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Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz 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.)

Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz 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.)

Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz 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.)

Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz 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.)

Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz 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.)

It is seen that the relation between cinema and philosophy has been used for making a meaning in a great number of films throughout the history of world cinema. It could be thought that it is not easy for the film to use philosophical concepts as a means at first glance due to their structural features. The factor in this perception is the method diversity between the philosophy, which reveals and discusses its concepts based on written texts, and the cinema, which basically utilize dynamic images. In addition, it is not possible to ignore the fact that the philosophy is open to be used in creating a discourse in films, in terms of all areas to which the human affects or by which the human is affected. It is seen that recent Turkish films use philosophical approaches to make a meaning. This tendency establishes a bond between the philosophical existence of human beings, their general relation with the world and films. Additionally, it also enables the attainment of universal discourses in respect of thinking about the human in cinema. The thought of "eternal recurrence" is an important philosophical concept about being dealt with time and human. Being frequently described as the "eternal return of the same" by Friedrich Nietzsche, eternal recurrence forms the basis of making a meaning especially in the film Kosmos by Reha Erdem. The study will investigate the film Kosmos within the scope of the concept of eternal recurrence by using the qualitative analysis method. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences 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 History Studies (13094688) is the property of History 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 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.)

This paper tries to understand the human experiences in movie theatres and people's perception and receptions of films there. It is believed that people are the subjects of their movie experiences. Movie theatres may make a contribution to get cultural researchers and sociologists to understand the society in a better way as well as providing viewers to communicate with movie. Taken into account with the lack of the studies of social history applied in areas such as "from bottom history" and "human experiences", oral history projects which will take up the human activities, have a great importance. This study investigates that how Turkish people used movie theatres, how they perceived the movies and their characters, and how they transferred the movie experiences into their daily lives. The article focuses on the period between 1950 and 1980. There are few oral studies which take up Turkish movie history in different point of views such as cultural, sociological and historical ways. However, movie is a topic which has so many different aspects like space, film, relations between male and female, and connections between traditional and modern worlds, and contradictions between real and imagined domains. Every social history study, on the other hand, contribute to the Turkish cultural and social history. Based on space and movie theatre, this study aims such a contribution [ABSTRACT FROM AUTHOR]

Copyright of Selçuk University Journal of Studies in Turcology / Selçuk Üniversitesi Türkiyat Arastirmalari Dergisi is the property of Turkiyat 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.)

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.)

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.)

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 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.)

With the innovation movements on music and institutions in the 19th century, the Alaturka-Alafranga distinctions have become evident in Turkish music. This has caused dilemmas, debates and disputes in the field of music. Classical music, Turkish music, Enderun music, so-called art music, the city-centered style of music, which is transmitted between generations through the meshk method, has caused it to be considered as a museum and archaeological material. With the establishment of the Republic, the modernization movement also made itself felt in music policies, and efforts to create new-contemporary Turkish music based on Western music began, and the understanding of harmonizing local musical elements according to Western music procedures was born. Although folk music is not targeted, this approach and policies have enabled urban music intellectuals to turn to the public; folk music has started to be “discovered” by urban intellectuals. Âşık Veysel is one of the first of this period. Âşık Veysel; he came to the fore with his life, sensitive functioning style, understanding of the republic and revolutions, style of using Turkish, and became an icon during and after his period. The task of narrating the revolutions of the state was given to the poet through public houses, associations, concerts, tours and village institutes. Although the state's approach to music in the multiparty period was non-political, it is seen that the expansion of cultural industries in this period continued the role of the lover in music with the tools of the period. This study aims to identify the aspects of Âşık Veysel that overlap and do not overlap with cultural policies, his task in transferring traditional Turkish music to the twenty-first century, his position in today's understanding of music and official approaches. In this direction, the effects of modernization approaches in music on the tradition of minstrelsy and folk music, the consequences of policies, the discussion and evaluation of their reflections on today's music will be the main point of the study. In the study, first of all, the literature on music policies was scanned and read. Then, the evolution process of traditional music was tried to be determined using the content analysis technique. As a result, it can be seen that the traditional music-contemporary music dichotomy was achieved in the case of Âşık Veysel, although not with the planned goals and methods of the policies of the period. [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.)

The need to be sustained by oral culture has been widely seen in the Turkish cinema since its early periods. However, this need has more often than not remained in theoretical level and could not deepen. Therefore, the profound impact of the folk stories could not have been reflected effectively to the movies made. For this reason, the majority of the movies made in that period, which were inspired by the folk tales, were considered as simple movies made for the market and thus criticized for being shot for commercial concerns. The theoretical discussions mentioned above were mainly concentrated around the movements called public cinema, national cinema or domestic cinema. Failure of these discussions to come out of the theoretical phase and proceed to the application phase has prevented the creation of an industrial sector. Also failure of the theoretical and artistic perception in the field of cinema to internalize the oral culture has stunted the culture industry as well and made it dependent upon the international market. While the film industry became a sector in international markets by deriving inspirations from the oral culture, it also became dominant within this county and turned into an important obstacle for the domestic cinema industry. The movies made in the period from 1950 to 1980, which is the period taken as sample range in this article, and inspired by the folk stories were also included in this process. Due to the reasons expressed above, although the Turkish cinema started in that period, it has failed to make a progress sustained by the oral culture, and therefore, the Turkish cinema is relatively behind the world cinema sector today. In this article, the genres of the elements of the oral culture used in the Turkish cinema between 1950 and 1980 will be displayed and the process developed when these genres are abandoned will be evaluated. Furthermore, the question of why the Turkish cinema has been unable to transform the local and national culture codes as well as the folk stories in a fantastic manner will be examined with a critical approach within the frame of cinema movements, directors and Yeşilçam [ABSTRACT FROM AUTHOR]

Copyright of Global Media Journal: Turkish Edition is the property of Global Media Journal, Turkish Edition 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]

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.)

Copyright of Sakarya Communication Journal / Sakarya İletişim is the property of Sakarya Iletisim 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.)

Along with increasing competition in cultural industries, museums have emerged as a research subject of the marketing field. Accordingly, two research streams, experiential consumption-oriented and customer experience management-oriented studies, have evolved. Experiential consumption-oriented studies focused on the experience types and outputs that occur in the museum. On the other hand, customer experience management-oriented studies discussed service-related stimuli in the museum. Although these studies offered diverse findings, they remained insufficient in identifying types and outcomes of experiences that emerge in the museum comprehensively. Thereby, this study developed a detailed conceptual model that includes experience types and outputs by employing a systematic literature review on experiential consumption-oriented studies. The findings contribute to the museum and marketing literature and related professionals. Especially, an innovative perspective is offered to the literature by identifying environment-based experiences, which were previously neglected, as experience type along with the visitor-based experiences. [ABSTRACT FROM AUTHOR]

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 Turkey Journal of Theological Studies is the property of Turkey Journal of Theological 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 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.)

This study examines the prominent factors in the construction of the urban identity of Gaziantep. For this purpose, in the study, firstly, what the concept of urban identity means and what factors are effective in the construction of urban identity are revealed. It is known that with the 1970s, American and European cities reconstructed their urban identities by incorporating the cultural elements of the cities. In the 2000s, with the effect of globalization, the process of incorporating cultural elements into the urban identity began for Turkish cities as well. While Gaziantep's urban identity is expressed with concepts such as ghazi city and industrial city; in recent years, the urban identity has been reconstructed. Gaziantep city was included in UNESCO's "Creative Cities Network" in the field of gastronomy in 2015. With the effect of this development, the identity of the city has entered the process of reconstructing with gastronomy and food culture components. One of the primary aims of the study is to explain and analyze which components come to the fore in the construction of the urban identity that emerged especially with the protection of the cuisine in Gaziantep. In the article, the relationship between the identity of the gastronomy city and the concept of the culture industry and its effect on the image of the city are discussed. Another aim of the study is to analyze the effect of the urban governance on this identity construction and its entrepreneurial character. The concept of urban entrepreneurship was developed by David Harvey to reveal the change in the way cities are managed, especially after the 1970s. According to this, the aim of becoming a center of attraction by highlighting the attractive elements of the cities is the common goal of the entrepreneurial city governance. In Gaziantep, policies and projects are carried out with the aim of being an attractive center for tourists by using cuisine and food culture. This article explains the entrepreneurial character of the city governance and its role in the reconstruction of the urban identity with examples. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of 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.)

One of the most important issues in defining the cultural and creative industries is the intellectual property. Although copyrights are frequently emphasized in different definitions of creative and cultural industries, in practice, copyrights accepted as insignificant. In this article, twenty-two art workers who worked in different sectors of the cultural and creative industries were interviewed. The thoughts of the interviewed art workers about copyright issues, experiences in the cultural and creative industries, and the solutions developed for problems experienced are tried to be explained. The most important issue that defines the copyright issue is the working styles of art producers in the sector of cultural and creative industries. In the cultural and creative industries two work forms which are full-time and freelance are mainly seen Different problems are observed in terms of copyright in these two work styles. While the cultural product produced in full-time work is considered as company property, the labor of art workers is ignored. In freelance work, art workers must win their copyright rights by fighting. In the article, common and different problems that occur within the framework of intellectual property in these two work models will be revealed based on the examination of the experiences of art workers. [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 Erdem is the property of Ataturk Kultur Merkezi 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 Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences 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.)

The television series named "Live up to Your Name", which is the subject of the study, is a 2017 K-Drama series that fictionalizes the traditions of South Korean culture and the traditional and modern medical practices with a postmodern understanding and with the features of the genres of medical drama, history and fantasy. The series, which is considered to include the genres of fantasy, medical drama, historical period drama, and romance comedy, was supported by Studio Dragon. The TV series has been shown on the TV channels of Asian countries such as Malaysia, Singapore, Taiwan, Hong Kong, Sri Lanka, Philippines and Indonesia. K-Drama series are marketed to the world with the Hallyu wave created by the South Korean culture industry in the global market. The traditional-modern medicine emphasis of Korean culture, which is presented to the world through K-Drama on a fictional platform and the state-sponsored cultural policies, will be analyzed based on the television series "Live up to Your Name". The transfer of ancient knowledge that underlies traditional medicine and its introduction through K-drama is the result of the cultural policies of South Korea. When the data of the World Health Organization are examined, it is seen that the dramatic increase in the interest in traditional medicine despite the developments in modern medicine renders it necessary to discuss the interest in traditional medicine in the world. It is known that the approaches of the ancient tradition and the technological applications of modern medicine are used in the treatment understanding of Korean culture today. The knowledge and practices of this dual medicinal approach show that it has a postmodern style. This has also been identified in the South Korean K-Drama series "Live up to Your Name". [ABSTRACT FROM AUTHOR]

While Popular culture products have become more visible than ever through mass media. Adorno and Horkheimer have called this 'culture industry'. This situation is associated with the concept of love in television series, which described as romantic-comedy. On the other hand, the idealized love presentation in these television series gives us the nostalgia of Yeşilçam melodrama movies. In our study, this attitude which we associate with the culture industry, the concept of love and nostalgia, was supported by three television series that we determined as a sample. Television series in romantic-comedy genre were chosen randomly, considering that they were broadcast in different years: Kiraz Mevsimi (2014), Kiralık Aşk (2015), Erkenci Kuş (2018). Some concepts (class, lifestyle, role, status and stereotype) in Berger's sociological analysis method have been evalauted on these series. It was seen that the television series taken as a sample have conventions like Yeşilçam melodrams and put love in the center completely. With the influence of the culture industry, love is reproduced every time. Thus, both love and nostalgia become commodity [ABSTRACT FROM AUTHOR]

The culture industry produces an artificial, commercialized and standardized culture, motivated by profit. Advertisements, which constitute one of the most important expressions and transfer tools of the culture industry, spread the industry practices by differentiating the forms of expression according to the changes and needs of the industry. Advertisements also transform and commercialize the symbols that evoke the cultural codes, religious values and beliefs of the society in accordance with the industry functions. This study aimed to examine the relationship between advertisement and religion within the framework of the culture industry. The semiotic analysis method of Roland Barthes was used in the study. The study questions how religious symbols are positioned in the advertising indicators selected in line with the sampling method, how they relate to popular culture forms, and what other factors advertising indicators can be used to identify. According to the data obtained from the semiotic analysis, religious symbols in advertising indicators turn into objects of consumption that can be bought and sold or objects of desire and motivation that direct the consumer to a purchasing activity by adding an aesthetic shape. Religious symbols sometimes function as a gimmick used in advertising rhetoric or are functionalized eclectically with gimmicks. Advertising indicators, while directing individuals to consumption by using religious symbols, mediate the transformation of semantic structures for religious symbols in the minds of individuals. [ABSTRACT FROM AUTHOR]

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.)

The leading edges of innovation and growth in the twenty-first century is made up of sectors such as high-technology industry, business and financial services and cultural industries. Agglomeration of these industries in different parts in the city, pushed the regional economies of the regions that these industries are located. These cores are usually spread around the city (like in Los Angeles) with the urban growth and postmodern urbanization. Like other metropoles, Istanbul has also witnessed a big change related to creative industries in the last two decades. Media production, one of the largest and most dominant branches of the creative industries, had a significant impact on the urban change in Istanbul. This study will focus on the relation between postmodern urbanization and creative economy and will explore the development of creative industries in Istanbul with the focus on media production. In addition, the competition between creative cities and the positive and negative aspects of this competition in terms of the development of regional economies will be discussed. [ABSTRACT FROM AUTHOR]

This article aims to re-frame an example of urban transformation through the consideration of the collective spatial narratives of second and third-generation urban migrants who are still living in Çinçin Bağları. The method utilized in the research is the interpretation of historical data and collected spatial narratives. During the fieldwork conducted between May 2018 and May-September 2019, autoethnographic mapping and feminist methodologies were used. The research findings can be summarized in the following threefold proposition: (i) The participants' collective spatial narratives point out that the primary history of the area is one of labor. Çinçin is described as being a district that includes various workers, from undocumented cemetery workers to unpaid houseworkers, from shopkeepers to street vendors, from musicians working in the entertainment industry, to documented workers in different service sectors, from artists and actors to civil servants. (ii) The narratives demonstrate that work represents not only an economic, but also as a socio-spatial institution, and that the workers from a diversity of professions all share the collective claim of "we'ness", in the sense of "being from Çinçin." This claim is also evidence of resistance against stigmatization and the erasure of local memories. (iii) The narratives ultimately point to dialectical relationship consisting of historical, non-stationary, multi-actor, and dialectical aspects that exist between work and urban transformation. This interpretive framework draws attention to the fact that the foundational dialectical relationship that historically exists between work and urbanization, and then work and state-led urban transformation, goes beyond a mere consideration of urban rent and housing. Instead, this relationship demonstrates how the transformation reflects the lives of multiple actors in a wide range of professions. This framework leads to the production of a critical ground for proposing labor-centered urban processes, consisting of multiple actors' urban experiences of diverse works, through the analysis of the distinctive history of places. [ABSTRACT FROM AUTHOR]

Culture is knowledge, behavior and beliefs which is acquired from birth as conscious or unconscious, transmitted from generation to generation and based on symbols. Another important feature of culture accepted by researchers is its dynamic structure. Dynamic structure, which means the ability to adapt to changing conditions, is an element that ensures the continuity of that culture. As one of the elements of culture, traditions have the same dynamic structure. As a result of a need, traditions that can renew themselves according to time and space are continue the process of changetransformation by transferring from generation to generation. Due to the dynamic nature of the tradition, its renewable feature has become more prominent with globalization and technological developments. In a process where the impact of globalization and technological developments is increasing day by day; we can see the difficulty of maintaining the authentic form of music and we can see more clearly that it is inevitable to be influenced by different cultures. In this sense, Anatolian pop-rock emerged as a result of synthesis of folk songs which is a part of the tradition with popular music elements of the 1960s. Although this synthesis study is an experimental effort, it is seen that the power that triggers this study is actually caused by the need to adapt to the conditions of the age. Anatolian pop-rock music is a kind of music that emerged as a result of such a need. When we associate Anatolian pop-rock with industry, we see that it is a synthesis of music that adapts to the technological developments of the age and it combines the music of different cultures with the effect of globalization instead of the culture industry approach that passivates individuals and regards music as a commodity. [ABSTRACT FROM AUTHOR]

In this study, the sexist language existing in the advertisement sharings in social media and its relation with culture industry are examined. Adorno describes the culture industry as "a tool that makes the individual a commodity and presents it to the use of power" (Alpyürür). This industry, which produces mass culture built on consumption and dissipating, turns many lifestyle practices such as art, entertainment, leisure, leisure time into consumption activities. The industry that makes propaganda of this transformation through mass media often uses advertising for it and often resort to sexist discourse in advertisements. These advertisements, which are constructed with a sexist discourse emerging in the media such as television and cinema, are also visible on the internet and cause the individual to be exposed to sexist discourses. The aim of the research is to draw attention to and raise awareness of these advertisements, which exist in the internet and which overlap with the interests of the culture industry and which are produced by resorting to sexist discourses of consumption propaganda. Research is descriptive study based on literature search. Also, selected advertisement images examined contextually by relationships between cultural industry and sexism subjects. [ABSTRACT FROM AUTHOR]

In this study, investigation of technological properties and safety evaluation of mundtiin KS producer Enterococcus mundtii YB6.30 by phenotypic and genotypic methods were aimed. E. mundtii YB6.30 strain has been determined to show a faster acid production properties in de Man, Rogosa and Sharpe broth than reconstituted skim milk. E. mundtii YB6.30 strain showed proteolytic activity and reduced nitrate but not showed lipolytic activity. The YB6.30 strain was found to be sensitive to all antibiotics used in this study. As a result of phenotypic tests, YB6.30 strain did not show hemolytic and gelatinase activities. The YB6.30 strain was not found to contain virulence factor genes using polymerase chain reaction (PCR). The YB6.30 strain was found to produce tyramine from tyrosine while it did not decarboxylate histidine, lysine and ornithine. As a result of PCR experiment, only tyrosine decarboxylase gene (tdc) was detected in YB6.30 strain. The results of this study showed that mundticin KS producer E. mundtii YB6.30 strain was safe to use as a starter culture in the food industry. [ABSTRACT FROM AUTHOR]

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.)

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.)

The phenomenon of globalization which transformed many situations in our daily lives with the development of new media technologies since 1970's up to this day, has also provided the globalization of culture because it made the consumption of media contents possible by the people of different countries. The Korean Wave (Hallyu) which started spreading around the world with its television dramas in the 2000s was thought to be a means to make a local culture popular at first, however it was made of some media content that reproduced the Western values. Although it was thought that the reason why Turkish youth mostly loved these Korean dramas is the shared historical memories of the two countries, but actually the hidden reason that made these dramas attractive for the Turkish audience is the embracement of the Western values that are imbued in almost the whole people in the world. In this context, this article will discuss the relationship of these dramas with the Turkish audience in light of the concepts of culture industry and cultural globalization, through mentioning the different perspectives expressed throughout the literature about the Korean Wave dramas. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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 Global Media Journal: Turkish Edition is the property of Global Media Journal, Turkish Edition 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 Çalışma ve Toplum is the property of Calisma ve Toplum 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 the safeguarding of intangible cultural heritage, instead of an object centered view point, tradition which contributes to the realization of process of cultural production is respected. As an element of intangible cultural heritage, the evil eye bead is an object in which beliefs, practices and elements of oral culture whose origins go back to shamanism acquire a character of their own. It has a special area of application depending upon these beliefs and practices. Evil eye bead also comes with a tradition in respect to its unique shape, color, structure and production technique which is transmitted from the master to the apprentice. The evil eye bead handled within the scope of the beliefs concerning the evil eye and traditions related to production is traditionally generated, transmitted and perpetuated today. Mahmut Sür listed as Living Human Treasure (LHT) is an evil eye bead master who updated the evil eye bead with regard to its form and color; and also the bead furnace in terms of representation and presentation by protecting the traditional structure of evil eye bead production. Mahmut Sür is a master who has created new areas of application for the evil eye bead with respect to culture industry through the updates he has made in the shape, color and presentation of the evil eye bead. Evil eye bead which is a symbol representing Turkey in the international milieu today via the impact of this master, has become an object that is demanded in many different fields of culture industry in addition to its belief based area of application. In this article, update of tradition is discussed through the example of evil eye bead master Mahmut Sür who is listed as Living Human Treasure and his production, within the frame of the concepts of evil eye bead tradition, transmission, transformation and culture industry. [ABSTRACT FROM AUTHOR]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology 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.)