is framed in these novels, to explore themes that provide templates for describing climate change as a lived experience, to identify and understand the expectations underlying future scenarios. [ABSTRACT FROM AUTHOR]

Copyright of Fe Journal: Feminist Critique / Fe Dergi: Feminist Elestiri is the property of Ankara University, Women's Studies Center (KASAUM) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, S.T.A.L.K.E.R video game is analyzed in the perspective of game form, by comparing it to the source material: Roadside Picnic novel and Stalker movie. Roadside Picnic combines science fiction and noir genres in a story set in the near future and presents human relations in their mundane reality. By replacing science fiction with paranormal, Tarkovsky's Stalker focuses on themes like hope, life and faith. S.T.A.L.K.E.R's theme is much closer to the book by including science fiction elements and leaving the player around other characters, which have their own needs and search in a destructed environment. Like any other medium with its own language and tools, games also have their own expressive capabilities. Game formalism (ludology) as an approach is followed by Aarseth, Juul, Frasca and others in game studies literature. Comparative video-game analysis is suggested by Bogost for cases similar to this study. Game formalist and comparative analysis of S.T.A.L.K.E.R reveals how games convey their subjects, set the atmosphere, which tools they use and how they produce different meanings. Game mechanics, gameplay and game world are important elements for game narratives. In the study, the differences and similarities between the book, the game and the movie has been determined. In current climate where games are associated with violence and addiction, in-depth study of S.T.A.L.K.E.R shows that much deeper meanings and possibilities lie in video games. [ABSTRACT FROM AUTHOR]

The first thing that conveys the content of the filmic narrative and makes it meaningful is the image. Objects, characters, time and space existing in the image constitute this content. However, the object in the image does not always look exactly like the object in the world, it may appear as its reflection. Each image has its own form. With this created and reproduced form, meaning is created. The director shows the objects, characters and space in the image with certain camera angles and a certain light. Thanks to the space, filmmakers can control what audiences see. At the same time, thanks to the space, the director can control how he wants the audience to see it. In cinema, space plays a crucial role in how we read the scene; that is, it provides useful information about the time, place, social class and mental state of the characters. Space affects both the behavior of the players and where the camera and audio recording equipment can be placed. The subject of this study is the cyberpunk genre, which is a sub-genre of science fiction film, and accordingly how the space is read in the cyberpunk film genre will be discussed in the context of Lefebvre's definition of space. The subject of this study is Netflix's "Mute"(2018), one of the examples produced for digital platforms, which is an example of the cyberpunk genre. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)