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Ancient Mesopotamian city laments are a unique genre, unique outside the Ancient Near East. The destruction described in these laments, which can be characterised as historical rhetorical texts, is not a literary fiction but a fact. The texts were dictated after the liberation of the city from occupation. The city laments are about the decision of the gods to destroy the city, the description of the destruction, and then the heroic king who rebuilt the city and returned it to its former order. The first part of these texts, consisting of two main sections, focuses on the decision to destroy the cities and the physical and metaphysical destruction that resulted from this decision. Many structures of the cities, including their sanctuaries, were destroyed, agriculture and animal labour establishments, which provided the economic dynamics of the city, were razed to the ground, and the population of the city was also destroyed. This chapter also deals with the motif of divine abandonment. From a theological point of view, the gods who founded and ruled the cities abandoned the city with the destruction and lamented over the wreckage. The second part deals with the restoration process. The saviour king, chosen by the gods, boasts of restoring the city to its former glory. In this part, the heroic deeds of the king, the process of renewal of the cities, and the return of the gods who left the city are described. This chapter, which also contains the king’s own propaganda, can be considered as socio-political propaganda texts about the reestablishment of the city after an economic, social, political and theological destruction. The study focuses on the socio-political evaluation of the city laments about the cities of Uruk, Ur, Nippur, Eridu and Kish in Ancient Mesopotamia. [ABSTRACT FROM AUTHOR]

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The concept of God's oneness holds a central position in Islamic thought. This is because the oneness of God is one of the most important and absolutely uncompromising principles of the Qurʾān. Moreover, the Qurʾān's recognition of shirk as the greatest unforgivable sin shows the importance of its opposite, tawḥīd. The science of kalām is also called the science of tawḥīd because it aims to prove the unity of God. The Qurʾān's emphasis on tawḥīd and the objections and challenges of polytheist believers who threatened the principle of tawḥīd prompted theologians to employ rational arguments in addition to the evidence of divine revelation to defend the uniqueness of God. Al-Shāhrastānī describes God as one and unique in all aspects. For him, the most special divine attribute is the power of creation. Al-Shāhrastānī, interprets burhān altamānu ʿ and burhān al-tawārud, which were used by previous theologians to prove God's uniqueness, in his own personal way, and presents his original proof, which we call burhān al-istignā, in order to reinforce and support the proofs. All the assumptions in these proofs show that multiple deities are intellectually impossible and strengthen the uniqueness of God. In this study, al-Shahrastānī's related views are comprehensively examined, analyzed and evaluated in detail, and finally a holistic conclusion and evaluation is presented. [ABSTRACT FROM AUTHOR]

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Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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.)

In mythological periods, many gods are highlighted with their physical characteristics, as we can see from paintings and sculptures. The strong, strong and large structures of the gods in the physical context strengthen their representation on earth. This situation, which is shaped by the physical patterns of mythological gods, is continued by emphasizing the advertisements that form a column of the culture industry with the "male body image" today. In a context parallel to the mythological gods, in today's advertisements, the "male body image" is emphasized in visual forms and brought to the fore with its physical characteristics (width, height, muscular, strong, large structure, etc.). The culture industry is effective in the increase in advertisements based on physical appearance for the male body image, and this also determines the gender boundaries. For this reason, the main question of the study is how the image of the male body is constructed through the culture industry today. The sub-questions of the study are; "with which mythological expressions the image of the male body was constructed from the mythological period to the present; Answers were sought to the questions of how the image of the male body is constructed today and what kind of similarities and differences exist when the mythological periods and the male body image produced today are compared. In addition, in the study, Bartes' semiotic analysis method was used by scanning the images of certain advertisements that highlight the male body suitable for the purpose of the research. [ABSTRACT FROM AUTHOR]

Wisdom, which is one of the basic concepts in the field of thought and science in the Islamic tradition and is discussed in the context of knowing the truth of things and placing them in their place in accordance with their own value, is present in all divine acts. In this regard, it is unthinkable that God's actions are far from wisdom. However, it is possible that some wisdom remains far from human comprehension. This situation requires making an effort to understand it, not to deny it. The basic approach on this issue is that everything created in the universe is for a purpose and nothing is created in vain. Māturīdī, one of the pioneers of Ahl al-Sunnah, attached special importance to the issue of wisdom in creation in his works. This special situation for wisdom is also necessary for divine commands. Because, according to Māturīdī, in the context of Allah being wise in all His divine acts in accordance with His name "Wise", all the commands He commands have more than one wisdom. In this study, in which we deal with the issue of wisdom in line with Māturīdī's approaches, his approaches to the wisdom of worship are discussed in the axis of the basic principles he created in terms of understanding and interpreting wisdom. According to Māturīdī, the wisdom in both creation and divine commands, especially in worship, is a manifestation of monotheism and is a situation that requires gratitude. Because the existing commandments such as prayer, fasting, pilgrimage and alms, which are summarized as the conditions of Islam, have more than one wisdom. In this case, the issues related to the wisdom of worship in general, in terms of the necessity of thanking Allah, are also conducive to the upbringing, education and evolution of people. This will lead to the improvement of both individual and social life in this world and the hereafter. According to the author, Allah Almighty has wisdom in every command and prohibition, and there is more than one wisdom in ordering worship. The basic approach that emerged here was to criticize the approaches of schools such as Muʿtazila. For this reason, this study also includes an evaluation of schools with different understandings of wisdom in line with Māturīdī's understanding. While revealing this, the method of this study was to identify and convey Māturīdī's views on the subject in his works. While creating his own method on the subject, Māturīdī created a method in line with a textcentered rational approach, by creating a method that is not completely reduced to reason in line with the relationship between reason and narration, but does not adopt a literal form of presentation without passing the narration through the filter of reason. [ABSTRACT FROM AUTHOR]

Epidemics are contagious diseases that profoundly affect societies and spread rapidly. In ancient times, epidemic diseases in civilizations such as Sumer, Assyria, and Egypt spread to enormous masses in the Hittite society and significantly affected human life. The plague prayers written by Muršili II against the epidemic are essential sources that provide information about the emergence and process of the disease. In these prayers, Muršili II prays to the gods and wants the disease removed from the country. Because the Hittites based the epidemics on religious reasons, they tried to prevent the disease with religious rituals, not with a medical treatment method. The belief in associating diseases with religion caused the epidemic to spread faster and last longer. This disease, which first appeared during the reign of Hittite King Šuppiluliuma I and caused mass deaths, is referred to as henkan/hinkan in Hittite sources. The word Henkan means deadly disease or plague. The plague epidemic, which reached a significant rate of spread during the reign of Muršili II, had an extended period, such as twenty years in the country. After Muršili II, there was no information about the epidemic in the sources. This situation makes us think that the disease left the country during Muršili II. It is unknown whether the epidemic disease experienced is the same as the plague known today. However, the probability that the epidemic was brought to the country by Egyptian POWs is considered vital. When we evaluate the symptoms of the epidemic in Egypt, it is thought that the disease in the region is most likely a plague. In this context, the study aims to create a new perspective on the definition of the disease by revealing the similar and different aspects of the epidemic seen in Egypt and the Hittites. The limited number of studies on the subject is essential regarding the study's contribution to the literature. [ABSTRACT FROM AUTHOR]

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ABSTRACT: The cyclical nature of the human experience has been widely discussed through the cynical mind-set of the postmodern era. Jeanette Winterson’s 2007 novel, The Stone Gods, stands out as one of the texts that revolve around this pessimistic discussion concerning the cyclical and repetitive nature of the human condition and history. Besides the implication of this never-ending cycle of the human experience as part of the action of the narrative, the repeating appearance of the certain parts of an old book throughout the narrative also resonates the fact that history as a narrative keeps repeating itself. In this respect, the circular or rather spiral nature of historical progress is highlighted through a fictional intertextuality. Winterson’s novel also epitomizes the Deleuzean control society and various forms of violence as the central concept around which the repeating pattern of human behaviour revolves. In this context, the article aims to discuss how control and violence as the central concepts of the novel are represented in a variety of ways, ranging from the anthropocentric violence that is directed towards nature, to systemic violence that the individuals are subjected to by institutional structures in the light of Nietzsche’s argument on the immanent violence of human nature and his concepts of will to power and the overman, which is exceptionally represented as the artificial intelligence. ÖZ: İnsan deneyiminin döngüsel doğası postmodernizmin şüpheci bakış açısı çerçevesinde son zamanlarda yaygın bir biçimde tartışılan bir konu olmuştur. Jeanette Winterson’un 2007 yılında yayınlanan Taş Tanrılar adlı romanı da insan deneyiminin ve insanlık tarihinin döngüsel ve kendini tekrar eden bu niteliğine yönelik pessimist bir tartışmaya yer verir. İnsan deneyiminin bu sonu hiç gelmeyen döngüselliğinin metnin olay örgüsünün bir parçası olarak vurgulanmasının yanı sıra, anlatı boyunca çok eski bir metnin belli başlı bölümlerinin tekrar tekrar ortaya çıkması da tarihin bir bir kurgu olarak kendi kendini tekrar etmeye devam ettiğinin altını çizer. Dolayısıyla metin, bu kurgusal metinlerarasılık üzerinden tarihin ilerleyişinin döngüsel ya da daha ziyade spiral doğasını gözler önüne serer. Winterson’un romanı aynı zamanda bu döngüselliğin merkezine koyduğu Deleuzecü konrol toplumu kavramını ve farklı şiddet formlarını tartışmaya açması açısından da dikkat çeker. Bu bağlamda, bu çalışma, metnin merkezi kavramlarından biri olan control ve şiddet kavramlarını, insan-merkezli bakış açıları sebebiyle doğaya yöneltilen antroposantrik şiddetten, kurumsal yapıların bireyi maruz biraktığı sistemik şiddete uzanan çeşitli bağlamlarda nasıl tartışmaya açtığını Nietzsche’nin şiddetin insan doğasına içkin bir nitelik olduğuna yönelik iddiası ve onun güç istenci ve sıradışı bir şekilde yapay zeka olarak temsil edilmiş olan üstinsan kavramları ışığında irdelemeyi amaçlamaktadır.

The sun, an important mythological figure in Antiquity, was thought of as a god-sovereign in many myths. The sun was conceived as a sovereign in the sky in almost every culture and it was believed that it was the sovereign. In particular, in the Mesopotamian communities and other communities that inherited their cultural heritage, the rulership features attributed to the sun have been described in a pattern of motifs that evoke each other. The narratives created were transferred to literary works in the following centuries. In this context, Ahmed Pasha, one of the 15th century divan poets, also included some images and symbols in his poems and especially in his famous ode with repeated-voice "sun", which are similar to the sun myths. In this eulogy written to praise Fatih Sultan Mehmed, the poet thought of the sun as a sovereign and described his reigning characteristics throughout the ode. In the eulogy in question, the sun is described as a sovereign of the sky, as well as a person who has the characteristics that a sovereign should have and sometimes represents the idealized reigning profile. These features in the poem are similar to the features of the sun, which is identified as a god in mythology. In this study, the images in some of the couplets in the ode were discussed due to their similarities with the sun symbol in the mythologies of various cultures, and the common aspects between them were tried to be examined. [ABSTRACT FROM AUTHOR]

Kafkasya coğrafyasının eski halklarından biri olan Gürcülerin eskilere dayanan tarihlerinin olduğu bilinmektedir. Gürcü toplumu miladi 4. yüzyılda Hıristiyanlığı kabul etmeden önce çeşitli tanrısal varlıklara tapmıştır. Gürcülerin, özellikle gök cisimlerini tanrısal varlık kabul ederek bir tanrılar panteonu oluşturdukları görülmektedir. Gürcü halk inançları, farklı tarihsel dönemlerin katmanlarından oluşmaktadır. Dolayısıyla bünyesinde antropomorfik, zoomorfik ve astral tanrısal varlıkları barındırmaktadır. Bu tanrılar, tarihsel süreç içerisinde Gürcü ailelerin ve bireyin birer hamisi olarak dinî ve sosyal hayatın düzenleyicisi konumuna gelmiştir. Gürcüler, bulundukları coğrafi konum itibarıyla çevre kültürlerin etkisi altında kalmıştır. Urartuların, Hititlerin ve Medlerin kontrolüne giren Gürcü kabileleri, MÖ. 550’lerden itibaren Pers İmparatorluğunun yönetimi altına girmiştir. Takip eden süreçte Büyük İskender’in bölgeyi istila etmesi ile Yunanlıların, ardından Romalıların, ilerleyen tarihlerde ise Arapların ve Türklerin yönetimi altında kalmışlardır. Bu durum Gürcü toplumunun sosyo-kültürel ve dinî yapısında değişim ve etkileşime yol açmıştır. Özellikle politeist bir dinî yapının söz konusu olduğu milattan önceki tarihlerde şekillenen tanrılar panteonunda yer alan birden fazla tanrısal varlığın, çevre kültürlerin etkisi altında şekillendiği görülmektedir. Gürcü Tanrılar Panteonu içerisinde yer alan tanrıları birincil ve ikincil tanrı(lar) olarak ele alabiliriz. Bu çerçevede varlığın yaratıcısı olarak kabul edilen Morige Gmerti Gürcü Panteonunda ilk sırada yer almaktadır. Esasında Gmerti, baş tanrı olarak kabul edilmekle birlikte onun yanında yer alan ve ikincil bir konumda olan iki tanrısal varlık daha mevcuttur. Baş tanrı Gmerti tüm işlerini bu yardımcıları eli ile hayata geçirmektedir. Bu sebeple Gürcü toplumunda Gmerti’den daha ziyade bu iki yardımcı tanrıya yönelik saygı ve tazimde bulunulmuştur. Bu bağlamda her ne kadar Gmerti bir baş tanrı olarak kabul edilse de esasında üçlü bir tanrı sisteminin varlığı söz konusudur. Bu üçlü tanrısal varlığın altında ise birden fazla tanrısal varlığın bulunduğu görülmektedir. İkinci dereceden tanrı olan bu varlıklar ise doğa olayları ile ilişkilendirilmiştir. Dolayısıyla yağmurun yağması hasadın bolluğu veya avın başarılı geçmesi bu ikinci dereceden tanrılara olan tazim ve sunularla doğrudan bağlantılıdır. Yukarıda değinildiği üzere Gürcü tanrılar Panteonunda yer alan tanrısal varlıkların önemli bir bölümü çevre kültürlerin etkisi altında şekillenmiş gözükmektedir. Ayrıca panteon içerisinde yer alan tanrıların konumları, Gürcüleri yöneten kralların müdahil olmaları sonucu bazı değişikliğe uğramıştır. Şöyle ki Gürcü Kral I. Farnavaz, Gmerti yerine Armazi’yi panteonun tepesine oturtmak suretiyle bir reform gerçekleştirmiştir. Gmerti gibi Armazi de bir ay tanrısı olarak kabul edilmiş ve Gürcü tanrılar panteonunun tepesine yerleştirilmiştir. I. Farnavaz’ın Gürcü Tanrılar Panteonunda gerçekleştirdiği bu reformun temel amacı Gürcü toplumunu siyasal birliğini sağlamaktı. Dolayısıyla panteonun başına getirdiği Armazi’nin yerel bir tanrı olup olmaması pek de önem arz etmemekteydi. I. Farnavaz’ın çeşitli kültürlerden etkilenerek oluşturduğu tanrılar panteonu, milattan sonra 4. yüzyıla, yani bölgede Hristiyanlığın resmi olarak kabul edilişine kadar varlığını korumuştur. Dahası Güneş ve Ay tanrılarına yönelik inanış Gürcistan’ın bazı kırsal kesimlerinde günümüze değin varlığını sürdürmeyi başarmıştır. Hıristiyanlığın ortaya çıkması ve Kafkasya’ya kadar ulaşması ile birlikte Gürcü toplumu arasında bu yeni din yaygınlık kazanmaya başlamış ve Gürcü inanışında yer alan mitler Hıristiyan düşüncesinin etkisi altında kalmıştır. Hıristiyanlıkla uzun süreli temasın neticesinde Gürcü kadim inancında yer alan birçok tanrısal varlık Hıristiyanlaştırılmıştır. Bu makalede, Gürcü Tanrılar Panteonunda yer alan tanrılarla ilgili ortaya atılan çeşitli görüşler analitik bir yöntemle ele alınmaktadır. Bunu yaparken Gürcü halk efsanelerinde yer alan tanrı ve yarı tanrısal kahramanlarla ilgili efsanelerin çevre kültürlerde var olan izdüşümleri ortaya koyulmaya çalışılmıştır. Ayrıca Gürcü tanrılar panteonunun oluşumu ve içerisinde yer alan tanrısal varlıkların özellikleri inceleme konusu yapılmaktadır. Bu bağlamda Kafkasya halklarından biri olan Gürcülerin kadim inançları ile ilgili elinizdeki bu çalışma, Türkiye’deki Dinler Tarihi literatürüne önemli ölçüde katkı sunacaktır.

Anklet, which has been used since the first periods of known history and is encountered everywhere where people exist; While it is widely used in Iran, Egypt and India, its use in our country has generally been in our Southeastern provinces. It is understood that it was widely used among European peoples, from the fact that it was found in tumuli after 1800 BC in almost every region of Europe from the fronts of the Alps to the Danube, from the Rhine to the Rhôn. While the forces of the evolution, continuity and dissolution of the world were at the feet of the god Shiva, one of the most important names of Indian belief, it became the symbol of slavery at the feet of 14 to 20 million Africans who moved from the Black Continent to America. In Divan literature, it has become an image that appeals to aesthetic feelings in some of our poets such as Bâkî. The sense of pleasure and enjoyment of beauty and beauty, which is the natural tendency of human beings, has brought along the search for beauty and beauty. Anklet; For thousands of years, it has been evaluated in different ways and for different purposes. While sometimes restricting her freedom as a symbol of slavery on her ankles, it sometimes became a symbol of elegance on the ankles of women, and sometimes took its place on the feet of domestic pigeons, taking the name "hışhış". Sometimes it turns into an object in order to smuggle snakes at the feet of Yörük women, and sometimes it becomes a messenger on the child's ankle to be aware of when the baby sleeping in the tent wakes up. It has undergone changes with different time, space and cultural environment, and even if it is used as an ornament and an element of elegance, it has been produced from different objects according to the fine tastes of each society and transferred to future generations and has continued its existence. [ABSTRACT FROM AUTHOR]

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Mankind cannot live without food and the food can be categorized into three groups such as animals, plants and minerals. The God legitimates food that is nice, healthful and pure. These kinds of substances are named as Tayyeb(good, pure and beautiful)/tayyebāt(plural of Tayyeb) in Islamic doctrines. Food that is against the human nature, dirty and dangerous for the health has been outlawed and named as khabīth (bad, impure and unclean product)/khabāith (plural of khabīth) in Islamic doctrines. Islamic scholars generally dwell on animal based foods as there are no more details and disputes on plant-based food. In Islamic doctrines, within this context, products called Haram are mentioned as they are less and general rules are established to determine Haram products. However these relevant Islamic doctrines are open to comment and the criteria considered by religious cults to determine khabāitha mentioned in 157th Verses, al-A’rāf Surah become different. Therefore there are some differences among religious cults while determining the food mentioned as khabāith. For this reason, the same food can be admitted as tayyeb in a religious cult and khabīth in another one. These concepts cover all areas of life. However we confine the content of these concepts to food and drinks as both of them are very important and vital in our life and the name and content of the food change day by day. We concentrate on animals among food as they are mainly examined in the resources. We have made an effort to analyze the concepts of Tayyebāt and khabāitha in our study. We have indicated how these two concepts are mentioned in Islamic doctrines. Halal/clean/tayyeeb/ items are vast and dirty/ khabees items are limited in Islam and even in every part of life. We make evaluations about khabīth animals, the grounds for being khabīth, the criteria and opinions that religious cults based on this subject as determination of little is sensible for both divine wisdom and right-thinking. [ABSTRACT FROM AUTHOR]

Between the 8th century BC and 6th century BC, the Greek communities left the Greek mainland and founded cities over a vast geography extending from the Black Sea to Spain. During the Archaic (BC 640-480), Classical (BC 480-323) and Hellenistic (BC 323- 31) periods, the Greek city-states made use of city foundation stories (ktisis) as a medium for creating an honorable identity for their cities. In the narratives, the founders of these cities (oikistes) are sometimes the first historical founder(s), or someone who rebuilt the city after natural disasters or negligence, or someone who changed the urban structure, or improved or changed the infrastructure or its demography. The most distinguished founders in these stories are the gods and goddesses who found a city and endow its independence. The foundation stories are most keen on narrating the role of these deities in the foundation of the cities. In the hierarchical order of the founding “fathers” the mythological characters who left the Hellenic/Greek mainland to found a Greek polis in other parts of the World, came after the gods and goddesses. During the Roman imperial period, the philhellene Roman emperors, who showed particular interest in Classical Greece, including in its language, its literary models and noble origins (eugeneia) of the cities, made use of the city foundation stories in order to politically and culturally integrate the east Roman cities within the Roman imperial world. Especially from Augustus (r. BC 27-14) until the Severan dynasty (AD 193-235), the emperors were declared as the founder (ktistes) of cities, thus bestowing cities honor and certain privileges. More generally in the East, the policies of Augustus and Hadrianus (r. AD 117-138) aimed at instituting local rights and privileges accounted for their frequently being designated city founders. There exists an imperial Roman foundation story of Hadrianople/Adrianople, modern city of Edirne, which lies 230 km northwest of Istanbul. This imperial Roman foundation story is then retold in three 10th-century Byzantine chronicles and then in a 14thcentury Byzantine martyrdom story. The article focuses on these imperial Roman and Byzantine foundation stories. [ABSTRACT FROM AUTHOR]

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Copyright of TÜBA-AR: Turkish Academy of Sciences, Journal of Archaeology is the property of Turkish Academy of Sciences 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 Religious Studies / Dini Araştırmalar is the property of Diyanet Isleri Baskanligi Yayinlari 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.)

Mythic memory manifests itself with reproductions in every branch of art. Such a memory, which reveals a conscious transmission in the historical process, provides important data at the point of showing the source of the producing new works and analyzing the context change/renewal. The transfer, adaptation or reproduction of the myths, which are among the dominant narratives of the oral culture, to the literary field and to the cinema with the advancing technology, initiates the semiotic relations between the fields/genres. The myths, which are the products of common sense, thought and imagination of the social consciousness, are not only a source for all kinds of narratives produced latterly, but also fulfill the functions of understanding and telling life. At this point, it is seen that the cinema, which is able to present the narratives both visually and audibly, establishes strong ties with mythological elements. In particular, Hollywood cinema, which has become the symbol of American film production, carries the mythic Olympos to its own geography by creating a new generation of gods through recalling, transforming, adapting or directly sourcing and reproducing the ancient Greek gods at semiotic context. Thus, it constructs a mythological universe that is constantly renewed and whose boundaries are determined by itself. The new generation gods, which are adapted from the comic book genre and mostly inspired by the mythical gods from which it originated, are brought to the movie screen with their unique features. These new gods in the appearance of superheroes create a new epic narrative world in cinema with evolving technology. Thus, while transferring from myth to cinema, a return to myth from philosophy is provided even in the fictional field. The transformation of the ancient Greek gods, who lost their cosmic powers in mythical narratives, into epic heroes over time has a similar thematic structure in the stories of the new gods created by Hollywood cinema. Heroes struggling with the rewriting of an endless cycle in different contexts refer in many ways to mythical narratives and to the heroes (gods and goddesses) of these narratives. These heroes, who reveal the relationship/interaction between cinema and rewriting, which is among the basic functions of myths, show the characteristics of epic/invincible warriors. Hollywood movie heroes, which recall mythic gods/goddesses and endowed with superhuman powers in this respect, are regarded as common protector of all humanity. By this way, a hegemonic discourse tool is revealed with the transformation of virtual reality with increased plausibility. This study examines the semiotic references to the ancient Greek mythology of Superman and Wonder Woman, which are the prominent fictional heroes of Hollywood cinema. In this context, the study emphasizes the resemblance of the Superman character to the Greek god Zeus, while revealing the common features and functions of both heroes. It is also underlined that Wonder Woman is transferred to the cinema with a direct adaptation from Greek mythology. Finally, the films Superman Returns (2006) and Wonder Woman (2017), in which the mythological references and exchanges are more pronounced among the film series created around both heroes, have been analyzed on the semiotic context. [ABSTRACT FROM AUTHOR]

It is known that Georgians, one of the ancient peoples of the Caucasus geography, have a history dating back to ancient times. Georgian society worshiped various divine beings before accepting Christianity in the 4th century AD. It is seen that Georgians formed a pantheon of gods, especially by accepting celestial bodies as divine beings. Georgian folk beliefs consist of layers of different historical periods. Therefore, it contains anthropomorphic, zoomorphic, and astral divine beings. As the patrons of Georgian families and individuals, these gods have become the organizers of religious and social life in the historical process. Georgians have been under the influence of the surrounding cultures due to their geographical location. The Georgian tribes, which came under the control of the Urartian's, Hittites, and Medes, came under the rule of the Persian Empire from the 550s on. In the following period, with the invasion of the region by Alexander the Great, they were under the rule of the Greeks, then the Romans, and later the Arabs and the Turks. This situation has led to a change and an interaction in Georgian society's sociocultural and religious structure. The gods in the Georgian pantheon, which was formed in the ancient times when the polytheistic religious structure was in question, were shaped under the influence of the surrounding cultures. We can consider the gods in the Georgian Gods Pantheon as primary and secondary god(s). In this context, Morige Gmerti, accepted as the creator of existence, is in the first place in the Georgian Pantheon. In fact, although Gmerti is accepted as the chief god, there are two more divine beings who are next to him and in a secondary position. The chief god Gmerti carries out all his affairs with the hands of these assistants. For this reason, in Georgian society, these two auxiliary gods were respected and honored rather than Gmerti. In this context, although Gmerti is accepted as a chief god, there is a triple god system. It is seen that there is more than one divine being under this triple divine being. These secondary gods are associated with natural events. Therefore, the rain, the abundance of the harvest, or the success of the hunt are directly related to the glorification and offerings to these minor gods. As mentioned above, an important part of the divine beings in the Georgian Pantheon of Gods seems to have been shaped under the influence of the surrounding cultures. In addition, the positions of the gods in the pantheon have undergone some changes as a result of the intervention of the kings who ruled the Georgians. For example, Georgian King Farnavaz I had carried out a reform by placing Armazi at the top of the pantheon instead of Gmerti. Like Gmerti, Armazi was regarded as a moon god, and placed at the top of the Georgian pantheon of gods. The main purpose of this reform was to ensure the political unity of the Georgian society. Therefore, it did not matter much whether Armazi, whom Farnavaz brought to the head of the pantheon, was a local god or not. The pantheon of gods, which Farnavaz have shaped by being influenced by various cultures, had survived until the 4th century AD, that is, until the official acceptance of Christianity in the region. Nonetheless, the belief in the sun and moon gods have survived in some rural parts of Georgia until today. With the emergence of Christianity and reaching as far as the Caucasus, this new religion started to gain prevalence among the Georgian society. Over time, the myths in the Georgian belief were influenced by Christian thought. As a result of long-term contact with Christianity, many divine beings in the Georgian ancient faith were Christianized. This article discusses various views about the gods in the Georgian Pantheon of Gods with an analytical method. While doing this, it is tried to reveal the projections of the legends about gods and demigods in Georgian folk legends in the surrounding cultures. In addition, the formation of the Georgian pantheon of gods and the characteristics of the divine beings in the pantheon are examined. In this context, this study on the ancient beliefs of the Georgians, one of the Caucasian peoples, will contribute significantly to the History of Religions literature in Turkey. [ABSTRACT FROM AUTHOR]

Copyright of CEDRUS is the property of Mediterranean Civilisations Research Institute 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 CEDRUS is the property of Mediterranean Civilisations Research Institute 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 Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences 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 Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate 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 Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies 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 paper contains some of the conclusions resulting from the field surveys conducted between 2018 and 2021 in Octapolis on the road network in Lycia based on the Monumentum Patarense (MP). Some new data and consecutive updates are presented. In the paper, the issues of the political status of Octapolis and the locations of Lyrnai, Hippucome, and the Sanctuary of Loandan Gods are discussed. It is accepted that the use of Octapolis in the MP refers to a region on the western border of Lycia, while sometime after the 2nd c. AD it became the name for a city consisting of a group of communities including those of Lyrnai and Hippucome, as the evidence from epigraphic and literary sources show. Some new unpublished inscriptions found in the field surveys enlighten the ancient geography and some historical periods of the region. The location of Lyrnai is now confirmed as Kayadibi through one of the new inscriptions found on the site. Another new inscription from Kayadibi is a name list and some specific names in the list, such as Agreophon, Agroitas, Agrotheos, Theronides, are found almost entirely only in Caunus and Octapolis, which indicates a demographic affiliation within these communities. The site of Çukurasar has been accepted as the polis centre of Hippucome, which seems to have disappeared already in a period when Octapolis became the name of a city. A new inscription from Çukurasar reads that the city supported Mithradates Eupator VI. It is now clear that Hippucome at Çukurasar was one of the remarkable cities, like Caunus, supporting Pontic forces between 89/8 and 85 BC on the border between Caria and Lycia during the first Mithradatic war. İnhisar, usually accepted as Hippucome, was the place where the Sanctuary of the Loandan Gods was located, within the territory of Hippucome. Additionally, two new imperial honorary inscriptions from İnhisar are published in this paper. One is for Caracalla, erected sometime between 213-217 AD, and the other is for an emperor or an empress probably dating from a period within the 2nd-4th centuries AD. [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.)

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Copyright of Anatolia / Anadolu is the property of Ankara 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.)

Ancient Bithynia is a region in the northwest of Asia Minor, bounded by Pontus Euxenios to the north, Hellespontos and Rhyndakos to the west, and the Sangarios river to the south. The Bithynia Region was established as an independent kingdom in the Hellenistic period and thereafter became a province of the Roman Empire in 74 BC. Thus, the eastern borders of the province expanded. After the Provincia of Bithynia came under the rule of Roman Empire, reconstruction activities started in the region and within this scope, monumental structures such as city walls, temples, theaters, lighthouses, port structures and gymnasions were built. This architectural texture of the cities is depicted on the reverse of many coins minted in the name of the cities of Bithynia, for the purpose of political propaganda, thanks to the financial assistance of the Roman Emperors. According to the coins with architectural depictions, the temples were dedicated to gods and goddesses such as Dionysus, Demeter, Asclepius, Apollon, Heracles and Fortuna, who were respected in the cities of Bithynia. In a ddition, it is understood that these temples were built in the name of the agon games performed for the emperors. The location of many of the structures depicted is unknown. The location of many of the structures depicted is unknown. However, according to the comparisons made with similar city plans, it is thought that the temples may be on the foundations of the existing churches in the cities of Bithynia. As a result, in this article, the building program of the cities in the province of Bithynia was examined in the light of the coins with architectural depictions in the Roman Imperial period. [ABSTRACT FROM AUTHOR]

Copyright of Tarih İncelemeleri Dergisi is the property of Tarih Incelemeleri 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.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & 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 Folklor / Edebiyat is the property of Cyprus International 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.)

Four inscribed votives, introduced in this contribution were found in the Lycaonian city of Savatra and are dated to the Roman Imperial Period. Two of them (No. 1 and 2) were dedicated to Zeus Dalbenos, which is only known from an inscription on the base of the Silvanus statuette preserved in a private collection at Barcelona. The first, which has a bull relief, was the votive of Kadmos, son of C(alpurnius?) Germanicianus. The second was erected by a citizen by the name of Zethos for all of his family. It is concluded here that Zeus Dalbenos was a cult which originated from Phrygia or it was a local cult of Savatra, which seems more preferable. The inscription on the third votive, which was offered to Zeus and the goddess of peace Eirene by a priest by the name of Mareis, records the epithets of Zeus as Keraunios, Astrapton, Syrtios and Bronton. The epithet Syrtios has not been documented to date. The last inscribed altar is a votive of all demos for Ares and the listening deities Areiai. Two epigraphic documents from Savatra attest the local cult of Ares worshipped together with the Areiai. At the end of the article also discussed is the presence of the epigraphic documents relating to the soldiers from Savatra, which provides an indication of the importance of the city's geopolitical position during the Roman Imperial Period. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 CEDRUS is the property of Mediterranean Civilisations Research Institute 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 Dinbilimleri Journal is the property of Dinbilimleri Journal 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 subject of the article is the common Orishas in the traditional Yoruba religion. Orishas are divine beings. They are mediators between humans and the divine realm and especially the Supreme God Olodumare. They are deficient, limited and connected. They have human-like characteristics. The common Orishas are at an important point with their duties and features in mythology. They are also the Orishas who maintain their influence, power and timeliness in the daily life of the Yorubas. These are Obatala, Eshu, Oshun, Shango, Orunmila, Oduduwa and Ogun. While river water Orisha Oshun is the force of nature, Oduduva is the ancestral spirit and Shango is both a divine ancestral spirit and a natural force. The other four are examples of primordial Orishas that have existed since the creation. Obatala is the initiator of earth life by shaping human beings. Eshu is a seer and a messenger between the people and the Orishas. Orunmila guides man through his wisdom in the relationship with the divine realm. Ogun, in relation to war and the iron tools of war, raises the power of man to protect himself. Oduduwa symbolizes the continuity of the kingdom and human life established in Ile-Ife that is the holiest city of Yorubas. Shango is the great warrior, herbalist, and courageous. Oshun is the protector, savior or educator of humanity. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Religious Education Studies / Türkiye Din Eğitimi Araştırmaları Dergisi is the property of Turkish Journal of Religious Education Studies 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 Academic Journal of Philosophy / Felsefi Düşün is the property of Pinhan Yayincilik 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 Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy 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 Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences 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 aim of this article is to review the book, Rü'yetullah: Akıl Âyinesinde Cemâlullah'ı Seyreylemek (Seeing Allah: Gazing at God's Grace through the Mirror of Intellect). The problem of God's being seen has been widely discussed in Islamic theology. This work not only sheds light on these discussions but also approaches the issue from different angles. The book analyses the rational possibility and scriptural narrative of seeing God in this life and the hereafter, also questioning the probable ways of seeing God. Hence the work elaborates the long discussed issue of kalam, ru'yatullah (seeing Allah/beatific vision), systematically and analytically, presenting it to modern readers. [ABSTRACT FROM AUTHOR]

Copyright of Religious Studies / Dini Araştırmalar is the property of Diyanet Isleri Baskanligi Yayinlari 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.)

It is learned from Hittite cuneiform documents that, Hittites, one of the Indo-European tribes who had polytheistic belief system, attached great importance to their religious belief and rituals. The Hittite tablets, which were unearthed in Hittite settlements especially in Boğazköy, which had a great majority of religious content, show us that Hittites had a theocratic government. The Hittites, who were defined as a society of "Pantheon", conceived their gods as human beings. According to the Hittite religion, the gods would eat, drink, go into rage, marry and fight in battles. Each god or goddess had a specific place and mission in Hittite Pantheon. In line with the data acquired from Hittite cuneiform documents, this study aims to present the origin of God Šimmišu/Šimmešu, as one of the members of community of Hittite Gods; the location of Hittite cuneiform texts where he was mentioned; the meaning of God's name with respect to the previous philological and etymological assessments; the place and the importance of the God in Gods' community and how he was blessed. [ABSTRACT FROM AUTHOR]