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Copyright of Art Vision 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.)

Bu çalışmada sanat ve tasarım arasındaki ilişki doğrultusunda resim sanatında mimari çözümlemeler incelenmiştir. Çalışmanın ilk bölümünde resim sanatının 1850 sonrasında sanatsal tasarım ve mimari ile birlikte tarihsel süreç içerinde ilişkilendirilmesi ele alınmıştır. Ayrıca bu bölümde çağdaş sanatın başlıca akımları içerisinde resim sanatının mimarlık ve sanatsal tasarım ile ilişkilendirilmesi süreci araştırılmıştır. Sanatın disiplinler arası etkileşimi ve durmaksızın genişleyen malzeme imkânlarının özellikle resim sanatını nereye götürdüğünü ve gelişme süreci incelenmiştir. Çalışmanın ikinci bölümünde ise sanatsal tasarımı etkileyen öğelerin plastik ve felsefi olarak nasıl irdelendiği ya da nelerden faydalandığını ve bunların yanı sıra malzeme, mekân bağlamında ele alınmıştır. Çalışmanın son bölümünde sanatsal tasarım içerisinde mimari mekânları, sanat eserine dönüştürülen mekânları ve resim sanatının çizmiş olduğu yol haritasını inceleyerek mimari çözümlemeler yapan başlıca sanatçıların eserlerine de yer vererek resim sanatının Sanat tarihi sürecinde birçok farklı bilim dalı arasında nasıl etkileşim meydana getirdiğini inceleyeceğiz. Bu bağlamda resim ve mimari alanları arasındaki ilişki doğrultusunda çalışmada mimari çözümlemeler belirlenmeye çalışılmıştır. Çalışmanın amacı doğrultusunda literatür incelemesi yapılarak konu ile ilgili makaleler, yüksek lisans tezleri ve kaynak kitaplar incelenerek çalışmanın kuramsal boyutları meydana getirilmiştir.

Copyright of Mevzu is the property of Ali Sever 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 Social Sciences Studies is the property of Social Sciences 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 Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of 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 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 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 Social Sciences Studies is the property of Social Sciences 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.)

Bu makale, zamanın tanımına, sanatçıların yaratımlarında zaman kavramını nasıl ele aldıklarına ve hangi medyumları kullandıklarına değinmektedir. Zaman üzerine çalışan sanatçılar On Kawara ve Roman Opalka’nın eserleri örnek olarak sunulmaktadır. Zamanın filozoflar tarafından nasıl incelendiğinin belirtilmesi, geçicilik ve zamanın sabitlenmesinin/arşivlenmesinin irdelenmesi de ayrıca sorgulanmıştır. Zaman kavramı çerçevesinde sanatın, yaşamın geçici doğasına bir ayna, tarihin kronolojik kaydı, kişisel ve toplumsal bir yansıma görevini üstlenen bir araç olarak hizmet edebildiğine değinilmiştir. Sanat, geçici olan anları yakalama konusunda eşsiz bir yeteneğe sahiptir. Zaman tarih boyunca sanatçılar tarafından sürekli bir keşif kaynağı olmuştur. Farklı akımlar içerisinde zamanın hangi biçimde ele alındığı, zaman akışının gözlemlenmesinin nasıl dışa vurulduğu tartışılmıştır. Zamanın geçişi, tüm karmaşık yönleriyle ve boyutlarıyla sanatta bir kavram/tema olarak ele alınmaktadır. Bu makalede, sözü geçen sanatçılarımız On Kawara ve Roman Opalka’nın eserlerinde zaman kavramını ele alış biçimleri derinlemesine incelenmiştir. Bu inceleme bizi farklı sanatsal akımlar, teknikler ve ortamlara götürerek, sanatta zamanın geçişiyle örülmüş insan deneyiminin zengin dokusunun eserlerde hangi biçimlerde ortaya çıktığını izlememizi sağlayacaktır.

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 Social Sciences Studies is the property of Social Sciences 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 origin of utopia narratives is based on mythical legends and religious texts. In these narratives, the ideal life of the old world and the phenomenon of paradise are emphasized. Utopia narratives depict a perfect world set in past times or living in an uncertain future. Dystopian discourses and apocalyptic narratives are closely related to each other and have been influenced by utopian narratives. Apocalyptic and dystopian descriptions describe the place and time when it is difficult to live in all aspects, like hell. Apocalyptic descriptions as a religious discourse and dystopian narratives as political discourse emphasize the chaotic collapse of society and states, from the degeneration of ancient civilizations to the hedonistic consumerism of today's capitalist societies In both discourses; It is told that a series of events explained by prophecies such as terrible disasters, epidemics, wars and famine befell authoritarian civilizations that resort to ruthless methods and raging and deviant societies. The general framework of apocalyptic images in Western painting is based on the text in the New Testament from the Bible writer St. John’s Apocalypse / Book of Revelation. The apocalypse phenomenon and descriptions in Western civilization have been dealt with from a religious point of view for a long time; In today’s world, it has begun to be defined as a concept that includes the destruction of states and societies as a result of sociological, economic and political extremism. The aim and scope of this study is to examine the concept of apocalypse in Western art from the 13th century to the present day, and to identify the artists who painted apocalyptic narratives associated with religious and dystopian discourses. [ABSTRACT FROM AUTHOR]

Artist have taken different starting points as reference points that allow them to express herself during the creation process of their work of art. The impact of art on people in a social sense can be counted among these reference points. The social impact situation has resulted in art turning into a propaganda tool and influencing the masses. This research includes examples of the stages that art goes through in terms of visual language formation and the artists' search for a unique way out. The research was carried out through literature review, one of the data collection techniques, and the collected information was brought together, mainly by reference to the works of foreign authors. The problem of the study is how the concept of art, in theoretical terms, turns into a propaganda tool with examples from various periods and geographies. The findings obtained at the end of the study were focused on works of art that turned into propaganda tools based on the concept of art, artists' search for identity and the principles of influencing the masses. As a result, it has been concluded that the concept of art can be considered as contemporary for every artist in their own period, that it does not cover a specific period, and that in every period there are works of art that turn into different means of expression depending on the relationship between art and politics, and this understanding continues today. [ABSTRACT FROM AUTHOR]

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

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

Bu çalışmanın amacı, bilgiyi görselleştirme stratejisinin Türkçe ders kitaplarındaki kullanım durumunu belirlemektir. Doküman incelemesi tekniğinin kullanıldığı bu çalışmada; araştırmanın veri kaynağını 5, 6, 7 ve 8. sınıf Türkçe ders kitapları oluşturmaktadır. Verilerin çözümlenmesinde betimsel çözümleme tekniği kullanılmıştır. Çözümleme sonucunda bilgiyi görselleştirme stratejileri çerçevesinde grafik düzenleyicilerin 219, resimlerin 78 kez kullanıldığı belirlenmiştir. İncelenen kitaplarda en çok bilgi haritası, tablolar ve görüntüsel resimlerin kullanıldığı bulgulanmıştır. Bilgi ve görsel arasındaki ilişkiden çözümleme, açıklama, eşleştirme, tahmin etme ve sınıflandırmanın çoğunlukla kullanıldığı belirlenmiştir. Bu bulgulara bağlı olarak incelenen Türkçe ders kitaplarında bilgiyi görselleştirme stratejilerinin hem sınırlı hem de çeşitlilik açısından asgari düzeyde olduğu sonucuna ulaşılmıştır.

It is known that the artists of the Venetian Renaissance were heavily influenced by the developing relations between the Venetian Republic and the Ottoman-Eastern Empire, and that they sometimes reflected these influences in their works. In the paintings of the Venetian School period, it is seen that the artists visualised the nature, architecture and cultural figures of the distant Ottoman Empire from a certain perspective. As a matter of fact, it is possible to see the manifestations of these images in a wide range, starting from more realistic depictions based on the impression of Ottoman-Eastern merchants or ambassadors strolling in Venetian squares to the "fantastic oriental" image presented by sacred texts. In this respect, this study analyses the impact of the humanitarian relations between the Ottoman Empire and the Republic of Venice on the arts; evaluates the presence of this interaction in the works of the prominent Venetian School artist Vittore Carpaccio and tries to explain with examples how the arts of the two societies affected the works of art depending on the growing relationship. [ABSTRACT FROM AUTHOR]

Although the Westernization process in Turkish Painting began with primitives in the mid-19th century, it gained momentum with the opening of the Sanayi-i Nefise School and the activities of the 1914 Generation painters. Following this group, the foundation of modern Turkish painting was laid with the Union of Independent Painters and Sculptors. After the dissolution of the Union, the D Group, the Newcomers and the Tens Group were formed respectively. The Group of Ten adapted western techniques to their paintings based on original identity and local subjects. The Group of Ten adopted a universal understanding of art based on a national foundation, starting from our traditional handicrafts. In 1947, ten young students of Bedri Rahmi Eyüboğlu's studio founded the "them" group. The group includes Nedim Günsür, Leyla Gamsız, Hulusi Sarptürk, Fahrünisa Sönmez, Ivy Stangali, Meryem Özacul, Mehmet Pesen, Fikret Alpe and Saynur Kıyıcı. However, Turan Erol, Orhan Peker, Fikret Otyam, Osman Oral, Mustafa Esirkuş, İhsan İncesu, Remzi Paşa and Adnan Varınca were later added to the group. The group held its last collective exhibition in 1954 and then disbanded. The main axis of this study is to analyze the color structures in the paintings of Mustafa Esirkuş, Mehmet Pesen, Nedim Günsür, Fikret Otyam and Orhan Peker, who are among the painters of the Group of Ten, which was created with the idea of realizing the East-West synthesis in Turkish painting, by means of computer programs and to reveal the results. In addition to the literature review technique, the study was carried out qualitatively by using frequency analysis techniques through software to determine the proportions of colors. [ABSTRACT FROM AUTHOR]

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

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

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

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

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

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) 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 Academic Social Resources is the property of Journal of Academic Social Resources 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 Artuklu Human & Social Science Journal is the property of Artuklu Human & Social Science 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.)

There are no definite judgments or rules in the art of painting. However, in general, it is seen that there is a linguistic integrity in the works created by the artists in line with their styles and approaches. When the art is examined in terms of movements, the art of painting can show a certain stylistic affinity in every period. It can be easily said that the stylistic concerns of the artists are reflected in their works. It is possible to reflect these stylistic tendencies of the artists and their approaches to art movements as a unit repetition. People attribute certain habits and movements to the work they do. This approach shows an instinct for repetition, whether through a movement or an object. Behaviors or objects such as writing, walking, a familiar image appear as a signature at certain times in a person's life. Having similar concerns in the formation of the artwork, the artists include images that will support the period and style they belong to. It is possible to express these images as unit repetitions. Unit repetitions sometimes manifest themselves in the artist's work, while in others they take place lately. In this direction, it is seen that the artists reflect the development processes of the works they produce to the paintings by making use of the unit repetitions. The study aims to emphasize the artistic expression arising from the unity of painting and unit repetition within the framework of Neo-Impressionism (Poantalism), Op-Art, and Avant-garde Art. [ABSTRACT FROM AUTHOR]

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

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

Copyright of 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 Academic Social Resources is the property of Journal of Academic Social Resources 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.)

Mythology is a very important phenomenon that establishes man's relationship with nature and society in a multi-layered and allegorical way, starting from his creation. Mythological stories that make up the selves of societies and inspire them to better understand life have found a response in different branches of art such as music, theater, literature and cinema. In addition to recreating myths, cinema also reinforces what is meant to be told, that is, the way of expressing them, by creating new myths. In fact, cinema as it stands reflects the way societies think by influencing them. The most important factor that makes both similar here is the perception of fantasy and reality as if they were together. Therefore, cinema is another aspect of mythology that comes into shape again in our lives. Just like the myths, cinema has elements that change and transform human life. In this work, director Celine Sciamma's Portrait of a Young Girl on Fire (ing. Portrait of a Lady on Fire) is intended to reveal how the Orpheus myth is reinterpreted through the characters and the determination of the view of Orpheus from the female point of view. In this respect, philosophical criticism and descriptive analysis method were used in the study. As a result of the analysis made on the film, it was concluded that there is a relationship between the film and strong mythological stories such as Orpheus and Eurydice, and that the relationship between mythology and cinema extends intertextually to today's cinema stories. [ABSTRACT FROM AUTHOR]

Drawing and design studies, which have an important place in Visual Arts education, from the basis of the individual's means of expression. Art education, which is effective in acquiring skills such as critical thinking, deducing, summarizing and abstracting, in addition to the cognitive and sensory acquisitions of individuals, can be realized by communicating in the 'moment'. In order for our students to be productive, they need to be able to focus all their full attention to the work they are doing and focus on the "moment" and the "now". In order for a person to function in society, they needs the ability to regulate their behaviors and emotions, that is, self-control. Strengthening self-control with a regular working discipline and enabling our sense organs to work interactively shoul be the main purpose. Quick drawing and painting exercises shoul be considered as an educational method to show that students are a part of a whole together and can provide motivation to each other. It has been tried to be explained with examples of fast painting and drawing methods, which is thouht to contribute to the growth of will contribute to the growth of inquiring, critical thinking, self-confident and open individuals. [ABSTRACT FROM AUTHOR]

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

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Copyright of Journal of Strategic & Social Research is the property of Mehmet Akif Ersoy University, Social Science Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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