Canan

Prof.

İrem

Res. Assist.

Multimodality is a term that refers to the co-presence and mutual linking of different semiotic resources at different levels in communication. It refers to the diverse ways in which a combination of verbal, visual and non-verbal elements are used in meaning making. Nowadays various media such as TVs, mobile phones, computers, tablets or the internet provide for the creation of new text forms which include a variety of semiotic modes. As a result of this, today’s texts contain complex modalities like visual images or auditory elements. Therefore, texts are seen as multimodal structures that combine different semiotic modes such as language, image, music, sound and typography.&nbsp;Advertisements are one of the most ideal multimodal text types because of their potential for combining and integrating the highest level of multiple semiotic modalities. Thus, they are one of the most analyzed text types in multimodal oriented text researches. Therefore, the aim of this study is to analyze and compare German, Anglo-American, Italian and Turkish print advertisements with each other. Moving towards a multimodal oriented text analysis theory, this study attempts to demonstrate the multimodal structure of the selected advertisements in four languages and how the modalities are used to express meaning.The corpus of this study is comprised of eight cosmetic advertisements of cream and serum products that are produced by different international brands, which were published in German, American, Italian and Turkish women’s magazines in 2016. The analyzed advertisements are derived from the following magazines: Cosmopolitan (German Edition), Vogue (USA Edition), Silhouette Donna (Italy) und Elele (Turkey). For every language two different advertisements are chosen randomly by considering the criteria that they include the following modalities: language, image and typography. The selected brands are Clarins and Sensai (in Cosmopolitan German Edition), Lancôme and Olay (in Vogue USA Edition), Yves Rocher and Korff (in Silhouette Donna Italy), L’Oréal and Caudalie (in Elele Turkey). Target group of these advertisements are women between the ages of 30 and 60.&nbsp;The analysis is based on multimodal oriented text analysis models of Angelika Hennecke (1999), Nina Janich (2010) and Hartmut Stöckl (2011). Furthermore the analysis includes text extern and text intern criteria. The data that will be analyzed in this study is verbal, visual and design elements of the multimodal texts contained in selected advertisements. This research basically followed a multimodal oriented method with the general principles to draw the modalities existed in advertisements including language, image and typography with their sub-modalities such as color, lexemes, addressing types, gesture, font type and font size with the aim to reveal the entire meaning conveyed in cosmetic advertisements. The analysis mainly focuses on the interrelations between the modalities in selected advertisements in four languages. Framed in multimodal analysis and intercultural comparison, this paper presents the similarities and differences between these print advertisements in four languages by comparing the findings with the results of the former comparative studies based on cosmetics advertisements.The results of this study show that the analyzed advertisements include similar verbal and visual modalities. First of all the use of words from a foreign language, especially from French is remarkable in all four languages. This can be associated with the dominance of French in cosmetics market around the world. Another conspicuous result is the use of Anglicisms in product names or product features in German, Italian and Turkish advertisements. This can be explained by the influence of English in cosmetics advertisements. As the former studies point out English words make advertisements look modern and attractive for the target group. One of the most significant differences between the analyzed four languages is the addressing type. German, Anglo-American and Italian advertisements address their target groups with personal pronouns such as ,,Sie”, ,,you” and ,,tu” whereas Turkish advertisements use indefinite forms.&nbsp;The analysis also detects that celebrities are used as brand ambassadors in AngloAmerican and Turkish advertisements, whereas non-celebrities are preferred in German and Italian advertisements. Besides an Afro-American celebrity is also remarkable in one of Anglo-American advertisements. This can be related with the target groups of the analyzed brands.Based on the results of the analysis this study demonstrates that due to the increasing globalization, advertisements are becoming increasingly alike in their major characteristics even if they are produced in different languages. However cultural codes are still needed in advertisements to attract and convince the audience.

An Intercultural Approach to Multimodality in Selected German, Anglo-American, Italian and Turkish Cosmetics Advertisements

Gülay

The processing of the information read is a big challenge for the students. The abstract text takes an important function to overcome this challenge. This is because the abstract text mediates the transformation of expert knowledge into individual information in the way of reproducing the text. Thus, the summarization is one of the main achievements of German teacher candidates and has impact not only on their success in university, but also on their future working lives. The abstract text is the reformation of the primary text as secondary text (Ehlich, 1981, S. 379). Abstract texts can be either composed of literary text or reusable texts. The purpose in summarizing the literary text is to summarize the content of the text in terms of actions and personnel descriptions (Fix &amp; Dittmann, 2008, S. 18). In the case of reusable texts, the point is to transfer and continue the information (Ehlich, 1981, S. 383). For example, the abstract texts in the universities are written to shorten the information in the primary text and to process the information afterwards. Such abstract texts have an argumentative structure.Although abstract texts are important for writing academic text, it is seen that abstract writing is difficult for the students who write in both native and foreign languages (Keseling, 1993; Menne-El-Sawy &amp; Einig, 2011; Moll, 2002; Heppınar, 2017).In line with the aforementioned considerations, this study aims to develop a course model in writing an abstract text and to present the results of this course model in the Department of German Language Teaching. Thus, the research will contribute to how writing academic texts in German as a foreign language can be taught.Therefore, for this purpose, an action research based on written questionnaire and using quantitative data collection tools has been carried out. The sample group of the study consists of 22 2nd grade students in total attending the Department of German Language Teaching in Marmara University. After the model has been applied for a 6-week period, a written questionnaire about the texts used in the model, the teaching method, the activities used in the model, the proceedings obtained through the model and the general results related to the model aiming to write an abstract text has been conducted with the students during evaluation stage. The reliability of the study has been tested by Cronbach Alpha Test and the reliability coefficient of the test has been found to be 0,73-0,80.According to the data regarding to the self-assessments of the students, the texts used in the model are informative and the subject of the texts is related to the lives of the students. The views of the students on the teaching method used in the course model indicate that, as result of the cooperative teaching method, the students are more motivated and active in the course, and communicate with their friends, who they do not normally communicate with. The views of the students about the activities in the course model showed that the students have found meaningful the activities of “expressing the actions and argumentative structure in the text summarized“, “using abstract writing table in abstract text writing” and “abstract text writing”. According to the data regarding to the self-assessments of the students, thanks to the model, the students have made progress in “expressing the author’s action”, “specifying the argumentative structure of the text”, “connecting the sentences” and “using appropriate conjunctions”.&nbsp;In conclusion, the course model, which is about “teaching how to write a academic text in the sample of abstract text writing”, met the expectations of the students and enabled them to develop their abstract writing skills.Finally, it should be stated that the research results presented above are limited to a sample group of 22 students and that the model introduced should be measured experimentally with a larger sample group in order to obtain higher validity.

Promoting Teaching Academic Writing Among German Teacher Candidates in Turkey in the Sample of Abstract Text Writing – An Action Research

Serap

The immigration from Germany to Turkey is a situation of radical change, which many people of Turkish origin undergo. This also allows them the differentiation of and/or affiliation with different social worlds. In my biographical- and interactional-analytical study of social and linguistic experiences of young “returnees”, I undertook biographical interviews of about one hour with 40 informants (Devran, 2017). The student Arda, whom I want to introduce in the following, attracted my attention because of his self-confident appearance and his manifold self-portrayals and self-evaluations.The interview, which took approximately one hour, was held in my office at the University of Marmara in Istanbul. Arda was born in Berlin (Kreuzberg), raised in Tempelhof and had to move to Ankara at the age of twelve with his family. At the time of the interview, Arda was 28 years old and in his last year of study. He studied German philology at the University of Istanbul. In his interview, Arda talks about a lot of experiences starting from his birth in Berlin-Kreuzberg, his school time in Berlin-Tempelhof and his study and working experience in Istanbul. In doing so, he relates many of his own experiences, which contain important biographical phases, to the different ways of life and to his attitude towards the particular languages and the way they are spoken. This analysis follows the chronological order of Arda’s biographical events, in accordance with the way Arda presents them in the narrative presentation.For the analysis of this biographical interview, I will apply concepts that aim to reconstruct the narrative-constructed identities, in particular the concept of positioning and social categorisation.Lucius-Hoene &amp; Deppermann (2004) and Deppermann (2013) suggest the concept of positioning as an instrument for empirical studies of narrative identities on the basis of autobiographical narration. An important component of the positioning-approach is the social categorisation. Self- and other-positioning contain the attribution and demand of social and personal identity facets, for example the affiliation to social groups or the&nbsp;attribution of moral characteristics. Sociolinguistic-conversation analysis works have endeavoured to describe the process of linguistic realisation and tried to understand the interactively constructed meaning constitution and the evaluation of categories (cp. Drescher &amp; Dausendschön-Gay, 1995; Hausendorf, 2000; Keim, 2008). Linguistic methods, which are used by the conversation participants in active conversation situations in order to analyse people and groups of people in social categories, are in the centre of this research.The aim of my study is to reconstruct the ethnic and socio-cultural categories, which are constructed in the conversation by Arda, and its characteristics and courses of action, and to describe linguistic methods, which are used for positioning and self- and othercategorisation. Thus, the following aspects are of great importance: - which ethnical and/or socio-cultural categories are relevant in the conversation in a self- and other-classification - which characteristics and courses of action are referred to - which elements of expression are used for social differentiation and which linguistic-communicative methods are referred to in social categories and contexts - how and which methods are used for self- and other-positioning - which contrasts are shown and which evaluations through social categorisation are linked - which linguistic-communicative methods are shown to express social affiliation - what is defined as “own language”The fundaments for the following analysis are the social- and linguistic worlds, which are given in the conversation. This all flourished from Arda’s life starting in Germany and ending with his emigration to Turkey: in Germany the closed community of Turkish people and also the life of mainstream German society. In Turkey he encountered different modern Turkish lifestyles: in his family’s daily routine and at the university. In the study of German philology, he also encountered the world of “returnees”, who spoke German and Turkish as their mother tongue and in the call-centre, the world of “returnee”- colleges, who established a specific mixed-language. Furthermore, he had his own world, where he is married to a German wife, and spoke German in his own world.Out of the narrative illustrations of the biographical phases of Arda, it can be reconstructed that Arda developed in comparison and contrast to the negative public image an implicitly and explicitly positive self-categorisation over several biographical phases. He used several methods of categorisation for the description of the social worlds, especially to label and evoke. He aligned himself with some worlds, he distanced himself from others and with one particular world he deliberately aligned himself.

A Narrative Draft on Positive Self-Category in Diverse Social- and Language World

Daniil

Marie von Ebner-Eschenbach, known as one of the most important representatives of thematic approach of ethical and pedagogical aspects in the literary production in her era. The mentioned topic is didactically literalized in the das Gemeindekind (1956) where Pavel is portrayed as a useless boy with the “bad” or “evil” conscience. He faces a great change in his fate and tries to reach a better life with the help of his teacher; Habrecht/ (cz.) Mamprav, a propagator of truth on earth. For this reason, the whole plot is based on juxtaposing cognitive dichotomous factors such as: stupidity vs. wisdom, lie vs. truth, silence vs. scream and so on. Because the conscience, which the author appeals to is one of the human consciousness forms and therefore related to the knowledge and the truth. Therefore, theoretically, the corresponding investigation of the cognitive aspects of the representation techniques seems to be highly relevant.In addition, the article deals with the following questions: to what extent and how is Ebner’s work transformed literarily and epistemologically using the example of the das Gemeindekind as one of the most renowned representatives of German-Moravian and Austrian realism. Based on research question above, from the historical framework of German-Moravian literature, authentication, lateralization and structural strategies are considered as epistemological aspects of the realistic narrativity of Ebner-Eschenbach.Despite the linguistic immediacy and relative simplicity of the pictorial expressions and structure in her era, Marie von Ebner-Eschenbach manages to cross the borderline of the spatiality, temporality and materiality. By reproducing the real phenomena, EbnerEschenbach addresses the epistemic and cognitive perspectives. To avoid the pronounced metaphorical approach, the author approaches the development of epistemological domains in her work using other strategies. Because they are inseparable elements of a unity or logic, the mutual permeability, transfer of functions, representability of strategies must be taken into account.&nbsp;The real world and its language which are closely together in terms of content and structure, form the basis and the starting point of the design of literary motifs. This in turn&nbsp;teaches us putting the deep epistemological view in place at the same time.Thus, Marie von Ebner-Eschenbach brings the epistemological belief to the reader through three strategies discussed in this article such as authentication, literary and structural strategies. Therefore, it can be stated that das Gemeindekind was conceived as poetological as well as epistemological work.The phenomena of narration, invention, writing and reading are based on the variety of cognitive prerequisites, which can be interpreted differently depending on cultural and historical aspects. Due to the secondary characteristics (does not correspond to the primary needs of man) of artistic or literary use of the abilities, narrative has an adaptive multifunctional character. The technique of narrative becomes the structural principle of human experience. In other words, the perceived becomes corporeality of thought at the literary sensuality.Due to the dominant artistic expression in the current form of realism and its affiliation with the poetic techniques, the novel is characterized by its emotional content which is known as a fundamental feature in art. Emotions with their metaphorical and stylistic impacts which we literate the leeway of our experiences is considered as means that led us to recognize the world. In this context, the article is focused on how the novel by Marie von Ebner-Eschenbach contributes to the making of legible and readable experiences and emotions of our own as specific “spaces”. The artistic lateralization of the temporary “architectural” space (definitive era of the 19th century) acts as an emotionally charged perceptual offer. Despite the presence of the event with its yearning for new spaces for physical and emotional positioning, Ebner’s work still remains “present” for today’s audience.One of the cognitive achievements of the narrativization of the material which emanating from didactic purposes of Eschenbach is the delivery of offer and tracks rather than final explanations so that the reader could follow. Thus, the author has not explicitly stated the moral and didactic final appeal but she has set the meaning in motion and made it discursively available at the same time. The narrative strategy in the das Gemeindekind is regarded as the opportunity to entertain and at the same time to make them understandable. That’s because narrativity reduces the complexity. In the article, the authenticity, literacy, and architectonics were considered to be some of the components of a descriptive pattern for epistemology and their interrelationship with cognitive aspects of knowledge and truth is illustrated as well.Another contribution by author is the attitude of faithfulness to her origin which is noticeable in her work. The work of Marie von Ebner-Eschenbach is of great importance with regards to German (Austrian) and Czech literature relations in particular with literary phenomenon of Bohemia, Moravia and Prague German.

Literary transmission of epistemic aspects in EbnerEschenbach’s novel Das Gemeindekind

Kadir

Öğretim Görevlisi Dr.

Ali Osman

Journey of Hope begins with a ritual scene. Yaşar and his family get a postcard from a friend showing the majestic Swiss mountains, which he refers to as a paradise of milk and butter (in Müller’s words: “the mountains in the snow like cake cuts”, 1992, p. 52). Yaşar sells his cattle in order to finance his journey. Yaşar then sells his belongings as he needs more money to be able to travel with his wife. However, his wife Meryem does not want to leave her children. Following his grandfather’s advice, Yaşar and Meryem take their little son Mehmet Ali on the journey so as to provide a better future for him. The two also believe that Mehmet Ali can be a hope (future guarantee) for their life in Switzerland and for the children, who stay in Turkey.From Maraş Yaşar, Meryem and Mehmet Ali first drive to Istanbul. Normally, they would have traveled by train, but since Mehmet Ali does not have a passport and only a little money, they are forced to travel to Italy on a container ship. They arrive in Naples and are taken to Milan by a truck driver from Naples. From there, they are taken by human smugglers with other refugees to the border between Italy and Switzerland, where the Swiss Alps begin. Since it is snowing, Mehmet Ali freezes to death.Following the death of Mehmet Ali, Switzerland turns into hell for Yaşar and his family. All the paradisiacal attributes that represented Switzerland end up symbolizing the personal tragedy of this once hopeful family at the end of the film. It can be concluded that for the characters, the values change through spatial experiences.&nbsp;Switzerland is a potential paradise for many who live in poor conditions. They expect to find their fortune by fleeing to rich countries like Switzerland. This wish is probably conceivable for those who grow up listening to fairy tales with happy ending. Is it really that easy to get rich in a foreign country? In The Journey of Hope, this dream is not easy to&nbsp;achieve. The adventurous journey of Haydar and his family from Turkey to Switzerland shows us how difficult it is to leave one’s home and flee to a foreign land. What is tragic is that Haydar and Meryem lose their son Mehmet Ali at the end of this journey. Based on this tragic loss, we would like to analyze in our article how values change on the journey from Maraş to Switzerland. Since the values change spatially or are bound to the space, we will first treat the geographical location and the paradisiacal image of Switzerland in connection with the considerations of the Swiss author Peter Stamm. Then we will attempt to illustrate the route taken by the characters with the help of maps. Finally, the value orientation in the film is analyzed using the value model of Arnim Regenbogen.We analyze the change of Switzerland’s international image and its role as an isolated country from the spatial point of view in this article. The article tries to answer the following questions: to what extent does the value orientation of the characters change? And to what role the death of the child plays for this value orientation, which is also criticized by Herta Müller in her essay The Fish in the Gym.

Value Orientation by Herta Müller on the Example of the Film Journey of Hope by Xavier Koller

Pınar

Lecturer

During the rise of capitalism, European countries were eager to gain more power by exploiting the so-called non developed countries, which were supposed to have a retrogressive tendency. In order to be able to justify colonialist aims, the West created an imaginative East, which was inferior to the West. This attitude helped the West – as Said says – to define Europe as a contrast to the image or the idea of the East they created in their minds. This attitude is called orientalism and it is a manmade discourse which functions as a way of conceptualizing a distinction between the West and the East. It results in the positioning of the West as superior to the East which was followed by the Eurocentric view. The praising of the Western world with its norms and cultural heritage functioned as a way of creating a hegemony over other countries, which did not only occur in the form of dominating them but was also a way of oppressing the working class within Europe. The rise of capitalism changed the bourgeois society and formed new class distinctions and conflicts. The so called German Bürgertum gained power and the conditions of the working class got worse. However, at the same time it was a period in which the working class became organized into parties and trade unions. During such a period, in which the idea of the surrogate Europe was accepted by the majority of Western actors, it is interesting to have a look at the European socialists. August Bebel who was one of the founders of the German Social Democratic Party (SPD) played a leading role in defeating the colonial aims of the German Kaiserreich under Otto von Bismarck. Bebel saw the connection between orientalism which helped the West to legitimize their colonial aims and the oppression of the workers. The dominating bourgeois norms in the West which were supposed to be superior to the Eastern cultural norms were used as a tool by the institutions of the powerful German state. Hence it was important for the socialists in Germany to try to overcome orientalism. For this reason Bebel devoted&nbsp;&nbsp;himself to the study of the Mohammedan Arabic cultural period. With his work Bebel tries to throw light on the imaginative perception of the East and show the historical truth about the cultural heritage in the East. To be able to do this he chooses to focus in his work on the Mohammedan period, where the Arabic culture went through a very progressive era. It was a time of scientific production and there was an attempt of reigning a state determined by progress and civilization, where people profited from a variety of rights and opportunities. In his work Bebel describes the Mohammedan period and everyday life in this time by giving details about different institutions and social groups. Having represented the era and shown that things were not the way they were assumed to be, Bebel reflects the point of view that if the Mohammedan period had not happened, the European Renaissance would not have taken place. This idea is revolutionary in the sense that it regards the East as the origin and the starting point of all modern achievements and accepts it as the source which enabled Europe to reach the level they have reached. Bebels criticism on orientalism and his radical way of dealing with the historical truths about the East is of great importance and can function as a guiding work even today, in a world where the Eurocentric point of view is still valid.

Mohammedan-Arabic Cultural Period and Bebel’s criticism on orientalism

Müge

Irreconcilability. Hegel‘s Aesthetics and Lukács’s The Theory of the Novel

Gülsüm

Tagungsbericht: „Wertorientierungen Türkisch-deutsche und deutsch-türkische Verhältnisse in Literatur und Film“, Istanbul, 04.-05.10.2018

Assoc. Prof.

Barış

Assist. Prof.

CfP: Issue 53 (June/2025)

Call for Papers - Special Issue of Studien zur deutschen Sprache und Literatur

Albrecht

Prof. Dr.

Mobility in the Sixteenth Century: Narrative Evidence about Travel and the Discovery of the World in Early Modern German Literature

Khrystyna

Literary reportage has long exhibited intermedial traits. The longest tradition in this type of text is the combination of text and photo. Based on the theory of intermediality, literature is seen as a medium that conveys information, emotions and ideas. They can be expressed mono-medially (exclusively through a single medium, language) or multi-medially (through the combination of several media). This study analyzes the photo-text combination in the literary reportage „Die Slawen von nebenan – Sorbische Reise durch Deutschland” from the collection “Die sterbenden Europäer” (2001) by the Austrian author Karl-Markus Gauß. It involves two media: on the one hand, the text, which conveys information and creates images through linguistic expressions, and on the other, the photograph as an independent medium that brings information and emotions closer to the reader through visual means. According to Irina Rajewsky’s typology, the interplay of photo and text would be classified as a media combination.In order to determine the interaction between the two media and to analyze their influence on the overall effect of the literary work, the text is examined in detail, taking into account its linguistic characteristics, its style, its structure, its content, its narrative perspective and its composition. At the same time, the composition, lighting, coloring, perspective of photos and their placement in the text are examined. Particular attention is paid to how the photographs relate to the text and what influence they have on its overall message. This includes analyzing how text and photographs interact, complement or possibly contradict each other. Furthermore, the intermedial relationships between the text and the photographs as different media are discussed. It analyzes how this interaction influences the overall effect of the literary work and what significance it has for understanding it.&nbsp;Only two photographs appear on the 39 pages of the reportage: of the cemetery in Ralbicy/Ralbitz and the library in Slepo/ Schleife. K.-M. Gauß devotes the first chapter to a verbal description of the old cemetery. About ten pages later, the photo that confirms what has been written is presented. It takes up the whole page and is accompanied by the caption “Die Geometrie der Toten, Ralbicy/Ralbitz” (“The geometry of the dead, Ralbicy/Ralbitz”). Such a distant placement of the image can be influenced by layout, design and other technical constraints, as well as by the author’s intention to present the image to the recipient later. The metaphorical caption shows the contrast between the terms “geometry” and “dead”, which could create a tension or an unusual connection between order and finitude.The second image in the literary reportage was captioned “Der Wert der Bücher, Slepo/Schleife”, (“The value of books, Slepo/Schleife”) and depicts a part of the facade of the Jakub Lorenc-Zaleski Central Library, with an old window. In contrast to the photo of the cemetery, whose visual representation is also linguistically detailed, the picture has no verbal accompaniment other than a signature. The reader is also unaware of whether there is a need for the library in the present day. However, the inestimable value of what is hidden behind the window of the library, which can also be seen as a window into the world of Sorbian culture, remains undeniable.&nbsp;Both the cemetery and the Sorbian library embody the identity of the people and are considered symbolic incarnations of Sorbian culture, preserving the collective memory and history of the people. Their significance goes beyond their mere physical presence and manifests itself in a symbolic depth in which they represent the values and traditions of the Sorbian community. These places act as archives of Sorbian heritage, storing a rich spectrum of information and meanings that are passed down from generation to generation. The aspects mentioned above could speak in favor of the selection of the photographs.The results suggest that the interaction of text and photography not only reinforces the factual level of the reportage, but also builds up a new narrative level. The use of photography is not limited to the illustrative function, it acts as a central core point of content, on which deeper vertical structures are built that provide insight into the history of the Sorbs. This intermedia approach ensures a deeper understanding of the complex nature of reality and the techniques through which it is represented. From this perspective, the literary reportages of K.-M. Gauß contribute to making the history, traditions and way of life of the minorities accessible to a wider audience, which is of great importance due to the ever-changing social and political landscapes.

Photo and Text: Media Combination in the Literary Reportage “Die Slawen von nebenan – Sorbische Reise durch Deutschland” by Karl-Markus Gauß

Uğur

Lokman

Analysis of Turkish Translations of Snow White by the Brothers Grimm In the Context of the Skopos Theory

Seval

Hyenas as fictional animals can be found in art, literature, music, films, comics, television series and advertising. Hyenas are present in many disciplines in both German and Turkish culture and literature and largely embody negative human actions and behavior. The metaphor of hyenas is often used to illustrate a complex situation or create an emotional resonance, particularly when it involves cruelty, greed, or ruthlessness. In many cultures, hyenas are considered a symbol of deviousness, unscrupulousness and opportunistic behavior. In literary texts, it can be used to describe certain characters or groups of people and interpersonal actions that behave in a similar way to these animals: they are greedy, quarrelsome or act without regard for others. The metaphor of hyenas can symbolize and describe social phenomena such as corruption, injustice, oppression, and exploitation. This means that the hyena metaphor is used in many different ways in a narrative.This article analyzes and compares two narrative prose works from the collection of stories by Siegfried Lenz (1926-2014) as the representative of German literature and Necip Fazıl Kısakürek (1904-1983) as the representative of Turkish literature: Sırtlan (Hyena) (1928) and The Hyenas’ Favorite Food (1958). The two writers use animal symbolism and animal metaphors to try to shape everyday life and the peculiarities of human behavior. Animal symbolism refers to the use of animals as symbols or metaphors to represent certain characteristics, emotions or ideas. In this context, the following questions are examined: What do the stories Sırtlan (Hyena) and The Hyenas’ Favorite Food have in common? How does the human-animal relationship appear in the stories by Lenz and Kısakürek? What function do the authors assign to the animal symbolism and metaphor hyena in their respective narratives prose works?In the stories of Siegfried Lenz and Necip Fazıl Kısakürek, death, fear, sadness, memories, regret, delusions, emotional fluctuations and the bitter realities of life often appear. They use literary characters to portray everyday life and the peculiarities of human behavior, including animal symbolism and animal metaphors. Animal symbolism refers to the use of animals as symbols or metaphors to represent certain characteristics, emotions or ideas. In The Hyenas’ Favorite Food, the shoe shopping of humans/women is compared to that of hyenas. In Lenz’s text, the hyena is only a rhetorical attribution: the two women are described by the man as hyenas who eat shoes. In Lenz’s story, the mother and daughter are named hyenas. In this way, Lenz calls for an intensive confrontation with the consumer world. The hyena in Lenz’s work is an attribution and has a contemptuous negative (even somewhat humorous) label that stands for the two women and has nothing in common with a specific hyena, whereas in Kısakürek’s work it is a real encounter with a real hyena (once alive and one dead). Such an encounter would not be possible in Europe, and actually only in Africa. In both short prose works, the hyena as a fictional object offers the potential for irritation. Overall, both short prose works describe the penetration into dark and sinister atmospheres in which the characters are confronted with their own demons and secrets.In Kısakürek’s story, the creature/hyena is shot because it behaved immorally. The relationship between human nature and its environment is critically questioned. Both authors have created a gruesome depiction of events with the hyena. In both stories, the main characters react differently when they are afraid. The American is completely different in the moment when there should be danger; he remains passive and does not act, unlike the traveling man in the Turkish story, who reacts automatically and shoots the creature. In summary, it can be said that both storytellers use the animal symbolism/metaphor of the hyena to present a moral critique such as war as a destructive force, human cruelty and barbarism, loss of humanity and lack of empathy and compassion. The hyena seems to be a suitable literary esthetic device in short prose to make interpersonal experiences, the processing of fear, death and grief, and conflicts with other people (individuals in business and society) more tangible, to open up empathetic approaches to topics such as trauma and grief or to initiate reflection.In both Turkish and German literature, the hyena is used as an animal symbol to visualize unpleasant, scary, threatening, and frightening aspects, situations and behaviors. It reflects a lack of moral compass. In Lenz’s work, the hyena does not appear as a living animal. It is an attribution to women whose actions seem threatened, scary and incomprehensible. In Kısakürek’s work, the hyena is a part of nature, and a scary, scary animal. Overall, the hyena serves to underline the themes and messages in the story, to depict people’s behavior in critical situations, and to give the reader a deeper understanding of human nature.&nbsp;

Hyena as a Metaphor in the Short Prose of Siegfried Lenz and Necip Fazıl Kısakürek

Süreyya

Theodor Fontane (1819-1898) is one of the most important representatives of the Realist Movement and German Literature in the 19th century. Fontane, who has works in many different fields as a writer (such as journalism, essays, literary and art criticism, letters, etc.), provides information about the German society of the period in which he lived in his works based on real events. Fontane shows artistically the sociocultural structure of society from a critical perspective, especially in his Berlin novels that he wrote between 1875 and 1898. L’Adultera is the first novel written by Theodor Fontane as part of his Berlin novels and the only one of his women’s novels that has a happy ending. In the first place, the word L’Adultera in the title of the work gives the impression that it refers to a protagonist woman who falls in love with another man and leaves her husband and children, thus destroying her marriage. However, L’Adultera is a painting by the famous painter Tintoretto, which is used as the main motif in the work according to the author. In this study, the media in Fontane’s L’Adultera are included and the impacts of these media on the work are investigated. Although the term “media” refers to written and visual means of communication in particular, paintings, music, movies, letters and newspapers are also included in the scope of media. Intermediality refers to the coexistence and interaction of at least two media. Even though its practical application reaches far back into the past, Intermediality has been theoretically used as a method in literary text analysis from the 1990s.&nbsp;L’Adultera was published in 1880 as a preprint in the magazine Nord und Süd and in 1882, as a book by the Salo Schottländer publishing house in Breslau. With its publication, the work caused a sensation both because it was based on a real event, the Ravené scandal, and because of the positive outcome of the work. In the novel L’Adultera, the marriage of the seventeen-year-old Melanie de Caparoux and the forty-two-year-old Ezechiel van der Straaten, who have been married for ten years, ends when Melanie falls in love with Ebenezer Rubehn, who comes to their home as a guest, and leaves her husband and her two daughters.Tintoretto’s L’Adultera appears twice in the second part of the novel, as a copy of the painting and in the last part, the twenty-second chapter called Reconciliation (Versöhnt / Versöhnung), as a medallion in miniature form. The painting, which depicts the woman caught in adultery being brought before Jesus to decide what her punishment will be, is given to Melanie as a gift on both occasions in the novel. The background of the painting is based on the parable-like narrative in the Gospel of John in which Jesus’ forgiveness comes to the fore.In this study, Theodor Fontane’s novel L’Adultera, which is the first of Theodor Fontane’s Berlin and women novels and the only one with a positive ending, is analyzed within the scope of intermedia connections. It has been determined that Fontane conveys the plot, the social structure of Germany in the nineteenth century and especially the Ravené incident, which forms the background of the novel, through various media with a realist perspective. Fontane, who is active in many fields of writership such as journalism, writing, criticism and reporting, is not only a good media user and observer, but also a media producer through the many works he has written. It is seen that Fontane, who is constantly intertwined with media, uses many different media in L’Adultera. In this context, Fontane’s work includes various media such as paintings, music, written works, architectural structures and newspapers. It is noteworthy that Fontane uses these media especially in the communication between the figures and in the construction of the work. In addition, through the media Fontane offers the reader the opportunity to have a premonition about the plot of the story. For example, gifting the painting L’Adultera at the beginning of the novel implies that the female character will betray her husband. It is also seen that the media used in the novel are reshaped and gain meaning within the scope of the novel. In particular, while the L’Adultera painting is perceived objectively in the museum where it is exhibited, it gains a different meaning in the home environment and is perceived by the characters in a personalized way. The characters’ interest in different media plays an important role in the fiction of the work. In this context, especially Wagner’s music is seen to mediate emotional intimacy and bonding between the figures. With L’Adultera, Fontane presents an event that has happened in an artistic way through media. As a written media, Fontane’s novel conveys the sociocultural structure of the society of that period to the present day.

Intermedial Connections in Theodor Fontane’s work L’Adultera

Ayşegül

Assist. Prof. Dr.

Roland Barthes is one of the first names that come to mind when it comes to semiotics and has contributed to the fields of structuralism, semiotics, post-structuralism and cultural studies with his works. Barthes, who also touches upon the issues of work and text among his works, states that the work is symbolic and that what is symbolic is the multiplicity of meaning. According to Barthes, the text is an act that is reconstituted in every reading.&nbsp;Objects are signs and carry meaning. The meaning that the subject attributes to the object can be social and cultural. But at the same time, the subject’s experiences and memory also play a major role in the meaning he/she gives to objects. In this way, objects can form the basis for a deeper meaning. In this context, Barthes states that in order for objects to be fully understood, an endeavour and effort should be made to find out what the connotative indicators of objects might be, and for this purpose, he puts forward two concepts under the name of signification: denotation und connotation. While denotation consists of the signifier, connotation is connected with the subjective meanings and interpretations of the signifier.&nbsp;Jan Assmann deals with objects in the context of memory. He talks about the memory of things, emphasising that it shouldn’t be ignored that the subject exists with the objects and things that surround it. Because the subject is in the sings that give information about the present and past of the subject, from daily utensils to roads and vehicles, and all of these can be referred to as the memory of the objects.Linguist Roland Barthes doesn’t define a text as an object or structure with the same meaning. According to Barthes, a text is an act of structuring and rewriting that is reconstituted in every reading. In addition, Barthes focuses on meaning in his semiotic theory and argues that even if objects or behaviors contain meaning, meaning isn’t fully realized unless it is confirmed by a linguistic message and it is necessary to keep open the conceptualization of semiotics as the field of literature or as a different object field, because the literature has its own universe of meaning consisting of signs and can’t be isolated from semiotics in this respect. Especially considering that the signifiers of literary texts can contain multiple meanings, it should be known that every text needs a second process and that this process is interpretation, since the interpretation obtained through a sign is actually located in the field of meanings that allows us to re-explain signs with other signs, and thus meanings can be reproduced.Born in 1968 in Istanbul, Serdar Somuncu migrated to Germany with his family at the age of two and is a well-known author and Turkish-German cabaret performer. He also speaks about Le Pen, Beate Zschäpe and Thilo Sarrazin and includes them in his works. In his "Getrennte Rechnungen" the author presents his own inner journeys and life experiences. While he was experiencing the values of both cultures as the child of an immigrant family in Germany, it is understood that he distanced himself from the meaning of the objects by attributing special meanings to the objects around him. The author, who attributes special meaning to the objects around him based on what he experiences in his inner world, allows the objects in the text to be analyzed in the context of the connotative meaning. In this context, the aim of the study is to analyze the author’s work "Getrennte Rechnungen" in the context of connotation with reference to Roland Barthes.

Semiotics and the Memory of Objects: An Evaluation of Serdar Somuncu’s Getrennte Rechnungen in the Context of connotative Signifier

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Sabine

Mulitperspectivity, Achrony and (Un)reliability: Synoptic and Kaleidoscopic Strategies in Contemporary Film, Using the Examples of Vantage Point and Forestillinger

Withold

In Emine Sevgi Özdamar’s literary texts, her protagonists typically perform like actors on a stage, such as in Bertolt Brecht’s epic theater. Although the author is clearly well aware of the imaginary stages on which her actors perform their roles, surprisingly little attention has been paid to these stage settings in the literary criticism of her novels. This article addresses the following questions: first, where are the stages on which Özdamar places her novel’s characters, and second, what is the historical and societal relevance being expressed by means of these particular stage settings? Particularly eye-catching in the novels of her so-called her Istanbul-Berlin trilogy novels is the frequent appearance of spaces that Foucault calls heterotopias; that is, cemeteries, mirrors, theaters, brothels, ships, and trains. The role of trains in Özdamar’s novels is of special interest. As Foucault says, “A train is an extraordinary bundle of relations,” and this is true for her novels, where many diverse plays are performed using a railway compartment as the stage setting. At first glance, each book in the trilogy strengthens one’s impression that the trilogy is largely concerned with referential autobiographic writing. However, as a comparison of the highly diverging portrayals of the protagonist’s first railway journey from Istanbul to Berlin show, it is the staging of auto-fiction, not of autobiography, that is orchestrated on the revolving stage of the railway compartment. In addition, the discussions of the motif of her use of German as her novels’ language are played out on trains. It is in a train compartment where the protagonist reveals her choice of German as the language for her literary texts. In addition, her decision to employ a partly hybrid language in her early texts, such as in Mutterzunge and Das Leben ist eine Karawanserei, where the German is permeated with direct translations of Turkish phrases, is motivated by the author’s observations on the creative German-language use by many ‘Gastarbeiters’ during train journeys. It is repeatedly evident that her narratives of solidarity are told in these railway compartments. The cigarettes the travelers smoke together or offer each other become symbols of this ongoing solidarity. Though the panoramic view from the railway window, and the changeover to imaginary literary landscapes constitute illusionary spaces, where for once the ‘actually existing socialism’ seems to be apparent, Özdamar’s protagonists are nevertheless aware of the problems of GDR socialism. These include, among others, the remnants of fascist thinking in spite of the official GDR antifascist narrative. And, it is not only the staging of highly contradictory encounters in the train compartments that are facilitated by the protagonist’s persistent traveling on the urban commuter train between East and West Berlin. This perpetual oscillatory traveling transforms the contradictory and coinciding fragments of the protagonist’s identity into a horizontal coexistence. Although every railway journey comes to an end, one can always start a new, so that in spite of the protagonist’s disillusionment, a utopian moment of solidarity shines forth. Finally, the protagonist becomes an actor, theater director, and author. Eventually, the protagonist’s train journeys between Istanbul and Berlin and between East and West Berlin are followed by a journey to Paris,&nbsp;where she assists director Benno Besson with the staging of the Caucasian Chalk Circle by Bertolt Brecht.

Trains as Stages in Emine Sevgi Özdamar’s Novels

Heiko

Writing on South Africa is not a popular theme in German literature, yet the Realism of the 19th century as reflected in the writings both of W. O. von Horn and Karl May tends to the remote by finding its setting in the province and overseas. Neither has been to the Cape, W. O. von Horn depending heavily on Eduard Kretzschmarʼs Südafrikanische Skizzen (1853), whereas his own Die Boorenfamilie von Klaarfontein (1855) provides the role model for both Karl Mayʼs short narration Der Africander (published 1878 under the name of his bethrothed Emma Pollmer) and the enlarged version Der Boer van het Roer (1879). All three texts tend to demonize the British as new rulers of the Cape and to idealize the Boers: To W. O. von Horns readers the agricultural Afrikaner life seems so much like their own, Karl May stresses the allegedly strong cultural ties between Germans, Dutch and Boers. By teaching his readers a lesson in humanity and tolerance W. O. von Horn not only follows didactic aims that are a characteristic of the popular enlightenment of early 19th century, but also bases his plot on the romance elements of the literary scheme established by Homerʼs Odyssey to present an enduring hero of a love story. On the other hand Karl May uses the adventure plot of the ancient epic to depict the protagonist (in Der Africander) and especially his first-person narrator (in Der Boer van het Roer) as a trickster whom his readers can admire. In Die Boorenfamilie von Klaarfontein Jan van Daanen does not revolt against his father who does not allow his loving for Mietje to develope into marriage and the founding of an interracial family, but by suffering and enduring he finally overcomes all obstacles: Piet van Daanen learns to accept the Amakosa princess as his daughter-in-law, who brings her tribe christendom and her new Boer family peace with their native neighbours. The Piet van Holmen of Der Africander is not the patient endurer but the active fighter: When British rogues kidnap his beloved, he chases them down and finally kills them; the first-person narrator of Der Boer van het Roer adds to this heroism the intellectual skills of superior warefare; more importantly May distinguishes him from the Boer characters by attributing to the latter a rude and inhuman colonialism which the former does not share and does not approve. But it is he who benefits most from his adventure by bringing home some precious Cape diamonds – and the vision of a future German colonialism that will yield wealth even beyond the exspectations of German Gründerzeit society for those who dare to simply act – not ruthless, but resolutely – in the complex interlacing of a colonial world. Both W. O. von Horn and Karl May follow the aims of their time and surroundings, and both use literary tradition descending from Homer to do so.

Perspectives of Cultural Anthropology and Literary Studies on Novellas by W. O. von Horn and Karl May

Zehra

Quality of Literary Translation. Turkish Translations of E.T.A. Hoffmann’s Novella Das Fräulein von Scuderi as a Case in Point

Sang-bum

Michael

The Asiatic influence on the Poetics of Expressionism by examples of the German writers Alfred Döblin and Gottfried Benn

Stellan

Grow up! – Masculinity, violence and genre in Fatih Akıns Short sharp shock

Valeria

Scientific Communication: Call for Multiculture

Sergei

Sublanguage ‘linguistics’ in universitary communication: Explicit and implicit authorisation of scientific texts

Else Günther is a children's author who started writing books after the Second World War, but was almost completely forgotten by the end of the 1970s. In her books, which have a pre-intercultural characteristic, she introduces foreign continents such as Africa and Asia (Turkey) and countries such as Sweden, Norway, and Finland to children in post-war Germany. In my opinion, she uses her writing to develop the intercultural skills of post-war children. Based on the children’s book Sonjas lustige Türkenreise, it seems that the author did not talk about the destruction by and consequences of the Nazi regime, even though she wrote during the early 1950s. On the contrary, she brings an exemplary family life to the forefront of the welfare society. Even the title of her book is striking because it translates as Turkish Trip instead of Turkey Trip, so one could argue that it can be seen as a mental trip into the world of the Turks (as Asians). Franz &amp; Meier (1978, p. 155) state that the text pragmatics, or use and function of the text, should be taken more into consideration while organizing children’s or juvenile literature. They suggest that the following questions be asked:&nbsp;Does the text primarily want to be instructive? - Does the text primarily want to direct behavior? - Does the text primarily want to entertain? (see Nündel, 1976)From this point of view, my aim is to answer these questions about the text function in terms of what it is attempting to evoke in the reader’s mind in the example of Else Günther's children’s novel Sonjas lustige Türkenreise. My goal is to clarify how children's literature contributed to child education in the 1950s and which bridge functions between the self (me) and others after the racist regime. The focus of this research is the question of how the author encouraged child education and the overcoming of societal prejudices toward the degradation of foreign peoples and cultures. Else Günther mostly wrote novels during the first years of her authorship in the 1950s, which made a tremendous pedagogical contribution to intercultural children's education in the context of the literature of child autonomy. In this sense, the children are directed to conscientious behavior through the examples set by little Sonja's mischiefs and experiencesThus, the questions we have asked at the beginning are also answered based on Nündel (1976). Else Günther's text is entertaining on the one hand, but on the other hand, it is secretly so instructive that child readers are directed toward better behavior by reading.From a pedagogical point of view, this approach is praiseworthy, because it would otherwise not be a suitable method for children's education. An unsympathetic teaching might have caused a negative reaction in the children and the desired aim would not have been reached. Children should be able to move autonomously in their own living and play areas so that they can create their own experiences by observing the human and animal environment. In this sense, Else Günther has a tendency to act in accordance with the text function of the novel Sonjas lustige Türkenreise, thus developing a role model for child readers and to initiate a spiritual identification process. The novel is about middle-class heroes who come from a nice family environment. We see here that imagination and psychology are important elements for children to get rid of the obligation to undertake honesty as a duty and a strict adherence to norms set by adults (see Steinlein, 2008, p. 327). In our view, this requires the involvement of Else Günther's young girl novel to the texts of “child autonomy literature” (Ewers, 1995); that is, to the field of the pacemaker texts in this context, with its free-spirited and rebellious protagonist. Not only parents’ relationships with their children, but also the literal reflection of foreign worlds are obviously very important to the author in terms of pedagogical aspects, especially with regard to the intercultural education of the children of the new generation.

An Analysis of the Educational Value of Children’s Literature in Else Günther’s  Sonjas lustige Türkenreise

Franziska

"We call him son" – the nexus of identity, family and migration in Feridun Zaimoğlu's Leyla

Özlem

German playwright Heiner Müller, a dramatist coined as a postmodernist, produced postdramatic plays using techniques such as pastiche, rewriting and alienation, and reimagined history, myths and old texts under the light of the twentieth century history and postrdramatic theatre. One of his most exemplary plays that uses these characteristics is Hamletmachine (Die Hamletmaschine, 1977), a distinctive rewriting of Hamlet. Hamlet as one of the most important examples of the Elizabethan drama and revenge tragedies is itself a play that uses techniques such as pastiche, play within a play, and rewriting, proves the interdisciplinary nature of drama. Hamlet includes discussions about religion and philosophy, together with a slight discussion of art theory in the midst of the play. The rewriting of Hamlet, with the writing style of Müller in 1970s, puts forward the changes in and the important techniques of the twentieth century texts and performances. As a rewriting Hamletmachine creates not only a new text but also an unusual, innovative, and even experimental interpretation in terms of text and performance. Not only the text and performance, but also the text, performance, years of literary criticism, and many readings of the original text are connected to one another in this play which help the creation of a different kind of visibility on stage. “Death Suits Ophelia,” directed by Ozan Gözel and Tuluğ Ülgen as a part of the 4 Short Plays by Studio Actors in 2005, focuses on Müller’s interpretations while it also suggests that they’re rewriting not only Shakespeare and Müller but the existentialist writer Sartre’s The Flies (1943) as well as Eugene O’Neill’s Mourning Becomes Ophelia (1931) (These texts are 1930s and 1940s rewriting of the Ancient Greek myths of Orestes and Electra, and Aeschylus’ tragedy Oresteia, a tragedy that affected Hamlet and Hamletmachine, as well). As a rewriting of these text, their performance piece creates a new text and gives way to new interpretations with its diverse staging. The aim of this article is to argue that drama is an interdisciplinary and intermedia art by nature, and the performance can also be considered as a rewriting while play texts and performance, two parts of the same art, are also two different disciplines with their own dynamics. For this aim, this article will focus on Müller’s Hamletmachine investigating the text’s relation to its predecessor, its use of technique and the multiple interpretations in the play. The article will also focus on the different interpretations of the performance piece “Death Suits Ophelia” with an intention to discuss both texts’ interdisciplinary and intermedia characteristics as rewritings.

Text and Performance as an Interdisciplinary and Intermedia Rewriting:  Hamletmachine (1977) and “Death Suits Ophelia” (2005)

Laura

Wolfgang Koeppens short stories: various ways of an autobiographical writing

Cristiano

The Neoclassical Grand Tour of Sicily and Goethe’s Italienische Reise

Saniye

Even though Feridun Zaimoglu’s novel Isabel, published in 2014, evokes his other novel Leyla in view of its female title character, there are significant differences between these two works. Isabel focuses on topics such as identity, integrity, border, and crisis situations, all of which are regarded as peculiar to Turkish-German Literature from a different perspective. The novel presents life and border situations from the 21st century life in Berlin. It further visualizes the theme of non-integrity as well as the crisis of the modern subject of the present, which results from social problems and social conventionality. The novel’s female protagonist puts an end to her life as a model and begins a new life after separating from her long-term boyfriend. She is surrounded by figures from the lower social milieu, including bottle pickers, madmen, transsexuals, and homeless people. The aim of this study is to focus on the conceptualization of the title character with regard to the constitution of the subject and from an intercultural perspective. By using and introducing the theoretical approaches of Stuart Hall and Judith Butler to the “subject", I will first analyze the ‘crisis of the subject’, which appears with the eponymous character. I will also concentrate on the critical position of the female protagonist that is particularly targeted against the conventional discourses and attitudes of society. In view of her distinctive disgust for the fundamental things in life, the protagonist is primarily characterized by a new concept of the self. She has a firmly distant attitude toward any kind of conventionality and thus isolates herself from society. However, she also rescues herself from the position of the subjected and non-“recognizable” (Butler 2008: 15) individual, insofar as she reverses the dynamics of society through her critical attitude revealed in her discourse. This means that this character performs a “subversive resignification” (Butler 2008: 246) and creates a space for her self-defined subjectivity. This process of revaluation, which is directly linked to the title character, can also be observed from an intercultural perspective. Secondly, I will show how the novel undermines and recodes the ethnicized and culturalized female subject through its subversive title character. It is remarkable that even though this character is of Turkish origins, this fact has no specific function on the frame of the plot. The emphasis on the performative phrase “I am only me” makes the distant and critical position of the protagonist to any kind of conventional discourse strategies obvious. In this regard, the conceptualization of the title character is a reminiscent of the female characters in Koppstoff who explicitly reject the stereotypical formations of the Turkish-German woman that are commonly found in the German public. The speech of the character Gül is particularly important here. In this context, the novel leads to the critical reconsideration of perception patterns Turkish culture as well. It is clear that the novel initiates a revaluation of the Turkish culture within the German community and its elements in a subtle way.

“I am only me.” The ‘Crisis of the Subject’ in Feridun Zaimoglu’s Novel Isabel

Antonie

Academic Writing with Italian freshman students of German as a Foreign Language – Feasible Steps to Critical Thinking?

Alena

Women Writings of Men Authors in Contemporary Migrant Literature? Leyla by Zaimoğlu and Zaira by Florescu

Deniz

Sarah

Garbage in Paradise – Waste and the Representation of Space in Fatih Akın’s Documentary Müll im Garten Eden

Şebnem

1979, the second novel of the Swiss writer Christian Kracht, published in 2001, is an implicit criticism of the culture of Western bourgeoisie. Both with its title and with its setting in Tehran, especially in the first part, the novel reminds us the 1979 Islamic Revolution in Iran from its start. Kracht’s novel depicts Tehran as a modern city and as one of the geographies of modernism and globalisation as Andreas Huyssen identifies (Huyssen 2005: 6). From this perspective, we get to know Tehran as a city where decadent people from all over the world organize jet-set parties and in the light of this information Tehran as depicted in the novel emerges as a space which is beyond cultures and independent of Eastern identity. However, the date is 1979 and the city is on the threshold of social and political transformation. All in all, the novel does not mainly deal with the fact that city, hence the country, is at a political junction. The novel mainly focuses on an anonymous first person narrator and his partner Christopher who come to the city which is on the verge of the coup. They came to the city for a degenerate party with drug use in the atmosphere. After this party, which depicts the Western life style in its degenerated from, Christopher dies at a derelict hospital in one of the city’s dark neighbourhoods. Hence, the anonymous protagonist of 1979, decides to travel East as the other of the West. The second part of the novel mainly deals with the constantly eastward journey of the anonymous protagonist. His purpose is the fill the gap inside him and create some value in his life. With this purpose in mind, the protagonist of 1979 joints the Tibetan pilgrims who travel to the sacred Mount Kailash, accepted as the centre of the universe. After a hard climb, he understands that he won’t find the meaning he was seeking there. The journey did not achieve its goal. Then he travels further eastwards. During his journey he gets arrested by the Red Chinese soldiers and he is taken to a working camp where experiments on atom bombs are carried out. It is at this camp that the protagonist can get rid of his western identity. The camp is a place where hunger and cruelty rule and people inflict great pain on one another. He is content; because his anonymity had gained some meaning at last. As Johannes Birgfeld (2007: 408) states, this is a kind of exile and it is an attempt to deal with the existing identity crisis. 1979 shows that as one gets further away from the West, not only the subject with its Western identity, but all other concepts ascribed to the West also die. Hence, 1979 does not only pinpoint the beginning of a coup in world history, but the novel emerges as a turning point where concepts of space and time are also dissolved as cultural signifiers. The present study expounds on this argument in relation to Christian Kracht’s novel 1979.

The Dissolution of Images of Space and Time  in Christian Kracht’s Novel 1979

Published in 1902, Thomas Mann’s novella Gladius Dei concentrates on the confrontation of a burgher and his extraordinary artwork, and by that, shows a tragic situation of an artist at the turn of the 20th century. In the novella, Mann criticizes the art scene in and around Munich, which was the “city of art” in Germany during the process of modernization. The city turned into a center for artists who independently produced art and sold these works in flourishing art galleries. Rapidly increasing industrialization had caused an increase in the income of the rising educated middle classes, who in turn had become increasingly interested in art. In the fin-de-siècle, or more precisely, in the transition to modernity, art occupied a special role in society. As such, its overall position became more autonomous. Art, which tried to separate itself from everyday life with clearly visible borders, provided the basis for the simple array of entertaining works that were characterized by the “L’art pour l’art” principle. The narrative of the novella depicts Munich’ art scene in its excessiveness, and simultaneously emphasizes the strong aestheticism and the extreme dominant role of beauty in these artworks. Mann’s storyline reflects the fact that artworks increasingly gained function as commodities. It was not only artists who profited from these artworks, but an increasing number of people started to dealth art, and as such, art became considered a trade. This, in turn, led to a situation in which art stared to lose its function and turned into something meaningless. In the novella, this lucrative “beauty business” is reflected in the Blüthenzweig art gallery. While showing exaggerated attitudes toward art, the narration critiques the fact that art was gaining such an autonomous position in society. Hieronymus, who is a pious character, feels offended by the obscene representation of Madonna, which he sees in the beauty shop of Blüthenzweig. In fact, he wants this inconvenient painting to be burned. Hieronymus’ stance represents the group of people within society who thought that this new type of art was misleading and caused separation from religion. The text refers to secularization as one of the main results of modernization process. The role of religion began to change and the educated middle classes began to question religious devotion. Instead, art was almost worshiped and thereby it was beginning to replace religion. However, the separation from religious institutions was not easily accepted, and there was staunch opposition against this development. Modern art was blamed for the intellectual development and emotional alienation of individuals from religion. While the Munich art scene and its excessiveness is reflected in the “beauty business” of Blüthenzweig, Hieronymus’ pointed depiction also symbolizes the exaggerated moral attitudes toward modern art, whereby the narrative draws attention to a balanced position. Mann refers to the theatrical exaggeration of beauty, which runs into a dead-end through the lack of reference to everyday life, whereby the artwork simultaneously loses its function and meaning. The novella ends with the&nbsp;process of estrangement of the artist, for whom the work of art only exists in terms of aesthetic and material values. Moreover, Mann criticizes the nonsensical beauty worship and emphasizes that this is a result of artistic disconnectedness. Hence, the aspiration of the artist to separate himself from the bourgeoisie seems absurd, for the artist himself is part of the bourgeois world. The ostensible antithesis of artistry and bourgeoisie was the consequence of this civil period in crisis. Thus, it can be seen as a reflection of the entire bourgeois situation at the turn of the century, implying the social reality of decadence. Gladius Dei contains an implicit criticism of the fin-desiècle art scene in Munich. The narrative interprets art as meaningless by showing how much it has become oriented toward purely aesthetic values.

The artist at the turn of the century as a “burgher who’s gone astray“: Munich’s Modernist Movement in search of its identity in the early stories of Thomas Mann

Mahmut

Cosmopolitan Imaginings in the German-Speaking World

Arne

Gabriella

Transfer of knowledge in lectures on physics: German-Italian perspectives on verbal processing

Literature and Film. Introduction to Literary Film Analysis

Riham

“It is the pain that brings us together”. Approach through loss in September. Fata Morgana by Thomas Lehr

International conference: „The future of bilinguality in German educational system: with focus on Russsian and Turkish

Sevinç

Representation of foreign language skills of prospective Turkish Teachers of German: A Case Study of Istanbul University

The fact that the perceptions of the teaching profession determine the attitudes of teachers and their behavior within the classroom is often mentioned in academic literature (Borg, 2003, p. 81). In this regard, it is important to explore prospective teachers’ perceptions of teachers and the teaching profession in order to make conclusions about their own learning and teaching behavior. The word “metaphor,” originally from Greek, is an important tool to describe how people see life, the environment, events and objects, and seek explanation through comparison (Cerit, 2008, p. 694). Metaphors structure our inner world, thinking processes, and reflect not only our plans and ideas, but also how we perceive our environment (Marsch, 2009). To a large extent, metaphors also form the way we think, experience, decide, and behave in our daily lives (Lakoff &amp; Johnson, 1980).Numerous studies show the reproduction of thinking of prospective (or currently practicing) English teachers via metaphors. In particular, in this sense, in the field of prospective German language teachers (or currently practicing) the potential to use metaphors has hardly been used. Therefore, this study aims to determine which metaphors prospective German language teachers describe their role as future teachers. Since teachers describe their role through metaphors, they also construct specific personal meanings about teaching per se. This study attempts to answer the following five research questions: (i) What metaphors do prospective Turkish language teachers of German create to describe a German language teacher? (ii) What metaphors do prospective German language teachers of German create to describe a German language teacher? (iii) How do prospective Turkish language teachers of German describe their metaphors? (iv) How do the prospective German language teachers of German describe their metaphors? (v) Do these metaphors reveal cultural differences? Data were gathered from a research study group consisting of 130 German language students (62 Turkish and 68 German) who were at the time studying in their first year in the German language teacher training programs at Turkish and German universities respectively. These teacher trainee students were asked to provide their own conceptualization regarding their roles as language teachers through the statement “A German teacher is like ……………because…………………..” They were asked to focus on only one metaphor. These reasons enabled a more precise interpretation of the metaphors and their classification into categories. The data for this study were analyzed using the metaphor analysis methodology. The metaphors were separately analyzed. Similar metaphors were brought together and were codified according to the typology of metaphors developed by De Guerrero and Villamil (2000). This categorization includes nine role categories: cooperative leader, knowledge provider, challenger/agent of change, nurturer, innovator, provider of tools, artist, repairer, and gym instructor.The results show that the Turkish participants named 35 different metaphors while the German participants named 48. The metaphors that the participants produced varied in terms of number and content. The German participants preferred animate metaphors whereas the Turkish participants mostly created not-so-imaginative metaphors. Only the metaphors of teacher, travel guide, and parent were used by both groups. Because most of the prospective teachers were being considered teachers, they were also conceptualized as being cooperative leaders. In both groups, this category was the most commonly described metaphor. While the Turkish student group saw the teacher as a second “knowledge provider,” this category was only seventh among the German student group. It is remarkable that both groups did not see the teacher as an “innovator”. The results of the Turkish students, in particular, show that they see the teacher according to behavioristic principles, that is, as a person who–besides conveying knowledge and giving support to students– does not take any other roles. From the analysis of the results, it can be concluded that cultural characteristics are hardly apparent. Undoubtedly, the results, as described above, cannot be generalized and must be supported by further research. In this context, the study presented here is only a first step in this direction, for it attempts to give an insight into the realm of thinking in the field of prospective German language teachers.

A Comparative Study of the Realms of Thinking by German Language Teachers Using Metaphors

7. International contrastive Media Linguistics Conference: Media Culture – Multimodality and Intermediality

Erika

Germanistik zwischen Regionalität und Internationalität: 60 Jahre Temeswarer Germanistik

German language and literature between regionality and internationality: 60 years of Timisoarian German language and literature

Intertextual relationships in academic texts and production of polyphony: A descriptive analysis of citations using the example of Turkish and German business management research articles

Business German as an occupational course in the curricula of departments for German language and literature in Turkey – using the example of Department for German Language and Literature at Istanbul University

Nilgün

Symposium of School for Foreign Languages at TurkishGerman University „Lingual and cultural contacts in the GermanTurkish context“

Mukadder

Learning starts with the birth of an individual, and the learning process is dependent on several factors during the life span of individuals. Family, environmental factors, social culture and traditions, education system, conditions, necessities, and teacher attitudes are the factors that direct the learning process. Learning is both an individual and a social process, and the traditions of learning and teaching are effective in this process. Learning and teaching habits are also dependent on a country’s teaching and learning tendencies or education system. However, this situation should not create the view that learning can be generalized as a single learning culture and is fixed. Just like the variety of individuals, learning habits hold individual differences, too. In other words, people have different learning habits and strategies, and these learning habits may change over time. When individuals think about the issue of learning, have a conscious comprehension of learning, or make conscious decisions on how they will learn in a successful way, their learning habits may change, and their motivation may increase. For learners (individuals), self-learning means taking the responsibility of learning, planning, analyzing, and evaluating; being able to identify their strengths and weaknesses; and being motivated to learn. To sum up, selflearning is a component of lifelong learning. Self-learning may take place both during and out of the formal education process. The importance of self-learning to the learners can be summarized as follows:Supporting learner autonomy, - Identifying and developing individuals’ own skills and competencies, - Being able to follow the dynamic developments of the twenty-first century and information and communication technologies, and - Increasing one’s own motivation.&nbsp;Concepts such as lifelong learning, motivation, self-learning, communicative competence, and learner autonomy play a central part in the current and contemporary education process. These key concepts are identified as important objectives in education. Students are at the center of this process because the self-learning habits of students are indispensable in the frame of identified objectives. Self-learning is undoubtedly significant for German language teacher candidates, too. The purpose of this study is to reveal the self-learning habits of German language teacher candidates in the sample of Trakya University. In accordance with this purpose, a questionnaire was administered in all classes of the German Language Teaching Department. In this context, the questionnaire aimed to identify German language teacher candidates’ self-learning habits and perspectives on self-learning itself. A total of 40 German language teacher candidates (32 females, 8 males) participated in the study. In each class from the first grade to the fourth grade, a total of 10 students were randomly chosen, and a total of 40 students answered the questionnaire to collect data. The number of participants was limited because open-ended questions were included, aside from the close-ended questions, in the questionnaire. Close-ended questions were analyzed by using SPSS and were evaluated in percentages. For open-ended questions, content analysis was performed.&nbsp;The findings of the study demonstrate that the keywords used by participants on self-learning were “interest,” “want,” and “effort.” Terms such as “identifying objects” or “taking responsibility” were expressed by only three participants. The self-learning habits emphasized mostly by the German language teacher candidates who participated in the study were note-taking, summarizing, writing sentences with the newly learned words, researching, vocabulary studies, and repetition. These findings indicate that the participants especially focused on writing skill among their self-learning habits. This finding shows that various learning styles and different learning methods should be allowed in the education process of students. Only in this way can students develop their skills, competences, and tendencies in the context of self-learning. As mentioned in the introduction part of the study, one of the most important objectives of the German Language Teaching Department is to help German language teacher candidates become competent in the linguistic, professional, and cultural dimensions. An especially crucial skill for German language teacher candidates is linguistic competence (reading, writing, speaking, and listening) in the teaching learning dimension. With regard to their evaluation of language levels, more than half of the participants (58%) classified their language levels as intermediate. Another important detail to note is that the number of participants who regard their language levels as weak or low (30%) was not scarce. In this respect, German language teacher candidates inevitably become more conscious about selflearning to develop their German language skills. One of the significant outcomes of this study is that German language teacher candidates evaluate the self-learning process as important. However, they possess a limited perspective on the context and need guidance and encouragement regarding self-learning. For this reason, one of the most important duties of the German Language Teaching Education Department is to arrange environments where active learning will be maintained for students, learning objectives will be determined, and taking responsibility will be specified and guided.&nbsp;

Self-learning habits of German language teacher candidates

Şeyda

Şenöz-Ayata, Canan (2014): Bilimsel Metin Üretimi, İstanbul: Papatya, 232 sayfa

The article analyzes television interviews in Ukrainian and German from the perspective of the personality of the interviewer and the difficulties that arise before and during that interview. Communicative deviations as differences in the expectations of the interviewer vis-à-vis the expectations of the respondent and the addressee are revealed and critically analyzed. Particular attention is paid to the triangle of relationships between the interviewer, the respondent, and the addressee (the viewer). Elements such as age, sex, status, knowledge, interests, and expectations play an important role in the building of relationships between the interviewer, the respondent, and the addressee. Therefore, they are important for the overall success of the interview. However, we believe that all these elements can be generalized under a hypernym of expectations. Accordingly, the journalist assumes three roles: a representative of the audience (the addressee), a promoter of the invited (the respondent), or a representative of himself/herself. In this article, we only draw on and reflect the deviations in the television interviews in both languages when the interviewer has other expectations about the interview than the respondent or the addressee (the viewer), which is a failure from the side of the first one, that is, the interviewer. Therefore, the two levels at which interviews are conducted are important. Namely, these are the informative level (receiving and providing information) and the emotional level (feelings and mutual understanding). The informative level includes informative purpose, types of questions, clarity of expression, clarity of answers, and content of information. The emotional level embraces climate (socio-emotional connection), non-verbal behavior, elaborative questions, intentional adjustment, and approaches to journalists and respondents. Yet, we believe that it is also noteworthy to include a third level, namely a contextually situational one. On the basis of empirical material, we have identified the following communicative deviations in the television interviews from the perspective of the interviewer: 1. The goal is not set or is prepared inaccurately, 2. The topic is too broad, 3. Inappropriate respondent, 4. The respondent is not sufficiently prepared for the interview, 5. Difficulties in conducting interviews (such as issues with equipment or problems with shooting), 6. The respondent is not listening (in some situations this prevents the opening of a dialog altogether), 7. Too conventional and fixed list of questions, 8. Lack of time for preparation, and 9. Wrong approach to the respondent in terms of his/her expectations regarding age, gender, status, knowledge, and interests. Taking into account the communicative failures in the television interviews we have analyzed before, one can distinguish the following ways of eliminating them: 1. Clearly define the goal of the interview, 2. Find the appropriate communication partner in terms of his/her skills and the ability to speak, 3. Create a favorable atmosphere in the previous conversation to properly prepare the respondent for the communication, 4. Carefully listen to the respondent, 5. During the interview itself, the content, the intention of the respondent, the language, and the speaking&nbsp;manner of the respondent, as well as the body language, and facial expressions and gestures of the respondent should be additionally observed, and 6. In cases when the interviewer is evading a question or does not want to respond at all, one can resort to these tactics. Communicative deviations as violations of the interviewer’s expectations in all their forms can be avoided, or at least reduced, if all the elements of communication at the informative and emotional level—and very often at the communicative-situational level—are taken into account, and greater attention is also paid to technical characteristics. This will contribute to an interesting and dynamic, understandable and consistent, and most importantly, informative television interview. At the same time, there were no significant differences in the television interviews in Ukrainian (more cautious and sensitive questions) or in German (more specific and targeted questions), for the journalists’ European way of conducting television interviews is similar in both linguistic cultures, and the differences are due to the historical development of democracy.

Political television interviews and communicative failures for journalists

Gesellschaft für interkulturelle Germanistik 2014 yılı kongresi 29 Mayıs-1 Haziran 2014, Limerick

Diskursanalyse interdisziplinär, Bremen - Berlin 17.08.2014 - 31.08.2014

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur which has been an official publication of Istanbul University, Faculty of Letters, Department of German Language since 1954 is an international, open access, peer-reviewed and scholarly journal published two times a year in June and December.

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur publishes disciplinary and/or interdisciplinary, theoretical and/or applied research articles that focus on German language and literature in the following fields: literary studies, linguistics, semiotics, cultural studies, communication studies, film studies, media studies, German films, German media, Austrian films, Swiss Films, Turkish-German Cinema, disability studies and films, German-Jewish studies, adaptation studies, intermediality and transmediality in narratives, comics and manga studies, visual studies, migration and postmigration in German narratives, German utopian studies, German dystopian studies, utopia and/or dystopia in German literature, utopia and/or dystopia in German films, utopia and/or dystopia in German art, utopia and/or dystopia in German comics, utopia and/or dystopia in German mass media, utopia and/or dystopia in German television series, posthumanism and/or transhumanism in German narratives, German literary history, Turkish-German relations in literary history, Austrian literary history, Swiss literary history, German-Jewish relations in literary history, holocaust and memory studies, medieval studies and medieval German literature.  The journal aims to provide a platform for sharing scientific knowledge in these fields.

The journal also offers reviews of scientific books and news of national and international conferences which cover the mentioned fields. This journal accepts manuscripts written in one of the following languages: German, Turkish, and English. The target group of the Journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles. http://sdsl.istanbul.edu.tr/en/content/about/open-access-statement                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                

MLA International Bibliography

ProQuest

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

MIAR

Gale Cengage

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@METRIC_ISSUES

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Studien zur deutschen Sprache und Literatur

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Editor in Chief

Editorial Management Board Member

Language Editor

Editorial Assistant

Editorial Advisory Board Member

@INFO_TAB_BOARDS

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur which has been an official publication of Istanbul University, Faculty of Letters, Department of German Language since 1954 is an international, open access, peer-reviewed and scholarly journal published two times a year in June and December.Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur publishes disciplinary and/or interdisciplinary, theoretical and/or applied research articles that focus on German language and literature in the following fields: literary studies, linguistics, semiotics, cultural studies, media and film studies. The journal aims to provide a platform for sharing scientific knowledge in these fields.The journal also offers reviews of scientific books and news of national and international conferences which cover the mentioned fields. This journal accepts manuscripts written in one of the following languages: German, Turkish, and English. The target group of the Journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Aim and Scope

- SCOPUS - Web of Science - Emerging Sources Citation Index (ESCI)- TÜBİTAK-ULAKBİM TR Dizin- EBSCO Communication Source- EBSCO Central &amp; Eastern European Academic Source - MLA International Bibliography- SOBIAD- DOAJ- ProQuest Central- ProQuest Turkey Database- ProQuest Social Sciences Database- ProQuest Social Sciences Premium Collection- Erih Plus- <a href="https://miar.ub.edu/issn/2619-9890" target="_blank">MIAR</a>- Gale Cengage

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by <a href="https://publicationethics.org/" target="_blank">the Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">the Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">the Open Access Scholarly Publishers Association (OASPA)</a>, and <a href="https://www.wame.org/" target="_blank">the World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 10%. In our journal, studies produced from undergraduate, graduate and doctoral theses and congress papers published in full text or as abstracts are not included. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.RetractionJournal follows <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE’s Retraction Guidelines</a> in case of retraction. The editor has the right to retract an article if: <ul><li>There is clear evidence that the findings are unreliable; either as a result of a major error (e.g. miscalculation or experimental error), or as a result of fabrication (e.g. of data) or falsification (e.g. image manipulation).</li><li>It contains plagiarised content. </li><li>It has been published elsewhere without proper attribution. </li><li>It contains material or data without authorisation for use.</li><li>There is copyright infringement or there is some other serious legal issue.</li><li>It reports unethical research. </li><li>There is evidence that the peer-review process is compromised or manipulated.</li><li>The author(s) failed to disclose a significant competing interest (also known as a conflict of interest) that, in the opinion of the editor, would have unduly influenced the interpretation of the work or the recommendations of the editors and peer reviewers.</li></ul>In case of retraction the following steps are followed:<ul><li>Retraction notice including article title is published in a subsequent issue of the journal. The retraction notice is paginated and listed in the table of contents. </li><li>A link is provided between the retraction notice and the original article in the electronic version. </li><li>The online article is preceded by a page containing the retraction notice; the reader can then proceed to the article itself.</li><li>The original article remains unchanged, except for a watermark on the .pdf on each page stating that it has been &#34;retracted”.</li></ul>Article Removal for Legal ReasonsIn the following circumstances, except the metadata (title and authors), the text of the article is removed and a page informing that the article has been removed for legal reasons replaces the article. <ul><li>The article is found to be defamatory or to infringe the legal rights of others, and retraction is not deemed to be an adequate solution.</li><li>The article has been, or is reasonably likely to be the subject of a court order.</li><li>There is a significant risk to public health. </li></ul>

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

The Artificial Intelligence Policy, prepared in light of developments in artificial intelligence (AI) and practices in scholarly publishing, sets out the editorial and ethical principles that authors, reviewers, and editors should follow when using such technologies. The following sources have been considered in the preparation of the AI policy:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) can develop and produce a wide variety of content, including text, images, audio, and synthetic data. When used ethically and safely, these capabilities can increase productivity and foster innovation, but when used without human guidance, they pose risks such as inaccurate and biased results, omissions and errors in citations, deficiencies in protecting privacy and intellectual property rights, and potential violations of authors' and publishers' rights. IUPress adopts the following core principles to avoid these risks in the use of AI:  <ul><li>Details of any AI used in the production of content (including but not limited to text, figures, images, and code) must be declared and clearly explained in the appropriate section of the paper (as an acknowledgement and/or in the methods section). </li><li>No AI tool may be listed as an author in any scientific paper. </li><li>Authors are responsible for the accuracy, completeness, and originality of their work, even if AI is used in any way; they are responsible for the proper referencing and attribution of others' ideas, data, words, or other materials. </li><li>Reviewers and editors must not upload submitted work, in whole or in part, to any generative AI application.</li></ul>In the editorial processes of IUPress publications, tools are available to assist editors in identifying AI-generated content. On the other hand, it is common to use AI tools that provide suggestions for improving and enhancing readability, language, and grammar, and such AI tools can be used in IUPress publications under the supervision of editors and authors.

Artificial Intelligence Policy

<ul><li>Authors are required to declare if they have used AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) in the creation of their submitted work. </li><li>Authors should explain, both in the cover letter and in the appropriate section of the submitted paper (as a footnote and/or in the methods section), which AI tool and which version of it they have used and for what purpose. </li><li>Authors should also indicate how they used the AI tool and how they assessed the validity of the results obtained using this technology, and what aspects of the paper, manuscript content, data or supporting files were influenced by the use of the AI tool or were generated by AI.</li><li>It is the authors' responsibility to ensure the accuracy, validity and appropriateness of content and citations generated by AI-assisted technologies and to eliminate potential errors, inconsistencies and biased results. </li><li>Authors should always check the original sources to eliminate possible plagiarism, recognising that there is a potential for plagiarism in texts produced with AI-assisted technologies. They should confirm that they have checked and that the sources are original.  </li><li>AI-assisted tools (such as ChatGPT) cannot be listed as authors because they cannot be responsible for the accuracy, integrity, and originality of the work, and these responsibilities are essential to authorship. Therefore, authors are responsible for all material involving the use of AI-assisted technologies. Authors should ensure that all statements in the article that state the hypotheses, interpretations, conclusions, limitations, and implications of the study represent their own opinions.  </li><li>Studies created by authors using AI tools in the following ways, which substitute for the basic researcher's and author's responsibilities, violate the principles of scientific publishing and publication ethics, and such studies are not eligible for inclusion in publications: </li></ul><ul><ul><li>Generation of text or code without rigorous review, </li><li>Generation of synthetic data to replace missing data without a robust methodology, </li><li>Creation of any inaccurate, synthetic content, including abstracts or supplementary materials, </li><li>Creation and manipulation of images and figures (pictures, graphs, data tables, medical images, image snippets, computer codes and formulae) or original research data (enhancing, hiding, moving, removing or adding a particular feature within an image or figure) using AI.</li></ul></ul>

It is essential to maintain confidentiality in the peer review process and not to share or use the reviewed work in this process. <a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>)<ul><li>Reviewers should not upload a manuscript or part of a manuscript submitted to them for review to generative AI tools or large language models to assist in the review, evaluation or decision-making process, as uploading content to such AI tools by reviewers violates the authors' privacy and property rights.  </li><li>Reviewing a scientific paper is a responsibility that can only be undertaken by human beings. The critical thinking and original evaluation required for peer review is beyond the scope of this technology, and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the paper. The peer review report and decision letters should reflect the personal assessment of the reviewers and editors of the submitted content. The reviewer is responsible and accountable for the content of his/her report. </li><li>AI tools may be used in a limited way to improve the quality of the language of the peer review report (for translation or language editing) in the context of peer review. If such use is made, the reviewer must declare the use when submitting the report. </li><li>Reviewers who suspect inappropriate or undisclosed use of generative AI in a submission should report their concerns to the editor.</li></ul>

Editors are obliged to ensure that the confidentiality of the manuscripts submitted to the journal is maintained during the evaluation process, and it is essential that the peer-reviewed work is not shared or used outside the parties involved in that process. (COPE - Code of Conduct and Best Practice Guidelines for Journal Editors) <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editors should not upload a submitted article, or any part of it, to generative Artificial Intelligence tools or Big Language Models to assist in the review, evaluation or decision-making process, as this may violate authors' privacy and property rights. </li><li>Managing the editorial review of a scientific article implies responsibilities that can only be attributed to humans. Generative AI or AI-assisted technologies should not be used by editors to assist in the evaluation or decision-making process of an article, as the critical thinking and original evaluation required for this task is beyond the scope of this technology and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the article. The editor is responsible and accountable for the editorial process, the final decision and its communication to the authors.</li><li>Editors should not use generative AI tools to compose decision letters or abstracts of unpublished research. </li><li>Editors may use generative AI tools to help find appropriate reviewers.</li><li>If editors suspect the use of generative AI in a submitted manuscript or a submitted referee report, they should conduct an editorial review of the matter and consider the policy.</li></ul>

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This contains any possible malpractice discovered after the publication.

Ethics

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.-    Principles of integrity, quality and ransparency should be sustained in designing the research, reviewing the design and conducting the research.-    The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.-    The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.-    Research participants should participate in the research voluntarily, not under any coercion.-    Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.-    The independence of research must be clear; and any conflict of interest or must be disclosed.-    In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.-    If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.-    In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

It is authors’ responsibility to ensure that the manuscript is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/1AF31CFBD1B4427490037969F1BD9E9E" target="_blank">Copyright Agreement Form</a>. The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Editor provides a fair double-blind peer review of the submitted manuscripts for publication. He ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor is responsible for the contents and overall quality of the publication. He must publish errata pages or make corrections when needed.Editor does not allow any conflicts of interest between the authors, editors and reviewers. He has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal. They must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers should identify the relevant published work that has not been cited by the authors. They must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the Editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The reviewers are not allowed to have copies of the manuscripts for personal use and they cannot share manuscripts with others. Unless the authors and editor permit, the reviews of referees cannot be published or disclosed. The anonymity of the referees is important. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed. Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal. Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective. Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side. A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process. The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.  Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor in chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.-    Does the manuscript contain new and significant information?-    Does the abstract clearly and accurately describe the content of the manuscript?-    Is the problem significant and concisely stated?-    Are the methods described comprehensively?-    Are the interpretations and consclusions justified by the results?-    Is adequate references made to other Works in the field?-    Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

LanguageArticles in Turkish, German and English are published. Submitted manuscript must include an abstract both in the article language and in English. All manuscripts must include an extended abstract in English as well.Manuscript Organization and FormatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscpript is to be submitted online via <a href="https://dergipark.org.tr/en/pub/iuaded" target="_blank">https://dergipark.org.tr/en/pub/iuaded</a> and it should be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. research article, book review etc.) and including information about the manuscript (see the Submission Checklist). Manuscripts should be prepared in Microsoft Word 2003 and upper versions. In addition, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/1AF31CFBD1B4427490037969F1BD9E9E" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted.1.    The manuscripts should be in A4 paper standards: having 2.5 cm margins from right, left, bottom and top, Times New Roman font style in 10 font size, line spacing of 1.5 and “justify align” format. For indented paragraph, tab key should be used.2.    The title of the text should be centered on the page, in lower-case letter, bold, Times New Roman font.3.    Before the introduction part, there should be an abstract of 200-250 words both in the language of the article and in English and an extended abstract in English between 600-800 words, summarizing the scope, the purpose, the results of the study and the methodology used following the abstracts. The English title of the manuscript should be above the English abstract. Underneath the abstracts, 5 keywords that inform the reader about the content of the study should be specified in the language of the article and in English.4. Articles should be between 5000 - 8000 words, excluding abstract(s) and extended abstract. 5.   The manuscripts should contain mainly these components: title in the language of the article, abstract and keywords; title in English, abstract and keywords in English, extended abstract in English, body text sections, footnotes and references.6.    Quantitative and qualitative studies should include Introduction, Methods, Findings, Discussion sections. If an original model is used, the Methods section should include the Sample / Study Group, Data Collection Tools and Process subdivisions.7.    Tables, graphs and figures should be given with a number and a defining title to enable following the idea of the article.8.    A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A7655E620CE4854A3AE17C1F79ADB7E" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatesdsl_636996628523220791.docx" target="_blank">title page</a> is to include fully descriptive title of the manuscript and affiliation, title, e-mail address, ORCID, postal address, phone number of the author(s) (see The Submission Checklist).9. Tables, Graphics and PicturesAll tables, graphics and pictures should be numbered in the order of Arabic numerals and written in bold. Every table, graphic or picture should have a title. More informations about the tables, pictures or graphics should be given as footnote.Examples: Tablo 1: Öğrencilerin Dil Kullanımı  / Resim 1: René Magritte İmgelerin Laneti10. All words except publication languages (German, English and Turkish) should be written in italic font.Examples: 1968 führte Jacques Derrida den Begriff la différance in die Philosophie ein.                   Lexikalisch zentral sind die Wörter pelle, rughe, viso und luce.11. Citations should be given in original form. Every citation shpuld have a reference information such as date, author and page numbers.Citations shorter than 3 lines should be given as shown below:Articles written in English or Turkish: “…”Example: Lennard J. Davis writes “To understand the disabled body, one must return to the concept of the norm, the normal body” (Davis, 1995, p. 23).Example: Akşit Göktürk ütopya adasını “örnek yasalarla kurulmuş mutlu bir toplum düzeni” olarak tanımlar (Göktürk, 2012, s. 60-61).Articles written in German: ,,……“Example: Die Szene eröffnet mit dem Ausspruch „Pietro Aretino war ein Spötter, / Und trotzdem hat ihn Tizian gemalt.“ (Wedekind, 2009, Band VII,1, S. 275).Citations longer than 3 lines should be given as shown below:Articles written in German:Gegen Ende der Szene stürmt der Polizeipräsident die Bühne und versucht, das Publikum vor der Nacktheit zu schützen:Besteht das Publikum da unten vielleicht aus Paradieskindern? Nein! Besteht das Publikum aus lauter Geistesgrößen? Nein! Der normale Staatsbürger kann nun einmal die Wahrheit nicht hören und die Nacktheit nicht sehen, ohne außer Rand und Band zu geraten, ohne gemeingefährlich zu werden. (Wedekind, 2009, Band VII,1, S. 281)Articles written in English or Turkish:Example: The Author Lennard J. Davis continues,So much of writing about disability has focused on the disabled person as the object of study, just as the study of race has focused on the person of color. But as recent scholarship on race, which has turned its attention to whiteness, I would like to focus not so much on the construction of disability as on the construction of normalcy. I do this because the problem is not the person with disabilities; the problem is the way that normalcy is constructed to create the ‘problem’ of the disabled person. (Davis, 1995, pp. 23–24)Batı’nın zamanı ideal tarihin inşasının kurucu öğesi olarak görmesi, Engelhardt’ı zamanın ve tarihin dışında bir şimdi yaratmaya sevk eder:Zira Engelharhdt’ın, komodin olarak kullandığı bir kütüğün üzerine yerleştirdiği ve bir anahtar vasıtasıyla düzenli bir şekilde kurduğu saati tek bir kum tanesi yüzünden geri kalmaktaydı, kum tanesi kendisine saatin içinde yay ile vızıldayan küçük bir dişli arasında rahat bir yer bulmuştu ve sert, öğütülmüş mercan iskeletinden meydana geldiği için Kabakon zamanının minimal ölçüde yavaşlamasında neden oluyordu (Kracht, 2012, s. 74)12. The references part shuold be named as Literaturverzeichnis, References or Kaynakça.13. Title of the abstracts should be Abstract for articles written in German or English and Öz for articles written in Turkish.14. All shortened book names or names of special historical events should be remarked as footnote to provide information about the book’s original name.Example: World War I &gt; WWIVerwirrung der Gefühle (Zweig, 1926) &gt; VG15. All emphasized words or phrases should be given as shown below:Articles written in German:Haushofer perspektiviert die Natura us einem ,femininien Stanpunktʽ.Articles written in English or Turkish:As a matter of fact, this speaks about ‘hopelessness’ and ‘the way to uncertainty’.Romandaki adada dış dünyada akıp giden zamanın aksine bir tür ‘zamansızlık’ hüküm sürer.16. Names of books, films, journals, songs etc. Should be written in italic font.17. Custom names or names of the fictional characters should not be written in bold or italic font.18. Headlines and subheadlines are not necessary, however if they will be used, all of them should be numbered in the order of Arabic numerals and formatted as shown below:Example:1 Einleitung2 Erstes Kapitel2.1       Erstes Unterkapitel des ersten Kapitels2.2       Zweites Unterkapitel des ersten Kapitels3  Zweites Kapitel3.1       Erstes Unterkapitel des zweiten Kapitels3.2       Zweites Unterkapitel des zweiten Kapitels3.3       Drittes Unterkapitel des zweiten Kapitels4 Drittes Kapitel5 SchlussLiteraturverzeichnisAnhang19.    The liability of the manuscripts submitted to our journal for publication, belongs to the author(s).20.    The author(s) can be asked to make some changes in their manuscripts due to peer reviews.21.    The studies that were sent to the journal will not be returned whether they are published or not.

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with APA 7.</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/1AF31CFBD1B4427490037969F1BD9E9E" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/ACF0D299C4F64C05B2234BF663AA338C" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in the language of the article and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address and telephone number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in the language of the article and in English</li> <li>Abstracts (200-250 words) both in the language of the article and in English</li><li>Articles should be between 5000 - 8000 words, excluding abstract(s) and extended abstract.</li> <li>Key words: 5 words both in the language of the article and in English</li> <li>Extended Abstract (600-800 words) in English</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the correspondingauthor through e-mail via the DergiPark system.</li><li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in the language of the article and in English</li> <li>Abstracts (200-250 words) both in the language of the article and in English</li><li>Articles should be between 5000 - 8000 words, excluding abstract(s) and extended abstract. </li> <li>Key words: 5 words both in the language of the article and in English</li> <li>Extended Abstract (600-800 words) in English</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

Although references to review articles can be an efficient way to guide readers to a body of literature, review articles do not always reflect original work accurately. Readers should therefore be provided with direct references to original research sources whenever possible. On the other hand, extensive lists of references to original work on a topic can use excessive space on the printed page. Small numbers of references to key original papers often serve as well as more exhaustive lists, particularly since references can now be added to the electronic version of published papers, and since electronic literature searching allows readers to retrieve published literature efficiently.Papers accepted but not yet included in the issue are published online in the Early View section and they should be cited as “advance online publication”. Citing a “personal communication” should be avoided unless it provides essential information not available from a public source, in which case the name of the person and date of communication should be cited in parentheses in the text. For scientific articles, written permission and confirmation of accuracy from the source of a personal communication must be obtained.Reference Style and FormatAlman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur complies with APA (American Psychological Association) style 7&#65279;th Edition for referencing and quoting. For more information:-    American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.). APA.-   <a href="http://www.apastyle.org" target="_blank"> http://www.apastyle.org</a>Accuracy of citation is the author’s responsibility. All references should be cited in text. Reference list must be in alphabetical order. Type references in the style shown below.Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same parenthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;In references with three or more authors, valid for the first use; (Ailen et al., 2000)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Basic Reference TypesBooka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İletişim Yayınları. (Original work was published in 1990, 7th Edition.)c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation.  McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Twenty AuthorsKalnay, E., Kanamitsu, M., Kistler, R., Collins, W., Deaven, D., Gandin, L., Iredell, M., Saha, S., White, G., Woollen, J., Zhu, Y., Chelliah, M., Ebisuzaki, W., Higgins, W., Janowiak, J., Mo, K. C., Ropelewski, C., Wang, J., Leetmaa, A., . . . Joseph, D. (1996). The NCEP/NCAR 40- year reanalysis project. Bulletin of the American Meteorological Society, 77(3), 437–471. <a href="http://doi.org/fg6rf9" target="_blank">http://doi.org/fg6rf9</a>d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26-38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online PublicationSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/ 10.1037/a45d7867g) Article in a MagazineHenry, W. A., III. (1990, April 9). Making the grade in today’s schools. Time, 135, 28–31.Doctoral Dissertation, Master’s Thesis, Presentation, Proceedinga) Dissertation/Thesis from a Commercial DatabaseSarı, E. (2008). Cultural identity and politics: Interculturalism in Mardin. (Unpublished PhD Thesis). Ankara University.b) Dissertation/Thesis from an Institutional DatabaseVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 9943436)c) Dissertation/Thesis from WebYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalid) Dissertation/Thesis abstracted in Dissertations Abstracts InternationalTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). http://yunus.hacettepe.edu.tr/~tonta/yayinlar /phd/ickapak.htmle) Master's/PhD Thesis in Dissertations Abstracts InternationalAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.f) Symposium ContributionKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at the meeting of the American Psychological Association, Orlando, FL.g) Conference Paper Abstract Retrieved OnlineLiu, S. (2005, May). Defending against business crises with the help of intelligent agent based early warning solutions. Paper presented at the Seventh International Conference on Enterprise Information Systems, Miami, FL. Abstract retrieved from http://www.iceis.org/iceis2005/abstracts_2005.htmh) Conference Paper - In Regularly Published Proceedings and Retrieved OnlineHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105i) Proceeding in Book FormSchneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. Worldwide Communalities and Challenges in Information Literacy Research and Practice in (s. 134–140). Cham, İsviçre: Springer. http://dx.doi.org/10.1007/978-3-319-03919-0j) Paper PresentationNguyen, C. A. (2012, August). Humor and deception in advertising: When laughter may not be the best medicine. Paper presented at the meeting of the American Psychological Association, Orlando, FL.Other Sourcesa) Newspaper ArticleBrowne, R. (2010, March 21). This brainless patient is no dummy. Sydney Morning Herald, 45.b) Newspaper Article with no AuthorNew drug appears to sharply cut risk of death from heart failure.(1993, July 15). The Washington Post, p. 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