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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.)

Copyright of ISTEM is the property of ISTEM 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 Mosaic Research is the property of Uludag University, Mosaic Research Center 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 Van Museum has artifacts that are dated back to perihistoric and past-historical civilizations era. These cultural assets were collected by the Van National Education Director in 1932. By the time the Van Museum was founded all collected artifacts were moved to the Van Museum and recorded in 1945. The artifacts were crafted by different civilizations that lived in that area, however most of them belonged to Urartians which were exhibited by the opening of the museum in 1972. The construction of the new museum, which started after the 2011 earthquake, was restructured according to the conditions of the age and service practices started again in 2019. When you visit the Museum, you can see there are numerous seals which are the inheritances of The Ottoman Empire. They are among the most important pieces of The Museum. The seals can be divided into groups as personal, official, foundation and talisman. There are 39 pieces of seals in The Van Museum. 10 of them were examined as offical seals. They were made of brass, copper, silver, bronze, gunmetal etc. They also were examined according to their period, meterial, tecnique, ornament form, type of writing. Besides, Turkish Islamic art was used for seals such as thulluth, ta'lik, rik'a and local script. The seals also have handles in various shape which are foldable or fixed. Hakkas, who went through a long education process in the Ottomans and brought together many difficult arts such as ornament, literature, engraving, produced important works, and it possible to see their artworks in The Museum. [ABSTRACT FROM AUTHOR]

Against the threat that globalization will destroy cultures that have not been able to renew themselves in the face of the modern age, international organizations such as UNESCO and ICOM emphasize the importance of museum activities for the protection of cultural heritage. Game and toy museums, which form an aspect of the cultural heritage museums that have been increasing and serving in recent years in Turkey, stand out as institutions where national values are protected and exhibited with a touristic activity, and where cultural discovery is found the opportunity to discover and live with workshop programs. In this way, the contributions of the museums, which lead to the existence of tangible and intangible cultural perception through their relationship with social memory and tradition, are evaluated through Gaziantep Game and Toy Museum. Gaziantep Game and Toy Museum is located in Bey Neighborhood, which is one of the oldest neighborhoods of Gaziantep, which preserves its historical architecture and which has gained a touristic character with the restoration works of the municipality. A gallery with a historical Antep house built, and the museum serving in the cave attached to this house, both the toys of different cultures and traditional and factory-made toys of Turkish content are exhibited. In the art programs of the museum, creative drama and fairy tale workshops are organized, as well as games for experimentation on traditional toy making, suitable for all ages. During these activities, traditional knowledge is conveyed through games and toys, and after the workshops, traditional children's games are played in the company of museum teachers and expert trainers. In the study, Gaziantep Game and Toy Museum has the values of contributing to the living of the cultural vision revived by the social memory with the museum's exhibition collection and the living museum formula, where the game and the toy are evaluated within the multi-purpose purpose network. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art & Iconography / Sanat ve İkonografi Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

One of the aims of this study is to focus on the problem of whether there is a sarcophagus workshop in the region, based on the stylistic features and typology of the sarcophagus exhibited in the Nevşehir Museum. For this purpose, it was tried to determine the sarcophagus types and stylistic features. In the case of a workshop, it was investigated which local stones were used in the construction of the sarcophagus and from where the marble not found in the region was imported. Another aim of the study is to focus on the years between which the workshop, which is thought to be in the region, showed its activities and the determination of the workshop organization. F. Işık introduced the sarcophagus in Nevşehir Museum, although it was not a detailed evaluation in a study he made about the sarcophagi. We reached a conclusion by looking for better ones and parallels to his assessment of this work, both typologically and stylistically. The reason why we reconsider the work despite these promotional publications is to add a little more detailed information to the publications, to contribute scientifically to the value and importance of the works, and to provide a little more comprehensive information. Kuşcin sarcophagus is evaluated within the plaster column garland typology. Within this scope, the typological, stylistic and workshop aspects of sarcophagi with plaster columns and garlands were examined. This evaluation will give us information about how it affects the archeology and social relations of the region. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege 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 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.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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 Anatolian geography that hosted various civilizations throughout history carries traces of a wealthy cultural past. Currently it is possible to see traces of the historic and cultural diversity that Bandirma has as a part of this wealthy geography at Bandirma Museum. In the scope of the study belts and belt buckles exhibited at display cabinets number 5 and 6 at the grand exhibition hall of Bandirma Museum were examined. Samples examined during assessment were classified according to production and ornament methods after which description process was initiated. Measurement and photographing of the works have been completed. As a result of examination, it was understood that generally forging method was used in production of belts and belt buckles. It was understood that more than one decoration technique was used together in the production of the works. The purpose of my study could be presented as defining production and ornament properties of these handicrafts at the museum to discuss those aspects that display the artistic and esthetic understanding of their period of production. It could be argued that these movable cultural assets in Bandirma Museum display similarities with other examples in neighboring art circles. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute 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.)

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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.)

From the very early narrations till today, details that are thought to support the impression of reality continue to increase. Nazan Bekiroglu also includes many details in Mucella while depicting Trabzon as a city with its own cultural interpretation. These objects and rituals which predominantly belong to women's culture give the novel a kind of "museum novel" atmosphere. The aim of this study, in which descriptive data analysis method is used within the scope of qualitative research, is to determine how the folkloric details are reflected in Nazan Bekiroglu's novel Mucella and to interpret whether this material has a function other than understanding the hero who constitutes the essence of the work. In the work, the objects are attributed to a meaning different from their value of use. Whether these depictions of objects integrated with the characters can be considered outside the scope of fetishism or not has also been questioned in the study. The presentation of the objects and rituals in the novel evokes the process of collecting, storing, interpreting and exhibiting of museums. From this point of view, whether the analogy of "museum novel" can be used for this work or not is considered as the main problem. The irony of the novel is that those who are not attentive/sensitive to this issue use or waste the magnificent dowry the protagonist Mucella prepared meticulously. Whether this can be regarded as a metaphorical representation in the name of city culture and whether the wasted dowry is Trabzon women's culture have been opened up for discussion as a result of the research. [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 Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute 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.)

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler 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 this study, Ancient Lampsakos City Northern Necropolis located in Çanakkale-Lapseki Dalyan Region is evaluated in the context of sustainable protection. Lapseki, which has been a residential area until today with its location adjacent to the Dardanelles Strait, will be reconnected to the international transportation network with the 1915 Çanakkale Bridge. The impact of this process on heritage sites has accelerated conservation planning in archaeological sites in the city. The conservation plan, which is the subject of this study, is also prepared in this process. It is known that archaeological artifacts have been moved to museums and there are no archaeological remains in the area today. For this reason, the necropolis area with third degree archaeological site registration status, according to the provisions of the conservation legislation; It was opened for housing on the condition that pre-construction drilling excavation was made with the conservation plan. In this case, the planning team consisting of different experts took care of the sustainability of the archaeological heritage and suggested that this archaeological site, which can be opened to construction, be added to the urban identity and memory of the city with symbolic values. Thus, the sustainability of the archaeological sites to be opened for construction according to the legislation or the works exhibited in museums as the symbol of the city is envisaged. [ABSTRACT FROM AUTHOR]

Jewellery carries the traces of the cultures they belong to and give important information about that culture. Due to the fact that there are many ancient cities in Tokat and its surrounding in the inter part of Pontus region, many artefacts and jewellery are exhibited in Tokat Museum. Some of the gold jewellery in the Tokat Museum consist of necklaces. In this study, it is aimed to classify the necklaces that were brought to Tokat Museum as a result of confiscation, purchase or rescue excavations by classifying them in terms of their form features. The necklaces in de museum were recovered from Anatolia or outside Anatolia and were compared with similar examples in various museums. [ABSTRACT FROM AUTHOR]

The First Grand National Assembly Building, Ankara, was the home of the Turkish Parliament between April 23, 1920 and October 18, 1924. The building was then used as the Republican People's Party headquarters until it was given to the Ministry of National Education in 1952. It was actively used as the First Grand National Assembly Museum between April 23, 1961 and 1981. Following an arrangement made in 1981, the name of the museum was changed to The War of Independence Museum, and it remains so today. There are two seals on permanent exhibition at the museum with the inscriptions "The Supreme Military Command of the Armed Forces of Grand National Assembly of Turkey" and "President of Grand National Assembly of Turkey, Mustafa Kemal". The first seal commemorates the National Military Campaign during the War of Independence and the second is from the National Assembly of this period. As of the time of writing, the seal of the Supreme Military Command represents the 100th anniversary [2019] of the National Struggle for Independence, and the seal of President of Grand National Assembly represents the 100th anniversary [2020] of the Grand National Assembly of Turkey. The aforementioned seals were cared for from the early 1920s to the 1940s by Recep Peker, one of the most prominent names of the single-party era. In one of his speeches made in the Parliament on April 3, 1942, Peker announced that he held the seals of Mustafa Kemal Pasha's Supreme Military Command and President of Grand National Assembly. Peker was part of the Representative Committee of 1920 and was promoted to the position of First Secretary upon the founding of the Grand National Assembly of Turkey. His close relationship with Mustafa Kemal Atatürk lasted from February 4, 1920, the date of his arrival in Ankara, until the date of their last meeting on April 5, 1938. Peker is well known for his firm devotion to Atatürk and therefore to Kemalism, and it was this devotion that led him to carefully preserve the aforementioned seals, commemorating the National Campaign for Independence, for more than twenty years. In this article, the story of the preservation, unveiling and display of the Seals of Supreme Military Command and President of Grand National Assembly, which are exhibited in the War of Independence Museum, is investigated. [ABSTRACT FROM AUTHOR]

Since the XVIII century, new spatial needs, emerging due to new organizations to strengthen the weakened Ottoman state authority, brings with it the emergence of new building types. Barracks are among these new building types. In this context, the Mardin Barracks, built at the end of the XIX.th century, is also a harbinger of new spatial construction attempts as an extension of a new centralization approach for the city of Mardin. Transformation of the barrack to a museum about a century later, leads to an another constructive space experience, in which the city is added to the global economy of culture. In this study, the modernization experience will be examined through both activities of constructing Mardin Barracks and its transformation to a museum. On this purpose, firstly, survey and the renovation projects of the building were mainly utilized and the on-site observations were made. Afterwards, a barrack literature was gathered in order to reveal the position of the building among the XIX.th century Ottoman barracks and the conditions of the museum and the exhibition were evaluated. The results obtained in both cases, are evaluated in terms of spatial decisions and organizations, actors, forms and methods of intervention in the city. [ABSTRACT FROM AUTHOR]

The use of augmented reality applications is important in terms of enriching the display methods in museums and preserving cultural elements in the cultural heritage areas and ensuring that tourists are better understood. The use of augmented reality applications that can support tourist guides and improve their quality of service while performing their profession, makes the tour a compelling experience, while providing tourists with a better level of information on the subjects described. In this context, the main purpose of this study is to determine the perception levels of tourist guides towards augmented reality applications. The data of the study was obtained by face-to-face and telephone interviews with tourist guides through semistructured interview form. In this study, which is designed as a qualitative research, descriptive analysis technique is used within the scope of phenomenological research design. Since only 22 tourist guides from 100 tourist guides included in the study were informed about augmented reality applications, the views of the relevant tourist guides could be evaluated. In this respect, it is concluded that the awareness level of augmented reality applications is low among tourist guides. Relevant tourist guides mentioned that the use of augmented reality applications during tours is important, but also stated that there will be positive effects on tourist guides and tourists. Because of the inadequate number of augmented reality applications used during the tours, and therefore the tourist guides cannot experience these applications sufficiently, it is thought that the guides have low levels of satisfaction and recommended rates for augmented reality applications. [ABSTRACT FROM AUTHOR]

Hopa Ethnography Museum, located in Hopa Subprovince, Artvin, with over 2000 works exhibited within, has an important place in terms of cultural heritage of the locality. While there are wooden and stone works connected with agriculture in the museum garden, on the second floor, which has 7 rooms and a lounge, there are weighing tools, carpentry tools, lighting tools, kitchenware and hunting rifles and some animals' hides and horns. While most of the works in the museum were obtained in the region of Hopa, some of them were brought from Georgia. However, the similarity of the works collected from both regions is also noteworthy. Coming across frequently with weighing instruments and copper assets used in dairy processing indicates that this sub-province was once an important in commerce and livestock. In this study, it is aimed to contribute to the introduction of the region, culture and art by examining the formal properties, functions and connections of the weighing tools and copper vessels displayed in the museum. [ABSTRACT FROM AUTHOR]

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.)

During the period from the Neolithic Age ( 8000-5000 BC) to the present day, the art of ceramics, especially concentrated in Anatolia, emerged by showing different features in almost everty stage. Pottery, which has remained virtually unchanged from prehistoric times to the present, is usually based on the production of pots due to eating and drinking. The history of pottery in Karacasu, Aydın, which is one of the traditional pottery production centers of Anatolis, dates back to ancient times. The evidence for this is the pottery remains of the region found during the excavations in the ancient city of Aphrodisias which is 13 km away from Karacasu. These remains are exhibited in the Aphrodisias museum. Karacasu pottery has been transferred to present day from father to son for centuries The clay obtained from the region for production is passed through various stages and made ready for production. The feature of this clay is that it contains a high percentage of iron oxide and therefore its color is dark and nice red. Forming process is made on the wheel and many products are decorated with local decoration. The undecorated products are slipwared and polished with the same clay slip. The firing of the products made is also used in traditional wood-fired kilns. Today, in general, products for use such as earthenware pots are produced on demand, and in recent years, with the development of technology, mechanization is carried out in studios. Today, as a natural result of industrial production, “pottery” has lost its past importance and the “bridal pots” form which is unique to this region does not take interest. [ABSTRACT FROM AUTHOR]

Of course, one of the important indicators of being a civilized country is the museums of that society. Museums are places of a country's history, memory, culture and wealth. It is a national responsibility for all nations to open museums, to conduct inventory studies for museums, to make the existing museums exhibited in universal qualities and to protect them. Of course, universities have important duties in this responsibility. We know that the most important universities in the world are working on museology. We know that some important universities in our country, especially Istanbul University, carry out activities about museology. Recently, some other universities have joined these important universities. For this purpose, Cumhuriyet University Application and Research Center for the Protection and Development of Cultural Heritage and Works of Art (MUZEM) was established in Sivas Cumhuriyet University. With this study, the status of university museums in our country will be briefly discussed and evaluations will be made about the museum studies carried out under the responsibility of MUZEM in Sivas Cumhuriyet University. [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.)

The discoveries and inventions that have been realized since ancient times, are the source of the technology we have today and the technology we have today will be the source of the future technological developments. Developments in artificial intelligence, robot technologies and software affect manufacturing, trade and service sectors and lead to the emergence of the concepts such as robot teachers, digital nurses, robot receptionist especially in the service sector. Tourism sector is one of the sectors that human relations are at the forefront. Tourist guidance profession -one of the sub-branches of tourism sector - is also affected from the technological developments. Today, robot tourist guides perform service in museums and exhibition halls in some countries around the world. In the study, which is based on a comprehensive literature review, it is aimed to determine recent and possible future roles of robot tour guides in the tourist guidance profession where human relations are at the forefront. Considering the development of robot tour guides over time as well as the developments in robot technologies, it is predicted that robot guides will start to provide guidance in open areas in the medium or long term. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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 Electronic Turkish Studies is the property of Electronic Turkish 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.)