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During the First World War, harsh anti-alliance propaganda was made by publishing cartoons directly targeting Ottoman-German Alliance on covers of Le Cri de Paris and Le Rire, two important humor magazines of French humor. Considering that both magazines served as France's propaganda tools during this period, it can be said that magazines' anti-Ottoman-German Alliance cartoons were important in terms of reflecting France's view of the Ottoman-German Alliance. The study aimed to determine how French humor magazines presented both countries in their propaganda against the Ottoman-German Alliance in the First World War and what messages they gave against both countries. For this purpose, in the study, cartoons on the subject were examined using semiotic method in the light of Roman Jakobson's Communication Functions. In the study, it was found that Le Cri de Paris pointed out that Germany used Ottoman Empire in line with its interests and that Ottoman Empire wasn't happy with alliance, while Le Rire pointed out that Ottoman Empire came under the direct control of Germany with the alliance and that alliance was to the detriment of Ottoman Empire. In this way, it was concluded in the study that both magazines mainly targeted Germany through anti-alliance propaganda. [ABSTRACT FROM AUTHOR]

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 Journal of Interdisciplinary Educational Research / Disiplinlerarası Eğitim Araştırmaları Dergisi is the property of Interdisciplinary Education & Research Association / Disiplinlerarasi Egitim ve Arastirma Dernegi 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 Modern Turkish History Studies / Cumhuriyet Tarihi Araştırmaları Dergisi (CTAD) is the property of Ataturk Institute for Modern Turkish History 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.)

Bu çalışmanın amacı, içinde yaşadığımız yüzyılda teknolojinin hızla gelişmesine bağlı olarak bilgilere ulaşmak kolaylaşmıştır. Bilgiye kolayca ulaşmak, avantajlı olsa da görünmeyen bazı dezavantajları da olmaktadır. Dezavantajlardan biri ise, çoğu insanda Siberhondrik hastalığı görülmektedir. Bu çalışmada bu hastalıktan kaynaklı yanlış araştırma ve yanlış bilgilendirmenin hayatımıza etkisine ve yaşanan olumsuz psikolojik etkilere dikkat çekerek karikatür afişleri gösterimi ile kişileri sosyal sorumluluk kapsamında bilinçlendirmektir. Bu amaç doğrultusunda bu çalışma için tasarlanıp çizilen 7 karikatür üzerinden göstergebilimsel yöntem kullanılarak analiz edilmiştir. Bu analizler, Barthes’in düz anlam ve yan anlam bilgisine göre çözümlenmiştir. Çözümleme ile ulaşılan sonuçlara göre karikatürlerde, Siberhondrik hastalığı yaşayan kişilerin hastalıkla ilgili temel sorunlarından yanlış bilgilendirme, kaygı, insanları yanıltma, psikolojik rahatsızlık ve doktorlara karşı oluşan güvensizlik gibi temalarda yoğunlaştığı görülmektedir. Karikatür, toplumda ki olayları mizahi ve akılda kalıcı şekilde yansıtır. Bu yönüyle güldürürken düşündüren ve bilgilendiren bir sanat olan karikatür, hastalık ile ilgili olan sorunları daha görünür ve etkili hale getirerek çözümün bir parçası olma görevini yerine getirmesi amaçlanmıştır.

Copyright of Pamukkale Journal of Eurasian Socioeconomic Studies (PJESS) is the property of Pamukkale Journal of Eurasian Socioeconomic Studies (PJESS) 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.)

Der Beitrag „Karikaturen als Ausdruck der kollektiven Solidarität während der Pandemie. Referenzielle Perspektivierung" analysiert die Erfahrung der kollektiven Resilienz anhand der Untersuchung von humoristischen Bildern, Karikaturen, Wortwitzen und Fotomontagen, die das Leben in der Pandemie thematisieren und in den Jahren 2020 und 2021 im Netz erschienen sind. Die Frage nach einer Alternative zwischen der visuellen kommunikativen Erinnerung und der kulturellen Ära aus denen diese Karikaturen stammen, stand am Anfang der Untersuchung. Durch den Prozess der Fotomontage und der Entfremdung machen sich diese Texte und Bilder eine populäre visuelle Erinnerungskultur zu eigen, die illustrierte Bücher, Comics und Gemälde neu interpretiert und zugleich Zeuge einer Zeit wird, die durch restriktive Maßnahmen geprägt wurde. Der Beitrag stellt zwei Formen der Referentialität fest, die eng miteinander verbunden sind: der Bezug auf die Konjunktur durch den Hinweis auf die Covid-Krise sowie der Rückgriff auf die dauerhafte visuelle Erinnerung. Die Analyse der Art und Weise, wie sich das Korpus in einer gemeinsamen kulturellen Erinnerung einfügt, verdeutlicht die Verflechtung der sozialen Zusammenhänge in einer Zeit sozialer, ökonomischer und politischer Umbrüche. L'article „les caricatures comme manifestations de solidarité csollective face au virus. Enjeux et perspectives de leur valeur référentielle" thématise l'expérience de résilience collective à travers l'étude des images humoristiques et caricatures, blagues, jeux de mots et photomontages ayant pour thème le vécu en contexte pandémique apparues sur le net en 2020 et 2021. La question initiale posée était celle d'une alternative entre la mémoire visuelle communicationnelle et l'aire culturelle respective dont dépendent ces caricatures. Par le biais du détournement et du montage, ces textes et images se réapproprient une culture populaire visuelle qui revisite livres illustrés, bandes dessinées et œuvres picturales classiques tout en se faisant témoins d'une période marquée par les mesures restrictives en période de crise sanitaire. L'article fait le constat de deux formes de référentialité étroitement liées : les références à la conjoncture à travers la référence à la crise du Covid et sa temporalité et le recours à la mémoire visuelle durable. L'analyse de la manière dont le corpus se réinscrit dans une mémoire culturelle commune démontre comment se retisse le lien social dans une période de bouleversements des rapports sociaux, économiques et politiques. The article „Caricatures as an expression of collective solidarity. Issues and referential" deals with the experience of collective resilience through the analysis of humoristic pictures and caricatures, jokes, play on words and photomontage about the life in the pandemic context which appeared on the internet in 2020 and 2021. Initially the question was about an alternative between the visual communication memory and the cultural aera from which these caricatures depend. Through montage and diversion these texts and pictures suit a visual popular culture which reinterpret illustrated books, comic strips, classical works of art while witnessing the period of restrictive measures through the pandemic. The article comes to the conclusion of the existence of two kinds of referentiality: the references about the Covid-Crisis and its temporality and the use of long-lasting visual memory. The analysis of how the corpus reintegrates a common cultural memory shows how social cohesion rise again in a period of political economic and social changes. [ABSTRACT FROM AUTHOR]

Humor is one of the sharpest forms of expression for human emotions and thoughts. It is possible to see various forms of humor in all cultural and artistic creations, ranging from oral and written literature to games and entertainment. This is due to the structure and functions of humor, which respond to different emotional and intellectual needs. Alongside its function of amusement and entertainment, humor has become a means for individuals to express themselves in a critical dimension, underlying the act of laughter. The critical aspect of humor extends from political contexts to aesthetic attitudes and thoughts. Perfection, as a woman's image imposed by the Western culture industry, has become an important criterion both in terms of what society expects from women and women's self-view. Although it is relative, societal expectations about the concept of beauty have been reshaped by modernism and the concept of a standard-uniform female body has developed. The effort to conform to this vision paved the way for the restoration of relatively damaged bodies and aesthetic surgery in the medical field. This study focuses on the critical aspect of humor, based on caricatures used as visual humor elements in the digital culture environment. The caricatures are limited to ten examples that revolve around the theme of the female body. Content analysis technique is employed to examine the caricatures. The study argues that behind the humor-themed caricatures focusing on aesthetic practices on the female body, there is a criticism of distorted modernism. The concept of aesthetics, widely discussed in various fields of knowledge, particularly philosophy, is addressed, and the changes in the perception of female body aesthetics in the 20th and 21st centuries are evaluated. Furthermore, the study examines the criticism of modernism through humor, based on caricatures with a female theme. It concludes that the ideological homogenization of modernism is reflected in the norms of human physical aesthetics, which is implicitly criticized in caricatures with a female theme. [ABSTRACT FROM AUTHOR]

The Çekirge humor newspaper, which was published twice a week on Mondays and Thursdays in March and April, 1911 and only had the opportunity to survive for 10 issues, generally reflected the political struggles shaped around The Committee of Union and Progress (the CUP). Especially people such as Lutfu Fikri Bey, Boso Efendi, Ismail Kemal Bey, Riza Tevfik Bey, who were known for their opposition to the CUP, and those representing the opposition called Hezb-i Cedit within the CUP became the focus of criticism. It is possible to see this attitude in literary genres such as poetry and dialogue, apart from "news and commentary" texts. In addition, the newspaper also allocated considerable part for evaluations on issues that affected social life and were on the agenda of the public, such as transportation, taxation, economic situation, education, fashion, the Baghdad railway project, the Reji administration, and the Balkan issue. In the study, the Çekirge humor newspaper's introduction section was first handled on the basis of its format features, author-illustrator staff and content, and then all the articles in the newspaper were classified on the basis of genre, and an analyzed index list consisting of the subheadings "News Commentary", "Telegraph", "Dialogue", "Story", "Poem", "Comedy", "Book Promotion", "Cartoon", "Picture", "Advertisement", "Announcement" was created, in which the content of each text was specified. In the selected texts and cartoons sections, texts and cartoons that have the ability to represent the period are included. Thus, it is aimed to contribute to the history of literature and press by analyzing the Çekirge humor newspaper, which has become a political, historical and sociological document for today. [ABSTRACT FROM AUTHOR]

Copyright of Ataturk Yolu Journal / Atatürk Yolu Dergisi is the property of Ataturk Yolu Journal / Ataturk Yolu 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 Journal of Geographical Sciences / Coğrafi Bilimler Dergisi is the property of Cografi 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.)

Copyright of bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World 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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Karagöz newspaper, which took its name from the character of Karagöz in the Turkish shadow play, owned by Ali Fuat Bey, started its publication life on 10 August 1908 with the slogan "It is a political, humorously illustrated public newspaper that comes out on Mondays, and Thursdays". News is the storage of images related to past events and images. It is important to perceive and interpret the visual and current image. The experience of perception is like the distribution of a newspaper. Based on this similarity, the subject of this study is to examine the cartoons selected from the issues of Karagöz newspaper published between 13 August 1908 and 14 September 1908, about the modernization process, in terms of theories of visual perception. Selected cartoons were examined in the context of modernity, from the standpoint of Gestalt, Marr's theories of visual perception, probabilism, direct perception, neurophysiological, and constructive visual perception. [ABSTRACT FROM AUTHOR]

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

Bu çalışmanın amacı, karikatür destekli yazma çalışmalarının ortaokul 7. sınıf öğrencilerinin yaratıcı yazma becerisi gelişimine etkisini incelemektir. Bu amaçla öğrencilerin gelişim düzeyleri dikkate alınarak uzman görüşleri doğrultusunda belirlenen karikatürlerle yazma eğitimi uygulamaları yapılmıştır. Uygulamada her bir karikatür için farklı etkinlikler hazırlanmış ve bu etkinliklerle basitten karmaşığa doğru yaratıcı yazma uygulamaları gerçekleştirilmiştir. Araştırmanın örneklemini, 2017-2018 eğitim-öğretim yılının ikinci yarıyılında Ankara ili Yenimahalle Atatürk Ortaokulu’nda bulunan, iki farklı 7. sınıf şubesinde öğrenim gören toplam 46 öğrenci oluşturmaktadır. Çalışmada ön test-son test kontrol gruplu deneysel araştırma modeli kullanılmıştır. Araştırma, haftada iki ders saati olmak üzere toplam 7 hafta sürmüştür. Araştırmanın verileri Öztürk (2007) tarafından geliştirilen “Yaratıcı Yazma Ölçeği” ile elde edilmiştir. İstatiksel olarak değerlendirilen veriler, karikatür destekli yazma çalışmalarının öğrencilerin ürettikleri metinlerde fikirlerin orijinalliği, düşüncelerin akıcılığı, düşüncelerin esnekliği, kelime zenginliği, cümle yapısı, organizasyon, dil bilgisi kurallarına uygunluğu ve yazı tarzı düzeyleri açılarından anlamlı bir farklılık olduğunu ortaya koymuştur.

Bu çalışma, Birinci Dünya Savaşı döneminde (1914-1918) Osmanlı İmparatorluğu’nu konu alan Alman siyasal karikatürleri üzerinedir. Çalışmanın amacı Almanya’nın Osmanlı İmparatorluğu’na dair Şarkiyatçı algısını söz konusu karikatürler üzerinden ele almaktır. Bu bağlamda çalışmanın temel varsayımı, Almanya’nın Şarkiyatçı tutumunun II. Wilhelm döneminde (1888-1918) benimsenen ve emperyalist bir karaktere sahip olan Weltpolitik (Dünya Politikası) ile ilişkili olduğudur. Bu dönemde Almanya, Otto von Bismarck’ın Avrupa odaklı denge politikasını terk ederek deniz aşırı sömürge elde etmeye yönelik Weltpolitik’i benimsemiş ve buna bağlı olarak ilgisini bilhassa Yakın Doğu’ya yöneltmiştir. Weltpolitik kapsamında Almanya, Yakın Doğu coğrafyasını neo-kolonyalizm temelinde sömürgeleştirmek maksadıyla Osmanlı İmparatorluğu’nu ekonomik, askeri ve siyasi bakımdan nüfuz altına alma çabası içerisine girmiştir. Dolayısıyla Almanya nazarında Şarkın bir parçası olarak Osmanlı, egemenlik altına alınan “öteki” vasfında olmuştur. Nitekim karikatürlerde de görüleceği üzere Şarkiyatçılık kapsamında Almanlar açısından Osmanlı ve Türk imgesi, olumsuz niteliklerle özdeşleştirilmiştir.

Bu durum analizinde, çocukların okuyabileceği bir haber metninin yalın anlamının yanı sıra çocukların algı boyutundaki öneminin, metindeki örtük mesajları anlayıp yorumlamalarında görsellerin işlevinin ve savaşın medyada yer alış biçiminin diyolojik açıdan ifade edilmesi amaçlanmıştır. Araştırmanın katılımcılarını İstanbul Bakırköy’deki bir ilkokulun 4. sınıfına devam eden altı çocuk oluşturmaktadır. Araştırmanın verileri odak grup görüşme soruları ve doküman incelemeleriyle toplanmıştır. Haber metninden yazılı ve karikatürlerden ise görsel doküman olarak faydalanılmıştır. Elde edilen veriler eleştirel söylem analiziyle çözümlenmiştir. Haber metninin analizi ile elde edilen sonuçlar, çocuklara yönelik üslubu içerdiği ve Türkiye’nin yardımsever bir ülke olduğu vurgusu ile bitmiştir. Çocuk gerçekliğini önemseyen ve çocuğa göreliğe uygun anlayışta bir metin olduğu söylenebilir. Katılımcı çocuklardan elde edilen verilerin analizi sonucunda, savaşın sınırlı bir yaşamı gerektirdiği, konfordan uzak, yaşam hakkının yitirildiği, ırkçılık ve ayrımcılığı var ettiğini, savaştaki çocukların diğer çocuklarla eşit olamadığını ve birçok zorunluluk içinde oldukları, çocuk haklarının ihlal edildiği belirtilmiştir. Katılımcı çocuklar savaş olgusu içinde empati kurduklarında kendi yaşantılarından örnekler vererek iyi oluş hallerinin savaşın çocukların da hakkı olduğunu dile getirmiştir. Çocukların sözcük seçimlerinde birinci tekil ve çoğul şahıs tercih ederek kendilerini önceledikleri, savaşa karşıt olduklarını ifade edebilme adına savaşı anlatmak istediklerinde olumsuzluk hissi ve anlamı veren sözcük seçiminde bulundukları görülmektedir. Katılımcı çocukların vatanı olan Türkiye’yi savaş halindeki ülkelere yardım eden konumda gördükleri ifadelerinde yer almaktadır. Katılımcı çocukların söylemlerinde “hak, insan ve çocuk” gibi sözcük ve kavramların kullanımına bakıldığında tüm çocuklar için eşitlik talebinde oldukları vurgulanmaktadır. Haber metniyle ilişkilendirilen karikatürlere dair katılımcı çocukların söylemlerine savaş insanının kıyafetlerinin yıpranmışlığı, evsiz kalmaları ve bu sebeple ev hayalleri olduğu ve son olarak göç etmeleri biçiminde yansımıştır.

Copyright of Gümüshane Üniversitesi Saglik Bilimleri Dergisi is the property of Gumushane University, Faculty of Health 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 Ataturk Yolu Journal / Atatürk Yolu Dergisi is the property of Ataturk Yolu Journal / Ataturk Yolu 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.)

Kladderadatsch, the humor magazine, which acted as a propaganda tool of the German Empire in line with the German national interests during the First World War, gave wide coverage to the struggle of the German Empire against the Entente Powers, and also humorously discussed the events during the Ottoman Empire's attendance into the First World War. In this study, it was examined how the German humor magazine Kladderadatsch handled the Ottoman Empire's attendance into the First World War. In this way, it was aimed to reveal the representation of the process of Ottoman Empire's attendance into the war for the propaganda of the German Empire, specifically in the humor magazine. In this context, the cartoons related to the subject were analyzed semiotically through English linguist Geoffrey Leech's the seven types of signification. Within the scope of the findings obtained in the study, it was revealed that the magazine tried to form a perception that the Ottoman Empire, which was defeated in the First Balkan War, became a powerful country by receiving the military support of the German Empire. On the other hand, it was concluded that the Ottoman Empire was presented as an important threat to the Entente Powers through the declaration of jihad and the possible Suez Campaign against England, and in this way, the message that the German Empire had a strong ally in the war was attempted to be given in the magazine. [ABSTRACT FROM AUTHOR]

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Bu çalışmada Türkiye’de karikatürün eğitsel bir materyal olarak kullanımı ile ilgili gerçekleştirilen çalışmaların genel görünümleri ortaya çıkarılmaya çalışılmıştır. Bu doğrultuda 2000- 2020 yılları arasında yapılan akademik çalışmalar; türüne (lisansüstü tez, makale ve bildiri), yayımlandığı yıllara, hedef kitlesine, kullanılan karikatür türüne, araştırma modeline ve ilgili oldukları eğitim alanlarına göre değerlendirilmiştir. Bu çalışma alanyazın taramasına dayalı bir inceleme çalışmasıdır. Çalışmada nitel araştırma kapsamında değerlendirilen doküman incelemesi yöntemi kullanılmıştır. Çalışmanın verilerine YÖK’ün Ulusal Tez Merkezindeki ilgili tezler ve internetteki arama motorları kullanılarak ulaşılmıştır. Tez, makale ve bildirilerin belirlenmesinde başlığında ‘karikatür’ ifadesi yer alan ve karikatürün eğitsel bir materyal olarak kullanımı ile ilgili olan çalışmalar esas alınmıştır. Ulaşılan verilerin analizinde betimsel analiz kullanılarak sonuçlar yorumlanmıştır. Çalışma sonucunda elde edilen bulgulara göre en çok yüksek lisans çalışmasının gerçekleştirildiği, hedef kitle olarak ortaokul öğrencilerinin seçildiği, yöntem olarak nicel araştırmaların daha çok kullanıldığı, kullanılan karikatürlerin çoğunlukla kavram karikatürü olduğu ve çalışmaların Fen Eğitimine yönelik gerçekleştirildiği sonucuna ulaşılmıştır.

Çalışmada söz sanatlarının 6. sınıf öğrencilerine öğretilmesinde karikatürdeki kırılma çizgilerinin etkisini belirlemek amaçlanmıştır. Bu doğrultuda söz sanatlarının kırılma çizgileriyle ilişkilendirilerek işlendiği deney grubuyla geleneksel öğretim yönteminin uygulandığı kontrol grubunun ön-sontest puan ortalamalarında hem grup içinde hem de gruplar arasında anlamlı bir fark olup olmadığı ve deney grubu öğrencilerinin sürece ilişkin görüşleri incelenmiştir. Tamamlayıcı karma desen kullanılan araştırmanın nicel boyutu için veri toplama aracı olarak akademik başarı testi; nitel boyutu için de yarı yapılandırılmış görüşme formu kullanılmıştır. Çalışmada deney ve kontrol grubunda yer alan öğrencilerin öntestten aldıkları puan ortalamalarının anlamlı bir şekilde farklılaşmadığı, deney grubunda yer alan öğrencilerin ön-sontestten aldıkları puan ortalamalarının anlamlı bir şekilde farklılaştığı, kontrol grubunda yer alan öğrencilerin ön-sontestten aldıkları puan ortalamalarının anlamlı bir şekilde farklılaşmadığı; deney grubundaki öğrencilerin görüşlerinin; uygulama süreci ile ilgili görüşler, uygulama öncesi ve sonrasına yönelik olumlu ve olumsuz düşünceler olmak üzere iki kategoride toplandığı görülmüştür.

Copyright of Pamukkale University Journal of Education is the property of Pamukkale University Journal of Education 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 Ataturk Yolu Journal / Atatürk Yolu Dergisi is the property of Ataturk Yolu Journal / Ataturk Yolu 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 Studies - Social Sciences 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 EUL Journal of Social Sciences / LAÜ Sosyal Bilimler Dergisi is the property of EUL 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 Journal of Modern Turkish History Studies / Cumhuriyet Tarihi Araştırmaları Dergisi (CTAD) is the property of Ataturk Institute for Modern Turkish History 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.)

Kritiker werden häufig karikiert: auf der Bühne, im Film und natürlich in gezeichneter Form. Ein frühes Beispiel bilden Shakespeares Zuschauer-Kommentare im Sommernachtstraum. In Arsen und Spitzenhäubchen oder dem Animationsfilm Ratatouille findet man ebenfalls Karikaturen. Die Behauptung, die Theaterkritik existiere erst seit Lessings Hamburgischer Dramaturgie, muss zurückgewiesen werden. Ohne Kritik sind weder die antiken Dramatiker-Wettbewerbe noch die Poetik des Aristoteles denkbar. Rein stilistisch betrachtet sind Theaterkritiken von einem starken mündlichen Duktus geprägt, speziell bei Ludwig Börne, Theodor Fontane, Alfred Kerr und Friedrich Luft. Kerrs Behauptung, die Kritik stünde als vierte Gattung neben der Lyrik, Dramatik und Epik diente der Selbststilisierung, andere Kritiker teilen diese Auffassung nicht. Im medialen Kontext stellen sich für heutige Theaterkritiker ständig neue Herausforderungen dar: Zum einen ist der Aktualitätsdruck durch die Online-Konkurrenz stark gestiegen, zum anderen verlangt die formale Vielfalt (postdramatisches Theater, postmigrantisches Theater, Site Specific Theatre, Rechercheprojekte, Dekonstruktion überlieferter Stoffe etc.) ständig neue Positionsbestimmungen.

Abstrakt: Fabeln haben sich im Laufe der Jahrhunderte und in unterschiedlichen kulturellen Kontexten kontinuierlich gewandelt. Sie erfahren neue Bedeutungen und neue Verwendungen, indem sie den gesellschaftlichen Gegebenheiten der Zeit angepasst werden. Die genauere Untersuchung von Zeichnungen, Karikaturen und Cartoons bezogen auf bestimmte Fabeln erwiesen sich dabei häufig als instruktiv. So hat auch die Untersuchung einiger Cartoons aus iranischen Medien bezüglich der Fabel "Rabe und Fuchs" zu interessanten Resultaten geführt, zumal es oft bei solchen Bildern kaum einer Erklärung bedarf, um die Bedeutung des Gemeinten ebenso in einem anderen kulturellen Kontext zu verstehen. [ABSTRACT FROM AUTHOR]

With the proclamation of the republic in Turkey in 1923, the parliamentary system had started, and the country has been administered with this system for a long time. However, in 2017, Prime Minister of the time Binali Yıldırım and 103 AK Party members of the Parliament proposal for the Presidential System to the parliament (anayasadegisikligi. barobirlik.org.tr, 2020) was accepted with the support of the Nationalist Movement Party (MHP) and it was decided to hold a referendum. As a result of this decision, the referendum ballots took place on the 16th April 2017 and a "yes" result was obtained from it. Although the relationship between the press and politics is a subject that is constantly criticized, the existence of such a relationship cannot be denied. It is possible to see the relationship between the press and politics in every media material such as news, columns and cartoons. In this study, how the 2017 Presidential System referendum was reflected on cartoons is examined in the context of the relationship between discourse and ideology. On the other hand, it has been tried to determine whether the cartoonists reflect the ideologies of the newspapers they are working for. In this direction, the cartoons published in a period of two months have been examined and those found to be relevant to the referendum were selected for analysis. In this study, the cartoons archives of Yeni Şafak and Yeni Çağ newspapers representing the right view, and Cumhuriyet and Evrensel newspapers representing the left view have been studied. In the study, qualitative research methods discourse analysis and semiotic analysis have been used together. The findings of the study revealed that the cartoons were drawn according to the publication visions of the newspapers in which they were published and that discourses were formed in the lines. [ABSTRACT FROM AUTHOR]

Copyright of Turizm Akademik Dergisi is the property of Turizm Akademik 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.)