24. Sayımız Hakkında

24. Sayı Temadan...

Gülistan

Critical discourse analysis is a set of approaches and methods that focus on the relationships among text, meaning, and social reality. Meanings vary across such units as social classes, minority groups, governments, and interest groups. Messages, dialogues, and discourses systematically woven with speeches that construct social reality negotiate and transform series of texts (e.g., newspaper articles, news, photographs, novels, interviews, poems, field notes, social media posts) in which the ongoing asymmetric struggles between them continue.The discourse-historical approach (DHA) is included in critical discourse analyses. The first study to use this approach was based on the analysis of antisemitic stereotypical linguistic expressions of former UN Secretary-General Kurt Waldheim during the Austrian Presidential campaign in 1986, where his national-socialist ideas were revealed in public discourse. Ruth Wodak has talked about the four features of DHA, the foundations of which were laid with this research project, and according to her, linguistic analyses are combined through historical, political, sociological, theoretical, and methodological approaches thanks to these features. These features describe DHA as interdisciplinary, focused on social problems, based on research practice. and involving ethnography methodologically. Wodak et al. (2009) analyzed the European Union’s (EU) anti-immigrant discourses, the decision-making processes based on identity politics in EU institutions, Austria’s post-war discursive construction of the antiRomanian national identity, and its right-wing political discourses.By using DHA to analyze the relevance and relationship of texts and discourses with the historical and sociopolitical contexts, Ruth Wodak has shown the anti-democratic nature of language, the ideological pattern of equal and unjust discourse, and how it turns into a racist, discriminatory, and exclusionary oppression device to be used against certain social groups. According to Ruth Wodak (2001), the practice of racism, discrimination, and exclusion reveals itself discursively. Racist ideas and beliefs are constantly reproduced through discursive genres. In this way, discriminatory and exclusionary practices are prepared and published through discourse, and these discourses are legitimized. Political discourses in which the other is negated are established through the strategic use of certain linguistic stigmas. The implications, implicit causalities, assumptions, allusions, and syntactic linguistic distortions revealed in the rhetoric of right-wing populist politicians contain hidden meanings.The questions DHA aims to answer in written, visual, or speech-based texts as parts and components of discourse involve how social actors; social problems, events, facts, and issues; processes; and stigmatized groups presented as negative others are named, as well as what positive or negative qualities are attributed to these groups; how the claims, assumptions, or propositions established when approaching these groups, subjects, actors, and events are legitimized; and what ways of intensifying or mitigating the implicit or explicit expressions in linguistic or extra-linguistic indicators occur. Considering these questions, DHA has determined five strategies for analyzing the nominative, predicative, argumentative, framing, and intensifying or mitigating expressions of discursive practices in linguistic structure. Language tools (e.g., metaphorical expressions, stereotyped judgments, analogies, clichés) are used in discourse to develop these methods. Language tools are what make up the practice of inclusion and exclusion and how a discourse represents a positive us and negative other. Both Wodak’s anti-immigrant writings and sample studies from the national literature have been used to describe and assess how discursive techniques and linguistic tools are used in historical and political analyses regarding a given problem. This evaluation is significant because it highlights language’s anti-democratic nature, the ideological underpinnings of unfair and unequal discourse, and how it evolves into a racist, discriminatory, and exclusionary tool of oppression against particular social groups. DHA and its analytical method should be widely used to arrange the fair and equitable use of language. One of the limitations of this study is its focus on articles from the Turkish national literature that explain the DHA methodology or employ its analytical method. Consequently, examining the use of DHA in these theses will add to the Turkish national literature.

Ruth Wodak ve Söylem-Tarihsel Yaklaşım: Uygulama Örnekleri Üzerinden Bir Değerlendirme

Esra

Throughout human history, technology has always been at the center of life, with the ability to make tools as one of the defining characteristics of being human. These tools give direction to the technology of each period. The techniques used and the technologies created also shape the culture of the current era. All these areas, such as the economy, social life, and politics, have been transformed by digital technology. At this point, how much digital technologies surround human life has become clear. Using digital technologies means being involved in life. With the inclusion of information-communication technologies (ICTs) and the Internet in social life, to call the current period the digital age would not be wrong. As digital technologies have developed, the importance of these technologies in human life has progressed to the same extent. The technical developments in the current age, in which people and objects continue their lives in a networked manner, have led to radical changes in lifestyles. The concepts of the digital age and network society refer to a structure in which individuals are constantly interacting through digital technologies and networks. In addition to those who approach this besieged technological society from a positive perspective, critical perspectives also manifest themselves in daily life practices.Integrating digital technologies without questioning their impact has becoming increasingly common. The prevalent perception among society can be asserted to be that individuals who limit the usage of smartphones and social media operate outside conventional norms. The majority of society has rapidly adapted to the digital world and incorporated these technologies and social media into every aspect of their lives. This overuse brings with it various physical and psychological disorders. In contemporary times where digital technology has become ubiquitous and all-pervasive, certain individuals voluntarily opt to limit their exposure to it in a bid to exercise greater discretion regarding the use of technology. The concept of digital minimalism is used precisely for this situation. Digital minimalism is a philosophy of technology use that guides individuals to make their use of digital technologies and social media more conscious in their own way (Newport, 2022) and is aimed at people who are in a state of constant stimulation from notifications to reduce the stimuli by adopting this lifestyle and to optimize their attention and time by limiting the viewing of unnecessary content on social media.Based on what has been said, this study focuses on digital minimalism as an alternative way of using digital technology. The study aims to explain why and how individuals voluntarily limit their use of digital technology. In line with this, the qualitative research has been designed based on the two following research questions:1. How do digital minimalists belonging to Generation Z use digital technologies? 2. Why have these people turned to digital minimalism?The research uses the in-depth interview method as its data collection method. Within the scope of the research, the study has conducted semi-structured interviews with participants consisting of 10 women and 10 men between the ages of 18-28, with the study’s sample comprised of individuals belonging to Generation Z. Exploring the inclination toward digital minimalism among individuals in Türkiye who were born into the Internet era and have grown up solely in the digital age is considered significant as part of the study. The study seeks answers to these questions through the interviews and, in line with the research questions, has created various codes and categories from the given answers for the qualitative content analysis, which is used to evaluate the data obtained as a result of the in-depth interviews. As a result of the research, the study has learned that some participants do not use social media at all, while others limit their use in their own ways. The results also reveal the reasons that have pushed Generation Z individuals to become digital minimalists to be the artificiality of social media, uninteresting content, and the desire to improve their time management, privacy, and confidentiality.

Teknoloji̇ Kültürü ve Di̇ji̇tal Mi̇ni̇mali̇zm: Z Kuşağı Üzeri̇ne Analiz

Kurumsal Sosyal Sorumluluğun Araçsal Kullanımı ve Kapitalist Aktivizm

Mehmet

Serap

Nazan

The Turkish Language Association (TDK, 2023) has defined misinformation as “the distortion of information.” Disinformation posts are purposely spread to deceive other users and generate a desired perception. Users distribute misinformation without questioning it, believing it to be true (Bahar, 2020).The loss of truth is experienced in the economy as well as in every area of society. İşleyen (2021, p. 71) clarified the issue at what rate the companies traded on the Istanbul Stock Exchange, which he examined within the scope of his research, are found more and more on the media agenda. Açıkalın and Canbey’s (2022, p. 8) research discussed the concepts of network society and post-truth and obtained the following findings: (1) The proliferation of social media platforms that accelerate the post-truth process has also enabled this concept to gain meaning, and (2) the biggest reason for this situation is that, thanks to social media platforms, content owners with unknown origins are able to deliver unproven information to large communities over a short time.When looking at the 21st century, fake content has mostly been experienced under the headings of natural events, disasters, tensions between states, states of war, election periods, civil unrest, statements made (or not made) by official and non-governmental organizations, public opinion polls, cyber-attacks, diplomacy, immigrants, and the economy (Posetti &amp; Matthews, 2018). Fake content can be said to be increasing, especially when tensions between states turn into conflicts or end in war. Immediately following the start of the Russia-Ukraine war that broke out at the beginning of 2022, hundreds of videos, images, and articles with fake content were observed being shared on social media and traditional media channels in Türkiye alone (Babacan &amp; Tam, 2022, p. 82).According to the Reuters Institute digital news report (Newman, 2022), news consumption has also increased with the increase in social media use in Türkiye. Topics shared on social media often include women’s rights and socioeconomic issues. The same report also determined the news disinformation rate in Türkiye to be 62%, of which 53% related to politics and 46% to the pandemic.The fictional transformation of information into disinformation directly affects reality, and this disinformation content can be conveyed to people in different areas. Presenting lies directly to the public, shaping the truth with other fake content, revealing a new reality by destroying part of the truth, and producing more striking content than necessary directly contribute to the formation of disinformation (Ertem, 2019).Many reasons exist for producing fake news. While these may be ideological and political, commercial reasons also play a role here. In addition to producing propaganda, users also resort to disinformation to gain followers and commercial profit, and in general terms, this factor stands out (Öztürk, 2022). Apart from all these, deficiencies and gaps in control and legal legislation also encourage fake news content producers, causing this situation to have become increasingly widespread.Disinformation in economics and in the absence of shared market knowledge alters reality and provides false information to the masses. This condition leads readers of economic journalism to believe in an economic model created by perceptions rather than the true economic reality (Aydınbaş, 2022). In contrast to traditional media, censorship is easier to avoid on social media with regard to economic news. In this context, experts and employees have remarked that social media supports the dissemination of reliable information and that journalists and economists have a space to share their knowledge and facilitate acquiring information. On the other hand, the disinformation problem circulating on social media has also negatively affected economic journalism and caused problems in this field (Uzunoğlu &amp; Karaca, 2022, p. 11). Within the scope of research conducted in 2022, Küçükvardar (2023, p. 158–160) found 158 of the 485 pieces of economic news shared within 10 days to have been “click-oriented news” and the remaining 327 pieces to be “non-click-oriented news”.This study seeks to uncover what bogus economic information occurs on X and under what misleading labels it emerges. In this context, data have been collected from X using the program MAXQDA between January 1-31, 2023. During January 2023, 197,106 tweets were found to be in line with this. Tweets not connected to the economy were eliminated from the coding, with content analysis being performed on the remaining data.The day of the week on which the most tweets are shared about the economy on X was found to be Monday, followed by weekends. When evaluating all 197,106 of the tweets in question, the tags and economy-related words were seen to be frequently shared, especially between 3-6 p.m. Two prominent issues were found regarding the tags used in the economyrelated tweets. The first of these is the use of concepts and terms directly related to the economy, such as the stock market, the dollar, and gold. The second involved economyrelated events or situations on the agenda.When looking at the misleading aspects of the economy-related content that was shared, seven headings came to the fore. Here, the analysis determined users to have shared fake content in the context of parody (174), fabrication (44), manipulation (44), incorrect attribution&nbsp;(14), distortion (12), incomplete presentation of the truth (9), and decontextualization (8). Regarding parody content, the study observed that users prepare the topic of the economy for entertainment and purposes of mockery.The research has focused on misleading (misinformative, dis-informative) posts about the economy on X. Conducting academic studies on other social media channels apart from X, especially YouTube and TikTok are believed will bring a more comprehensive perspective to the subject.

Twitter’da Ekonomi Hakkında Paylaşılan Sahte İçerikler Üzerine Bir Araştırma

Ayten

Comprehending the intricate interplay of knowledge, power, and subjectivity holds paramount importance in understanding societal dynamics and intellectual development. This nuanced relationship has found diverse expressions across various historical and cultural contexts and been extensively explored in literary works, cinema, and other forms of artistic expression. This study seeks to delve into the knowledge-power-subject relationship by examining it from a Foucauldian perspective with a specific focus on Umberto Eco’s seminal work The Name of the Rose. Michel Foucault’s extensive body of work is dedicated to a profound analysis of the complex dynamics among knowledge, power, and subjectivity. He has underscored subject as being a product of constructed, unnatural conditions within power relations shaped by specific historical epochs, knowledge domains, and discourses. Foucault has investigated the formation of subjectivity through subjective experiences mediated by various techniques and technologies emerging within power relationships in distinct historical periods and specific knowledge domains. The Name of the Rose intricately weaves a narrative around a murder case set in 14th-century medieval Europe yet subtly conveys profound themes related to church power, sectarian conflicts, the Church as the custodian of knowledge, access to knowledge, the role of libraries, and the influence of a theocentric worldview on knowledge. In alignment with the novel’s narrative, this study seeks to conduct an in-depth analysis of these pivotal themes. Within the novel’s plot, three key elements are earmarked for analysis: (1) the power dynamics and relationships among characters, dissecting how power operates through specific societal institutions or figures, (2) the production and dissemination of knowledge within the context of the novel, unraveling how knowledge is utilized and exploring its impact on power and authority, and (3) a discussion on how characters in the novel shape their subjectivities through subjective experiences. Employing critical discourse&nbsp;analysis as the chosen methodology, this study aims to reveal the profound intellectual layers and meanings embedded in symbols within an ecological framework of thought. The study is divided into three main sections apart from the introduction and conclusion. The first section forms the conceptual framework and employs theoretical insights from Michel Foucault’s works to interpret the knowledge-power-subject relationships underlying Umberto Eco’s novel The Name of the Rose, which is centered around a murder mystery in the context of a crime story. The second section provides systematic and detailed information about the methodology employed in the study. The third section critically analyzes The Name of the Rose using the method of critical discourse analysis. The findings are then discussed within the framework of the Foucauldian power-knowledge-subject relationship. According to the study’s findings, the church’s authority strategically seeks to control the generation and circulation of knowledge to maintain its legitimacy. Contrary to the contemporary understanding of libraries, the novel portrays them as institutions preserving and safeguarding books. In narrating the shift from a theocentric worldview to an anthropocentric one, Eco allegorically reconfigures the relationship among knowledge, power, and subject, marking the initial stages of the Enlightenment period. In conclusion, this study examines The Name of the Rose from a Foucauldian perspective to unveil the intricate relationship among knowledge, power, and subject. By revealing the complexity of this relationship, this study is anticipated to be able to inspire future research. While this study has focused on The Name of the Rose, future studies could offer a comparative exploration of how different literary works or artistic expressions address this intricate relationship.

Foucault’cu Bilgi, İktidar ve Özne İlişkisi Perspektifinden Gülün Adı Romanı Üzerine Bir Eleştirel Söylem Çözümlemesi

Esma

Öğretim Görevlisi Dr.

The aim of this paper is to discuss the impact that the healthism discourse being transmitted through new media has on creating social reality with regard to the construction of the health consumer. Health is one of the most important elements of humanity and has been turned into a marketable object as a result of consumption culture. Capitalism’s interest in consumption began with the understanding that the continuity of the economic system could not be achieved through production alone. As a result of capitalism’s control and regulation of areas of consumption, the phenomenon of health has been objectified and begun being marketed. Perceiving some changes specific to the natural biological stages of human life as diseases or having interest groups introduce some natural functions of the human body to society as diseases and doing this within the framework of a culture of fear have further exacerbated this problem. In addition, capitalism is seen to have internalized the problems brought by the crowded, urbanizing, and industrializing world, as well as the diseases resulting from depriving large masses of such opportunities as natural food and clean air, and to have transformed these into new marketable objects to serve its own interests. In this respect, the construction of the health consumer became important in the 20th century and has continued with the expansion of the healthcare market in the 21st century, largely thanks to new media. The new media uses the phenomenon of health to attract attention, create a sensation, sell products, fill the agenda, gain commercial profit, and nourish and adopt consumerism and consumption culture. In this respect, health consumers are persuaded by the discourses being spread from new media. These discourses serve to create a new social reality and societies obsessed with health.Consumption culture is the reason why health attracts people’s attention. This has fostered a culture of being healthy (i.e., healthism), which has especially developed in the middle classes throughout the 20th century. This culture brings people who are in need of information about their own health to seek direct contact with the health industry and the media, and this environment has been fueled by structured beliefs in the power of capitalism. In this context, consumerism has functional meanings, and the new media achieves this through various discourses, presenting consumerism as a means of power, happiness, and health. The media has also been the disseminator and reinforcer of the consumption ideology, with its discourses emphasizing healthism by reinforcing this ideology.The transmission of discourses has gained speed with new media, and through its magnifying effect, the healthism discourse has become popularized and adopted by large masses. New media plays a significant role in constructing reality by appearing as channels through which discourse is constructed. The circulation of ideologies and discourses constantly repeats itself in new media. These discourses circulate rapidly through news, influencers, shares, and likes, which serve to form social reality by reinforcing these discourses while repeating themselves nonstop.As a result, capitalism uses information technologies and information itself in particular as a fundamental tool in this transformation. Accordingly, new media plays an active role in social transformation, whether knowingly or unknowingly. In the process of creating discourses for health consumers and delivering them to the masses, new media transforms consumption culture and the field of health with its multi-modal structure, contributing to the formation of a health-obsessed social reality.In this context, the new opportunities the new media and multi- modes of communication offer are important in terms of reaching and influencing large audiences. In the context of healthism, this interaction takes place over a wide range of areas, such as diet, beauty, sports, treatment prescriptions, and nutrition, and the masses are becoming more and more interested in their health. In the context of being health consumers, the masses are persuaded by fear culture discourses through new media and use the recommended products or spend accordingly to stay healthy.

Sağlık Tüketicisinin İnşasında Söylem, Gerçeklik ve Yeni Medya

Onur

İletişim Akademisinde Her Disiplin Kendi Özerkliğini İlan Etmiş gibi Davranıyor – Süleyman İrvan ile Bir Söyleşi

Elif

Gizli Bir Disiplin Olarak Kültürel Çalışmalar

Hakan

Peter Berger ve Thomas Luckmann’ın Gerçekliğin Sosyal İnşası Bir Bilgi Sosyolojisi İncelemesi

Emine

Prof.

2024 YILI SAYILARIMIZ İÇİN MAKALE ÇAĞRISI

4. BOYUT MEDYA VE KÜLTÜREL ÇALIŞMALAR DERGİSİ 26. SAYI  MAKALE ÇAĞRISI

25. Sayımız Hakkında..

Veli

Assoc. Prof. Dr.

Temadan Kurumsal: Gazetecilik Enstitüsü’nden İletişim Fakültesi’ne

Alev

Temadan Kavramsal: Toplumsal Bellek ve İletişim Alanı Üzerine Birkaç Not

İpek

The phenomenon of war, which is one of the existing methods for solving problems related to international relations, has been defined in different ways by various disciplines and thinkers because it affects all areas of life. The social, economic and technological developments experienced during the process have changed the meaning of the concept of war and the way it is implemented.Developments such as the urban life that emerged in Mesopotamia and Egypt in 5000 BC, the existence of an organised army in the Sumerians in 2700 BC, and the emergence of gunpowder in the Middle Ages were effective in the transformation of war throughout the historical process.In the later period, as the destructive power of weapons increased with the development of modern warfare techniques, the distinction between soldiers and civilians in war situations disappeared. I. and II. World wars can be cited as examples of wars in which the distinction between military and civilians disappears and wars with high destructive power.When it came to the Cold War Period, which did not define a hot conflict and took place between the USA and the USSR, atomic bomb tests began. While the main purpose of the wars that took place in the periods before the Cold War was the desire to win the war, the aim with the possession of nuclear weapon technology was to prevent wars and create a deterrent effect.Nowadays, with the influence of technological developments, in addition to traditional wars, cyber wars, defined as activities carried out in cyberspace in order to damage the network systems of the attacked party and prevent the use of these systems temporarily or permanently, have begun to emerge.War journalism, which can be defined as all journalistic activities carried out during the war to inform the public about the information obtained on the battlefield, has also transformed with the developments in the process. War journalism as a professional field emerged in the 19th century.World War I, in particular, became a war that enabled worldwide reporting of the war, with the influence of technological developments brought about by the Industrial Revolution. The emergence of radio during the II. The World War allowed the sounds of the battlefield to be transmitted to the masses. The start of television broadcasting during the Vietnam War, which took place between 1955 and 1975, enabled the establishment of a connection between the battlefield and people’s homes, and thanks to television broadcasts, the Vietnam War became very involved in people’s lives. The Gulf War, which occurred in 1991, is considered another turning point in terms of war journalism, as it was the first war to be covered by “live broadcast.”&nbsp;In the present day, the capacity of digital technologies to transform and disseminate all kinds of information has begun to be used in the field of war journalism and has caused certain changes in terms of war journalism practises. The LiveUAmap application, which constitutes the sample of the study, is one of the digital war journalism applications that emerged in parallel with these developments. Working through crowdsourced information collection and compilation, Liveuamap (Live Universal Awareness Map) can be described as a web-based war journalism application. Although it was first created to follow the Ukrainian civil war, over time it began to convey the armed conflicts, protests and natural disasters occurring in many parts of the world in real time.&nbsp;&nbsp;In the study, how digital war journalism practises transformed the audience’s perception of reality about war was analysed with the determinations of French thinker Jean Baudrillard, especially regarding mass media. Since the purpose and design of the study required interpretation of the data obtained, the ethnographic research method was preferred as the method of the study.According to Baudrillard, from a system perspective, the only thing that is successfully presented through communication tools is hyperreality. Moreover, the news transmitted through mass media constantly changes place at the speed of light. This speed causes the news to change spatially and reality to disappear.Moreover, Baudrillard states that in the age we live in, the phenomenon of reality has become dysfunctional over time. The inadequacy of reality in this sense has moved us to the simulation universe and reality has reached the meta level and become a virtual reality. In a phase that makes all ideological structures unimportant and gives importance only to network systems, network systems have begun to replace ideologies. In short, network logic destroys not only historical realities but also all realities about life. As a result, according to the data obtained from the audience in line with the sample of the study, it has been determined that Baudrillard’s analyses are valid for the audience.

Baudrillard’ın İletişim Kuramı Bağlamında Dijital Savaş Haberciliği Uygulamalarının İncelenmesi: Liveuamap Örneği

Gizem

In this study, the literature on collective memory will be considered together with the concepts of “class in itself” and “class for itself”, two important concepts of Marxist terminology. This effort seeks ways to comprehend collective memory from a historical materialist perspective rather than an effortless equation or a forced line of similarity. The effort to rethink collective memory together with these two concepts is also an attempt to prepare a ground for seeing the wholeness; however, it is an attempt to think of this not alone but as a concept that transforms/transforms together with the “collective” to which it is inherent. I call the cultural line that uniqueness collective memory as its own reason for existence and perceives it as free from its historical and social ties as “memory in itself”. While I problematise what the theoretical and political connection is that will transform it into being “for itself”, just like the discussions on the original ground of the concept, I claim that the historical materialist theory of memory is the theoretical and political ground of this main connection. I argue that only the clarification of the lines of this powerful methodological objection will reconnect it to the human agency and the economic and political dynamics to which it belongs. This is the fundamental point that can make it part of the class struggle, that can unite it with the memories of social struggles, not just their testimonies.For beginners, the literature on collective memory seems quite rich, profound and, so to speak, like a kaleidoscope. Collective memory is closely tied to all issues of the social and the subject through visible and invisible ties. The topic of collective memory has become an increasingly central theoretical concern across academic disciplines, from the humanities and social sciences to literature, aesthetics, cognitive and natural sciences. Why has collective memory become very popular? What dynamics of conceptual or theoretical trends can this “popularity” be read as a response or objection to? What “gap” in theory or practise has caused this situation? Is this gap a structural gap resulting from the dynamics or progress/ disruptions of historical progress, or should it be read as a kind of articulation and substitution ground created by new “identities” that specific political and social identities gain or lose in policy processes? The answer to this question can be found in observing the transitional process between modernism and postmodernism, which is the main ground of the rupture of time and space. The post-modernist perspective in particular can be described as the “eye of the storm” in this process with its fundamental interventions into history, subject and knowledge processes. For collective memory, the modernism-postmodernism transition is&nbsp;not just a time-space rupture; the main theoretical and political line that has left its mark on the era has changed; this is the main thing. Therefore, the popularity of the field of collective memory is not the cause of the changing basic axis in social sciences, but the result. The focus is to highlight the break with the methodology. In essence, the separation of theory and practise has determined the characteristics of critical thought and the systematic tendencies that have emerged from it, the intellectual orientation. This means shaking up the three main elements of Marxism: the notions of history, subject and knowledge. History as a collection of narratives; a lost, disengaged subject and a theory of knowledge that is separated from itself and from external objects. What needs to be done to break out of the inertia of collective memory studies that seems to have spread to all social science studies today? This is the question that stands before us, waiting to be answered. It is necessary to consider memory as a more complex, multiple and historical contradiction that is suitable for a historical materialist theorisation rather than as a collection of oversaturated ambiguous representations that grasp memory from a more cultural perspective. The main purpose of the study is to mark this point.&nbsp;

Kolektif Belleğe Dair: “Madem İyisin…”

Merve

Lecturer

Outlander’ın Büyülü Dünyası: Kelt Mitleri ve Feminizm Üzerine Bir Analiz

Beyza

In this study, I engage in a feminist ethnographic discussion on tattoos, or Deq as termed in the local Kurdish dialect, focusing on women who are illiterate. I examine the tattooing practises of ten women over the age of 60, who represent the last generation of a tradition in the villages surrounding the Hilvan District of Şanlıurfa, by centring on their subjective experiences. Adopting a qualitative research approach, I ask open-ended questions based on in-depth interviews, bringing the past experiences of these women into the present through a narrative within their micro-habitats.&nbsp;The participants, who do not speak the country’s official language, Turkish, were all interviewed in their native language, Kurdish. The framework of the study involved conducting interviews with ten women over the age of 60, who represent the last generation of a tradition and are still considered ‘monumental figures’ in the region, guided by a sense of ‘partial identification’ and ‘conscious bias’. My aim is to contribute to women’s history and reinsert the body into historical narratives by filling the gaps left by mainstream history through the oral histories of rural women who do not speak Turkish and are illiterate, focusing on their de experiences.Framed by feminist ethnographic methodology, this study prioritises a feminist perspective, emphasising that it is the responsibility of women researchers, who share a common ground, to recover and bring to light the everyday practises embedded in women’s subjective experiences from micro-memories to the present. Feminist ethnography seeks to answer the question, “Who is the subject of experience?” As a methodology well-suited for democratising history, feminist ethnography creates “transitional spaces”, inhabiting “the intersections and borderlands of embodied emotions”, and operates on the principle that “the personal is political”. It employs a feminist language dedicated to the future of women, excluding discriminatory and sexist discourse, and shifts focus from the personal to the social and cultural. This adaptable methodology collaborates with oral history and narrative techniques, revealing new gaps in knowledge.In the Southeastern Anatolia region, tattoos are known by different names: among the Kurdish people, they are called Deq, while among the Arab community, they are referred to as Veşm/Vesm. The person who performs the tattooing is known as a Dekkak, with women being called Dekkake; men who get tattooed are called Medkuk, and women are called Medkuke. The long history of traditional tattooing in Southeastern Anatolia, compared to other regions, is influenced by its socio-cultural and religious context. Although this tradition, involving the use of ash and breast milk to ink the skin, dates back to the 17th century, the first official evidence was discovered in 1991 in the Ötztal Alps on the Austria-Italy border. The preserved body of a man who lived approximately 5,300 years ago, mummified with tattoos, is considered the historical starting point of tattooing. The Iceman Ötzi, who provides insights into the period between the Neolithic and Bronze Ages, has 57 tattoos on his body. These motifs are on or near points corresponding to the acupuncture sites used in modern medicine. According to archaeological, anthropological and historical readings of the Palaeolithic and Neolithic periods, certain symbols have been found on female figures. In the Upper Palaeolithic, around 2500 BCE in Isturitz, a plant symbol was inscribed on a female figure. Similar plant symbols have been discovered on the body of the Çatalhöyük Mother Goddess, as if emerging from her navel, as well as on artefacts from Kalınkaya in Anatolia around 3000 BCE and on female figures from Altıntepe in Turkmenistan around 2400 BCE.The first sign that led me to undertake this research began with the tattoo on my mother’s hand. When I started talking about Deq, a vivid memory of my great-grandmother’s face, which had appeared blue in my mind since I was around 3 or 4 years old, resurfaced. I realised that the restorative function of memory through dialogue had been triggered here, as my mother also recalled the tattoo on her own mother’s temple when looking at old photographs. The second motivation for the study was to explore why Deq was predominantly chosen by women. By involving my mother in the fieldwork as an ‘intermediary’, I was able to reach ten women over the age of 60 who were second- and third-degree relatives. Since my mother spoke Kurdish better, she initiated the first conversations with the participants. I visited the participants in their micro-habitats, conducting interviews during gatherings at festivals, wedding feasts, funerals, and ‘bride-seeking’ ceremonies, often in settings where more than three women were present.“The prominent themes related to Deq that emerge while “nomadising on the paths of the skin” include group identity, privacy, sin and shame, healing, feminine performance and the marking of womanhood, being valued as a means of overcoming worthlessness, cultural adaptation, and resistance to the father. The fact that the women in the region are both illiterate and not fluent in Turkish makes it all the more important to document the experiences of these participants, who represent the last tattooed generation, in writing to preserve their stories against the transience of spoken words and thereby leave a record in history. The heteronormative law of patriarchy operates under the same paradigms everywhere, whether in rural or urban settings. However, the primary motivation that I was careful to maintain in this study was to highlight how women use their skin as a space of freedom and to emphasise&nbsp;their position as ‘knowledge-bearing subjects’ within the Deq culture. This awareness, as Maxine Hong Kingston noted (1999), “because when all you have is your voice, the world is fragile”, drives me to document the bodies, patterns, and voices of the women in the region. As an ethical duty, I aim to fulfil my responsibility as someone from within their community, transferring their stories to life through writing.

Bir Sözlü Tarih Çalışması Olarak Feminist Etnografi: Bir Kuşağın Dövmeli [Deq’li] Kadınları

Zeynep

Öğretim Görevlisi

Collective memory; it is an archive that is formed in line with the events and situations experienced by individuals in the society and reveals the characteristics of that society; it is the product of a collective effort. It emerges as a result of the common experiences and sensations of the individual within the society with other individuals. Collective memory; it cannot be considered independent of the culture, values, teachings and lifestyles in that society. Values as one of these components; it includes the characteristics adopted by that society, which provide a certain criterion for the emotions, thoughts and behaviours of the members of the society. Values have a structure that is loaded with ideological meanings and adds meaning to society. As members of the society in which they live, individuals adopt the basic values of the society and shape their socialisation processes in line with these values.Values can be universal or national depending on their scope. While universal values refer to values that have the same qualities in all societies and cultures in the world; national value corresponds to the values that are unique to nations. National values are among the elements that keep collective memory alive as the memory of a society. It is decisive in the existence of collective memory. National values specific to a nation occur in the collective memory of that nation and create citizenship awareness and loyalty in the members of that nation. Therefore, national values are important for the collective memory of nations and help maintain the collective memory.Time and space are important in transferring and keeping collective memory alive. In particular, space determines the area and scope of memory. Just as the memories of individuals in their personal lives cannot be considered independently of place; collective memory also exists with space. This space can be concrete or abstract. The memories that the memory keeps are realised within a certain perception of space. The existence of a place is a must for these memories to be experienced and stored in memory. Members of society who create collective memory during the socialisation process and remember or forget the memories in collective memory; they perform these actions in the places where they communicate. One of these places is social media.Social media are virtual environments where users can communicate and interact with&nbsp;each other regardless of time and place. In other words, it is possible to think of social media as a new form of space that eliminates the necessity of physical space. Many individuals with small or large target audiences, such as ordinary individuals, celebrities, and political leaders, can participate in this venue. Among these individuals, there are also people called opinion leaders who have the power to influence the feelings, thoughts and behaviours of other individuals.Opinion leaders are those who have an impact on those who watch, listen or read them with their actions and opinions; they are people whose actions and opinions are valued. These people eliminate the necessity of physical time and space; they also occur in social media, which creates an alternative to the condition of time and space commonality of collective memory in a different form. Opinion leaders on social media appeal to their target audiences by sharing posts for various purposes and motivations.Collective memory is constantly updated as it is transferred by the members of the society, and it updates itself and presents itself to its members. National values are important in terms of how close or far away they are from the essence in this updating process. The existence of national values enables societies to preserve their identities in the global world and prevents them from assimilating. It is a necessity to protect and keep alive national values in order to prevent the separation from the essence in the updating of collective memory and to prevent the loss of national characteristics in the globalising world. The existence of national values means that the collective memory exists with its essence, and therefore the collective memory is maintained with its essence.In this context, the study focused on national values in maintaining collective memory and national values; It was examined through social media, which has a central position in today’s daily life practises. In this review, the posts of opinion leaders who have influence over other individuals on social media and whose behaviours and opinions are given importance were discussed. In the review, content analysis was conducted; frequency analysis and categorical analysis techniques were used. The last 50 inactive posts of the selected opinion leaders on Instagram, one of the most used social media platforms, were analysed. Because of the analysis, it was observed that opinion leaders included national values in their posts. In particular, it has been determined that content such as Turkish, Turkish names, Turkish soldiers, Ataturk and Turkish food are included at high frequency. Therefore, in transferring and keeping national values alive; at the same time, it was concluded that opinion leaders play an important role in maintaining collective memory. It is expected that the study will raise awareness on this issue and contribute to the maintenance of collective memory and national values through future studies.

Toplumsal Belleğin Sürdürülmesinde Türk Milli Değerlerine Kanaat Önderlerinin Sosyal Medya Paylaşımları Bağlamında Bakış

Meriç

Assist. Prof. Dr.

Başak

This study examines how neoliberal values are represented in the content of social media influencers in Turkey and the impact of these representations on social norms. Neoliberalism, emphasising individual freedoms and a free-market economy while advocating minimal state intervention, is frequently represented globally through mass media. Social media has emerged as a crucial tool for disseminating these neoliberal values to a broad audience. The research aims to determine the extent and manner in which these values are embedded in influencer content and how such content influences individuals’ consumption habits, aesthetic norms, and general lifestyle.In contemporary society, social media functions not only as a platform for individual expression but also as a medium for the reproduction of societal structures and ideologies. Influencers, due to their large followings, play a critical role in spreading cultural norms and values. This study is crucial for understanding the impact of social media content on identity construction, social status perception, and consumer preferences. Moreover, in a unipolar political climate resistant to criticism, critical media studies can be seen as a constructive effort that promotes alternative modes of thought.&nbsp;The research employs qualitative content analysis. The Instagram posts of the ten most popular lifestyle influencers in Turkey were examined, resulting in the analysis of 267 posts across various themes. These themes include consumer culture, fashion and beauty standards, individuality, competitiveness, property and wealth, travel and freedom, entertainment and hedonism, and technological innovations. The analysis reveals how frequently and in what contexts these themes appear in influencer content.The findings indicate that influencer content largely promotes consumer culture and aesthetic norms. The promotion of luxury products and sponsored content shape individuals’ consumption habits through social media and increases consumption pressure. This phenomenon leads individuals to express their quest for social status through consumption.Content related to personal development and personal branding is often presented through the lens of positive psychology and affirmative thinking. This trend contributes to reinforcing a culture centred on individual responsibility and success.The study also shows that influencers indirectly idealise property and wealth. Influencers who showcase luxury lifestyles incite a desire among their followers to adopt similar lifestyles. This desire is a fundamental dynamic that fuels the consumer culture of our age, encouraging social media users to idealise hard-to-attain lifestyles and fostering a desire to access them.Themes of travel and freedom frequently appear in influencer content, reinforcing the desire for self-expression through consumption. However, most of this content is luxuryconsumption-oriented rather than focused on cultural exploration. This contributes to the neglect of cultural heritage and local values on social media, favouring the spread of global consumer culture.Themes of entertainment and living in the moment often symbolise an escape from economic and social issues, promoting a lifestyle focused on individual pleasures. This content can lead individuals to prioritise instant gratification and consumer-oriented activities, potentially detracting from long-term goals and deep personal development. The promotion of a consumer-oriented and hedonistic lifestyle, alongside increased individualisation, has been evaluated as a phenomenon that complicates collective consciousness and solidarity.Conclusion and Evaluation:The research highlights the critical role of social media influencers in reproducing the values of the dominant ideology. Influencer marketing contributes to the spread of consumer culture and aesthetic norms, exerting significant psychological pressure on individuals. This is especially evident among young people, who may feel pressured to conform to beauty standards and adopt consumer-oriented lifestyles. There is a need for more qualitative and quantitative research to understand the impact of social media on individuals’ social norms and values.This study contributes to the literature on media and cultural studies by providing a framework for understanding the influence of social media content on societal memory. Collaborations between influencers and brands have emerged as a new and potent marketing paradigm. However, to gain a holistic understanding of influencer marketing, it is essential to consider its effects not only within the context of corporate marketing activities but also on society, politics, and culture. In this context, critical media studies should be regarded as efforts that contribute to societal awareness and raise consciousness.

Dijital Hegemonya: Egemen İdeolojinin Yeniden Üretim Sürecinde Influencer Pazarlama

Birgül

Collective memory is the process of preserving, reproducing and transferring this heritage to future generations, built on the common history and cultural heritage of the society. Various elements such as cultural habits, historical events, rituals, traditions and works of art are effective in the formation of collective memory. These elements play an important role in shaping the identity, values and lifestyle of the society. The transfer of collective memory generally occurs through various tools such as oral and written expressions, cultural practises, education and training, visual and audio media, and digital environments.The relationship between collective memory and media is an important research topic on what role the media has and creates in the memory of society. Today, media, as a tool with the power to spread information and news rapidly, has the function of shaping and directing the memory in society. It creates the memory of the society by providing information on various subjects such as social events, cultural values, political developments and historical events. News, documentaries, films and content in other media are among the factors that shape societies’ perception of the past and determine their future expectations.The increasing diversification of media environments and the tendency towards internetbased applications have enabled digital environments to become places of memory. Digital media refers to the types of media created, distributed, and consumed through the internet and digital technologies. Its basic features, such as multiple content types, interaction and participation, and ease of access to information, show that it has radically changed communication methods and cultural production.This study focuses on the relationship between digital media and collective memory and examines the role of digital environments in memory construction. In this study, the relationship between digital media and collective memory is discussed through theoretical discussions; A liberal and critical perspective is presented. Understanding the role of digital media in collective memory is important in terms of both accurately remembering the past and shaping future collective memory.Digital media represents collective memory on digital platforms. Historical events, cultural heritage, and social memories can be stored and shared through social media, blogs, and digital archives. This provides the opportunity to represent collective memory in a broader and more diverse way. At the same time, digital environments facilitate the sharing of collective memory. Sharing and discussions about social events, crises, and cultural events create and strengthen the collective memories of societies. This process affects how social identities and histories are collectively remembered in the digital environment.Digital media offers easy access to information and memories. Past events and personal memories can be stored on digital platforms and retrieved at any time. This increases the continuity and accessibility of the collective memory. In addition, digital media plays an&nbsp;interactive role in the formation of collective memory. Users can share and discuss their memories through social media and other tools. In this way, the importance of individual contributions in the formation of collective memory increases.Digital media also plays a role in the construction of social identities. Social groups and individuals have the opportunity to choose how they want to present their identities and histories on digital platforms. However, it should not be forgotten that rapid access and sharing of information can create an environment open to manipulation. Misleading information, disinformation and media influence can affect collective memory and public perception. This situation may make the accuracy and reliability of collective memory questionable. The fact that digital media increases the speed and amount of information flow can cause collective memory to be constantly updated and some information to be forgotten quickly. Information overload can also lead to changes in which information will remain in collective memory and which will be forgotten.As a result, digital media significantly transforms the formation, preservation, and sharing of social memories. It presents both opportunities and challenges; It is clear that while allowing collective memory to become more accessible and diversified, it is also necessary to be careful about information security and accuracy.

Toplumsal Bellekten Medya Belleğe: Hafıza İnşasında Dijital Ortamlar

Çağla

Turkish horror cinema has a deep relationship with collective memory and traumas, offering audiences both a familiar and uncanny experience. This study examines the reflections of collective memory in Turkish horror cinema and reveals the function of this cinema in confronting and dramatising social traumas. Specifically, how collective memory, traumatic memory, and spatial reminders are represented in Turkish horror cinema is examined in the films Küçük Kıyamet (Durul Taylan and Yağmur Taylan, 2006) and Musallat (Alper Mestçi, 2007). Furthermore, Baskın: Karabasan (Can Evrenol, 2015). Turkish horror cinema reflects collective memory through its in-depth treatment of religious and mythological elements. Supernatural beings and Islamic beliefs in Turkish culture enrich the atmosphere of horror films, offering audiences both a familiar and frightening experience. In this context, Turkish horror cinema plays an important role in reflecting the fears and beliefs in the social subconscious. The films analysed are important examples of this cinema’s relationship with collective memory and its function of confronting social traumas.As a film that deals with the trauma of the 1999 Marmara Earthquake, Küçük Kıyamet presents a cinematic reflection of a disaster that has left deep traces in collective memory. While the film deals with the fear and trauma experienced after the earthquake through a metaphorical narrative, the fear and uncertainty experienced by the characters symbolise the general mood of the society. The fears and traumatic experiences Bilge constructs in her mind constitute the main theme of the film. In particular, the empty tombstones and claustrophobic scenes under the rubble powerfully represent Turkey’s earthquake trauma and its effects on collective memory.The movie Musallat, on the other hand, combines the migration experience of the Turkish community and alienation with the theme of fear. The spatial context in Germany reminds us of loneliness, migration and isolation, while reinforcing the sense of isolation in the horror film. The figure of the genie and the supernatural events in the film blend with the fears of Turkish mythology and Islamic beliefs to create an eerie experience for the audience. While Musallat deals with social traumas such as immigration and settlement problems, it also reveals the fear and uneasiness that these traumas create in individuals. Baskın: Karabasan presents the spatial expression of fear and anxiety embedded in collective memory through the abandoned state of an Ottoman-era police station. The police station is represented not only as a symbol of security and state authority but also as a symbol of oppressive rule and injustice. While the dark and labyrinthine structure of the film creates&nbsp;unease in the viewer, the historical and spatial context of the police station emphasises the elements of fear in collective memory. Police stations can be considered spatial reflections of events such as military coups, police brutality, and political repression.Spatial memory also plays an important role in Turkish horror cinema. Pierre Nora’s concept of «lieux de mémoire» explains how fear is remembered through specific spaces and becomes a part of collective memory. In Turkish horror films, places such as abandoned houses, cemeteries, and mausoleums are used as sites of memory associated with fear. These places provide the audience with a frightening experience, and thus concretise the memories associated with fear in the collective memory.As a result, Turkish horror cinema contributes to keeping alive and reproducing social memories and traumatic experiences. By dramatising traumatic memory, these films offer audiences the opportunity to confront past traumas and help them be accepted as part of collective memory. Turkish horror cinema assumes a therapeutic function on both individual and societal levels, enabling viewers to deal with past traumas in a healthier way.

Korku ve Hafıza: Türk Korku Sinemasında Toplumsal Hafızanın İzleri

Muhammed

Res. Assist.

Gülsüm

Prof. Dr.

Collective memory is the knowledge of the past that individuals themselves do not experience but learn from cultural artefacts. These cultural artefacts enable the formation of a common memory as a cumulative result of a society’s narratives from the past. Examples of these cultural artefacts are literary works, rituals, ceremonies, symbols and values. All these dynamics are important milestones that ultimately lead to the formation of a common consciousness of a society. When we consider it in this direction, the essence of collective memory is not the past experienced by individuals in the same time and context, but the commonality of information and narratives about the past. The commonality of narratives about the past enables individuals belonging to that society to develop an identity and create a sense of unity. This sense of unity brings a common understanding by uniting society and individuals around certain values. At this point, culture plays a binding role between the individual and society. The deeper the roots of this binding role, the more likely it is to come to life in the life and memory of society. Culture, which takes place in a cyclical process, provides an inseparable integrity with the social structure by creating its own meaning and difference on a human basis. These effects of culture reveal what is expected from individuals in the society, shape the patterns that determine how the individual should behave and enable individuals to make sense of themselves and their environment.&nbsp;This shaping process reveals the social reality. The process of social reality, in which the role of the individual in society is determined, regulates the individual’s relationship with society by revealing the reflection of an ideological entity based on the perspectives presented by all the values, thoughts and behaviour patterns that exist in social life. Understanding social reality is crucial for navigating the complexity of human society and realising how our individual and collective identities are shaped by the social contexts in which we live. In essence, the relationship between collective memory and social reality is fluid and reciprocal between what a community remembers and how it understands its place in the world, based on how the social system is perceived and constructed.&nbsp;Habitus, another concept thought to affect collective memory, has been a fundamental concept used by Bourdieu to explain much social behaviours. Habitus contributes to the reproduction of social structures by embedding certain memories and narratives within a community. While habitus is shaped by past experiences, it also offers an adaptive structure. New experiences change existing trends, allowing collective memory to evolve . This&nbsp;adaptability means that the collective memories of groups can change as social conditions change, and it would not be wrong to say that this situation reveals a dynamic interaction between memory and habitus.All of these explanations reveal that there may be different dynamics in the formation process of collective memory. The existence of these dynamics has been tried to be explained in line with social reality and habitus. In this article, the relationship between habitus, social reality and collective memory is explained by attempting to reveal how the sources that contribute to collective memory affect collective memory. In this article, which was prepared by compiling the national and international literature, it was concluded that collective memory, which is a process of remembering, is possible with the design of habitus and social reality. With these results, it is aimed to provide a more detailed understanding of the relationship between these three concepts by providing a source for future studies and to contribute to the national literature by facilitating the understanding of how individuals are shaped in society.&nbsp;

Toplumsal Gerçeklik ve Habitus Ekseninde Toplumsal Belleğin İnşası

Demokrasi ve Anti-Demokrasi Çatışmasında Bir Mücadele Alanı Olarak Toplumsal Bellek: Reyhan Ünal Çınar ile Söyleşi

Gökhan

Kültür ve İletişimin Eleştirel Ekonomi Politiği: Graham Murdock ile Bir Söyleşi

Ajda

Maurice Halbwachs'a Göre Kolektif Hafıza

Melikşah

Ahmet

Alev Alatlı’nın Bize Yön Veren Metinler Eseri Üzerine Bir Değerlendirme

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4. BOYUT Medya ve Kültürel Çalışmalar Dergisi kültürel çalışmalar alanıyla ilgili yayımda bulunmayı, yeni perspektiflere yer vermeyi amaçlamaktadır. Dergi bu amacını gerçekleştirmek için medya ve iletişim çalışmaları içerisinde gelişen kültürel çalışmalar kapsamında disiplinler arası çalışmalara açık olarak antropoloji, edebiyat, sanat, sosyoloji, tarih, siyaset bilimi, dilbilim, felsefe, psikoloji vb. sosyal bilimlerin hemen tüm alanlarında akademik çalışmaları kabul eder. 4. BOYUT kültürü hem dünya deneyimi hem de onun içinde yaşanan pratikler olarak görür, bu bağlamda toplumun kültürel bütünlüğünü kapsayan bütün süreçlerine yönelik konuları kapsar. Bu kapsamda kültürel çalışmalar alanında her sayı için ayrı bir tema üzerinden, ulusal ve uluslararası düzeyde özgün, nitelikli, bilimsel katkılarda bulunmayı hedefleyen, ücretsiz ve açık erişimli olarak yayımlanan hakemli bir dergi niteliği taşımaktadır. Sosyal, siyasal, ekonomik, teknolojik vb. tüm önemli sorunların altında kültürel unsurlar yattığı için 4. BOYUT medya ve kültürün diğer alanlarla birlikte düşünülebilmesini sağlamayı hedeflemektedir.

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Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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>Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir.Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihalÖn kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %15 veya %20'den az olması beklenir.Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

Politikalar

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Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar, 4. BOYUT Medya ve Kültürel Çalışmalar Dergisi – 4. BOYUT Journal of Media and Cultural Studies’da yayımlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil uyarlanmasına izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir.Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.Geri ÇekmeDergi geri çekme durumunda <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE Retraction Guidelines</a>’ı izler. Editör, aşağıdaki durumlarda bir makaleyi geri çekme hakkına sahiptir: <ul><li>Büyük bir hata (örn. yanlış hesaplama veya deneysel hata), uydurma öğeler  (örn. veri) veya tahrifat (örn. görüntü manipülasyonu) gibi bulguların güvenilmez olduğu sonucunu çıkarmaya dair açık kanıtlar varsa; </li><li>İçerikte intihal varsa; </li><li>Uygun atıf yapılmadan başka bir yerde yayınlanmışsa;</li><li>Kullanım izni olmayan materyal veya veri içeriyorsa;</li><li>Telif hakkı ihlali veya başka bir ciddi yasal sorun varsa;</li><li>Etik olmayan araştırma içeriyorsa; </li><li>Hakem değerlendirme sürecinin bozulduğuna veya manipüle edildiğine dair kanıt varsa;</li><li>Yazar(lar), editörün görüşüne göre, çalışmanın yorumlanmasını veya editörlerin ve hakemlerin tavsiyelerini önemli derecede etkileyebilecek, kritik bir çıkar çatışmasını açıklamamış ise.</li></ul>Geri çekme durumunda aşağıdaki adımlar izlenir:<ul><li>Makale başlığını da içeren geri çekme bildirimi derginin bir sonraki sayısında yayınlanır. Geri çekme bildirimi  içindekiler tablosunda sayfa nosu verilerek listelenir. </li><li>Elektronik versiyonda geri çekme bildirimi ile orijinal makale arasında link sağlanır. </li><li>Online makaleden önce geri çekme bildirimini içeren sayfa gelir; okuyucu daha sonra makalenin kendisine geçebilir.</li><li>Orijinal makale, her sayfadaki .pdf üzerinde “geri çekildiğini” belirten bir filigran dışında değişmeden kalır.</li></ul>Yasal Nedenlerle Makalenin KaldırılmasıAşağıdaki durumlarda, üst veriler (başlık ve yazarlar) hariç olmak üzere, makale metni kaldırılır ve makalenin yasal nedenlerle kaldırıldığını bildiren bir sayfa makalenin yerini alır. <ul><li>Makalenin karalayıcı içerik ihtiva ettiği veya başkalarının yasal haklarını ihlal ettiği tespit edilir ve geri çekmenin yeterli bir çözüm olmadığı düşünülürse;</li><li>Makale bir mahkeme kararına konu olmuşsa veya olacağına dair makul bir neden varsa;</li><li>Kamu sağlığı açısından önemli bir risk söz konusu ise;  </li></ul>

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

4. BOYUT Medya ve Kültürel Çalışmalar Dergisi – 4. BOYUT Journal of Media and Cultural Studies  yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için:<a href="https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing</a> Gönderilen tüm makaleler orijinal, yayınlanmamış (tam metin konferans bildirisi dahil) ve başka bir dergide değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkâr edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.

Etik

4. BOYUT Medya ve Kültürel Çalışmalar Dergisi – 4. BOYUT Journal of Media and Cultural Studies, araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.  Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>Deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığının belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve dizaynına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise, makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel süpervizyonu tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/B9A1F585A4364EDB8091FD0114549110" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar.Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir.Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Editör, makaleleri, yazarların kimliğinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder.Editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır. Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar.Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin gizli bilgi olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında editör tarafından verilir.

Hakemlik Hakkında

Editör, makaleleri yazarların kimliğinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar.Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında editör tarafından verilir.Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar.Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

Makale gönderimi derginin e-mail adresine: <a href="mailto:4.boyut@istanbul.edu.tr" target="_blank">4.boyut@istanbul.edu.tr</a> yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili bilgileri içeren (bkz: Son Kontrol Listesi) bir mektup, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/7D801B55F2F042B9965AEDB8471E2D6B" target="_blank">kapak sayfası</a>, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/BCF43E30583D48EE8624CC6171EEF6B9" target="_blank">yazar formu</a>, yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2EFBBA46DE4249B0BE28476C937F1148" target="_blank">Telif Hakkı Anlaşması Formu</a> eklenerek gönderilmelidir.1. Çalışmalar, A4 boyutunda, üst, alt, sağ ve sol taraftan 2,5 cm. boşluk bırakılarak, 11 punto Times New Roman harf karakterleriyle ve 1,5 satır aralık ölçüsü ile hazırlanmalıdır. Ana makale dosyası, çift taraflı kör hakemlik gereği yazar bilgilerini içermemelidir.2. Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren kapak sayfası gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, cep, iş numaraları ve e-posta adresleri yer almalıdır (bkz. Son Kontrol Listesi).3. Giriş bölümünden önce 200-250 sözcük arasında çalışmanın kapsamını, amacını, ulaşılan sonuçları ve kullanılan yöntemi kaydeden Türkçe ve İngilizce öz ile 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. Çalışmanın İngilizce başlığı İngilizce özün üzerinde yer almalıdır. İngilizce ve Türkçe özlerin altında çalışmanın içeriğini temsil eden 5 İngilizce, 5 Türkçe anahtar kelime yer almalıdır. İngilizce genişletilmiş özet sadece Türkçe makaleler için zorunludur; İngilizce makalede geniş özet istenmez. 4. Çalışmaların başlıca şu unsurları içermesi gerekmektedir: Başlık, Türkçe öz ve anahtar kelimeler; İngilizce başlık, İngilizce öz ve anahtar kelimeler; İngilizce genişletilmiş özet, ana metin bölümleri ve kaynaklar.5. Çalışmalarda tablo, grafik ve şekil gibi göstergeler numaralandırılarak, tanımlayıcı bir başlık ile verilmelidir.6. Referanslar derginin benimsediği <a href="http://www.apastyle.org" target="_blank">American Psychological Association (APA)- 7</a> referans stiline uygun olarak hazırlanmalıdır.7. Kurallar dâhilinde dergimize yayınlanmak üzere gönderilen çalışmaların her türlü sorumluluğu ve çalışmada geçen görüşler yazar/yazarlarına aittir.

Yazım Kuralları

Kabul edilmiş ancak henüz sayıya dahil edilmemiş makaleler Erken Görünüm olarak yayınlanır ve bu makalelere atıflar “advance online publication” şeklinde verilmelidir. Genel bir kaynaktan elde edilemeyecek temel bir konu olmadıkça “kişisel iletişimlere” atıfta bulunulmamalıdır. Eğer atıfta bulunulursa parantez içinde iletişim kurulan kişinin adı ve iletişimin tarihi belirtilmelidir. Bilimsel makaleler için yazarlar bu kaynaktan yazılı izin ve iletişimin doğruluğunu gösterir belge almalıdır. Referans Stili ve Formatı4. BOYUT Medya ve Kültürel Çalışmalar Dergisi – 4. BOYUT Journal of Media and Cultural Studies, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak sitilinin 7. edisyonunu benimser. APA 7. Edisyon hakkında bilgi için:-  American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.). APA.&#65279;- <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kaynaklar aşağıdaki örneklerdeki gibi gösterilmelidir.Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir. Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci, 2007, s. 72)Üç, dört ve beş yazarlı kaynak;Üç ve daha çok yazarlı kaynaklarda ilk kullanımda da geçerli olmak üzere; (Ailen ve ark., 2000) Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik olarak numaralandırılmadan verilmelidir.Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Dergimize Gönderilen Makale Türkçe Dilinde Yazıldıysa Kitap Referansı:Karasar, N. (1995). Araştırmalarda rapor hazırlama (<a href="http://8.bs/" target="_blank">8. bs</a>). 3A Eğitim Danışmanlık Ltd.Kamien, R. ve Kamien, A. (2014). Music: An appreciation. McGraw-Hill Education.b) Türkçeye Çevrilmiş Kitap:Mucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İletişim Yayınları. (Orijinal eserin basım tarihi 1990, 7. Baskı)c) Editörlü KitapÖren, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. ve Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Total Bilişim.e) Dergimize Gönderilen makale İngilizce dilinde yazıldıysa Kitap Referansı:Karasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. 3A Eğitim Danışmanlık Ltd.Kamien, R., &amp; Kamien, A. (2014). Music: An appreciation. McGraw-Hill Education.f) Dergimize gönderilen makale Türkçe dilinde yazıldıysa Kitap İçerisinde Bölüm:Bassett, C. (2006). Cultural studies and new media. G. Hall ve C. Birchall (Ed.), New cultural studies: Adventures in theory içinde (s. 220–237). Edinburgh University Press.g)  Dergimize gönderilen makale İngilizce dilinde yazıldıysa Kitap İçerisinde BölümBassett, 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.Erkmen, 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) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Yazar.Makalea) Dergimize Gönderilen Makale Türkçe Dilinde Yazıldıysa Makale Referansı:Mutlu, B. ve Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15(60), 179–182.b) Dergimize Gönderilen Makale İngilizce Dilinde Yazıldıysa Makale Referansı:de 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) Yirmiden Fazla Yazarlı MakaleKalnay, 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) DOI’si Olmayan Online Edinilmiş MakaleAl, U. ve Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. Türk Kütüphaneciliği, 26, 349–369. Erişim adresi: http://www.tk.org.tr/e) DOI’si Olan MakaleTurner, 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 Olarak Yayımlanmış MakaleSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Popüler Dergi MakalesiSemercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. Sabit Fikir, 52, 38–39.Tez, Sunum, Bildiria) Türkçe TezlerSarı, E. (2008). Kültür kimlik ve politika: Mardin’de kültürlerarasılık. (Yayınlanmamış Doktora Tezi). Ankara Üniversitesi.b)Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora TeziVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (UMI No. 9943436)c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora TeziYaylalı-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) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora TeziTonta, 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) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora TeziAppelbaum, 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) Sempozyum KatkısıKrinsky-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 American Psychological Association meeting, Orlando, FL.g) Online Olarak Erişilen Konferans Bildiri ÖzetiÇınar, M., Doğan, D. ve Seferoğlu, S. S. (2015, Şubat). Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. Erişim adresi: http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27h) Düzenli Olarak Online Yayımlanan BildirilerHerculano-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) Kitap Şeklinde Yayımlanan BildirilerSchneider, 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 içinde (s. 134–140). Cham, İsviçre: Springer.http://dx.doi.org/10.1007/978-3-319-03919-0j) Kongre BildirisiÇepni, S., Bacanak A. ve Özsevgeç T. (2001, Haziran). Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi. X. [Sözlü Sunum] Ulusal Eğitim Bilimleri Kongresi Abant İzzet Baysal Üniversitesi, Bolu.Diğer Kaynaklara) Gazete YazısıToker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. Cumhuriyet, s. 13.b) Online Gazete YazısıTamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. Milliyet. Erişim adresi: http://www.milliyet.com.trc) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Ansiklopedi/SözlükBilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. Erişim adresi: http://tr.wikipedia.org/wiki/Bilgi_mimarisiMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastRadyo ODTÜ (Yapımcı). (2015, 13 Nisan). Modern sabahlar [Sesli Podcast Bölümü]. http://www.radyoodtu.com.tr/f) Bir Televizyon Dizisinden Tek Bir BölümShore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), House M.D. içinde. New York, NY: Fox Broadcasting.g) Müzik KaydıSay, F. (2009). Galata Kulesi. İstanbul senfonisi [CD] içinde. İstanbul: Ak Müzik.

<ul><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A993FF5CDAAD4816B04D3A400CB56D5B" target="_blank">​Telif Hakkı Anlaşması Formu</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/736F5886B9B3487CBF9E04F3BAE1A20C" target="_blank">Kapak Sayfası</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/BCF43E30583D48EE8624CC6171EEF6B9" target="_blank">Yazar Formu</a></li></ul>

Aşağıdakilerin sağlandığından emin olunuz.Editöre mektup<ul type="disc"> <li style="text-align: justify;">Makalenin türünün belirtildiği</li> <li style="text-align: justify;">Başka bir dergiye gönderilmemiş olduğu</li> <li style="text-align: justify;">İngilizce yönünden kontrolünün yapıldığı</li> <li style="text-align: justify;">Dergi politikalarının gözden geçirildiği</li> <li style="text-align: justify;">Referansların derginin benimsediği APA 7 referans sistemine uygun olarak düzenlendiği</li> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/1949C122E88048399E596F8BF3EB053A" target="_blank">Telif Hakkı Anlaşması Formu</a> Daha önce basılmamış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/BCF43E30583D48EE8624CC6171EEF6B9" target="_blank">Yazar Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/E871E6DCF47B4BBD9F1BF1FD81057B1A" target="_blank">Kapak sayfası</a><ul type="disc"> <li style="text-align: justify;">Makalenin kategorisi</li> <li style="text-align: justify;">Türkçe ve İngilizce başlık</li> <li style="text-align: justify;">Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li style="text-align: justify;">Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks numarası</li> <li style="text-align: justify;">Tüm yazarların ORCID’leri</li> <li style="text-align: justify;">Teşekkür, çıkar çatışması, finansal destek bilgisi</li> </ul>Makale ana metni<ul> <li style="text-align: justify;">Önemli: Ana metinde yazarın / yazarların kimlik bilgilerinin yer almamış olması gerekir.</li> <li style="text-align: justify;">Türkçe ve İngilizce başlık</li> <li style="text-align: justify;">Özetler: 200-250 kelime Türkçe ve 200-250 kelime İngilizce</li> <li style="text-align: justify;">Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce</li> <li style="text-align: justify;">Geniş Özet: 600-800 kelime İngilizce (Makale dili Türkçe ise)</li> <li style="text-align: justify;">Makale ana metin bölümleri (Tablolar, resimler ve şekiller metin içinde verilmeli [başlık, kaynak ve alt yazılarıyla]) </li> <li style="text-align: justify;">Kaynaklar</li><li>Ekler (varsa)</li></ul>

Sayı Türü	Regular
Editör(ler)	Emine Yavaşgel
Kapak (PDF)
Tam Metin (PDF)
Ön Sayfalar (PDF)