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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: ERDAL, GÜLTEKİN;

    Children's books play an essential role in the child's development process. The child learns to choose and recognize while learning by having fun. The first personality that the child recognizes in the book that bears his name is undoubtedly the character of the story. The child uses distinctive visual archetypes with his general structure. With a common belief, the character formed in the child's mind is not different from what he knows. Therefore, the child distinguishes characters more through visual recognition. Each spectrum, from the character's body structure to his clothes and physical features to his facial expressions, is a memorable picture for the child. Often these pictures allow that character to live outside the book's story. At this point, the character is a living person, independent of the book, living in the child's world. The fact that the child can communicate with the people around him shows that he can interact with them. That character's story, stance, discourses, actions, and plans can be identified with the child's story in the real world. He dresses like a character, lives visible, and can use similar discourses. Characters that are important to the child and that are good or bad mood are discussed in this article. The characters Bursa Uludağ University TBMYO Graphic Design Program students designed in the illustration lesson were discussed. It was given the importance that the designed characters could create their own stories independent from the story told in children's books. It has been emphasized how each character can create a personality with their own story without breaking away from the book's story. The bond that the characters created by the students with the child's world are depicted. In this article, children's books and characters, which we can accept as the child's virtual world, have been redesigned and tried to reach the child's imagination. How the story of the virtual hero can be created with his physical appearance is shown with sample drawings. It has been tried to explain why the virtual character created with the character in the child's mind can identify with himself and how he can be a partner in his story. It has been revealed that the characters with a good story can create positive developments in the life of the child, and in this respect, the characters drawn, created, or depicted in children's books are at least as important as the story of the book. Çocuk kitapları, çocuğun gelişim sürecinde önemli rol oynar. Çocuk, eğlenerek öğrenirken seçmeyi ve tanımayı da öğrenir. Çocuğun adını taşıdığı kitapta ilk tanıdığı kişilik şüphesiz, hikâyenin karakterleridir. Çocuk, genel yapısı ile görsel ayırt edici arketipler kullanır. Yaygın bir inanışla çocuğun zihninde oluşan karakter, onun bildiklerinden farklı değildir. Bu nedenle çocuk, karakterleri daha çok görsel tanıma yoluyla ayır eder. Karakterin vücut yapısından, kıyafetlerine, fiziki özelliklerinden yüz ifadelerine kadar her bir spektrum, çocuk için silinmez resimlerdir. Çoğu zaman bu resimler, o karakterin, kitabın hikayesi dışında da yaşamasını sağlar. Bu noktada karakter kitaptan bağımsız, çocuğun dünyasında yaşayan canlı biridir. Çocuğun yapısı gereği çevresindekilerle iletişim kurabilmesi, onunla etkileşime geçebileceğini gösterir. Bu noktada o karakterin hikayesi, duruşu, söylemleri, yaptıkları ve hatta planları, gerçek dünyadaki çocuğun hikayesiyle özdeşleşebilir. O karakter gibi giyinir, görünür yaşar ve benzer söylemleri kullanabilir. Çocuk için önemli olan iyi ya da kötü ruh halli karakterler, bu makalede konu edilmiştir. Bursa Uludağ Üniversitesi TBMYO Grafik Tasarım Programı öğrencilerinin, illüstrasyon dersinde tasarladıkları karakterler, konu edilmiştir. Tasarlanan karakterlerin, çocuk kitaplarında anlatılan hikâyeden bağımsız, kendi hikayelerini oluşturabilmelerine önem verilmiştir. Her bir karakterin, kendi hikayesi ile, kitabın hikayesinden kopmadan nasıl kişilik yaratabildiği üzerinde durulmuştur. Öğrencilerin yarattıkları karakterlerin, çocuğun dünyası ile kurmaya çalıştıkları bağ resmedilmiştir. Bu makalede çocuk kitapları ve karakterleri yeniden tasarlanmış ve çocuğun hayal dünyasına ulaşılmaya çalışılmıştır. Sanal kahramanın hikayesinin, fiziksel görünümüyle nasıl yaratılabileceği örnek çizimler ile gösterilmiştir. Çocuğun zihnindeki karakter ile yaratılan sanal karakterin kendiyle neden özdeşleştirebildiği, onun hikayesine nasıl ortak olabildiği anlatılmaya çalışılmıştır. Çoğu zaman hikayesi iyi olan karakterlerin, çocuğunda yaşantısında olumlu gelişmeler yaratabildiği, bu bakımdan çocuk kitaplarında çizilen, yaratılan veya tasvir edilen karakterlerin en az kitabın hikayesi kadar önemli olduğu ortaya konmuştur.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Bursa Uludag Univers...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Bursa Uludag Univers...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: KULLUK YERDELEN, SELDA;

    The art of opera, which emerged in Italy in the 16th century and spread throughout Europe, was introduced to us during the Ottoman Empire. Selim III, who was sultan from 1789 to 1807, and known for his artistic personality, established the first Pipe-Trumpet Ensemble with his interest in western music, and the first opera was performed in the courtyard of Topkapı Palace in 1796. In 1876, the Muzika-i Hümayun was founded as a band ensemble during the reign of Mahmut II. Outside the palace in Istanbul, opera is staged at Giustiniani's French Theater. Until the declaration of the Constitutional Monarchy in 1908, Armenian, Jewish or Greek artists perform operas in theater buildings, especially operas they bring from Italy. With the spread of opera in the Ottoman Empire, an important artistic transformation took place in the fields of theater and music. These developments are an important indicator reflecting the interaction of Ottoman society with Western culture and the acceptance of contemporary art. The composers and performers of the Istanbul Operetta Company, founded by Muallim İsmail Hakkı Bey in 1908, were Turkish. With the proclamation of the Republic, Mustafa Kemal Atatürk mentioned the necessity of music, fine arts and conservatories in every speech. Under Atatürk's leadership, in a short time we witness developments in the field of culture and arts, theater and music in our country. This process was an important turning point that emphasized Turkey's cultural richness and the unifying power of art. The cultural and artistic advancements that emerged with Atatürk's vision enabled the emergence of internationally recognized successful artists and works in the art world of our country. In this context, the importance of Atatürk's nationalization movements in culture and arts in the development of opera art has been investigated in this study. In this article, which is in the form of a compilation, the necessary literature on the subject has been reviewed. In this article, which was written with the document analysis method, which is one of the scientific research methods, it is aimed to create a resource for researchers and students interested in this subject. XVI. yüzyılda İtalya’da ortaya çıkan ve kısa bir sürede Avrupa’da yayılan opera sanatıyla tanışmamız Osmanlı İmparatorluğu döneminde olmuştur. 1789-1807 tarihleri arasında padişah olan, sanatçı kişiliğiyle tanınan III. Selim’in batı müziğine ilgisiyle ilk Boru-Trompet Takımı kurulmuş ve ilk opera 1796’da Topkapı Sarayı’nın avlusunda izlenmiştir. 1876 yılında bando topluluğu olarak Muzika-i Hümayun’un kuruluşu II. Mahmut dönemindedir. İstanbul’da saray dışında opera Giustiniani’nin Fransız Tiyatrosu’nda sahnelenir. 1908’de Meşrutiyet’in ilanına kadar Ermeni, Yahudi ya da Rum sanatçılar tiyatro binalarında özellikle İtalya’dan getirdikleri operaları oynatırlar. Opera sanatının Osmanlı İmparatorluğu'nda yaygınlaşmasıyla birlikte tiyatro ve müzik alanında önemli bir sanatsal dönüşüm yaşanmıştır. Bu gelişmeler, Osmanlı toplumunun Batı kültürüyle etkileşimini ve çağdaş sanatın kabulünü yansıtan önemli bir göstergedir. Muallim İsmail Hakkı Bey’in 1908’de kurduğu İstanbul Operet Heyeti’nin bestecileri ve sanatçıları Türk’tür. Mustafa Kemal Atatürk, Cumhuriyet’in ilanıyla birlikte her konuşmasında müzik, güzel sanatlar ve konservatuarın gerekliliğinden söz etmiştir. Atatürk’ün öncülüğünde kısa zamanda ülkemizde kültür ve sanat alanında, tiyatro ve müzikte gelişmelere tanık oluruz. Bu süreç, Türkiye'nin kültürel zenginliğini ve sanatın birleştirici gücünü vurgulayan önemli bir dönüm noktası olmuştur. Atatürk'ün vizyonuyla oluşan kültürel ve sanatsal ilerlemeler, ülkemizin sanat dünyasında uluslararası alanda tanınan başarılı sanatçılar ve eserlerin ortaya çıkmasına olanak sağlamıştır. Bu bağlamda çalışmada Atatürk’ün kültür ve sanatımızda uluslaşma hareketlerinin Opera sanatımızın gelişmesindeki önemi araştırılmıştır. Derleme biçiminde çalışılan bu makalede konu hakkında gerekli literatür taraması yapılmıştır. Bilimsel araştırma yöntemlerinden olan doküman analizi yöntemiyle yazılmış olan makalede bu konuyla ilgilenen araştırmacılara ve öğrencilere bir kaynak oluşturulması amaçlanmıştır.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Küçük, Özge Ay;

    The aim of this study is to enable visual arts teacher candidates to experience face-to-face and online learning through interactive e-books within the scope of museum education course and to discuss the emerging situation in the context of museum and teacher education. Since the research focused on the museum experiences of visual arts teacher candidates integrated with the interactive e-book, the "holistic single case design" was used. The study group of the research consisted of 3rd grade visual arts teacher candidates who took the "Museum Education" course, studying at Denizli Pamukkale University, Faculty of Education, Department of Painting in the 2021-2022 academic year. The study group was determined on the basis of "criterion sampling", one of the purposive sampling methods. Data were collected in three stages in this study. In the first stage, a personal information form was used. The second stage focused on the data of the activity process. In this context, data were obtained from worksheets, activity forms, researcher's diary, evaluation documents and artistic works created in the process used in the application process planned as pre-museum, interactive museum experience and post-museum learning activities. In the third stage, a focus group interview was conducted by selecting an internal sample from the participant group. The collected data were analyzed by content analysis. As a result of the research, in the online museum experience that teacher candidates discovered under the guidance of interactive e-books; It was seen that they had fun, their sense of curiosity was triggered and they were motivated to the process. On the other hand, findings such as not being able to respond to the request for contact, not being able to focus on the details in the work, desire for physical experience, and not being able to give the feeling of being lived showed that the expectation for the museum was not fully met. The experience of teacher candidates; They found it useful in terms of supporting individual learning, getting detailed information, awareness in learning and supporting multi-dimensional learning. They stated that the interactive e-book is a guide for the museum and facilitates the teaching process both physically and in terms of access to information. They evaluated the fact that the book allows interaction and is supported with remarkable elements as a factor that increases the effectiveness of the lesson. Although they stated that the museum experience with the interactive e-book has some limitations due to in-app technical constraints and insufficient social interaction, they stated that when they become teachers, they can include the museum experience with the interactive e-book in their classrooms when they need it, especially to support the cultural heritage learning area. Bu çalışmanın amacı görsel sanatlar öğretmen adaylarının müze eğitimi dersi kapsamında yüz yüze ve çevrimiçi öğrenmeyi etkileşimli e-kitap üzerinden deneyimlemelerini sağlamak ve ortaya çıkan durumu müze ve öğretmen eğitimi bağlamında tartışmaktır. Araştırmada görsel sanatlar öğretmen adaylarının etkileşimli e-kitapla bütünlendirilmiş müze deneyimlerine odaklanıldığından "bütüncül tek durum deseni" kullanılmıştır. Araştırmanın çalışma grubunu, 2021 – 2022 eğitim öğretim yılında Denizli Pamukkale Üniversitesi Eğitim Fakültesi Resim-iş Anabilim dalında öğrenim gören "Müze Eğitimi" dersini alan 3. Sınıf görsel sanatlar öğretmen adayları oluşturmuştur. Çalışma grubu, amaçlı örnekleme yöntemlerinden "ölçüt örneklem" temelinde belirlenmiştir. Araştırmada veriler üç aşamada toplanmıştır. İlk aşamada kişisel bilgi formu kullanılmıştır. İkinci aşamada etkinlik sürecine ait verilere odaklanılmıştır. Bu kapsamda müze öncesi, etkileşimli müze deneyimi ve müze sonrası öğrenme aktiviteleri olarak planlanan uygulama sürecinde kullanılan çalışma yaprakları, etkinlik formları, araştırmacı günlüğü, değerlendirme dokümanları ile süreçte oluşturulan sanatsal çalışmalardan veriler elde edilmiştir. Üçüncü aşamada ise katılımcı gruptan bir iç örneklem seçilerek odak grup görüşmesi gerçekleştirilmiştir. Toplanan veriler içerik analizi ile çözümlenmiştir. Araştırma sonucunda öğretmen adaylarının, etkileşimli e-kitap rehberliğinde keşfettikleri çevrimiçi müze deneyiminde; eğlendikleri, merak duygularının tetiklendiği ve sürece motive oldukları görülmüştür. Diğer yandan temas isteğine karşılık verememe, eserdeki detaya odaklanamama, fiziksel deneyim isteği, yaşanmışlık hissiyatı verememe gibi bulgular müzeye dair beklentinin tam karşılığının bulunmadığını göstermiştir. Öğretmen adayları yaşadıkları deneyimi; bireysel öğrenmeyi destekleme, detaylı bilgi alabilme, öğrenmede farkındalık ve çok yönlü öğrenmeye destek olma açısından faydalı bulmuşlardır. Etkileşimli e- kitabın müze için bir rehber niteliğinde olduğunu ve hem fiziksel anlamda hem de bilgiye erişim anlamında öğretim sürecini kolaylaştırdığını ifade etmişlerdir. Kitabın etkileşime olanak tanıması ve dikkat çekici unsurlarla desteklenmesinin ders etkililiğini artıran bir unsur olarak değerlendirmişlerdir. Etkileşimli e- kitapla müze deneyiminin uygulama içi teknik kısıtlama ve yetersiz sosyal etkileşimden dolayı bazı sınırlılıklara sahip olduğunu belirtseler de öğretmen olduklarında ihtiyaç duyduklarında etkileşimli e-kitapla müze deneyimine sınıflarında özellikle kültürel miras öğrenme alanını desteklemek için yer verebileceklerini ifade etmişlerdir.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      This Research product is the result of merged Research products in OpenAIRE.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: GÜNGÖR, MEMDUHA CANDAN; KÜPLEMEZ, BETÜL;

    Bu çalışmada; öncelikli olarak mozaik tekniğinin anlam ve kökenine, yapım tekniklerine, kullanılan malzemelere, tarihsel süreç içerisinde kullanım alanlarına ve antik çağlardan günümüze kadar uzanan bu tekniğin çağdaş sanatçılar tarafından nasıl yorumlandığına değinilecektir. Bu çalışma ile tek başına anlam ifade etmeyen küçük parçaların yan yana kullanımıyla ortaya çıkan ve mozaik olarak isimlendirilen bu tekniğin geleneksel bir teknik olarak kullanılmasının dışında, çağdaş tasarımlarda geçmişten günümüze ulaşan evrim sürecinin incelenmesi amaçlanmaktadır. Bunun yanı sıra başta Antoni Gaudi olmak üzere çağdaş sanatçılardan Niki de Saint Phalle, Nek Chand, Bedri Rahmi Eyüboğlu, Marco Bravura, Cleo Mussi, Monica Machado, Dino Maccini, Mohammed Banawy ve Rashid Johnson’un yaptığı çalışmalar üzerinden mozaik tekniğinin incelenmesi ve mozaik çalışacak kişilere referans olarak gelecek nesillere aktarılması hedeflenmiştir. Mozaik tekniğinin tek bir malzemesinin olmaması mozaik sanatçılarına sınırsız özgürlük hakkı tanımaktadır. Antik çağlarda doğada bulunan malzemelerle oluşturulabiliyorken günümüzde seramik, cam, mermer, ahşap, kâğıt ve kumaş başta olmak üzere birçok malzeme kullanılarak oluşturulabilir. Mozaik, insanların sanatı dışa vurma tekniklerinden sadece bir tanesidir. Bu teknik resim sanatından sonra ortaya çıkmasına rağmen yıllar içinde birçok alanda uygulanmaya başlanmıştır. Her türlü malzeme ile mozaik yapılabilir ancak bu araştırma kapsamında seramik malzeme ile mozaik çalışmalar yapan sanatçılar incelenecektir. Seramik sanatının dallarından biri olan mozaik tekniği; geçmişe dayanan bu uzun serüvenin araştırılarak, bulunan kaynakların derlenip ileriki araştırmalara bir nebzede kaynak oluşturması amaçlanmıştır.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Ok, Mehmet; Duman, Bahadır;

    Established in a region east of the Messogis/Aydin mountains where the borders of Phrygia, Caria, and Lydia intersected and at the edge of the Maiandros/Büyük Menderes River in ancient times, Tripolis is today located within the borders of Yenicekent neighborhood of Buldan district in the province of Denizli, which is between the western side of the Büyük Menderes River and the modern settlement area. This study focuses on Lydian ceramics that were found and taken under protection in Avtepesi located in the northwest of Tripolis and used as agricultural land by the local people today. There was one pyxis and two miniature pots among the ceramics found in bulk. Although the miniature pots were close to each other, their sizes varied. Pyxis, which was mostly preserved except for its handles, was ornamented on its outer surface.Taking into account their clay, content, and slip structures, the ceramics in question were compared with similar samples found in different settlements. Findings similar to those in question were evaluated as burial gifts in different settlements. It can be suggested that the works date back to the 6th century BC based on contemporaneity with similar examples found in Sardis and ceramics found in other cities. In addition, samples of Lydian ceramics dating back to the Late Hellenistic Period were also found during the excavations in the city center.Due to its strategic and geopolitical location, Tripolis was a crossing point for interregional trade routes during the Ancient Period. With the findings in this study, it can be argued that the city interacted with the Lydia Region in the 6th century BC. The findings are important in terms of filling the chronological gap of the city. Antik Dönem’de Phrygia, Karia ve Lydia sınırlarının kesiştiği Messogis/Aydın dağlarının doğusunda ve Maiandros/Büyük Menderes Nehri’nin kenarında bir alanda kurulan Tripolis, günümüzde Denizli ili, Buldan ilçesi Yenicekent mahallesi sınırları içerisinde, Büyük Menderes Nehri’nin batısıyla modern yerleşim arasında yer almaktadır.Çalışmanın konusunu oluşturan Lydia seramikleri, Tripolis’in kuzeybatısında yer alan ve günümüzde yerel halkın tarım arazisi olarak kullandığı Avtepesi mevkiinde bulunmuş ve koruma altına alınmıştır. Toplu halde bulunan seramikler arasında, bir adet pyxis ve iki adet minyatür kap yer almaktadır. Minyatür kaplar birbirine yakın formda olmakla beraber boyutları farklılık göstermektedir. Kulpları dışında büyük bölümü korunmuş olan pyxisin ise dış yüzeyinde süslemeler yer almaktadır.Söz konusu seramikler, kil, içerik ve astar yapıları dikkate alınarak, farklı yerleşimlerde bulunan benzer örneklerle karşılaştırılmıştır. Söz konusu buluntuların benzerleri, farklı yerleşim alanlarında mezar hediyesi olarak değerlendirilmiştir. Eserlerin, Sardis’te bulunan benzer örnekleri ve diğer kentlerde bulunan seramiklerle çağdaş olmasından yola çıkılarak, MÖ 6. yüzyıla tarihlendirilmesi önerilebilir. Ayrıca, kent merkezinde yapılan kazılarda, Lydia seramiklerinin Geç Hellenistik Dönem’e tarihlenen örnekleri de bulunmuştur.Tripolis, stratejik ve jeopolitik konumu nedeniyle Antik Dönem boyunca bölgelerarası ticaret yollarının geçiş noktası olmuştur. Bu çalışmada yer alan buluntularla kentin, Lydia Bölgesi ile MÖ 6. yüzyılda etkileşim içerisinde olduğu düşünülebilir. Buluntular, kentin kronolojik boşluğunun doldurulmasına katkı sağlaması açısından önemlidir.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Altun, Hatice;

    It has been accepted that foreign language-speaker authors experience linguistic challenges when writing in English for academic purposes (EAP) genre. Novice Turkish writers also experience linguistic insecurities in the field of EAP. Yet, oftentimes, they may not find sufficient personal and institutional support in solving EAP related linguistic difficulties, which plays a decisive role in the rejection of their contribution in high profile English language journals. To occupy this niche, this study aims to examine the linguistic difficulties experienced by Turkish-speaking novice writers through a corpus-driven approach. Some 158 articles exploring learner errors in three main difficulty areas in EAP writing - collocational patterning, pragmatic appropriacy, and discourse features - were analyzed to highlight several problems which 'non-native' learners experience when writing academic articles. The literature review analysis has revealed some 68 linguistic markers that pose a special challenge to novice writers. These constructs are problematic due to both universal interlanguage and also Turkish learners' L1 backgrounds. The learner corpus (TICLE) occurrences of the features being studied were compared with the native corpus (COCA) data to present examples of the prevalent uses of these constructs. Linguistic difficulties learners experience when writing academic articles were grouped under four main headings. These four main areas are (1) excessive use of some linguistic features or little or no use of typical linguistic features of EAP, (2) misuse of some syntactic elements and punctuation errors, (3) incorrect use and sequencing of words, and (4) using unidiomatic phraseologies because of transferring the word patterns specific to Turkish to English. The findings of the study are expected to help Turkish academics improve their writing. In the last section of the article, some databases are introduced to help Turkish writers develop their academic English writing autonomously.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Koralay T.; Kiymaz G.;

    The ground mosaics of the West Portico of the North Sacred Agora (WPNSA) in Laodicea cover an area of 20x14 meters and are partially deteriorated. There are five different layers at ground mosaic which consist of statumen (schist, marble, quartzite, metagabbro, brick-tile and lisvenite pebbles), rudus (rough mortar in 3-4 cm thickness), nucleus (fine mortar in 2-3 cm thickness), bedding mortar (1-2 mm in thickness) and tessellatum. Transitions between these layers are not obvious. The ground mosaic of the WPNSA were created by using of Opus Regulatum, Opus Tesselatum, and Opus Vermiculatum techniques of 14 different patterns. Tesserae, sizes ranging from 1x1x1, 1x1x2 cm in different color tones, are composed of marble, dolomitic marble, recrystallized limestone, travertine, oolitic sandstone rocks, and brick-tile fragments. In petrographic examinations, the origin rocks of tessera samples, which are called dolomitic marble and white marble, were determined to be dolomite-limestone and limestone, respectively, and the results were supported by XRD studies. It was determined that different colored tessera samples showed similar distribution patterns in the multi-element distribution diagram normalized according to the Upper Continental Crust (UCC) values, however, all elements (except Cs, Ta, and La) showed depletion compared to the UCC values. As a result, it has been evaluated that the minero-petrographic properties of the tessera samples used in the KKABP mosaic flooring are compatible with the geological formation of the region and that possible source areas may be geological units in the vicinity of Laodiekeia. © 2022, Bursa Uludag University. All rights reserved.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Çetin, Burcu Can; Gülersoy, Nuran Zeren;

    Kültür varlıklarının korunması ve yönetilmesi süreçlerinde, koruma ile gelişme önerileri arasında denge kurulmasında yeni ve önemli bir araç olarak tanımlanan kültürel miras etki değerlendirme (KÜMED) konusu, 2000’li yılların başında çevresel etki değerlendirmeden ayrılarak geliştirilmeye başlanmıştır. “The United Nations Educational, Scientific and Cultural Organization (UNESCO)” Dünya Miras Merkezi ve “International Council on Monuments and Sites (ICOMOS)” başta olmak üzere, kültür varlıklarının sürdürülebilirliğinin güçlendirilmesi hedefiyle birçok uluslararası kurum ve kuruluş tarafından çeşitli KÜMED rehberleri ve ilkeleri yayımlanmıştır. Son yıllarda Türkiye’nin yakından izlediği Avrupa Birliği ve Amerika Birleşik Devletleri’nde, bu rehberlerin ülke mevzuatlarıyla bütünleştirilerek uygulanması uluslararası koruma literatürüne ve etki değerlendirme pratiklerine geniş katkılar sunmaktadır. Türkiye’de de KÜMED’in, mevcut koruma-etki değerlendirme-planlama sistemi içinde nasıl konumlandırılabileceği tartışılmaktadır. Bu nedenle, bu çalışmada, KÜMED ile ilgili uluslararası yaklaşımlardan ve örnek uygulamalardan yapılan çıkarımlarla Türkiye’deki kültür mirası ve etki değerlendirme ilişkisinin kurulabilmesi için benimsenmesi gereken KÜMED ilkeleri tanımlanmaktadır. Bu bağlamda; KÜMED kavramı açıklanmakta, günümüzdeki uluslararası çevresel etki değerlendirme yaklaşımlarında da görülen “proje” ya da “gelişme” odaklı perspektiften önemli ölçüde uzaklaşan, uluslararası koruma kurumlarının KÜMED yaklaşımlarına yer verilmektedir. Çalışmada ayrıca, gelişmiş ülkeler arasından KÜMED’e yenilikçi yaklaşımlar sunan ve Türkiye’de KÜMED’in geliştirilmesine katkı sağlayabilecek nitelikte çeşitlenen dört yurt dışı deneyimi olan Liverpool, Kinderdijk-Elshout, York Kenti Planı ve Özgürlük Anıtı örnekleri karşılaştırılarak değerlendirilmiştir. Uluslararası KÜMED yaklaşımları bağlamında Türkiye’de hazırlanmış KÜMED uygulamalarından sayılabilecek olan Haliç Metro Geçiş Köprüsü ve Avrasya Tüneli Türkiye’deki KÜMED sorunlarına dikkat çekilerek incelenmiştir. Ele alınan KÜMED uygulamalarının hepsinin öne çıkan nitelikleri ve güçlü özellikleri çerçevesinde Türkiye için ulusal bir koruma stratejisinin ihtiyacının yanı sıra; koruma-KÜMED-planlama sisteminin yeniden kurgulanarak bütünleştirilmesi gerekliliği vurgulanarak Türkiye’de uygulanabilir bir KÜMED için temel ilkeler geliştirilmiştir.. Heritage impact assessment (HIA) which is a new important tool to establish the balance development proposals within the processes of conservation and management of cultural properties, has shown remarkable progress since its differentiation from environmental impact assessment (EIA) in the early 2000s. Various HIA guidelines and principles among which UNESCO World Heritage Centre and ICOMOS take attention have been published by international institutions and organisations to strengthen the sustainability of cultural properties. While Turkey has followed the improvements in the E.U and the U.S. where the integration of these guidelines has enhanced HIA are integrated the integration of these guidelines into countries' legislation has contributed extensively to HIA practices put HIA into force in Turkey is still an outstanding question. Therefore, this study aims to describe a general HIA framework for Turkish conservation sites based on the international approaches and cases from E.U. countries and the U.S. The proposed framework includes a national conservation strategy for Turkey, a conservation-HIA-planning system design connected by HIA, and procedures and processes for an effective HIA. As the impact assessment refers not only to a legal procedure but also a technical tool, the study's methodology comprises literature research on the history of HIA and its evolution in Turkey, recent international perspectives of HIA, and examination of six case studies, two of which are from Turkey. Four cases from developed countries that represent innovative approaches to HIA are chosen based on their applicable regulations concerning HIA in Turkey and their impact assessment process and methodology. Turkish cases, on the other hand, exemplify how international HIA frameworks have been treated. It is crucial to see examples from developed countries that offer different HIA frameworks in addition to the ICOMOS' HIA Guidance for internationally listed cultural heritage. In this context, the paper begins with a brief introduction and continues with the conceptual explanation of HIA and case studies, respectively; Heritage Impact Assessment of Liverpool Waters, Heritage Impact Assessment Study of Proposed Spatial Plans on the Mill Network at Kinderdijk-Elshout, Heritage Impact Assessment of York Local Plan, and Heritage Impact Assessment for the Statue of Liberty New Museum Construction. In addition to their general HIA approaches, the scale and characteristics of the cultural heritage expected to be affected by the developments have been considered. The main theme of the third part includes the current relationship between cultural heritage and impact assessment practices in Turkey. Two HIA cases from Turkey, Golden Horn Metro Crossing Bridge and Eurosia Tunnel, are examined and evaluated. When all cases from E.U, the U.S, and Turkey's HIA challenges are considered together, it is seen that there are many problems to be solved fora more effective HIA. Linked with the Turkish challenges, these problems are evaluated, and recommendations are provided under three headlines: the gap in the Turkish legislation-Turkish National Conservation Strategy, the adaptation of international principles-HIA defined in the Turkish conservation-impact assessment mechanism, connection issues between theory and practice of HIA -A New Improved Process for HIA studies. In order to propose a robust HIA framework for Turkish conservation areas, it is found out that there is an urgent need for radical changes in planning, conservation, and impact assessment regulations as experienced in England and the Netherlands cases. This is described by the general conservation strategy for the whole country, grounded on Turkish cultural property descriptions. Similarly, each law or procedure within these three disciplines should be interconnected and integrated by putting innovative approaches into the planning system. As seen in the U.S. cases, although impact assessment and conservation could be connected via guidance on the actor relations, for an effective process, HIA should be built parallel to both conservation-management of cultural heritage and decision-making process of policies, plans, and projects. Therefore, the proposed HIA flowchart and its impact assessment phases constitute a more extensive process that includes three mechanisms to be managed by features of any conservation area. Inspired by the technical principles of ICOMOS HIA Guidance, evaluated legal systems, and considering the scales of cultural heritage, this study supports HIA theory and practice by declaring it as an integration instrument when it puts the cultural property in the centre. Publisher's Version WOS:000733969300004

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    Authors: Katrancı, Özlem Güven;

    ABSTRACT Şef'iyye Sicilleri are of utmost importance and the most valuable resources in searching the whole history of Ottomon Empire together with its all foundations.All these ducuments which include important informations are preceless. Records in so called "Şer'iyye Sicilleri", help us reach detailed information on the administrative, economical, sociological, legal and military structure of Ottoman Empire. Şer'iyye Sicilleri should be taken into account not only during the compilation of urban or regional history but also of general history. When the third Şer'iyye Sicili belonging to Antalya, Teke Sancağı Region, is studied, valuable information regarding the above mentioned structure of Antalya could be abtained easily. This study will have the importance forthe continuation and encouraging of the coming studios on the issue. Followers will make use of it greatly in their studies on Antalya district. ÖZET Şer'iyye Sicilleri, Osmanlı Devleti Tarihi'nin bütün kuruluşlarıyla o günün kayıtlarına dayalı olarak incelenmesinde en önemli ve birinci elden kaynaklardır. Şe'iyye Sicillerindeki kayıtlar, dönemin idarî, iktisadî, içtimaî, hukukî ve askerî yapısı hakkında bize ayrıntılı bilgiler vermektedir. Şehir veya çeşitli bölgelere ait tarih yazılırken kaynak olarak dikkate alınması gereken Şer'iyye Sicilleri, genel tarih yazılırken de göz ardı edilmemesi gereken belgelerdendir. Antalya bölgesine ait üç numaralı Şer'iyye Sicili incelendiğinde Antalya'nın idarî, iktisadî, içtimaî, hukukî, ve askerî yapısı ile ilgili önemli bilgiler elde edilecektir. Bugüne kadar, Antalya'nın bir ve iki numaralı Şer'iyye Sicilinin transkripsiyonu yapılmıştır. Bu yüksek lisans tezi ile birlikte yapılmış olan üç numaralı Şer'iyye Sicilinin 1-40 varaklarının transkripsiyonu, bu tür çalışmaların devamı açısından önemlidir. YÖK Tez ID: 126255

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Doğan, Selver Karstarlı;

    ABSTRACT Şer'iyye Sicilleri are of utmost importance and the most valuable resources in searching the whole history of Ottoman Empire together with its all foundations. All these documents which include important informations are preceless. Records in so-called "Şer'iyye Sicilleri", help us reach detailed information on the administrative, economical, sociological, legal and military structure of Ottoman Empire. Şer'iyye Sicilleri should be taken into account not only during the compilation of urban or regional history but also of general history. When the Second Şer'iyye Sicili belonging to Antalya, Teke Sancağı Region, is studied, valuable information regarding the above mentioned structure of Antalya could be abtained easily. Meanwhile, it is also possible to be informed on the general foundations of ottoman Empire for the given period. Up to now, transcription of the first Antalya Şer'iyye Sicili was done. Together with the summarized post gradvate thesis, transcription of the first 40 pages of the second Şer'iyye Sicili will be completed. This study will have the importance forthe continuation and encouraging of the coming studios on the issue. Followers will make use of it greatly in their studies on Antalya district. ÖZET Şer'iyye Sicilleri, Osmanlı Devleti Tarihi'nin bütün kurumlarıyla o günün kayıtlarına dayalı olarak incelenmesinde en önemli ve birinci elden kaynaklardır. İçerisinde çok önemli bilgileri ihtiva eden bu belgeler, paha biçilmez değerlere sahiptir. Şer'iyye Sicillerindeki kayıtlar, dönemin idâri, iktisâdi, içtimâi, hukuki ve askerî yapısı hakkında bize ayrıntılı bilgiler vermektedir. Şehir veya çeşitli bölgelere ait tarih yazılırken kaynak olarak dikkate alınması gereken Şer'iyye Sicilleri, genel tarih yazılırken de gözardı edilmemesi gereken belgelerdendir. Antalya (Teke Sancağı) bölgesine ait İki Numaralı Şer'iyye Sicili incelendiğinde Antalya'nın idâri, iktisâdi, içtimâi, hukuki ve askerî yapısı hakkında önemli bilgiler elde edilebilecektir. Aynı zamanda genel olarak Osmanlı Devleti'nin o tarihler arasındaki genel yapısı hakkında da bilgi edinmek mümkündür. Bugüne kadar, Antalya'nın Bir Numaralı Şer'iyye Sicilinin transkripsiyonu yapılmıştır. Bu Yüksek Lisans Tezi ile birlikte İki Numaralı Şer'iyye Sicilinin 1-40 varaklarının transkripsiyonu, bu tür çalışmaların devamı açısından önemlidir. Yüksek Lisans Tezi, Antalya yöresi ile ilgili araştırma yapacaklar için oldukça faydalı olacaktır. x YÖK Tez ID: 106994

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: ERDAL, GÜLTEKİN;

    Children's books play an essential role in the child's development process. The child learns to choose and recognize while learning by having fun. The first personality that the child recognizes in the book that bears his name is undoubtedly the character of the story. The child uses distinctive visual archetypes with his general structure. With a common belief, the character formed in the child's mind is not different from what he knows. Therefore, the child distinguishes characters more through visual recognition. Each spectrum, from the character's body structure to his clothes and physical features to his facial expressions, is a memorable picture for the child. Often these pictures allow that character to live outside the book's story. At this point, the character is a living person, independent of the book, living in the child's world. The fact that the child can communicate with the people around him shows that he can interact with them. That character's story, stance, discourses, actions, and plans can be identified with the child's story in the real world. He dresses like a character, lives visible, and can use similar discourses. Characters that are important to the child and that are good or bad mood are discussed in this article. The characters Bursa Uludağ University TBMYO Graphic Design Program students designed in the illustration lesson were discussed. It was given the importance that the designed characters could create their own stories independent from the story told in children's books. It has been emphasized how each character can create a personality with their own story without breaking away from the book's story. The bond that the characters created by the students with the child's world are depicted. In this article, children's books and characters, which we can accept as the child's virtual world, have been redesigned and tried to reach the child's imagination. How the story of the virtual hero can be created with his physical appearance is shown with sample drawings. It has been tried to explain why the virtual character created with the character in the child's mind can identify with himself and how he can be a partner in his story. It has been revealed that the characters with a good story can create positive developments in the life of the child, and in this respect, the characters drawn, created, or depicted in children's books are at least as important as the story of the book. Çocuk kitapları, çocuğun gelişim sürecinde önemli rol oynar. Çocuk, eğlenerek öğrenirken seçmeyi ve tanımayı da öğrenir. Çocuğun adını taşıdığı kitapta ilk tanıdığı kişilik şüphesiz, hikâyenin karakterleridir. Çocuk, genel yapısı ile görsel ayırt edici arketipler kullanır. Yaygın bir inanışla çocuğun zihninde oluşan karakter, onun bildiklerinden farklı değildir. Bu nedenle çocuk, karakterleri daha çok görsel tanıma yoluyla ayır eder. Karakterin vücut yapısından, kıyafetlerine, fiziki özelliklerinden yüz ifadelerine kadar her bir spektrum, çocuk için silinmez resimlerdir. Çoğu zaman bu resimler, o karakterin, kitabın hikayesi dışında da yaşamasını sağlar. Bu noktada karakter kitaptan bağımsız, çocuğun dünyasında yaşayan canlı biridir. Çocuğun yapısı gereği çevresindekilerle iletişim kurabilmesi, onunla etkileşime geçebileceğini gösterir. Bu noktada o karakterin hikayesi, duruşu, söylemleri, yaptıkları ve hatta planları, gerçek dünyadaki çocuğun hikayesiyle özdeşleşebilir. O karakter gibi giyinir, görünür yaşar ve benzer söylemleri kullanabilir. Çocuk için önemli olan iyi ya da kötü ruh halli karakterler, bu makalede konu edilmiştir. Bursa Uludağ Üniversitesi TBMYO Grafik Tasarım Programı öğrencilerinin, illüstrasyon dersinde tasarladıkları karakterler, konu edilmiştir. Tasarlanan karakterlerin, çocuk kitaplarında anlatılan hikâyeden bağımsız, kendi hikayelerini oluşturabilmelerine önem verilmiştir. Her bir karakterin, kendi hikayesi ile, kitabın hikayesinden kopmadan nasıl kişilik yaratabildiği üzerinde durulmuştur. Öğrencilerin yarattıkları karakterlerin, çocuğun dünyası ile kurmaya çalıştıkları bağ resmedilmiştir. Bu makalede çocuk kitapları ve karakterleri yeniden tasarlanmış ve çocuğun hayal dünyasına ulaşılmaya çalışılmıştır. Sanal kahramanın hikayesinin, fiziksel görünümüyle nasıl yaratılabileceği örnek çizimler ile gösterilmiştir. Çocuğun zihnindeki karakter ile yaratılan sanal karakterin kendiyle neden özdeşleştirebildiği, onun hikayesine nasıl ortak olabildiği anlatılmaya çalışılmıştır. Çoğu zaman hikayesi iyi olan karakterlerin, çocuğunda yaşantısında olumlu gelişmeler yaratabildiği, bu bakımdan çocuk kitaplarında çizilen, yaratılan veya tasvir edilen karakterlerin en az kitabın hikayesi kadar önemli olduğu ortaya konmuştur.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Bursa Uludag Univers...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Bursa Uludag Univers...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: KULLUK YERDELEN, SELDA;

    The art of opera, which emerged in Italy in the 16th century and spread throughout Europe, was introduced to us during the Ottoman Empire. Selim III, who was sultan from 1789 to 1807, and known for his artistic personality, established the first Pipe-Trumpet Ensemble with his interest in western music, and the first opera was performed in the courtyard of Topkapı Palace in 1796. In 1876, the Muzika-i Hümayun was founded as a band ensemble during the reign of Mahmut II. Outside the palace in Istanbul, opera is staged at Giustiniani's French Theater. Until the declaration of the Constitutional Monarchy in 1908, Armenian, Jewish or Greek artists perform operas in theater buildings, especially operas they bring from Italy. With the spread of opera in the Ottoman Empire, an important artistic transformation took place in the fields of theater and music. These developments are an important indicator reflecting the interaction of Ottoman society with Western culture and the acceptance of contemporary art. The composers and performers of the Istanbul Operetta Company, founded by Muallim İsmail Hakkı Bey in 1908, were Turkish. With the proclamation of the Republic, Mustafa Kemal Atatürk mentioned the necessity of music, fine arts and conservatories in every speech. Under Atatürk's leadership, in a short time we witness developments in the field of culture and arts, theater and music in our country. This process was an important turning point that emphasized Turkey's cultural richness and the unifying power of art. The cultural and artistic advancements that emerged with Atatürk's vision enabled the emergence of internationally recognized successful artists and works in the art world of our country. In this context, the importance of Atatürk's nationalization movements in culture and arts in the development of opera art has been investigated in this study. In this article, which is in the form of a compilation, the necessary literature on the subject has been reviewed. In this article, which was written with the document analysis method, which is one of the scientific research methods, it is aimed to create a resource for researchers and students interested in this subject. XVI. yüzyılda İtalya’da ortaya çıkan ve kısa bir sürede Avrupa’da yayılan opera sanatıyla tanışmamız Osmanlı İmparatorluğu döneminde olmuştur. 1789-1807 tarihleri arasında padişah olan, sanatçı kişiliğiyle tanınan III. Selim’in batı müziğine ilgisiyle ilk Boru-Trompet Takımı kurulmuş ve ilk opera 1796’da Topkapı Sarayı’nın avlusunda izlenmiştir. 1876 yılında bando topluluğu olarak Muzika-i Hümayun’un kuruluşu II. Mahmut dönemindedir. İstanbul’da saray dışında opera Giustiniani’nin Fransız Tiyatrosu’nda sahnelenir. 1908’de Meşrutiyet’in ilanına kadar Ermeni, Yahudi ya da Rum sanatçılar tiyatro binalarında özellikle İtalya’dan getirdikleri operaları oynatırlar. Opera sanatının Osmanlı İmparatorluğu'nda yaygınlaşmasıyla birlikte tiyatro ve müzik alanında önemli bir sanatsal dönüşüm yaşanmıştır. Bu gelişmeler, Osmanlı toplumunun Batı kültürüyle etkileşimini ve çağdaş sanatın kabulünü yansıtan önemli bir göstergedir. Muallim İsmail Hakkı Bey’in 1908’de kurduğu İstanbul Operet Heyeti’nin bestecileri ve sanatçıları Türk’tür. Mustafa Kemal Atatürk, Cumhuriyet’in ilanıyla birlikte her konuşmasında müzik, güzel sanatlar ve konservatuarın gerekliliğinden söz etmiştir. Atatürk’ün öncülüğünde kısa zamanda ülkemizde kültür ve sanat alanında, tiyatro ve müzikte gelişmelere tanık oluruz. Bu süreç, Türkiye'nin kültürel zenginliğini ve sanatın birleştirici gücünü vurgulayan önemli bir dönüm noktası olmuştur. Atatürk'ün vizyonuyla oluşan kültürel ve sanatsal ilerlemeler, ülkemizin sanat dünyasında uluslararası alanda tanınan başarılı sanatçılar ve eserlerin ortaya çıkmasına olanak sağlamıştır. Bu bağlamda çalışmada Atatürk’ün kültür ve sanatımızda uluslaşma hareketlerinin Opera sanatımızın gelişmesindeki önemi araştırılmıştır. Derleme biçiminde çalışılan bu makalede konu hakkında gerekli literatür taraması yapılmıştır. Bilimsel araştırma yöntemlerinden olan doküman analizi yöntemiyle yazılmış olan makalede bu konuyla ilgilenen araştırmacılara ve öğrencilere bir kaynak oluşturulması amaçlanmıştır.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Küçük, Özge Ay;

    The aim of this study is to enable visual arts teacher candidates to experience face-to-face and online learning through interactive e-books within the scope of museum education course and to discuss the emerging situation in the context of museum and teacher education. Since the research focused on the museum experiences of visual arts teacher candidates integrated with the interactive e-book, the "holistic single case design" was used. The study group of the research consisted of 3rd grade visual arts teacher candidates who took the "Museum Education" course, studying at Denizli Pamukkale University, Faculty of Education, Department of Painting in the 2021-2022 academic year. The study group was determined on the basis of "criterion sampling", one of the purposive sampling methods. Data were collected in three stages in this study. In the first stage, a personal information form was used. The second stage focused on the data of the activity process. In this context, data were obtained from worksheets, activity forms, researcher's diary, evaluation documents and artistic works created in the process used in the application process planned as pre-museum, interactive museum experience and post-museum learning activities. In the third stage, a focus group interview was conducted by selecting an internal sample from the participant group. The collected data were analyzed by content analysis. As a result of the research, in the online museum experience that teacher candidates discovered under the guidance of interactive e-books; It was seen that they had fun, their sense of curiosity was triggered and they were motivated to the process. On the other hand, findings such as not being able to respond to the request for contact, not being able to focus on the details in the work, desire for physical experience, and not being able to give the feeling of being lived showed that the expectation for the museum was not fully met. The experience of teacher candidates; They found it useful in terms of supporting individual learning, getting detailed information, awareness in learning and supporting multi-dimensional learning. They stated that the interactive e-book is a guide for the museum and facilitates the teaching process both physically and in terms of access to information. They evaluated the fact that the book allows interaction and is supported with remarkable elements as a factor that increases the effectiveness of the lesson. Although they stated that the museum experience with the interactive e-book has some limitations due to in-app technical constraints and insufficient social interaction, they stated that when they become teachers, they can include the museum experience with the interactive e-book in their classrooms when they need it, especially to support the cultural heritage learning area. Bu çalışmanın amacı görsel sanatlar öğretmen adaylarının müze eğitimi dersi kapsamında yüz yüze ve çevrimiçi öğrenmeyi etkileşimli e-kitap üzerinden deneyimlemelerini sağlamak ve ortaya çıkan durumu müze ve öğretmen eğitimi bağlamında tartışmaktır. Araştırmada görsel sanatlar öğretmen adaylarının etkileşimli e-kitapla bütünlendirilmiş müze deneyimlerine odaklanıldığından "bütüncül tek durum deseni" kullanılmıştır. Araştırmanın çalışma grubunu, 2021 – 2022 eğitim öğretim yılında Denizli Pamukkale Üniversitesi Eğitim Fakültesi Resim-iş Anabilim dalında öğrenim gören "Müze Eğitimi" dersini alan 3. Sınıf görsel sanatlar öğretmen adayları oluşturmuştur. Çalışma grubu, amaçlı örnekleme yöntemlerinden "ölçüt örneklem" temelinde belirlenmiştir. Araştırmada veriler üç aşamada toplanmıştır. İlk aşamada kişisel bilgi formu kullanılmıştır. İkinci aşamada etkinlik sürecine ait verilere odaklanılmıştır. Bu kapsamda müze öncesi, etkileşimli müze deneyimi ve müze sonrası öğrenme aktiviteleri olarak planlanan uygulama sürecinde kullanılan çalışma yaprakları, etkinlik formları, araştırmacı günlüğü, değerlendirme dokümanları ile süreçte oluşturulan sanatsal çalışmalardan veriler elde edilmiştir. Üçüncü aşamada ise katılımcı gruptan bir iç örneklem seçilerek odak grup görüşmesi gerçekleştirilmiştir. Toplanan veriler içerik analizi ile çözümlenmiştir. Araştırma sonucunda öğretmen adaylarının, etkileşimli e-kitap rehberliğinde keşfettikleri çevrimiçi müze deneyiminde; eğlendikleri, merak duygularının tetiklendiği ve sürece motive oldukları görülmüştür. Diğer yandan temas isteğine karşılık verememe, eserdeki detaya odaklanamama, fiziksel deneyim isteği, yaşanmışlık hissiyatı verememe gibi bulgular müzeye dair beklentinin tam karşılığının bulunmadığını göstermiştir. Öğretmen adayları yaşadıkları deneyimi; bireysel öğrenmeyi destekleme, detaylı bilgi alabilme, öğrenmede farkındalık ve çok yönlü öğrenmeye destek olma açısından faydalı bulmuşlardır. Etkileşimli e- kitabın müze için bir rehber niteliğinde olduğunu ve hem fiziksel anlamda hem de bilgiye erişim anlamında öğretim sürecini kolaylaştırdığını ifade etmişlerdir. Kitabın etkileşime olanak tanıması ve dikkat çekici unsurlarla desteklenmesinin ders etkililiğini artıran bir unsur olarak değerlendirmişlerdir. Etkileşimli e- kitapla müze deneyiminin uygulama içi teknik kısıtlama ve yetersiz sosyal etkileşimden dolayı bazı sınırlılıklara sahip olduğunu belirtseler de öğretmen olduklarında ihtiyaç duyduklarında etkileşimli e-kitapla müze deneyimine sınıflarında özellikle kültürel miras öğrenme alanını desteklemek için yer verebileceklerini ifade etmişlerdir.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Pamukkale GCRIS Data...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: GÜNGÖR, MEMDUHA CANDAN; KÜPLEMEZ, BETÜL;

    Bu çalışmada; öncelikli olarak mozaik tekniğinin anlam ve kökenine, yapım tekniklerine, kullanılan malzemelere, tarihsel süreç içerisinde kullanım alanlarına ve antik çağlardan günümüze kadar uzanan bu tekniğin çağdaş sanatçılar tarafından nasıl yorumlandığına değinilecektir. Bu çalışma ile tek başına anlam ifade etmeyen küçük parçaların yan yana kullanımıyla ortaya çıkan ve mozaik olarak isimlendirilen bu tekniğin geleneksel bir teknik olarak kullanılmasının dışında, çağdaş tasarımlarda geçmişten günümüze ulaşan evrim sürecinin incelenmesi amaçlanmaktadır. Bunun yanı sıra başta Antoni Gaudi olmak üzere çağdaş sanatçılardan Niki de Saint Phalle, Nek Chand, Bedri Rahmi Eyüboğlu, Marco Bravura, Cleo Mussi, Monica Machado, Dino Maccini, Mohammed Banawy ve Rashid Johnson’un yaptığı çalışmalar üzerinden mozaik tekniğinin incelenmesi ve mozaik çalışacak kişilere referans olarak gelecek nesillere aktarılması hedeflenmiştir. Mozaik tekniğinin tek bir malzemesinin olmaması mozaik sanatçılarına sınırsız özgürlük hakkı tanımaktadır. Antik çağlarda doğada bulunan malzemelerle oluşturulabiliyorken günümüzde seramik, cam, mermer, ahşap, kâğıt ve kumaş başta olmak üzere birçok malzeme kullanılarak oluşturulabilir. Mozaik, insanların sanatı dışa vurma tekniklerinden sadece bir tanesidir. Bu teknik resim sanatından sonra ortaya çıkmasına rağmen yıllar içinde birçok alanda uygulanmaya başlanmıştır. Her türlü malzeme ile mozaik yapılabilir ancak bu araştırma kapsamında seramik malzeme ile mozaik çalışmalar yapan sanatçılar incelenecektir. Seramik sanatının dallarından biri olan mozaik tekniği; geçmişe dayanan bu uzun serüvenin araştırılarak, bulunan kaynakların derlenip ileriki araştırmalara bir nebzede kaynak oluşturması amaçlanmıştır.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Dokuz Eylul Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Ok, Mehmet; Duman, Bahadır;

    Established in a region east of the Messogis/Aydin mountains where the borders of Phrygia, Caria, and Lydia intersected and at the edge of the Maiandros/Büyük Menderes River in ancient times, Tripolis is today located within the borders of Yenicekent neighborhood of Buldan district in the province of Denizli, which is between the western side of the Büyük Menderes River and the modern settlement area. This study focuses on Lydian ceramics that were found and taken under protection in Avtepesi located in the northwest of Tripolis and used as agricultural land by the local people today. There was one pyxis and two miniature pots among the ceramics found in bulk. Although the miniature pots were close to each other, their sizes varied. Pyxis, which was mostly preserved except for its handles, was ornamented on its outer surface.Taking into account their clay, content, and slip structures, the ceramics in question were compared with similar samples found in different settlements. Findings similar to those in question were evaluated as burial gifts in different settlements. It can be suggested that the works date back to the 6th century BC based on contemporaneity with similar examples found in Sardis and ceramics found in other cities. In addition, samples of Lydian ceramics dating back to the Late Hellenistic Period were also found during the excavations in the city center.Due to its strategic and geopolitical location, Tripolis was a crossing point for interregional trade routes during the Ancient Period. With the findings in this study, it can be argued that the city interacted with the Lydia Region in the 6th century BC. The findings are important in terms of filling the chronological gap of the city. Antik Dönem’de Phrygia, Karia ve Lydia sınırlarının kesiştiği Messogis/Aydın dağlarının doğusunda ve Maiandros/Büyük Menderes Nehri’nin kenarında bir alanda kurulan Tripolis, günümüzde Denizli ili, Buldan ilçesi Yenicekent mahallesi sınırları içerisinde, Büyük Menderes Nehri’nin batısıyla modern yerleşim arasında yer almaktadır.Çalışmanın konusunu oluşturan Lydia seramikleri, Tripolis’in kuzeybatısında yer alan ve günümüzde yerel halkın tarım arazisi olarak kullandığı Avtepesi mevkiinde bulunmuş ve koruma altına alınmıştır. Toplu halde bulunan seramikler arasında, bir adet pyxis ve iki adet minyatür kap yer almaktadır. Minyatür kaplar birbirine yakın formda olmakla beraber boyutları farklılık göstermektedir. Kulpları dışında büyük bölümü korunmuş olan pyxisin ise dış yüzeyinde süslemeler yer almaktadır.Söz konusu seramikler, kil, içerik ve astar yapıları dikkate alınarak, farklı yerleşimlerde bulunan benzer örneklerle karşılaştırılmıştır. Söz konusu buluntuların benzerleri, farklı yerleşim alanlarında mezar hediyesi olarak değerlendirilmiştir. Eserlerin, Sardis’te bulunan benzer örnekleri ve diğer kentlerde bulunan seramiklerle çağdaş olmasından yola çıkılarak, MÖ 6. yüzyıla tarihlendirilmesi önerilebilir. Ayrıca, kent merkezinde yapılan kazılarda, Lydia seramiklerinin Geç Hellenistik Dönem’e tarihlenen örnekleri de bulunmuştur.Tripolis, stratejik ve jeopolitik konumu nedeniyle Antik Dönem boyunca bölgelerarası ticaret yollarının geçiş noktası olmuştur. Bu çalışmada yer alan buluntularla kentin, Lydia Bölgesi ile MÖ 6. yüzyılda etkileşim içerisinde olduğu düşünülebilir. Buluntular, kentin kronolojik boşluğunun doldurulmasına katkı sağlaması açısından önemlidir.

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Altun, Hatice;

    It has been accepted that foreign language-speaker authors experience linguistic challenges when writing in English for academic purposes (EAP) genre. Novice Turkish writers also experience linguistic insecurities in the field of EAP. Yet, oftentimes, they may not find sufficient personal and institutional support in solving EAP related linguistic difficulties, which plays a decisive role in the rejection of their contribution in high profile English language journals. To occupy this niche, this study aims to examine the linguistic difficulties experienced by Turkish-speaking novice writers through a corpus-driven approach. Some 158 articles exploring learner errors in three main difficulty areas in EAP writing - collocational patterning, pragmatic appropriacy, and discourse features - were analyzed to highlight several problems which 'non-native' learners experience when writing academic articles. The literature review analysis has revealed some 68 linguistic markers that pose a special challenge to novice writers. These constructs are problematic due to both universal interlanguage and also Turkish learners' L1 backgrounds. The learner corpus (TICLE) occurrences of the features being studied were compared with the native corpus (COCA) data to present examples of the prevalent uses of these constructs. Linguistic difficulties learners experience when writing academic articles were grouped under four main headings. These four main areas are (1) excessive use of some linguistic features or little or no use of typical linguistic features of EAP, (2) misuse of some syntactic elements and punctuation errors, (3) incorrect use and sequencing of words, and (4) using unidiomatic phraseologies because of transferring the word patterns specific to Turkish to English. The findings of the study are expected to help Turkish academics improve their writing. In the last section of the article, some databases are introduced to help Turkish writers develop their academic English writing autonomously.

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Koralay T.; Kiymaz G.;

    The ground mosaics of the West Portico of the North Sacred Agora (WPNSA) in Laodicea cover an area of 20x14 meters and are partially deteriorated. There are five different layers at ground mosaic which consist of statumen (schist, marble, quartzite, metagabbro, brick-tile and lisvenite pebbles), rudus (rough mortar in 3-4 cm thickness), nucleus (fine mortar in 2-3 cm thickness), bedding mortar (1-2 mm in thickness) and tessellatum. Transitions between these layers are not obvious. The ground mosaic of the WPNSA were created by using of Opus Regulatum, Opus Tesselatum, and Opus Vermiculatum techniques of 14 different patterns. Tesserae, sizes ranging from 1x1x1, 1x1x2 cm in different color tones, are composed of marble, dolomitic marble, recrystallized limestone, travertine, oolitic sandstone rocks, and brick-tile fragments. In petrographic examinations, the origin rocks of tessera samples, which are called dolomitic marble and white marble, were determined to be dolomite-limestone and limestone, respectively, and the results were supported by XRD studies. It was determined that different colored tessera samples showed similar distribution patterns in the multi-element distribution diagram normalized according to the Upper Continental Crust (UCC) values, however, all elements (except Cs, Ta, and La) showed depletion compared to the UCC values. As a result, it has been evaluated that the minero-petrographic properties of the tessera samples used in the KKABP mosaic flooring are compatible with the geological formation of the region and that possible source areas may be geological units in the vicinity of Laodiekeia. © 2022, Bursa Uludag University. All rights reserved.

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Çetin, Burcu Can; Gülersoy, Nuran Zeren;

    Kültür varlıklarının korunması ve yönetilmesi süreçlerinde, koruma ile gelişme önerileri arasında denge kurulmasında yeni ve önemli bir araç olarak tanımlanan kültürel miras etki değerlendirme (KÜMED) konusu, 2000’li yılların başında çevresel etki değerlendirmeden ayrılarak geliştirilmeye başlanmıştır. “The United Nations Educational, Scientific and Cultural Organization (UNESCO)” Dünya Miras Merkezi ve “International Council on Monuments and Sites (ICOMOS)” başta olmak üzere, kültür varlıklarının sürdürülebilirliğinin güçlendirilmesi hedefiyle birçok uluslararası kurum ve kuruluş tarafından çeşitli KÜMED rehberleri ve ilkeleri yayımlanmıştır. Son yıllarda Türkiye’nin yakından izlediği Avrupa Birliği ve Amerika Birleşik Devletleri’nde, bu rehberlerin ülke mevzuatlarıyla bütünleştirilerek uygulanması uluslararası koruma literatürüne ve etki değerlendirme pratiklerine geniş katkılar sunmaktadır. Türkiye’de de KÜMED’in, mevcut koruma-etki değerlendirme-planlama sistemi içinde nasıl konumlandırılabileceği tartışılmaktadır. Bu nedenle, bu çalışmada, KÜMED ile ilgili uluslararası yaklaşımlardan ve örnek uygulamalardan yapılan çıkarımlarla Türkiye’deki kültür mirası ve etki değerlendirme ilişkisinin kurulabilmesi için benimsenmesi gereken KÜMED ilkeleri tanımlanmaktadır. Bu bağlamda; KÜMED kavramı açıklanmakta, günümüzdeki uluslararası çevresel etki değerlendirme yaklaşımlarında da görülen “proje” ya da “gelişme” odaklı perspektiften önemli ölçüde uzaklaşan, uluslararası koruma kurumlarının KÜMED yaklaşımlarına yer verilmektedir. Çalışmada ayrıca, gelişmiş ülkeler arasından KÜMED’e yenilikçi yaklaşımlar sunan ve Türkiye’de KÜMED’in geliştirilmesine katkı sağlayabilecek nitelikte çeşitlenen dört yurt dışı deneyimi olan Liverpool, Kinderdijk-Elshout, York Kenti Planı ve Özgürlük Anıtı örnekleri karşılaştırılarak değerlendirilmiştir. Uluslararası KÜMED yaklaşımları bağlamında Türkiye’de hazırlanmış KÜMED uygulamalarından sayılabilecek olan Haliç Metro Geçiş Köprüsü ve Avrasya Tüneli Türkiye’deki KÜMED sorunlarına dikkat çekilerek incelenmiştir. Ele alınan KÜMED uygulamalarının hepsinin öne çıkan nitelikleri ve güçlü özellikleri çerçevesinde Türkiye için ulusal bir koruma stratejisinin ihtiyacının yanı sıra; koruma-KÜMED-planlama sisteminin yeniden kurgulanarak bütünleştirilmesi gerekliliği vurgulanarak Türkiye’de uygulanabilir bir KÜMED için temel ilkeler geliştirilmiştir.. Heritage impact assessment (HIA) which is a new important tool to establish the balance development proposals within the processes of conservation and management of cultural properties, has shown remarkable progress since its differentiation from environmental impact assessment (EIA) in the early 2000s. Various HIA guidelines and principles among which UNESCO World Heritage Centre and ICOMOS take attention have been published by international institutions and organisations to strengthen the sustainability of cultural properties. While Turkey has followed the improvements in the E.U and the U.S. where the integration of these guidelines has enhanced HIA are integrated the integration of these guidelines into countries' legislation has contributed extensively to HIA practices put HIA into force in Turkey is still an outstanding question. Therefore, this study aims to describe a general HIA framework for Turkish conservation sites based on the international approaches and cases from E.U. countries and the U.S. The proposed framework includes a national conservation strategy for Turkey, a conservation-HIA-planning system design connected by HIA, and procedures and processes for an effective HIA. As the impact assessment refers not only to a legal procedure but also a technical tool, the study's methodology comprises literature research on the history of HIA and its evolution in Turkey, recent international perspectives of HIA, and examination of six case studies, two of which are from Turkey. Four cases from developed countries that represent innovative approaches to HIA are chosen based on their applicable regulations concerning HIA in Turkey and their impact assessment process and methodology. Turkish cases, on the other hand, exemplify how international HIA frameworks have been treated. It is crucial to see examples from developed countries that offer different HIA frameworks in addition to the ICOMOS' HIA Guidance for internationally listed cultural heritage. In this context, the paper begins with a brief introduction and continues with the conceptual explanation of HIA and case studies, respectively; Heritage Impact Assessment of Liverpool Waters, Heritage Impact Assessment Study of Proposed Spatial Plans on the Mill Network at Kinderdijk-Elshout, Heritage Impact Assessment of York Local Plan, and Heritage Impact Assessment for the Statue of Liberty New Museum Construction. In addition to their general HIA approaches, the scale and characteristics of the cultural heritage expected to be affected by the developments have been considered. The main theme of the third part includes the current relationship between cultural heritage and impact assessment practices in Turkey. Two HIA cases from Turkey, Golden Horn Metro Crossing Bridge and Eurosia Tunnel, are examined and evaluated. When all cases from E.U, the U.S, and Turkey's HIA challenges are considered together, it is seen that there are many problems to be solved fora more effective HIA. Linked with the Turkish challenges, these problems are evaluated, and recommendations are provided under three headlines: the gap in the Turkish legislation-Turkish National Conservation Strategy, the adaptation of international principles-HIA defined in the Turkish conservation-impact assessment mechanism, connection issues between theory and practice of HIA -A New Improved Process for HIA studies. In order to propose a robust HIA framework for Turkish conservation areas, it is found out that there is an urgent need for radical changes in planning, conservation, and impact assessment regulations as experienced in England and the Netherlands cases. This is described by the general conservation strategy for the whole country, grounded on Turkish cultural property descriptions. Similarly, each law or procedure within these three disciplines should be interconnected and integrated by putting innovative approaches into the planning system. As seen in the U.S. cases, although impact assessment and conservation could be connected via guidance on the actor relations, for an effective process, HIA should be built parallel to both conservation-management of cultural heritage and decision-making process of policies, plans, and projects. Therefore, the proposed HIA flowchart and its impact assessment phases constitute a more extensive process that includes three mechanisms to be managed by features of any conservation area. Inspired by the technical principles of ICOMOS HIA Guidance, evaluated legal systems, and considering the scales of cultural heritage, this study supports HIA theory and practice by declaring it as an integration instrument when it puts the cultural property in the centre. Publisher's Version WOS:000733969300004

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Katrancı, Özlem Güven;

    ABSTRACT Şef'iyye Sicilleri are of utmost importance and the most valuable resources in searching the whole history of Ottomon Empire together with its all foundations.All these ducuments which include important informations are preceless. Records in so called "Şer'iyye Sicilleri", help us reach detailed information on the administrative, economical, sociological, legal and military structure of Ottoman Empire. Şer'iyye Sicilleri should be taken into account not only during the compilation of urban or regional history but also of general history. When the third Şer'iyye Sicili belonging to Antalya, Teke Sancağı Region, is studied, valuable information regarding the above mentioned structure of Antalya could be abtained easily. This study will have the importance forthe continuation and encouraging of the coming studios on the issue. Followers will make use of it greatly in their studies on Antalya district. ÖZET Şer'iyye Sicilleri, Osmanlı Devleti Tarihi'nin bütün kuruluşlarıyla o günün kayıtlarına dayalı olarak incelenmesinde en önemli ve birinci elden kaynaklardır. Şe'iyye Sicillerindeki kayıtlar, dönemin idarî, iktisadî, içtimaî, hukukî ve askerî yapısı hakkında bize ayrıntılı bilgiler vermektedir. Şehir veya çeşitli bölgelere ait tarih yazılırken kaynak olarak dikkate alınması gereken Şer'iyye Sicilleri, genel tarih yazılırken de göz ardı edilmemesi gereken belgelerdendir. Antalya bölgesine ait üç numaralı Şer'iyye Sicili incelendiğinde Antalya'nın idarî, iktisadî, içtimaî, hukukî, ve askerî yapısı ile ilgili önemli bilgiler elde edilecektir. Bugüne kadar, Antalya'nın bir ve iki numaralı Şer'iyye Sicilinin transkripsiyonu yapılmıştır. Bu yüksek lisans tezi ile birlikte yapılmış olan üç numaralı Şer'iyye Sicilinin 1-40 varaklarının transkripsiyonu, bu tür çalışmaların devamı açısından önemlidir. YÖK Tez ID: 126255

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      This Research product is the result of merged Research products in OpenAIRE.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Doğan, Selver Karstarlı;

    ABSTRACT Şer'iyye Sicilleri are of utmost importance and the most valuable resources in searching the whole history of Ottoman Empire together with its all foundations. All these documents which include important informations are preceless. Records in so-called "Şer'iyye Sicilleri", help us reach detailed information on the administrative, economical, sociological, legal and military structure of Ottoman Empire. Şer'iyye Sicilleri should be taken into account not only during the compilation of urban or regional history but also of general history. When the Second Şer'iyye Sicili belonging to Antalya, Teke Sancağı Region, is studied, valuable information regarding the above mentioned structure of Antalya could be abtained easily. Meanwhile, it is also possible to be informed on the general foundations of ottoman Empire for the given period. Up to now, transcription of the first Antalya Şer'iyye Sicili was done. Together with the summarized post gradvate thesis, transcription of the first 40 pages of the second Şer'iyye Sicili will be completed. This study will have the importance forthe continuation and encouraging of the coming studios on the issue. Followers will make use of it greatly in their studies on Antalya district. ÖZET Şer'iyye Sicilleri, Osmanlı Devleti Tarihi'nin bütün kurumlarıyla o günün kayıtlarına dayalı olarak incelenmesinde en önemli ve birinci elden kaynaklardır. İçerisinde çok önemli bilgileri ihtiva eden bu belgeler, paha biçilmez değerlere sahiptir. Şer'iyye Sicillerindeki kayıtlar, dönemin idâri, iktisâdi, içtimâi, hukuki ve askerî yapısı hakkında bize ayrıntılı bilgiler vermektedir. Şehir veya çeşitli bölgelere ait tarih yazılırken kaynak olarak dikkate alınması gereken Şer'iyye Sicilleri, genel tarih yazılırken de gözardı edilmemesi gereken belgelerdendir. Antalya (Teke Sancağı) bölgesine ait İki Numaralı Şer'iyye Sicili incelendiğinde Antalya'nın idâri, iktisâdi, içtimâi, hukuki ve askerî yapısı hakkında önemli bilgiler elde edilebilecektir. Aynı zamanda genel olarak Osmanlı Devleti'nin o tarihler arasındaki genel yapısı hakkında da bilgi edinmek mümkündür. Bugüne kadar, Antalya'nın Bir Numaralı Şer'iyye Sicilinin transkripsiyonu yapılmıştır. Bu Yüksek Lisans Tezi ile birlikte İki Numaralı Şer'iyye Sicilinin 1-40 varaklarının transkripsiyonu, bu tür çalışmaların devamı açısından önemlidir. Yüksek Lisans Tezi, Antalya yöresi ile ilgili araştırma yapacaklar için oldukça faydalı olacaktır. x YÖK Tez ID: 106994

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Kırıkkale Üniversite...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      This Research product is the result of merged Research products in OpenAIRE.

      You have already added works in your ORCID record related to the merged Research product.