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The need to explain is seen among the basic needs of human beings. In order to meet the need for narration, genres such as myths, tales, stories and jokes have been used. However, gossip is also of great importance in meeting this need. The most general meaning of gossip is to talk behind someone's back. For various reasons, people talk about things behind the other person's back that they do not or cannot say to their face. Gossip, which is widely produced and consumed by the public, has important functions in the context of folklore. For example, it reminds us of cultural elements, keeps them alive and ensures their transmission from generation to generation. Failure to implement cultural elements accepted in society and/or displaying contrary actions makes the perpetrators of the incidents the subject of gossip. Within the scope of gossip, the actions of these people are condemned, and the group members' failure to display the condemned actions is expressed artistically. This situation emphasizes the importance of not going beyond cultural elements in society and adhering to traditions. In this sense, gossip is effective in adhering to the culture of the region. Partnerships are of great importance in gossip. People who share common elements come together to produce and transmit gossip. These rumors are about common issues that affect individuals directly or indirectly. Gossip, which deals with the events, situations and issues of daily life, plays an essential role in oral history and is effective in reaching the history of daily life. Gossip, which is a product of oral culture and has an impact on the preservation, survival and transmission of various cultural products from generation to generation, is effective in transmitting the knowledge and experiences of the people and transmits the products of folk knowledge to future generations. Gossip has various similarities and differences with other narrative types. For example, just like other genres of narratives (fairy tales, stories, etc.), gossip helps people organize. Just as gossip is included in various forms within other narrative genres, various types (story, joke, proverb, applause, curse, swearing, etc.) are also included within gossip. Although many of them are common with the functions of folklore, gossip has various functions such as organizing, entertaining, educating, comforting, supporting customs and ceremonies, and protesting. By examining the gossip of certain regions, one can gain information about the culture of the region by seeing what the local people condemn and what they support. The subject of gossip needs to be examined and studied from various aspects in the context of folklore. In the current research, some topics that can be studied regarding gossip are included. The study was created based on the data obtained as a result of participating in the gossip, listening to the texts and making observations, as well as theoretical thoughts. In this study, the place and importance of gossip in folklore is mentioned. However, gossip was mentioned as a genre of folklore and a new definition was put forward. In this way, it is aimed that the study will play a guiding or leading role in research on gossip. In addition, it is aimed to understand the importance of the subject, which has not been studied sufficiently and has not attracted attention in the context of folklore, and to be supported by various studies. [ABSTRACT FROM AUTHOR]

Folk tales were generally formed in a mixture of verse and prose after the epic tradition in Turkish culture. These are oral literature products told by minstrels. Folk narratives, which vary in terms of their sources, can be divided into two as love and heroism in terms of their themes. It is generally sung with the accompaniment of saz. The people's feelings, thoughts and reactions to events are expressed. These pruducts also have functions such as educating the public, transferring culture, having a good time and having fun. The language of these Works, produced by the public and told to the public, is quite simple. Epic Rules of Folk Narratives, developed by Axel Olrik within the Historical-Geographic Finnish Theory, aims to beter understand folk narratives by examining them structurally. These rulse have been applied to different literary texts in doctoral, master's theses and articles by various researchers in Turkey. It has been observed that the narratives largely comoly with these rules. The product called The Story of Öksüz Yakup and Turna, which is one of the folk stories told in Çukurova and whose subject is set in Çukurova, was also examined within the framework of epic rules. As a result of the analysis, it was seen that the story complies with all except the rule of thirds. [ABSTRACT FROM AUTHOR]

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Copyright of 4. BOYUT Journal of Media & Cultural Studies is the property of 4. BOYUT Journal of Media & Cultural 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.)

As a result of Turkey's agricultural policy that has developed since the 1950s, lakes in different provinces have been dried within the scope of expanding agricultural areas. Amik is one of the lakes that were dried in this context. Amik Lake, which was once an important water source for Antakya, has an important place in the history of the city. Since the lake used to cause floods since the past, the idea of drying was on the agenda during the Ottoman period, the French mandate administration and the administration of the Hatay state. These attempts continued after the annexation of Hatay to Turkey. The gradual drying of the lake in the 1970s in the Republican period has brought many discussions on the city agenda from the past to the present. This study is part of a scientific research project focusing on the economic aspects of drying Amik Lake. A detailed literature study was carried out within the scope of the project, and the works of wanderers travelled around Antakya in the past were also examined. Within the scope of field research, 19 people from Arpahan, Küçükdalyan, Paşaköy, Bakras, Muratpaşa, Torun, Büyükdalyan, Serinyol and Topboğazı villages around the old lake mirror, two people ran the lake commercially and two people from the institutions and key actors in the city were interviewed. In line with the written and oral information obtained, it is understood that the lake was dried with motives such as drying the swamp areas in accordance with the spirit of the period, preventing malaria, expanding the agricultural areas and providing land to the farmers. In the scope of the study, it is aimed to reveal the opinions of the city residents about the drying process of the lake and the traces it leaves in the public memory. [ABSTRACT FROM AUTHOR]

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Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Journal of International Civilization Studies is the property of Kyrgyz-Turkish Manas 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.)

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Today, many recurrent narratives are presented and transmitted to our image world by cultural industries. The various adaptations of James Bond, who is an important hero of popular cinema and encountered in different geographies, can be seen as an important reflection of cultural transmission. There are examples where the interactions of James Bond films can be seen in Turkish cinema, which is called the “Yeşilçam Era.” In this context, the global influence of Bond movies will be examined through Altın Çocuk movies of Göksel Arsoy, known as Turkish James Bond. The study analyzes the relationship between Altın Çocuk and Altın Çocuk Beyrut’ta, and Thunderball and You Only Live Twice. [ABSTRACT FROM AUTHOR]

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

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

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

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

Son dönemde dünyada ve Türkiye’de akademisyenler değerlendirilirken performans ve sıralama öne çıkmaktadır. Akademisyenlerle ilgili yapılan çalışmalar genel itibariyle akademisyenleri listelemeye yönelik olup, akademisyenlere başarıyı getiren yetişme süreçlerinin ele alınmadığı görülmektedir. Bu kapsamda araştırmanın amacı, seçkin akademisyen olarak tanımlanan başarılı akademisyenlerin kariyerlerinin gelişim ve kariyer kimliklerinin inşa süreçlerini incelemektir. Nitel araştırma yöntemiyle tasarlanan araştırmada, vaka çalışması yaklaşımı benimsenmiştir. Araştırma iki aşamalı yürütülmüştür. İlk aşamada sosyal ve beşerî bilimler (a), fen ve mühendislik bilimleri (b) ve sağlık bilimleri ve yaşam (c) alanlarından birer akademisyene ait önce doküman incelemesi yapılmış, ikinci aşamada ise akademisyenlerle mülakatlar gerçekleştirilmiştir. Deşifre edilen mülakat dokümanları anlatı analizine tabi tutulmuştur. Sonuç olarak seçkin akademisyenlerin kariyer kimliklerini merak ve sürekli çalışma üzerine kurdukları görülmüştür. Kariyer kimliklerini inşa ederken rol modeller kariyerlerini çalışma disiplini ile ve akademik olarak etkilemiştir. Seçkin akademisyenlerin doktora süreçlerinde doktora tezi onları geliştirmiş ve danışmanları onları olumlu yönde etkilemiştir. Çıkardıkları yayınlar kariyerlerinin merkezindedir ve kariyer başarılarının göstergesidir. Seçkin akademisyenler akademik çalışmalarını ekip çalışması ve iş birliği ile yürütmektedirler. Aynı zamanda kurdukları uluslararası ilişkiler de bu çalışmalarına destek olmuştur. Akademisyenlerin yaptıkları akademik işler yanında, vakitlerini alan yayın dışı akademik işleri de mevcuttur. Bütün bunların yanında seçkin akademisyenlerin önemli başarıları vardır ve kariyer kimliklerinde bu başarıyı vurgulamaktadırlar.

Fairy tales are texts that have been the subject of scientific studies in many fields from literature to folklore and psychology to sociology. Especially in the field of folklore, it is known that the studies on fairy tales in the past were text-centred. It has been seen recently, however, that context-centred studies are conducted. In these studies, the narrator, the listener and the narration environment are handled together. The life story of the narrator, which has gained importance in folklore studies, has formed the basis for the concept of 'personal dimension' put forward by context-centred theorists. One of the factors that are effective in the formation of the personal dimension is gender roles. In this study, based on a fairy tale by Fatma Önkol, a female fairy tale teller from Kahramanmaras, and a fairy tale by Mustafa Baltacı, a male fairy tale teller also from Kahramanmaras, the extent to which the gender roles of the narrator are reflected in the fairy tale she tells has been analysed. Generally, in the tale told by the male narrator, men have a brave and valiant personality, while women are portrayed as bad and secondary to men on one hand as striking for their external beauty and loyalty to their men. In the female narrator’s tale, however, it is observed that the female protagonist stands out with her bravery, intelligence and courage as well as her beauty and success in housework. As a result, it was observed that the environment and conditions in which the narrators were born affected the tale in terms of gender. [ABSTRACT FROM AUTHOR]

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Copyright of Turcology Research 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.)

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

Abdülhak Şinasi Hisar, whose most productive period was between 1933 and 1956, was a significant figure in Turkish literature who stood between tradition and modernity. The time he spent in Bosphorus, Rumeli Fortress, and Çamlıca during his childhood and adolescence had a great impact on his writing process and transformed him into a narrator who benefited from the past. Thus, Hisar told us about his memories of the past years and the “Bosphorus civilization” in his works, to exemplify, in Bosphorus Moonlights (Boğaziçi Mehtapları, 1942), Bosphorus Mansions (Boğaziçi Yalıları, 1954) and Past Times Mansions (Geçmiş Zaman Köşkleri, 1956). His works are like the chapters of a large memoir that are constantly nourished by the past. Some of the author’s works more closely resemble memoirs than novels due to his preoccupation with his memories, such as Fahim Bey and Us (Fahim Bey ve Biz, 1941), Our Brother-in-law in Çamlıca (Çamlıca’daki Eniştemiz, 1944) and Ali Nizami Bey’s European Style and Sheikhdom (Ali Nizami Bey’in Alafrangalığı ve Şeyhliği, 1952). As a result of their complexity, the works of Hisar tend to be regarded as narratives. As their titles imply, the primary focus of these narratives is on past events and the people belonging to the past. While Hisar described the past by evoking a sense of nostalgia, he was also cognizant, from a Bergsonian standpoint, of the unending/uncontrollable nature of time and change. As a result, as time passes, places and people also change, and those who do not make an effort to continue living their lives are characterized as “the disconnected”. In a sense, his characters are analogous to aging mansions; even as they age, they still evoke the glory of a particular era. This article analyzes the author’s three works and a selection of their characters. By examining Fahim Bey, Hacı Vamık Bey, and Ali Nizami Bey, this study examines time, change, and the characters left behind by the change. Also, these aspects will be compared to the “disconnected” Hisar profile, and the author’s relationship with his characters will be discussed. [ABSTRACT FROM AUTHOR]

The Annales School, which emerged in France in the early twentieth century, put forward a historiography centered on society, looking at history from an interdisciplinary perspective and building on a problem-oriented understanding of history instead of an event narrative. With this new approach, Annales offered a strong alternative to political history, which had dominated historiography until then, and succeeded in breaking its hegemony. Although there are some differences among its members, in general, in the approach of the Annales School, history is constructed through geographical, chronological, social, economic and mental frameworks. The writing of sirah, which we evaluate in terms of the application ground of the Annales, is based on the chronological event narrative centering on the hero as the dominant tendency from classical times to the present. Nevertheless, new searches in this field are noteworthy, and there are examples of changes in subject determination and writing methods. Contemporary sirah writing is based on the works compiled in the classical period as a source. In determining whether the narrations in these sources allow the application of Annalesist approaches, it is important to determine the Annales principles and to examine the sirah sources in terms of these principles. This study examines the possibility of new expansions in terms of subject and presentation in sirah through the approaches of the Annales School. [ABSTRACT FROM AUTHOR]

It is known that the legend, which is one of the oral narrative types, has been frequently told among people from past to present. It is extremely important that the legends are told frequently and that they exist in every age by changing and transforming. Because the legend clearly shows the continuity of folkloric products as well as contributing to the collective memory. However, another reason why legends are frequently told is that the element of belief is prominent in the narratives. With the belief element coming to the fore, the legends focus on the relationship between humans and the extraordinary. The narrator and the listener of the legend come together through this element of belief and the human-extraordinary relationship. This situation helps the legend to become one of the frequently told oral narrative types. It is known that the Giresun legends, which have become the object of study, are classified as follows in the light of the element of belief and the human-extraordinary relationship: Religious legends, legends about rocks, legends about place names, legends about animals, legends about extraordinary creatures, legends about natural events, legends about trees, historical legends, legends about treasures, and love legends. As can be seen from the classification, the objects themselves are highlighted in the context of the belief element and the human-extraordinary relationship in the legends. However, among the compiled legends, religious legends draw attention both in terms of quality and quantity. It is possible to classify the legends in question in the context of themes as follows: Travel, war and freedom, treasure hunting, health, need for food, fulfillment of religious duties, owning land, and fulfilling the wishes of the saints. However, it is necessary to analyze and make sense of the belief element and the human-extraordinary relationship, which is at the base of the legend, from a metalinguistic point of view. Because the state of being universal, which is one of the features of folkloric products, expresses the structural repetition of the narrative. In that case, narrative analysis to be carried out from a structuralist perspective can also explain the structure of folkloric products in detail. In this context, the religious legends of Giresun were analyzed in the light of two concepts: Actants model and narrative program. These two concepts allow the analysis of the syntax of a narrative. Through the actants model, the relationship between the actants and the actants in a narrative is determined. The narrative program, on the other hand, basically provides the expression of what stages the subject has passed through within the narrative. The concepts of sender, object, receiver, helper, subject, and opponent in the actants model were determined by Greimas as the agents in the syntax of the narrative. These actants are decisive in the adventure of the subject with the roles they play in the functioning of the narrative. The narrative program, on the other hand, shows the stages that the subject goes through in the light of the following concepts: Manipulation, competence, performance, and sanction. The concepts in question allow the explanation of the stages that the subject goes through in the narrative. In this study, the syntax of Giresun legends is analyzed through these concepts. First, religious legends were classified in the context of themes, and it was expressed how the themes were operated according to the actants model. Then, the stages that the subject goes through are expressed in terms of the concepts of the narrative program, and the religious Giresun legends are analyzed from a structuralist point of view. [ABSTRACT FROM AUTHOR]

Folk narratives are an important component of cultural memory. Narrative, which reflects information, experiences and teachings from the past, serves the function of ensuring the continuity of cultural memory, protecting the identity of the society and transferring it to future generations. Turkish folk narratives are mostly the product of the transition to settled life and are a genre that contains many codes about this period of the Turks. The theme of love come to the fore in folk narratives especially with the influence of the settled life. The Uyghurs are a deep-rooted Turkish tribe that has survived on the stage of history since the early periods and had an early settled life. It is possible to see their deep-rooted past in the oral and written tales they have created. The narrative of "Şehzade Behram and Melike Dilriz", which is the subject of the current study, is an example of this. In the narrative, the features that the heroine looks for in a spouse and the competitions the she forces male heroes to take part in are among the motifs that carry the cultural codes of the settled life. The type of Khidr that takes shape in this context and occupies a central position in this study is a product of the collective memory of the Uyghur Turks, and it has both similar and different characteristics with the traditional Turkish belief in Khidr. In this article, the structure and characteristics of the type of Khidr in the belief system and culture of the Uyghur Turks were identified and examined. [ABSTRACT FROM AUTHOR]

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

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

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

Ji ber çendîn sedeman edebîyata kurdî ya Sovyetê heta salên 1970yî wek edebîyateke yekdeng derdikeve holê û di nav anonîmîyeke etnîk, îdeolojîk û civakî da tê berhemanîn. Lê ji vê arasteya giştî cudatir Emerîkê Serdar ji salên heftêyî heta dawîya Sovyetê bi sê pirtûkên xwe yên çîrokan deng û riwangeheke nû tîne nav vê edebîyatê. Ji alîyekî ve dibe dûajoyê nerîta xwe ya edebî ji alîyê din ve bergeheke nû li ber vê nerîtê vedike. Li ser şopa berê, ew jî behsa mijar û mîrata pêşîyan bike jî ji wan cudatir zimanekî propagandîst bi kar naîne û bi riwangeheke şexsî berê xwe dide mijarên berê. Li alîyê din hem ji alîyê naverokê ve hem jî ji alîyê vegêranê ve nûgerîyekê pêk tîne û ji yek-vegêrîyê ber bi pir-vegîrîyê, ji zimanekî folklorîk ber bi şêwazeke kesî, ji girêyên sade yên çîrokan ber bi girêyên aloz û ji cure û rûdanên çavnas ber bi cure û rûdanên nû pêngavên giring diavêje. Ev gotar vê guherînê berbiçav dike û digihîje wê encamê ku ji ber van taybetmendî û cîyawazîyan hêja ye ku mirov Emerîkê Serdarî wek dengekî cîyawaz ê edebîyata kurdî ya Sovyetê bide nasandin.

The concepts of "narrative" and "demonstration" appear as basic concepts in textual studies. These concepts have been used by different disciplines to discuss the basic dynamics of the demonstrative and the narrative. In this article, the positioning of the narrative in the ortaoyunu, which is one of the traditional Turkish theater genres, will be examined. Ortaoyunu carries all the characteristics of a theatrical space with its fragmented and open format. The tongue twister in the plays are remarkable in terms of positioning the narrative in a performative show. This section is the section that includes the extraordinary elements that Kavuklu tells in order to convey her verbal mastery to the audience. For this reason, it is important to understand the coexistence of the narrative and the demonstrative in a performative structure. In the tongue twister section, which takes place before the chapters of the plays, Kavuklu's memory is told, supported by dialogues to which Pişekar reacts with surprise. At the end of all this extraordinariness, it turns out that Kavuklu is not telling about an event that happened to her, but about a dream she saw. As such, Kavuklu inserts a narrative into the performance. Here, the dream narrative is highly functional in embedding a plot-independent plot into the performance. This narrative player, which is constructed with extraordinary features; brings together the concepts of "diegesis" and "mimesis" by transforming the actor from the actor to the narrator. These features are noteworthy in that they show that the drama texts are based on both performance and narrative. Examination of this unity is remarkable in terms of producing new forms on the structure of traditional theatre. In the tongue twister, the ortaoyunu scene is no longer performative and turns into a new context in which Kavuklu is the narrator. Thus, two different times and places emerge in the game. The first of these belongs to the playful and the other to the narrative. From this point of view, the middle game as a genre emerges as a genre with dynamics between the narrative and the demonstration, in which the characters of the play change within the performance. Thus, it gains a layered and renewable feature. This allows it to renew itself with the dynamics of both speech and display. It can be said that these features have a remarkable function in bringing the contemporary and traditional together in the structural analysis of traditional Turkish theatre. The fact that the narrative is a dream allows to push the limits of the extraordinary, depending on the talent of the narrator, and also facilitates the return from the narrative to the performance. In this study, the examples of ortaoyunu whose tongue twister were examined were selected from the texts compiled by Cevdet Kudret. The tongue twister section is accepted by the researchers as the most important part of the ortaoyunu. Since the sections in question form a narrative and are long, the examples of games that will convey the subject are summarized in the study. In terms of the limitation of the study, all game examples were not included in the study to avoid repetition. [ABSTRACT FROM AUTHOR]

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The aim of the research is to examine the transformation of the chronotope phenomenon, which was conceptualized by Mikhail Bakhtin in the narrative of the novel, in his adaptation studies. The story with different discourses; Bakhtin's concept of chronotope and the change of time-space determinism were taken into account in the adaptation from the theatre text to the manga comic. It was concluded that the chronotope in William Shakespeare's play Hamlet is not the same as the chronotope in Manga Shakespeare: Hamlet. At the same time, its structural features in the manga narrative were also examined. In the comparison of two works of art, the time/space chronotope is deconstructed and reconstructed. When the adaptation and the original work are compared, time turns into a chronotope. For example, the letter that exists in William Shakespeare's Hamlet turns into a chip representing the cyber world in the manga adaptation. At the same time, the guards standing guard in front of the doors of Elsinore Castle, which represents the Renaissance period, are replaced by technological finger-reading devices. When the form of the narrative transforms from a theater play to a manga narrative; Syringe replaces poison, one of the time chronotopes. When all these examples were examined, it was determined that chronotopes were transformed in William Shakespeare's adaptation of the play Hamlet to Manga Shakespeare: Hamlet comics. [ABSTRACT FROM AUTHOR]

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

Tarih boyunca gerçeğe ulaşma çabası içerisinde olan insanlık, bu sorunsalına çağlar boyunca değişenve gelişen anlatılar ve araçlar ile yanıtlar aramıştır. Kullanılan araçlar değiştikçe anlatıların kodları dadeğişime uğramıştır. Gerçeklik arayışı değişen insanlık artık günümüzde gelişen dijital teknoloji ile kendigerçekliğini yaratmaya başlamıştır. İlk çağlardan bugüne gerçekliğe ve onun kökenine atfedilen tüm sorularve yanıtlar bugün dijital olarak üretilebilen gerçeklikler üzerinden farklı bir boyut kazanmıştır. Buradanhareketle bu çalışmada sinemada kullanılan biçem analizinin sanal gerçekliğe uyarlanması ile bir analizgerçekleştirilecektir. Çalışmada The Key sanal gerçeklik içeriği analiz edilecektir. İçerikte savaştan kaçanbir mültecilerin kızın başından geçen olaylara odaklanılmakta ve bu olaylar sanal gerçeklik teknolojisi ilekullanıcıya aktarılmaya çalışılmaktadır. Analizde sanal gerçeklik anlatısının kodlarına ve yapısına ilişkinsorulara yanıtlar aranmıştır. Analiz sonucunda The Key sanal gerçeklik içeriğinin empati yaratma vedeneyimleri aktarma konusunda başarılı olduğu görülmüştür. İnteraktivite ve kullanıcı katılımı noktasındaise aksamalara eksikliklere rastlanmıştır. Bu eksikler sanal gerçekliğin en temel yeteneklerinden birisi olanetkileşim ve katılım noktasında içeriğin zayıf kalmasına neden olmaktadır. Genel olarak bakıldığında isemevcut eksikliklerine rağmen kurgu ve akış noktasındaki başarılı yapısı ile etkili ve yeterli bir içerik olduğusonucuna varılmıştır.