Institute of Social Sciences

“Come, whoever you are come,” says Mevlana. For many years, there was a fight between
West and East named culture, racism, superiority, inferiority, gender, secularism, economy,
politics, intellectuality… so on. When it comes to the battle related to religion, we have three
expectative candidates named Christianity, Islam and Judaism, As a matter of fact, it can be
said that the winner cannot be named. It is clear that every religion has its own path. Apart from
these, however, this paper debates multiple views of these paths. However, when they think
they come to end they dragged into other ways. Against this background, the central question
that motivates this paper is: Is Islam Compatible with West?

This review focuses on the book; “That Religion in Which All Men Agree; Freemasonry in
American Culture” by David G. Hackett. The author is a Professor of Religion at the
University of Florida, in the USA. Hackett is the writer of many books on topics such as
religion, culture and society in the USA. These books are The Rude Hand of Innovation:
Religion and Social Order in Albany, Religion and American Culture, The Silent Dialogue:
Zen Letters to a Trappist Monk.

New Historicism is a critical approach based on the literary and unliterary texts by using
power relations given in the same time period. In the Oxford Dictionary (online) New
Historicism is defined as “a form of cultural analysis which examines the ways in which a
cultural product (especially a literary text) interacts with and participates in its historical
context, especially with reference to the power relations operating within the society of its
time”. This literary approach began in university of Berkeley and California by Stephen
Greenblatt in the late seventies and into the eighties. In the Greenblatt’s book
Renaissance Self -Fashioning: From More to Shakespeare characteristics of New
Historicism are explained. In this direction, in this essay I would like to describe some
characteristics of New Historicism by combining with traditional historicism and Michel
Foucault’s power and knowledge relation.

Virginia Woolf wrote a lot of works, essays about feminism and patriarchal society. She was a very influential writer for her term's women. In this paper, I would like to introduce Virginia Woolf, feminism, feminism in her two works and her feministic aspects. ' A Room Ones Own' and Mrs Dalloway' are one of the most important works. Virginia shows us the place of woman and how we can live with patriarchal system. These two works are about her feminism and her real life because she used these characters for representing her real life. Moreover, I and a lot of researchers mentioned her life, husband, mother and father, and her mental ilness. Virginia couldnot go any school. She wanted to learn everything like her brother. But Victorian Society was patriarchal and she read all the books which in her brother's library. When she married to Leonard Woolf she thought that she could publish all of her books. lt was true because Leonard was really responsible. Woolf couldnot lead a beautiful life because she lived with a mental ilness. After her mother and her father died, she was very bad because she has feeling an emptiness. While she was fighting with this mental ilness, she killed herself one day. Woolf wrote both essays and letters from Victorian age to Edwarian age. She wrote a lot of feministic works like her other friends. (George Eliot, Jane Austen and Bronte Sisters) This term paper will show us how she started her literary life, whether she is really a feminist, and point of view of her term and finally her tragic end.

Urban spaces, which are the product of industrialization processes, are the living spaces where social life is organized today. Especially in the unequal development processes observed in developing countries, the permeability relationship between urban areas and provincial life is increasing, while the disruptions experienced in urbanization and decontamination processes shape everyday life on the axis of socio-economic and cultural dynamics. Events that show the nature of crime and deviation, which are often encountered in the daily life practices of urban spaces, find a wide place for themselves in the television narrative with their interesting features. As a socio-cultural phenomenon, television brings events bearing a criminal element to the screen in a storytelling way as part of past narrative patterns in the process of interaction with social life. At the same time, television constructs the meaning of television in relation to the social dimensions of crime and deviation. In this study, these two functions of television are considered in the axis of Critical Theory. While the two cases selected from the Müge Anlı ile Tatlı Sert program, which were determined by the purposeful sampling technique, were analyzed using the Qualitative Content Analysis method, the implicit messages contained in the program were tried to be deciphered. According to the research results, it is observed that the phenomenon of crime is related to urban space as a narrative genre, and this genre in television narrative has matured within cultural forms such as literature, newspapers and cinema in the context of dramatic narrative patterns and has come up to the present day. Based on the objective and subjective definitions in the sociology of crime and deviation, it seems that television makes the objective definitions of crime and deviation that arise in relation to the socio-economic conditions of the period invisible, while bringing to the fore subjective definitions that involve a labeling process. Television frames normal and deviant behavior while drawing the normative framework of the social space from within the dominant ideology of the period. At the same time, the television narrative serves as a means of social control while reproducing the criminal events that occur in the relationship of urban space with provincial life in the time and space organization of the television studio.
Key Words: Urban Space, Rural, Crime, Deviation, Television Narrative, Reality Television.

Özet Ulusal ve uluslararası ölçekli kurumların/kuruluşların kendilerini tanıtabilme, marka değeri yaratabilme ve pazarlama stratejileri kapsamında daha geniş kitlelere ulaşabilmeleri için sunmuş oldugȗ hizmetler, rekabet içinde bulunmalarının doğal bir zorunluluğudur. Bu bağlamda tanıtım kavramı, iletisim, reklamcılık, halkla ilisķiler gibi alanlarda etkin ve esģüdümlü kullanılması sonucunda hedef kitleyi bilgilendirme ve imaj yaratma faaliyetleri bakımından oldukça önem arz etmektedir. Tanıtım'da en önemli noktalardan biri mesajı hedef kitleye iletecek medyanın seçimidir. Bazı kurum/kurulusļar gazete, dergi, bilboard, brosür gibi basılı medyayı tercih ederlerken; digȇrleri ses ve görüntü akışının yer aldıgȋ televizyon, sinema ve internet gibi hareketli medyanın yogȗn olarak kullanıldıgȋ alanları tercih etmektedir. Kurum/kurulusļarın reklam ve tanıtım seçeneklerinden biri olarak son yıllarda hızla yükselen tanıtım filmleri de bir senaryo esļigȋnde ses ve görüntü efektleriyle zenginlesţirilmis, gerektigȋnde kurumsal vizyon ve misyonu örtülü olarak hedef kitleye ileten reklam filmleridir. Dünyada pek çok sektörde tanıtım filmleri yogȗn olarak kullanılmaktadır. Tanıtım filmlerini aktif olarak kullanan kurum/kurulusļardan bir digȇri de üniversitelerdir. Uluslararası düzeyde Asya, Avrupa, Afrika, Avusturalya, Amerika (Güney ve Kuzey) kıtalarından ve ulusal birçok üniversitenin tanıtım filmi bu araştırma kapsamında incelenmisţir. Ulusal ve uluslararası üniversitelerin büyük bir çogȗnlugȗnun web sitelerinde tanıtım filmlerini yayınlamaları rekabete dayalı bir ortamda girisimci bir kimlik sergilemeleri bakımından önemli görülmektedir. Ulusal ve uluslararası tanıtım filmleri teknik acidan incelendigȋnde, gorsel efekt ve yazılımların yogȗn olarak kullanılması sahne gecisļeri ve zaman zaman goruntü akısļarının hızlı olması, bilgilendirici aciklama yapan arka plan konusmaları ile muzigȋn goruntü ile uyumlu olmaması (senkronizasyonun saglanamaması) ya da goruntü akısi ile ses ya da tipografik ogelerin orantılı olarak belirli sure icinde verimli ve etkin kullanılamaması gibi problemlerin varlığı gözlemlenmektedir. Goruntü estetigȋ acisından etkili bir kamera acisı ile tanıtım surecine ilişkin film surekliligȋnin sağlanamaması, renklerin doygunluk değerinin dengelenememesi ve konsepte uygun bir tipografinin secilememesi, tanıtım filminin storyboard'da planlanan süreye gore ayarlanamaması ve geregȋnden fazla uzun tutuldugȗ icin hedef kitlenin dikkatinin azalabilme olasılığı gibi problemler universite tanıtım filmlerinde saptanan diğer sorunlara örnek gösterilebilir. Basarılı bir tanıtım filmi marka degȇri yaratım surecinde hedef kitlenin imgeleminde olumlu bir imaj yaratmak acisından oldukca onemlidir. Kurumun tanıtım filmi ile soz konusu imajın, kullanıcı kitlelerde olumlu bir intiba yaratması, aynı platformdaki digȇr rakiplerinden oncelikli olarak hatırlanabilmesi ve ilgili kitle üzerinde olumlu bir izlenim yaratabilmesi açısından önemli görülmelidir. Abstract The services that national and international institutions or associations offer to be able to advertize themselves, create a brand value, and reach larger groups for marketing strategies are the natural obligation of being in competition. In that sense, promotion word is highly important to inform the target audience and to create an image by using it effectively and coordinatedly in the areas like communication, advertisement and public relations. The most important point in the promotion is to choose the media that can transmit the message to the target audience. While some institutions or associations prefer printed media equipments like magazine, billboards, brochures, others prefer the areas that the media tools with moving scenes,including sound and video stream such as television, cinema, internet, are heavily used. The promotional films rising rapidly lately, as a choice for advertisement and publicity of the institutions and associations are also enriched with sound and video effects. When it is necessary, the films are the advertisement videos that vision and

Öz: Görsel iletişimin bir parçası olarak karşımıza çıkan illüstrasyonlar geçmişten günümüze popülerliğini sürdürmektedir. Çoğunlukla sanatçı ya da tasarımcılar tarafından dijital/el işi yöntemlerle gerçekleştirilen illüstrasyonlara son yıllarda yeni bir etki alanı eklenmeye başlamıştır. Yapay zekâ olarak nitelendirilen bu etki, insan dışındaki bir varlığın da (makinenin) illüstrasyonlar üretebileceğini göstermektedir. Makinelerin illüstrasyon alanında insan sınırlarına yaklaşmaya başlaması birçok sorgulamayı ve tartışmayı beraberinde getirmektedir. Yapay zekânın sonsuz sayıda görseller üretmesi bu çalışmaların niteliğini sorgulatırken, insan yaratıcılığının geleceği üzerine de düşündürmektedir. Yapay zekânın şu an ki ivmesi değerlendirildiğinde, yapay zekâ biçimsel olarak insan sınırlarına yaklaşmıştır. Bu makale, yapay zekânın illüstrasyon alanına olan etkilerini örnekler üzerinden inceleyerek, yapay zekânın güncel potansiyelleri ve insan yaratıcılığının geleceği hakkında bir durum tespiti yapmayı amaçlamaktadır.