İrem

Assist. Prof.

Editorial Preface and a short introduction to this issue's topic "Intermediality"

Anja

Lecturer

Frank Wedekind (1864-1918) was one of the most frequently played German dramatists of his time and well known as an enfant terrible. His plays expressed a great amount of intertextual references to art and science. His characters reflect this, his plays regularly feature artists, painters, and singers . “Spring awakening”, one of Wedekind’s best known plays (in German, “Frühlings Erwachen”) is a prime example of this. Hänschen Rilow masturbates to reproductions of well-known artworks; one of them being Palma il Vecchio’s “Venus”. This particular scene illustrates one of the functions of quoting art in Wedekind’s plays: it is employed to criticize social rules and double standards. “Franziska. A mystery in five acts,” first published in 1912, appears as Wedekind’s “Faust.” Titian’s Sacred and profane love is a key element in Franziska as it takes on a programmatic function. The Renaissance painting from 1514 appears twice, first as an etching on the front page and then as the model of a detailed scenery for a “play in play“- like tableau vivant and accordingly portraying a self-referential part of the play. Titian’s original and Wedekind’s theatrical version, both feature two women: one naked and the other dressed in luxurious white, next to a fountain, which may have originally been a sarcophagus. Between them is a naked, putto like, child bending over the edge, seemingly looking at his reflection in the water. The original painting correlates nudity with divine creation and attributes the dressed woman as symbolizing “profane love,” paradigm changed in Wedekind’s times. To his contemporaries the naked woman symbolizes purity, while at the same time represents sin. In his interpretation, Wedekind does remain closer to the original meaning: the dressed woman stands for “truth,” while the other symbolizes “holy nudity”. Both concepts are intimately linked to one another, “because he, who cannot see nudity cannot hear the truth.” In the painting both personifications of love appear very similar, almost like sisters. The similarity of appearance underlines the intimate closeness of both kinds of love. Sexuality, symbolized by nudity, becomes functionalized by Wedekind as a means to finding one’s true self and gaining self-awareness. Positive sexual experiences can eliminate negative events. Therefore, both forms of love, “profane” and “sacred,” are interconnected. This also implies that the contemporary interpretation of distinguishing between “profane” as physical and “sacred” as intellectual love is obliterated. As it appears in a “play in play” situation, the symbolic narration should be read as a self-referential statement; the set of values identified here has validity for the entire play. Besides Titian’s famous painting, which Wedekind saw a copy of in Galerie Schack, Munich, there is also a reference to a painting of Mother Mary. After experiencing the joy of being a man, Franziska is then portrayed as an unmarried mother. Instead of diminishing her status, Franziska is painted in the likelihood of Madonna with child. The painting’s description resembles “Madonna of the Rose Bower” by Stefan Lochner, while the setting also refers to a photograph of Franziska zu Reventlow with her illegitimate son (also known as “heathen Madonna”). Sexuality and eroticism play a key role, being depicted as high values in this play and others by Wedekind, although at the end of “Franziska” the protagonist appears as a (re)virginized mother. This assumption reveals much about expectations and gender roles. Franziska’s status of being a (re)virginized mother retrospectively legitimizes premarital sex. Franziska becomes an asexual character. Using many canonized works of art and intertextual references, like Titian, the play firmly situates itself in the realms of a long tradition of art, and thus aims to legitimize itself and its certain extreme ideas and values.

Tizians Die himmlische und die irdische Liebe – Programmatische Kunstzitate in Wedekinds Franziska

Bettina

Intermedial (in)stabilities in contemporary artworks analyzes hybrid forms combining different media and sign systems by confronting them in their diverging materiality and mediality. These pieces are strongly self-reflective, and their (un)stable mode of production gives viewers access to different levels of meanings. What strategies and techniques do artists use to achieve such intermedial effects? How can the experience offered to an audience be described? How do different levels of meaning interact to produce a communicative effect? To answer these questions, we must focus on different layers of the complex configurations. Looking at each layer helps to precisely describe the relationship between the different parts and their effects on the audience. The audience of the fault line (2010), a collaboration between choreographers Meg Stuart and Philipp Gemacher, and the visual artist Vladimir Miller, is confronted with a performance transferred in different medial contexts, settings, and environments. Viewers and listeners reflect on the different contexts by making comparisons among them, an interaction forced by how the artists combine their performative video installation’s different parts: the event’s performance and its projection as constantly trans-formed in a different time and space by Miller and the operations as a form of examination of images produced by the live event. These different spaces, in which presented bodies and their representation occupy the center, visibly diverge throughout the performance. As a result, Miller’s operations of measuring open another space on a meta-level – the possibility to reflect on both spaces by thinking about their different qualities and their different materiality and mediality. These operations are also a kind of invitation to the audience to reflect on habits, conventions, and perceptions connected to everyday media usage. Self-reflectivity is the efficacy of dialogical confrontation among these spaces and their qualities as a result of conventions and configurations. The medium from which different spaces and medial surfaces are reflected off in the fault lines is the theater. The theater’s plurimedial structure makes the particular form possible for the artists to choose. Although they did not place the work on a classical stage, they decided to frame the artwork in the way theatrical plays are usually presented – by separating the stage from the auditorium and arranging the two in a frontal relationship. Therefore, the central perspective determines perception of the proceedings onstage. However, at the same time, the artists also irritate the classical regime during the presentation, emphasizing configuration as transfiguration. By combining various frames and perspectives, they cause different sight lines to confront one another. As a result, there are not just medial surfaces in permanent dialogue with each other in a nonhierarchical composition, but the modified formation&nbsp;between the (onstage) present and presented bodies (on different screens) incessantly provokes adjustment in the relationship between the choreography (as a fundamentally different spatial process) and the immaterial presentation of the same bodies in the video. By creating this friction, Stuart, Gehmacher, and Miller provide insight into their configuration’s heterogeneous parts. Moreover, they create knowledge about its mechanism on a meta-level.To emphasize, that the production is the result of a process, and to sensitize the audience to its different aspects, many artists in contemporary art select thoughts about specific mechanisms in the process of creating and forming their work’s central theme. A link between these productions is their intermedial practices as medial specificities, and media borders are of essential importance.

Intermediale (In)Stabilitäten in zeitgenössischen Kunstwerken

Verena R.

Kurt Tucholsky’s and John Heartfield’s photobook Deutschland, Deutschland über Alles (DD) was published at the end of the 1920s – a time when other photobooks also addressed the topic of “Germany,” trying to come to terms with the fundamental changes and instability of the Weimar Republic. Yet, even among these publications, DD remains a unique take on the state of Germany, due to its intriguing text-image combinations, its high volume of photographs and its collaborative nature on the part of its authors, Tucholsky, Heartfield and an array of anonymous photographers whose photos have been published by various media outlets and are reused in DD. Scholarship so far has often discussed the reception of this photobook, its satirical techniques in both texts and photos, and its montage method, particularly focusing on Heartfield’s photomontages. This analysis of DD takes an in-depth look at the montage technique applied in this photobook. I argue that a combination of cinematic and industrial montage creates, what I call “functional montages” that imitate the everyday life of the working class, while also urging DD’s worker-readers to reflect on their lives and status within Weimar Germany’s public sphere. This argument also considers the intermedial processes at work here. Building on Werner Wolf’s and Jens Schröter’s typologies of intermediality, this article demonstrates that DD is an example of “covert, intracompositional intermediality,” to borrow Wolf’s term. This kind of intermediality asks its recipients to decode its intermedial references, a task which Tucholsky’s and Heartfield’s readers have to do when they engage with their montages of texts and photographs. It will become clear that DD’s use of cinematic and industrial montage techniques is a demonstration of understanding intermediality less as a transfer of media elements, but as “media narrating literally and cinematically” as Joachim Peach has stated in his analysis of intermediality.First, this essay evaluates Tucholsky’s views on the use of photography. He demanded not only that print media should employ more photos, but also argued for photos to be juxtaposed in order to aim for political agitation. He based his demands on images of grievances within the working class, which were also often at the center of his writings. His poem Zehn Jahre Deutsche Republik was paired with photos when it appeared in the AIZ in 1928, including photos that would be reused in DD. While scholarship has discussed the various interactions of photos and texts in DD, attention has often been directed at combinations of individual photos alongside a text or discussions have focused on Heartfield’s photomontages. Secondly, this essay shows that while Heartfield’s photomontages were certainly persuasive re-assemblies of photographic material, they could, however, also fall short by leaving their viewers potentially overwhelmed and confused. Yet, one section of DD, entitled “The Parliament,” shows how photomontages can be extended by a textual component that, instead of using the photomontage as a prompt or illustration, mirrors and builds on the photomontage’s visual narrative in content and form. This way, the photomontage is extended to a “functional montage.” This montage combines several photos with a text that can stretch over several pages in a photobook, as this essay demonstrates, using the section “Good Times” as an example. Combining the industrial montage of the assembly line with the film montage associated with Soviet cinema of the 1920s, the “functional montage” aims to draw attention to each of its components and their narratives so as to both address and educate DD’s workerreaders to reflect on their status in Weimar Germany’s public sphere. Scholarship has so far argued that photobooks aimed to educate their readers to become visually literate while interacting with photos. Tucholsky’s and Heartfield’s photobook shows how these educational measures can be taken one step further. DD’s way of repurposing media, based on the intermedial narrative qualities of images and texts, shows that DD is an example of Werner Wolf’s concept of “intracompositional intermediality.”Kurt Tucholsky’s and John Heartfield’s photobook Deutschland, Deutschland über Alles (DD)1 appeared in 1929, when the media landscape was saturated with illustrated magazines and books that had discovered photography’s presumed authentic qualities. Nonetheless, DD prompted a substantial echo in both the leftwing and the conservative press. Already its title and itsironic play on the first verse of the national anthem The Song of the Germans indicates that the condition of the Weimar Republic is at stake in this photobook combining 188 photographs and photomontages with 96 texts. Tucholsky and Heartfield particularly criticize the media’s portrayal of the Weimar Republic’s current state. They aim to unveil its actual condition by including, educating and addressing the working class and questioning its visibility and representation within the German public sphere. The worker-readers of DD are supposed to see themselves differently with the help of DD.As this essay argues, Tucholsky and Heartfield employed, what I call “functional montages” – an extension of the photomontage that combines industrial and cinematic montage – which allow the worker-readers to recognize themselves in DD, while also gaining the ability to take a critical stance on their position within the German public sphere. In using “functional montages,” Tucholsky and Heartfield are not only educating working class readers by transferring the industrial montage onto the book’s page; they also demonstrate how photobooks at the time adapted another montage principle, associated with Soviet cinema of the 1920s, in order to further develop the photobook’s educational purpose. Scholarship today defines this process of transferring cinematic and industrial montage onto the book’s page as intermedial.Drawing on Werner Wolf’s typologies of intermediality,2 DD exemplifies a “covert intermediality”(Wolf, 2013, p. 345).3 Due to a switch between media, according to Wolf (2013), one medium disappears within another medium, which conceals the former and thus is not recognizable anymore on the surface of the target medium. To that end, as I argue, DD and its combinations of essays, poems or songs alongside photographs and photomontages enact the cinematic montage, aiming to imitate film “by using its signs iconically, not referentially, similar to when certain structures are used to approximate a literary text to music” (Wolf, 2013, p. 345). Yet, while the film medium might not be&nbsp;recognizable anymore in DD, especially as there are many textual components, both film and photobook continue to have the photograph as their basis in common, which both media use to build their narratives. Joachim Paech (1997) supports this view of narrative being a tertium comparationis when he states that “there is no intermediality between literature and film; there is one only between media narrating literarily and cinematically” (p. 335). Jens Schröter (2011) builds on this notion of transmedial narration in the second of his four types of discourse on intermediality. His second paradigm of “formal (or transmedial) intermediality” (p. 3) manages to highlight the balancing act of the procedure of translating (for instance, film into a photobook) which “has to assume [on the one hand] that the procedure is media-unspecific enough in order to be able to appear in another media context as the same, i.e., as a re-identifiable principle […]. On the other hand, the procedure has to be media-specific enough in order to still be able to point in its new media context to the medium from which it was ‘borrowed’ […]” (p. 4). In the case of DD, there are several indicators that contribute to such a balancing act. In combining not only images with each other, but also including texts, Tucholsky and Heartfield demonstrate the media-unspecific procedure of translating film into a photobook. At the same time, Heartfield’s photomontages, and, what I call “functional montages” point back to the medium of film. These kinds of montages rely on a visual and textual narrative spanning several pages, building on each other, hence also functioning like an industrial montage process. Moreover, as Patrick Rössler (2012) writes, a “reportage-like view” (p. 285) of authors and audiences at the time, which was influenced by photo reportages in illustrated magazines and montage techniques of film programs, make a “filmic composition of books” (p. 285) possible. Just as Paech emphasized how narrative is the tertium comparationis in intermedial transfers, Rössler also points out that photobooks imitate the “dynamic narrative style of film stories” (p. 285; my emphasis), claiming that DD and its combination of “film montage and photomontage” (p. 285) does so most convincingly. This essay builds on this notion of narrative functioning as an intermedial point of comparison. It allows me to include the translation of the industrial montage, which shapes the narrative of the workers’ daily views and routines, and combining it with film montage in order to identify “functional montages” targeted at working-class readers in DD.&nbsp;

From Photomontage to “Functional Montage” Staging an Intermedial Assembly Line in Kurt Tucholsky’s and John Heartfield’s Deutschland, Deutschland über Alles

Renate

Media experiences play an increasingly central role in the life of modern people, to the detriment of experiences in the real world. This raises the question of whether these experiences are equivalent with respect to the mental representation formed from the real-world experience. Triangulating from contradictory theories of transactive and autobiographical memory that make contrasting predictions on the effects of media (sometimes found to improve and sometimes worsen memory); in this study media is hypothesized to frame the experiences and thus to affect mental representation. The more immersive the media experience, the more informative and linguistically coherent is the resulting retelling of the experience expected to be. The language output is used to access the mental representation that in turn is based on memory. Route directions were chosen as an adequate task since it is a linguistically well described, not emotionally charged but rather instrumentalized genre that permits the control of previous knowledge. Along the route there are critical spots (strong bends, blockages, many possibilities for further advancing) where it is advisable to re-orient the imaginary walker to ensure that he stays on the planed route. In route directions these critical spots are typically marked by placing landmarks: Choosing a visible and recognizable object of manageable size to anchor the localization or movement to specific coordinates in the environment. A database of 88 route directions was collected empirically by means of an experiment. The same route was presented to adult German native speakers (22 participants per condition) that gave written route directions in German after being exposed to different randomly assigned media conditions (manipulated independent variable). The tested media were a video from a first-person perspective, an aerial plan of the route complemented with still images of the route, and a combination of both with a moving dot in the plan showing the current position in the video (multimedia condition). The baseline was provided by the prototypical experience of walking the route in the real world (no-media condition). The following hypothesis were tested: Firstly that texts composed after media-mediated experiences will not be as successful in preventing the hearer from getting lost on the way; secondly, that it is more difficult for the speaker to recognize these critical spots when relying on perspective-fixing, not self-paced media in contrast to experiencing the route in the real world (prototypical experience used as a control). Lastly, that more realistic experiences will produce more informative and coherent texts. Results of the randomized experiment support the hypotheses in part. The placement of landmarks at the different segments of the route was operationalized to account for the conceptualization of the surroundings. Results show that the plan&nbsp;condition is less likely to successfully lead the hearer to the final goal. The video and multimedia conditions are as well suited as the real experience to form a mental representation of the route. Blockages along the route are more difficult to identify based on an aerial view. The plan condition also results in less informative texts (fewer landmarks and fewer specifications), but not less coherent texts than in other conditions. The informative content and linguistic coherence of texts produced after exposure to the video and multimedia conditions can even outperform the control (real world condition). This is interpreted as a positive effect on memory from immersive media being used repeatedly. In the multimedia condition the drawbacks from the field-of-view of the video are counterbalanced by combining it with another media that uses an aerial perspective (the plan), resulting in an even more comprehensive experience than possible in the real world. The findings suggest that different experiences lead to different cognitive maps, that in turn lead to different texts via different conceptualizations. Apparently, the more natural the experience, the longer the produced texts and the more landmarks are used in the texts. This work contributes to an emergent literature on the role of media in shaping our representation and understanding of reality.

Media Exposure Influences Cognition and the Informational Content of Texts

Miodrag M.

Assoc. Prof.

Lately, two major topics dominated the picture of the media landscape. The first one, the topic of the refugee problem and the associated migration flows seem to have raised fundamental questions about intercultural conditions, especially in the integration discussion. In a global context, the discussions on the First World War and on the occasion of its anniversaries is the second main theme that sheds new light on the question of cultural boundaries, as viewed from Serbian historiography. The paper discusses these two currently dominating global occurrences that appear to have common features. First, backed by the example of Jenny Erpenbeck’s novel Gehen, Ging, Gegangen (2015) that addresses the migration flows we witness, questions will be raised about the differences in perception of the causes for global cultural changes seeking equalization and upholding, viewed from the perspective of Western civilization, and German particularly. Referring to the way refugee subjectivity is perceived, it becomes very clear that the cultural pattern of the host community is determined by its historical experience. Such experience made by the German people is irrevocably marked by the division of the German state after the Second World War. In this case, a distinction can be made between a collective memory and the remembrance of individuals.In the second part of the paper Gerhard Gesemann’s novel Die Flucht (1935), marking the anniversaries on the occasion of WWI, is being introduced in its function of a remembrance literature dealing with the retreat of the Serbian military in the Great War together with its expelled residents from the homeland to their asylum in Corfu. Since the Middle Ages and culminating in WWI the historical experience of the Serbian people created a perception of statehood as an insecure category. In connection with this, the subject area of hospitableness gives a whole new dimension to the context of the migration flows and their cause. This will be examined in the context of cultural contact, especially motivated by the idea of the EU as a project of a common cultural space. Therefore, the question of disintegrative processes on what is today called the Western Balkans is considered to be important.Relying on a culture founded in universality just the hospitality of Western Europe is questioned, accordingly. In addition, the migration flows towards Western European civilization reveal limits of contemporary cultural understanding. The reorganization of a cultural landscape after the First World War shifted the areas of tension to new ones as a result of the accompanying social changes. As is known, this can be seen in the reporting&nbsp;and media activity which began in the First World War and is becoming ever more intense. Regardless of the historical process during the Second World War, the beginnings of the documentary role of the media since the First World War seem to have reached the climax of their debatable function just today. But a literary-critical approach, including recourse to motifs from the history of literature, both in contrast to a reality staged by the media, provides insights into current processes of general cultural development.&nbsp;By comparing these two novels on both “refugee-ness” and state of insecurity, the paper points out different cultural forms existing because of the accumulated historical experiences, and shows how this circumstance influences the understanding of the aforementioned topics. Following this idea, the contribution underlines additional differences in defining the concept of home by describing cultural patterns and their treatment of the mediated reflected reality.

The Perception of a State of Insecurity in Literature on Global Occurrences. Gehen, Ging, Gegangen vs. Die Flucht

Barış

CfP: Issue 53 (2025/1)

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

Albrecht

Prof. Dr.

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

Khrystyna

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

Foto und Text: Medienkombination in der literarischen Reportage „Die Slawen von nebenan – Sorbische Reise durch Deutschland“ von Karl-Markus Gauß

Uğur

Lokman

Analyse der türkischen Übersetzungen von Schneewittchen der Gebrüder Grimm im Kontext der Skopostheorie

Seval

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

Hyäne als Metapher in der Kurzprosa von Siegfried Lenz und Necip Fazıl Kısakürek

Süreyya

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

Theodor Fontane’nin L’Adultera Eserinde Medyalararası Bağlantılar

Ayşegül

Assist. Prof. Dr.

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

Göstergebilim ve Nesnelerin Hafızası: Serdar Somuncu’nun Getrennte Rechnungen (Ayrı Hesaplar) Adlı Eserinin Yananlam Gösterenleri Bağlamında Değerlendirimi

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Heiko

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

W. O. von Horn’un ve Karl May’ın Öykülerine İlişkin Halkbilimi ve Edebiyat Bilimi ile Bakış

Withold

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

Gespräche wie bei Auftritten im Theater Eisenbahnen als Bühne in den Romanen Emine Sevgi Özdamars

Zehra

Edebi Çeviride Nitelik. E.T.A. Hoffmann’ın Novellası Das Fräulein von Scuderi’nin Türkçe Çevirileri Örneğinde Bir İnceleme

Sang-bum

Michael

„Wir werden dem Tao nachgehen“ ‒ Der Einfluss Asiens auf die Poetik des Expressionismus am Beispiel der Autoren Alfred Döblin und Gottfried Benn

Stellan

„Erwachsen werden“ – Männlichkeit, Gewalt und Genre in Fatih Akıns Milieufilm Kurz und schmerzlos

Sabine

Çoklu perspektiflilik, anakroni ve güvenilmezlik: Vantage Point ve Forestillinger örneğinde günümüz filminde sinoptik ve kaleidoskopik yöntemler

Valeria

Prof.

Kommunikation in der Wissenschaft: Ein Plädoyer für Mehrsprachigkeit

Sergei

Fachsprache ´Linguistik´ in der universitären Kommunikation: explizite und implizite Autorisierung sprachwissenschaftlicher Texte

Ali Osman

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

Zum pädagogischen Wert der Kinderliteratur am Beispiel von Else Günthers Roman Sonjas lustige Türkenreise

Laura

Wolfgang Koeppens Erzählungen: mehrere Wege eines autobiographischen Schreibens

Franziska

"Wir nennen ihn Sohn" – zum Nexus von Identität, Familiengeschichte und Migration in Feridun Zaimoğlus Leyla

Özlem

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

Disiplinlerarası ve Medyalararası bir Yeniden Yazma Eylemi Olarak Metin ve Performans:  Hamlet Makinesi (1977) & “Ophelia’ya Ölüm Yakışır” (2005)

Cristiano

Sicilya’nın Neoklasik Grand Tour’u  ve Goethe’nin Italienische Reise Eseri

Saniye

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

„Ich bin nur ich.“ Zur ‚Krise des Subjekts‘ in Feridun Zaimoglus Roman Isabel

Antonie

Wissen referieren in der Fremdsprache Deutsch – Tesina und mündliche Präsentation als erste Schritte zum kritischen Denken?

Alena

Weibliches Schreiben männlicher Autoren der Migrationsliteratur? Zaimoğlus Leyla und Florescus Zaira

Deniz

Sarah

Garbage in Paradise – Müll und Rauminszenierung in Fatih Akıns Dokumentarfilm Müll im Garten Eden

Şebnem

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

Christian Kracht’ın 1979 Adlı Romanında  Zaman ve Mekân İmgelerinin Dağılması

Pınar

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

Der Künstler um die Jahrhundertwende als ein “Bürger auf Irrwegen”: Die Münchner Moderne in Thomas Manns Frühwerk auf der Suche nach ihrer Identität

Mahmut

Almanca konuşulan coğrafyalarda kozmopolit imgelemeler

Arne

Gabriella

Sprachliche Verfahren der Vermittlung naturwissenschaftlichen Wissens in PhysikVorlesungen: deutsch-italienische Perspektiven

Res. Assist.

Edebiyat ve Film. Edebiyat Bilimi Yaklaşımıyla Film Çözümlemesine Giriş

Riham

„Es ist der Schmerz, der uns verbindet“. Annäherung durch Verlust in September. Fata Morgana von Thomas Lehr

Gülay

Uluslararası Konferans: „Alman Eğitim Siteminde Çokdillliğin Geleceği: Rusça ve Türkçe Odaklı

Sevinç

Darstellung der fremdsprachlichen Kompetenzen der angehenden türkischen Deutschlehrer : Beispiel Universität Istanbul

7. Uluslararası Medya Dilbilim Kongresi: Medya Kültürü, Çok Katmanlılık ve Medyalararasılık

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

Eine vergleichende Studie zu Denkwelten von Deutschlehrern anhand von Metaphern

Erika

Germanistik zwischen Regionalität und Internationalität: 60 Jahre Temeswarer Germanistik

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

Bezugnahmen in wissenschaftlichen Texten und die Produktion von Mehrstimmigkeit: Eine deskriptive Analyse von deutschen und türkischen Fachzeitschriftenartikeln aus der Betriebswirtschaft

Wirtschaftsdeutsch als berufsbezogenes Fach im Curriculum von Germanistikstudiengängen in der Türkei – am Beispiel der Germanistikabteilung an der Universität Istanbul

Nilgün

Türk-Alman Üniversitesi Yabancı Diller Yüksek Okulu’nun „Almanya ve Türkiye Bağlamında Dilsel ve Kültürel İlişkiler“ Konulu Mesleki Toplantısı

Mukadder

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

Selbstständige Lerngewohnheiten der LehramtsanwärterInnen für Deutsch als Fremdsprache

Şeyda

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

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

Das politische Fernsehinterview und kommunikative Misserfolge für Journalisten

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

Diskursanalyse interdisziplinär, Bremen - Berlin 17.08.2014 - 31.08.2014

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, İstanbul Üniversitesi, Edebiyat Fakültesi, Alman Dili ve Edebiyatı Anabilim Dalı tarafından 1954 yılından beri yayınlanan, uluslararası, hakemli, açık erişimli yılda iki kere Haziran ve Aralık aylarında çıkarılan bilimsel bir dergidir.

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur dergisinde, Alman dili ve edebiyatına odaklanılarak yapılan edebiyat bilimi, dilbilim, göstergebilim, kültürbilimi, medyabilimi ve film çalışmaları alanlarındaki disipliner ve/veya disiplinlerarası, kuramsal ve/veya uygulamalı çalışmalar yer almaktadır. Dergi bu alanlarda bilimsel bilginin paylaşıldığı global bir platform oluşturmayı amaçlar.

Dergide, araştırma makalelerinin yanı sıra, yukarıda sıralanan alanlarda yazılmış bilimsel kitapların tanıtıldığı inceleme yazılarına ve yine aynı alanlarda düzenlenen ulusal veya uluslararası kongrelerin tanıtım yazılarına da yer verilmektedir. Derginin yayın dilleri Almanca, İngilizce ve Türkçe’dir. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, lisansüstü öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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. Açık Erişim İlkesi ve Telif Hakkında bilgi için: http://sdsl.istanbul.edu.tr/tr/content/hakkimizda/acik-erisim-ilkesi

MLA International Bibliography

ProQuest

Scopus

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

MIAR

Gale Cengage

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Alman Dili ve Edebiyatı Dergisi

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Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, İstanbul Üniversitesi, Edebiyat Fakültesi, Alman Dili ve Edebiyatı Anabilim Dalı tarafından 1954 yılından beri yayınlanan, uluslararası, hakemli, açık erişimli yılda iki kere Haziran ve Aralık aylarında çıkarılan bilimsel bir dergidir.Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur dergisinde, Alman dili ve edebiyatına odaklanılarak yapılan edebiyat bilimi, dilbilim, Göstergebilim, kültürbilimi, medyabilimi ve film çalışmaları alanlarındaki disipliner ve/veya disiplinlerarası, kuramsal ve/veya uygulamalı çalışmalar yer almaktadır. Dergi bu alanlarda bilimsel bilginin paylaşıldığı global bir platform oluşturmayı amaçlar.Dergide, araştırma makalelerinin yanı sıra, yukarıda sıralanan alanlarda yazılmış bilimsel kitapların tanıtıldığı inceleme yazılarına ve yine aynı alanlarda düzenlenen ulusal veya uluslararası kongrelerin tanıtım yazılarına da yer verilmektedir. Derginin yayın dilleri Almanca, İngilizce ve Türkçe’dir. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, lisansüstü öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Amaç ve Kapsam

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

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.İntihal Ön 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 %10'dan az olması beklenir.Dergimizde lisans, yüksek lisans ve doktora tezleri ile tam metin ya da özet olarak yayınlanmış olan kongre bildirilerinden üretilen çalışmalara yer verilmemektedir. 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

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank">BOAI</a> açık erişim tanımıyla uyumludur. Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır.

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 dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 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 adapte edilmesine 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/about-icmje/faqs/conflict-of-interest-disclosure-forms/" 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.

Yapay Zeka konusundaki gelişmeler ve akademik yayıncılıkta görülen uygulamalar dikkate alınarak oluşturulan Yapay Zeka Politikası, yazarların, hakemlerin ve editörlerin bu türden teknolojilerin kullanımında uymaları gereken editöryal ve etik ilkeleri içerir. Yapay Zeka politikasının oluşturulmasında, aşağıdaki kaynaklar dikkate alınmıştır:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi), metin, görüntü, ses ve sentetik veriler dahil olmak üzere çeşitli içerikler geliştirebilmekte ve üretebilmektedir. Bu yetenekleri etik ve güvenli bir şekilde kullanıldığında üretkenliği artırabilir ve yeniliği teşvik edebilir; ancak insan yönlendirmesi olmadan kullanımında doğru olmayan ve taraflı sonuçlar; atıf verme konusunda eksikler ve hatalar; gizlilik ve fikri mülkiyet haklarının korunmasında eksiklikler; yazar ve yayıncıların haklarının potansiyel ihlali gibi riskler taşımaktadır. IUPress, Yapay Zeka kullanımı konusunda söz konusu riskleri bertaraf etmeyi amaçlayan aşağıdaki temel ilkeleri benimser:  <ul><li>İçerik üretiminde kullanılan (metin, şekiller, resimler ve kod dahil ancak bunlarla sınırlı olmamak üzere) her türlü Yapay Zeka ile ilgili ayrıntılar çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında) beyan edilmeli ve net biçimde açıklanmalıdır. </li><li>Hiçbir Yapay Zeka aracı hiçbir bilimsel çalışmada yazar olarak listelenemez. </li><li>Yazarlar, herhangi bir şekilde Yapay Zeka kullanımı durumunda da çalışmalarının doğruluğu, bütünlüğü ve özgünlüğünden sorumludur; başkalarının fikirleri, verileri, kelimeleri veya diğer materyallerini doğru referanslama ve atıf ile sunmakla yükümlüdürler. </li><li>Hakemler ve editörler gönderilen çalışmayı tamamen ya da kısmen hiçbir üretken Yapay Zeka uygulamasına yükleyemez. </li></ul>IUPress yayınlarının editöryal süreçlerinde, Yapay Zeka ile üretilmiş içerikleri tespit eden yardımcı araçlar editörlerin kullanımındadır. Öte yandan okunurluğu, dil ve grammeri iyileştirme ve geliştirme konusunda önerilerde bulunan Yapay Zeka araçlarının kullanılması yaygındır ve IUPress  yayınlarında bu türden Yapay Zeka araçları editörlerin ve yazarların gözetiminde kullanılabilir.

Yapay Zeka Politikası

<ul><li>Yazarlar, gönderdikleri çalışmayı oluştururken <a target="_blank">Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi) </a>kullandılarsa, bunu  beyan etmekle yükümlüdür. </li><li>Yazarlar hem ön yazıda hem de sunulan çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında), hangi Yapay Zeka aracını ve hangi versiyonunu ne amaçla kullandıklarını açıklamalıdır. </li><li>Yapay Zeka destekli teknolojilerden yararlanılarak oluşturulan içeriğin ve alıntıların doğruluğu, geçerliliği ve uygunluğunun sağlanması, olası hata, tutarsızlık ve taraflı sonuçların giderilmesi yazarların sorumluluğundadır. </li><li>Yazarlar, Yapay Zeka destekli teknolojiler ile üretilmiş metinlerde intihal potansiyeli olduğunu dikkate alarak, olası intihali bertaraf etmek için orijinal kaynakları mutlaka kontrol etmelidir. Kontrol ettiğini ve kaynakların orijnal kaynaklar olduğunu teyid etmelidir.  </li><li>Yapay Zeka destekli araçlar (ChatGPT gibi) yazar olarak listelenemez çünkü çalışmanın doğruluğundan, bütünlüğünden ve orijinalliğinden sorumlu olamazlar ve bu sorumluluklar yazarlık için şarttır. Bu nedenle, Yapay Zeka destekli teknolojilerin kullanımını içeren tüm materyallerden yazarlar sorumludur. Yazarlar, makalede yer alan ve çalışmanın hipotezlerini, yorumlarını, sonuçlarını, sınırlamalarını ve çıkarımlarını bildiren tüm ifadelerin kendi fikirlerini temsil ettiğinden emin olmalıdırlar.  </li><li>Yazarların, Yapay Zeka araçlarını temel araştırmacı ve yazar sorumluluklarının yerini alacak, aşağıdaki şekillerde kullanarak oluşturdukları çalışmalar bilimsel yayıncılık ve yayın etiği ilkelerine aykırıdır ve bu türden çalışmaların yayınlarda yer almasına izin verilmez: <ul><li>Titiz revizyon olmadan metin veya kod oluşturma, </li><li>Sağlam bir metodoloji olmadan eksik verileri ikame etmek için sentetik veri üretimi,  </li><li>Özetler veya ek materyaller de dahil olmak üzere her türlü hatalı, sentetik içerik oluşturulması </li><li>Yapay Zeka kullanımı ile görüntü ve şekillerin (resimler, çizelgeler, veri tabloları, tıbbi görüntüler, görüntü parçacıkları, bilgisayar kodları ve formüller) veya orijinal araştırma verilerinin oluşturulması ve manipüle edilmesi (bir görüntü veya şekil içinde belirli bir özelliğin artırılması, gizlenmesi, taşınması, kaldırılması veya eklenmesi).</li></ul></li></ul>

Hakem sürecinde gizliliğin korunması, değerlendirilen çalışmanın bu süreçte paylaşılmaması veya kullanılmaması esastır.  <a></a><a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>) <ul><li>Hakemler, kendilerine değerlendirme için gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka araçlarına veya Büyük Dil Modellerine yüklememelidirler; zira hakemlerin bu türden Yapay Zeka araçlarına içerik yüklemesi yazarların gizlilik ve mülkiyet haklarını ihlal eder.  </li><li>Bilimsel bir makalenin incelenmesi, yalnızca insanlara atfedilebilecek sorumluluktur. Hakem değerlendirmesi için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Hakem raporu ve karar mektupları, hakemlerin ve editörlerin gönderilen içeriğe ilişkin kişisel değerlendirmelerini yansıtmalıdır. Hakem, raporunun içeriğinden sorumludur ve hesap vermekle sorumludur. </li><li>Yapay Zeka araçları, hakem değerlendirmesi ile bağlantılı olarak hakem değerlendirme raporu dilinin kalitesini artırmak için (çeviri veya dil düzenlemesi için) sınırlı bir şekilde kullanılabilir. Böyle bir kullanım olduğunda, hakem raporu iletirken, kullanımı beyan etmelidir. </li><li>Bir başvuruda üretken Yapay Zekanın uygunsuz veya açıklanmamış kullanımından şüphelenen hakemler, endişelerini dergi editörüne bildirmelidir. </li></ul>

Editörler dergiye gönderilen makalelerin değerlendirme sürecinde gizliliğinin korunmasını sağlamakla yükümlüdürler, değerlendirilen çalışmanın bu sürece dahil olan taraflar dışında paylaşılmaması veya kullanılmaması esastır <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editörler, yazarların gizlilik ve mülkiyet haklarını ihlal edebileceğinden, gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirilme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka  araçlarına veya Büyük Dil Modelleri'ne yüklememelidir. </li><li>Bilimsel bir makalenin editoryal değerlendirmesini yönetmek, yalnızca insanlara atfedilebilecek sorumluluklar anlamına gelir. Üretken Yapay Zeka veya Yapay Zeka destekli teknolojiler, editörler tarafından bir makalenin değerlendirme veya karar verme sürecine yardımcı olmak için kullanılmamalıdır, çünkü bu iş için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Editör, editoryal süreçten, nihai karardan ve bunların yazarlara iletilmesinden sorumlu ve mesuldür.</li><li>Editörler, karar mektupları veya yayınlanmamış araştırmaların özetlerini oluşturmak için üretken Yapay Zeka aracı kullanmamalıdır. </li><li>Editörler, uygun hakemleri bulma konusunda yardımcı olması için üretken Yapay Zeka araçlarını kullanabilir.</li><li>Editörler, gönderilen bir makalede veya gönderilen bir hakem raporunda üretken Yapay Zeka kullanıldığından şüphelenirse konuyla ilgili editoryal bir değerlendirme yapmalı ve politikayı göz önünde bulundurmalıdır. </li></ul>

Alman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, 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 adres: <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 tüm makaleler orijinal, yayınlanmamış 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/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.

Etik

Dergi 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.</li><li>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 alındığı 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/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a>'nda 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.

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden 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. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Baş 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 baş 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 baş editör tarafından verilir.

Hakemlik Hakkında

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirirler. 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. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır. Baş 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.Hakemler, araştırma, yazarlar ve/veya araştırmaya fon sağlayanlarla çıkar çatışması içinde olmamalıdır. Hakemler 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 baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Baş 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 baş editör tarafından verilir.Baş 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.

<div style="text-align: left;">Dil</div><div><div style="text-align: left;"> </div><div style="text-align: left;">Dergide Türkçe, Almanca ve İngilizce makaleler yayınlanır. Her makalede, makale dilinde öz ve İngilizce öz olmalıdır. Tüm makalelerde ayrıca İngilizce geniş özet yer almalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Yazıların Hazırlanması</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Aksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi online olarak ve <a href="https://dergipark.org.tr/tr/pub/iuaded" target="_blank">https://dergipark.org.tr/tr/pub/iuaded</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili detayları içeren (bkz: Son Kontrol Listesi) bir mektup; 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/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a> eklenerek gönderilmelidir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">1.    Çalışmalar, A4 boyutundaki kağıdın bir yüzüne, üst, alt, sağ ve sol taraftan 2,5 cm. boşluk bırakılarak, 10 punto Times New Roman harf karakterleriyle ve 1,5 satır aralık ölçüsü ile ve iki yana yaslı olarak hazırlanmalıdır. Paragraf başlarında tab tuşu kullanılmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">2.    Metnin başlığı küçük harf, koyu renk, Times New Roman yazı tipi olarak sayfanın ortasında yer almalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">3.    Giriş bölümünden önce 200-250 kelimelik çalışmanın kapsamını, amacını, ulaşılan sonuçları ve kullanılan yöntemi kaydeden makale dilinde ve İngilizce öz ile 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. Çalışmanın İngilizce başlığı İngilizce özün üzerinde yer almalıdır. İngilizce ve makale dilinde özlerin altında çalışmanın içeriğini temsil eden, makale dilinde 5 adet, İngilizce 5 adet anahtar kelime yer almalıdır. </div><div style="text-align: left;">4. Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">5.    Çalışmaların başlıca şu unsurları içermesi gerekmektedir: Makale dilinde başlık, öz ve anahtar kelimeler; İngilizce başlık öz ve anahtar kelimeler; İngilizce genişletilmiş özet, ana metin bölümleri, son notlar ve kaynaklar.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">6.    Nicel ve nitel çalışmalar, Giriş, Yöntem, Bulgular, Tartışma bölümlerini içermelidir. Yöntem kısmında, eğer özgün bir model kullanılmışsa, model alt bölümü ile mutlaka Örneklem/Çalışma Grubu, Veri Toplama Araçları ve İşlem alt bölümleri bulunmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">7.    Çalışmalarda tablo, grafik ve şekil gibi göstergeler çalışmanın takip edilebilmesi açısından numaralandırılarak, tanımlayıcı bir başlık ile birlikte metin içinde verilmelidir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">8.    Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/641CF78DDE4545A9B411D38282EF461D" target="_blank">kapak sayfası</a> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, telefon numarası, e-posta adresleri ve ORCID’leri yer almalıdır (bkz. Son Kontrol Listesi).</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">9.    Tablolar, Şekiller ve Resimler</div><div style="text-align: left;"> </div><div style="text-align: left;">Tablo, şekiller ve resimler bold olarak yazılmalıdır. Her tablo, şekil ve resim ayrı ayrı numaralandırmalı ve tamamının içeriğini özetleyen bir başlığı olmalıdır. Tablo, şekil veya resimle ilgili belirtilmesi gereken daha detaylı bilgiler varsa dipnotta verilmelidir. Başlık ile tablo/şekil/resim arasında bir satır boşluk bırakılmalıdır. </div></div><div><div style="text-align: left;">  </div><div style="text-align: left;">        Örnek: Tablo 1: Öğrencilerin Dil Kullanımı / Resim 1: René Magritte İmgelerin Laneti</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">10.    Metinde derginin yayın dilleri olan Türkçe, Almanca ve İngilizce haricindeki tüm sözcükler/tümceler italik yazılmalıdır.</div><div style="text-align: left;"> </div><div style="text-align: left;">        Örnekler: 1968 führte Jacques Derrida den Begriff la différance in die Philosophie ein.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">                   Lexikalisch zentral sind die Wörter pelle, rughe, viso und luce.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">11.    Metin içi alıntılar orijinal metinde nasılsa (italik/bold/düz) makalede de öyle verilmelidir.</div><div style="text-align: left;">Uzunluğu en fazla 3 satıra kadar olan alıntılar şu noktalama işaretleri ile verilmelidir:</div><div style="text-align: left;"> </div><div style="text-align: left;">“….” (TR/İNG) ,,……“ (ALM) ile, eğer daha uzunsa blok alıntı olarak ayrı verilmelidir. Daha uzun alıntılar blok alıntı biçiminde verilmeli ve kesinlikle tırnak işareti veya başka bir işaret kullanılmamalıdır. Her alıntının kaynağı (tarih ve sayfa numarası) belirtilmelidir.</div><div style="text-align: left;"> </div><div style="text-align: left;">Örnek: Almanca yazılmış bir makalede kısa alıntı &gt; Die Szene eröffnet mit dem Ausspruch „Pietro Aretino war ein Spötter, / Und trotzdem hat ihn Tizian gemalt.“ (Wedekind, 2009, Band VII,1, S. 275).</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Almanca yazılmış bir makalede uzun alıntı &gt; Gegen Ende der Szene stürmt der Polizeipräsident die Bühne und versucht, das Publikum vor der Nacktheit zu schützen:</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Besteht das Publikum da unten vielleicht aus Paradieskindern? Nein! Besteht das Publikum aus lauter Geistesgrößen? Nein! Der normale Staatsbürger kann nun einmal die Wahrheit nicht hören und die Nacktheit nicht sehen, ohne außer Rand und Band zu geraten, ohne gemeingefährlich zu werden. (Wedekind, 2009, Band VII,1, S. 281)</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">İngilizce yazılmış bir makalede kısa alıntı &gt; Lennard J. Davis writes “To understand the disabled body, one must return to the concept of the norm, the normal body” (Davis, 1995, p. 23).</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">İngilizce yazılmış bir makalede uzun alıntı &gt; The Author Lennard J. Davis continues,</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">So much of writing about disability has focused on the disabled person as the object of study, just as the study of race has focused on the person of color. But as recent scholarship on race, which has turned its attention to whiteness, I would like to focus not so much on the construction of disability as on the construction of normalcy. I do this because the problem is not the person with disabilities; the problem is the way that normalcy is constructed to create the ‘problem’ of the disabled person. (Davis, 1995, pp. 23–24)</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Türkçe yazılmış bir makalede kısa alıntı &gt; Akşit Göktürk ütopya adasını “örnek yasalarla kurulmuş mutlu bir toplum düzeni” olarak tanımlar (Göktürk, 2012, s. 60-61).</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Türkçe yazılmış bir makalede uzun alıntı &gt; Batı’nın zamanı ideal tarihin inşasının kurucu öğesi olarak görmesi, Engelhardt’ı zamanın ve tarihin dışında bir şimdi yaratmaya sevk eder:</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Zira Engelharhdt’ın, komodin olarak kullandığı bir kütüğün üzerine yerleştirdiği ve bir anahtar vasıtasıyla düzenli bir şekilde kurduğu saati tek bir kum tanesi yüzünden geri kalmaktaydı, kum tanesi kendisine saatin içinde yay ile vızıldayan küçük bir dişli arasında rahat bir yer bulmuştu ve sert, öğütülmüş mercan iskeletinden meydana geldiği için Kabakon zamanının minimal ölçüde yavaşlamasında neden oluyordu (Kracht, 2012, s. 74)</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">12.    Kaynakça başlığı Almancada “Literaturverzeichnis”, İngilizcede “References”, Türkçede “Kaynakça” olarak yazılmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">13.    Özlerin başlığı Almanca ve İngilizcede “Abstract”, Türkçede “Öz” olarak belirtilmelidir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">14.    Kitap adları vb. kısaltmalar kullanılacaksa mutlaka ilk kısaltıldığı yerde dipnot ile belirtilmelidir ve metnin devamında kısaltma olarak kullanılmalıdır.</div><div style="text-align: left;"> </div><div style="text-align: left;">Örnek: Kitap adı &gt; Verwirrung der Gefühle (Zweig, 1926) &gt; VG olarak kısatıldıysa metnin tamamında VG olarak kullanılmalıdır.</div><div style="text-align: left;"> </div><div style="text-align: left;">Belli bir dönemin adı &gt; World War I &gt; WWI olarak kısatıldıysa metnin tamamında WWI olarak kullanılmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">15.    Metinde vurgulamak istenen sözcükler/sözcük öbekleri makale dili Almanca ise ,...... ʽ İngilizce veya Türkçe ise ‘……’ işaretleri içinde verilmelidir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Örnek: Almanca yazılmış bir makalede &gt; Haushofer perspektiviert die Natura us einem ,femininien Stanpunktʽ.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">İngilizce yazılmış bir makalede &gt; As a matter of fact, this speaks about ‘hopelessness’ and ‘the way to uncertainty’.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Türkçe yazılmış bir makalede &gt; Romandaki adada dış dünyada akıp giden zamanın aksine bir tür ‘zamansızlık’ hüküm sürer.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">16.    Bütün eser adları (Roman, Film, Şarkı, Dergi vs.) italik yazılır.</div><div style="text-align: left;"> </div><div style="text-align: left;">Örnek: Schachnovelle, Die Wand, Cosmopolitan, Frankfurter Allgemeine, Kaltes Klares Wasser</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">17.    Özel isimler/kişi adları italik ya da bold olmamalıdır.</div><div style="text-align: left;"> </div><div style="text-align: left;">18.    Başlık ve ara başlık kullanımı:</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Makalede ara başlık kullanımı yazarın tercihine bırakılmıştır. Eğer ara başlık kullanılacaksa metinde bütünlüğün sağlanması için tüm ara başlıklar numaralandırılmalıdır ve metnin tamamında aynı sistem tercih edilmelidir. Sadece numaralardan oluşan ara başlıklar kullanılmamalıdır. Numaralandırmada yalnızca Arap rakamları (1, 2, 2.1, 2.2…) kullanılabilir. Romen rakamları, harfler veya farklı işaretler kullanılmamalıdır. Ara başlıklar makalenin tamamında bold yazılmalıdır. Başlıklarda eser adları kullanılacaksa mutlaka italik yazılmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Örnek:</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">1 Einleitung</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">2 Erstes Kapitel</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">2.1 Erstes Unterkapitel des ersten Kapitels</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">2.2 Zweites Unterkapitel des ersten Kapitels</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">3 Zweites Kapitel</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">3.1 Erstes Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">3.2 Zweites Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">3.3 Drittes Unterkapitel des zweiten Kapitels</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">4 Drittes Kapitel</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">5 Schluss</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Literaturverzeichnis</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">Anhang</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">19.    Kurallar dâhilinde dergimize yayınlanmak üzere gönderilen çalışmaların her türlü sorumluluğu yazar/yazarlarına aittir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">20.    Yayın kurulu ve hakem raporları doğrultusunda yazarlardan, metin üzerinde bazı düzeltmeler yapmaları istenebilir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">21.    Dergiye gönderilen çalışmalar yayınlansın veya yayınlanmasın geri gönderilmez.</div> </div>

Yazım Kuralları

Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:Editöre mektup<ul type="disc"> <ul type="circle"> <li>Makalenin türü</li> <li>Başka bir dergiye gönderilmemiş olduğu bilgisi</li> <li>Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</li> <li>Kaynakların APA7’ye göre belirtildiği</li> <li>İngilizce yönünden kontrolünün yapıldığı</li> <li>Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a>Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesiMakale kapak sayfasında olması gerekenler<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/641CF78DDE4545A9B411D38282EF461D" target="_blank">Makale kapak sayfası</a><ul type="disc"> <ul type="circle"> <li>Makalenin kategorisi</li> <li>Makale dilinde ve İngilizce başlık</li> <li>Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li>Sorumlu yazarın e-posta adresi, açık yazışma adresi ve telefonu</li> <li>Tüm yazarların ORCID’leri</li> </ul> </ul>Makalenin ana metni<ul type="disc"> <li>Makale dilinde ve İngilizce başlık</li> <li>Özetler 200-250 kelime makale dilinde ve 200-250 kelime İngilizce</li><li>Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</li> <li>Anahtar Kelimeler: 3 makale dilinde ve 5 İngilizce</li> <li>İngilizce genişletilmiş özet (Extended Abstract) 800-1000 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li> </ul>Makale Gönderme<ul type="disc"> <li style="text-align: left;">Makalenin gönderileceği DergiPark sayfası adresi: <a href="https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/35/submission/step/manuscript/new</a></li><li style="text-align: left;">Yapılan başvurularda, çalışmanın sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile sorumlu yazara iletilmektedir.</li> <li style="text-align: left;">Makale ana metninin dosyasını (Main Document)  yüklerken, çift taraflı kör hakem süreci gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur barındırmadığından emin olun. Makale ana metni dosyası (Main Document) başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her sayfada tekrar eden ve yazar adlarını içerebilen başlık).</li> </ul><ul type="disc"> </ul>Ayrı Ayrı Yüklemeniz gereken dosyalar:<ul type="disc"> <li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a></li> <li>Resim, Tablo vb başka kaynaktan alındıysa izin belgesi</li> <li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/641CF78DDE4545A9B411D38282EF461D" target="_blank">Makale Kapak Sayfası</a></li> <li>Makale Ana Metni Dosyası  (Bu dosya aşağıdaki unsurları içermelidir)</li> </ul><ul type="disc"> <ul type="circle"> <li>Makale dilinde ve İngilizce başlık</li> <li>Özetler 200-250 kelime makale dilinde ve 200-250 kelime İngilizce</li><li>Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir.</li> <li>Anahtar Kelimeler: 3 makale dilinde ve 5 İngilizce</li> <li>İngilizce genişletilmiş Özet (Extended Abstract)  800-1000 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li></ul></ul><ul type="disc"> </ul>

Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da, her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.Kabul edilmiş ancak henüz sayıya dahil edilmemiş makaleler Early View 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 FormatıAlman Dili ve Edebiyatı Dergisi - Studien zur deutschen Sprache und Literatur, 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.-    <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.Yukarıda sıralanan koşulları yerine getirmemiş çalışma kabul edilmez, eksiklerinin tamamlanması için yazara iade edilir. Yayın Komisyonu tarafından kabul edilen yazılar basıma kabul sırasına göre yayınlanır. Baskı tashihleri yazarlar tarafından yapılır.

Aşağıdaki listede eksik olmadığından emin olun:●    Editöre mektupü    Makalenin türüü    Başka bir dergiye gönderilmemiş olduğu bilgisiü    Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)ü    İngilizce yönünden kontrolünün yapıldığıü    Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiğiü    Metin içi atıfların ve kaynakların APA 7 ile uyumlu olarak gösterildiği●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a>●    Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/641CF78DDE4545A9B411D38282EF461D" target="_blank">Makale Kapak sayfası</a>ü    Makalenin kategorisiü    Makale dilinde ve İngilizce başlıkü    Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakültebilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleriü    Sorumlu yazarın e-posta adresi, açık yazışma adresi, telefonuü    Tüm yazarların ORCID’leri●    Makale ana metniü    Makale dilinde ve İngilizce başlıkü    Özetler 200-250 kelime makale dilinde ve 200-250 kelime İngilizceü    Anahtar Kelimeler: 3 adet makale dilinde ve 5 adet İngilizceü    İngilizce genişletilmiş Özet (Extended Abstract) 800-1000 kelime ü    Makalelerin, özet(ler) ve genişletilmiş özet hariç, 5000 - 8000 kelime aralığında olması gerekmektedir. ü    Makale ana metin bölümleriü    Finansal Destek (varsa belirtiniz)ü    Çıkar Çatışması (varsa belirtiniz)ü    Teşekkür (varsa belirtiniz)ü    Son notlar (varsa belirtiniz)ü    Kaynaklarü    Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9A212C54F9F0458D801DE5E6BEC89A2C" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/641CF78DDE4545A9B411D38282EF461D" target="_blank">Makale kapak sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F715CADC86824451A7084A0ACEA2EB6F" target="_blank">Yazar Formu</a>

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