Albrecht

Medieval Royal Courts and Their Critics: A New Perspective on Courtly Romances and Verse Narratives, with an Emphasis on Heinrich der Glîchezâre’s Reinhart Fuchs

Georg

Assoc. Prof.

For about a decade, the Reichsbürgerbewegung [Reich citizens’ movement] has increasingly been the focus of public attention, even though the roots of this political phenomenon go back many decades. This political current negates the legitimacy of the state order of the Federal Republic of Germany. However, this movement is ideologically nonuniform and extremely nonhomogeneous in terms of ideology. Some Reich citizen organizations bear esoteric or religiously motivated names. In addition, some religious fundamentalist influences are known to have occurred on the movement. However, research on this aspect of the Reich citizens movement has not yet been conducted, just as research on Reich citizens as a whole remains deficient. Against this background, this article therefore examines whether Reich citizens use religious language in texts on the Internet, and if so, to what extent and in what form. To this end, the article first defines religious language in more detail. Given the breadth of the spectrum of religious language, the study is based on original Christian lexises. On the basis of current reports regarding the protection of the constitution (Verfassungsschutz) in the Federal Republic of Germany and an evaluation of sources on known Reich citizens, a total of 34 Internet domains have been identified that will serve as the basis for the investigation. Numerous other domains operated by Reich citizens are still present on the Internet but have not been updated in recent years and have therefore been excluded from the study. Moreover, due to the dynamics of the political movement, some of the groups mentioned in the reports regarding the protection of the constitution have already been dissolved again today and thus are no longer detectable on the Internet. The pilot investigation first examined four lexemes with regard to their distributions in the texts of these domains and showed that in one third of the investigated domains, religious lexis clearly had no or only secondary importance. Another third of the domains’ religious lexis were clearly relevant, and the remaining third are seen to contain religious lexises quite frequently. The in-depth analysis then proves the frequency of a broader spectrum of religious lexises. For this purpose, the article used corpus analysis programs to determine&nbsp;the distribution of these lexemes then exemplified the specific contexts of use. Religious lexises are integrated into Reich citizens’ typical discourses and narratives. Finally, with regard to religious argumentation, three domains with highly frequent religious lexises were examined in greater detail. This revealed very different concepts of how religious argumentation is used to legitimize Reich citizens’ ideology (i.e., justification for völkisch [ethnic] concepts) as higher knowledge or even as part of their identity, this latter case also being seen to attribute god-like qualities to the founder of the Reich citizens movement. Due to the texts from Reich citizens often also being characterized by pseudolegal argumentation, one can assume in parallel that both legal and religious argumentation is intended to serve as the ultimate justification and thus legitimization of Reich citizens’ ideology.

Religiöse Sprache in reichsbürgerlichen Texten

Ksenia

This contribution analyzes how feminine figures’ consciousness is represented in the texts Jew’s Beech by Annette von Droste-Hülshoff, Нелюдимка [The Misanthrope] by Evdokiya Rostopchina, and Вечер у камина [An Evening by the Fireplace] by Anna Bunina. Although Jew’s Beech has enjoyed a broad research response, this study will focus is on other aspects. The text The Misanthrope wasn’t translated into German until 2019 and is also considered to be unexplored in the international discourse. This also applies to Anna Bunina’s oeuvre, with a few exceptions. These facts determine the innovative component of the present contribution. The intended analysis uses the theories of cognitive narratology and combines them with elements of text-oriented analysis to focus on the female characters’ ‘mental events’. Close readings are used as the method of literary analysis, with the representation of consciousness being assumed to be realized explicitly and implicitly in both epic and dramatic texts. In the first form, consciousness is marked as the object of the representation, while the latter form is a motivating factor that needs to be reconstructed. This justifies the characters’ verbal, mental, and factual actions, with indicative and symbolic forms also being found to represent consciousness.The following questions guide the intended analysis: How has the characters’ consciousness in epic and dramatic texts been aestheticized at the levels of histoire and discours, how are narrative strategies such as intertextual narration used for this, can similarities be identified in the texts of the German and Russian texts in relation to the representation of consciousness, and can discontinuities be identified in the depiction of the inner worlds?The use of narratological categories such as narrator, focalization, and mental event, as well as templates for the presentation of speech and thoughts have allowed the study to arrive at the following results. Anna Bunina depicted a world strictly regulated by the norms of corporate society, with her text having a narratorial perspective. The clearly profiled, reliable, omniscient narrator with unrestricted introspection continuously incorporates his assessments and comments into the course of the narration and clearly conveys an instructive, moralizing intonation. This applies to the characters Nina and Timon, as well as to Nina’s parents. The narrator augments the images of femininity that prevailed in patriarchal society at the time the text was written and again indicates the discourse to also restrict the freedom of male individuals severely. Nevertheless, Nina’s lamentation is to be understood as a direct inner monologue and soliloquy in which the narrator lets Nina reveal her finest soulful movements and confessions, indicating her imminent death. This predetermination in the lament reduces the eventfulness, and the constitutive feature of unpredictability is missing. Intertextual relations and the allegorical parallelism of situations, as well as the mirroring and the variation of the central decision-making motif play a prominent role in depicting the inner world of the female figure.In the drama Нелюдимка [The Misanthrope] by Evdokiya Rostopchina, the prospectively contrasting character monologues evoke the feeling of unreliability and reveal the figural contents of consciousness. The narrator’s ascriptions specify the characters’ inner happenings. The intertextual connections, the mirroring and variation of core motifs, the music, and finally the contra-facture of intra-textual relations of thematic units play a decisive role in the representation of consciousness.In the story Jew’s Beech by Annette von Droste-Hülshoff, the flexibility of the narrator functions as a distinctive feature of the narration. The narrator indicates the need to interpret the representation of consciousness but doesn’t attempt to explain what is happening nor the contents of consciousness. The concretization of the nexus of motives and actions is left to the interpreter. Because the conception of the character Margreth is characterized by underdetermination, the use of templates for speech and thought reproduction is marginalized. Regarding her character, one can speak of psychologia in absentia. However, the reader can refer to the following diegetic&nbsp;procedures: formation of intratextual equivalence of thematic units, the parallelism of situations, and the development and realization of phraseological turns of phrase, tropes, and clichés.In terms of similarities, all three female figures can be said to have been conceived with a rich inner world in which they try to hide, reflecting the extra-textual, sociopolitical, and mentality-historical discourses. The methods of representing their mental worlds are nearly identical, with all three figures’ oscillations between freedom and imprisonment appearing in the rigid social constructs. Nina’s death, Margreth’s inner antagonism, and Zoë’s distancing from society can be interpreted as an indication of rebellion and read as a plea for freedom and female self-determination.&nbsp;

Facetten des Unglücks: Ästhetische Verfahren der Bewusstseinsdarstellung in Texten von Annette von Droste-Hülshoff, Evdokija Rostopčina und Anna Bunina

Onur

Since the mid-1990s, social and cultural sciences have been discussing to which extend masculinity is in crisis and how this is reflected in social processes as well as artistic products – the crisis itself is largely taken as a fact. Raewyn Connell’s concept of ‘hegemonic masculinity’, which has meanwhile become a theoretical classic, is central in this context. With regard to the German-Turkish film, the crisis of masculinity can be attributed to the 2000s and 2010s in particular. What drives the relevant protagonists, who are mostly representatives of the second and third generation, is rather the individual search for their own lifestyle. It can be assumed that such searching movements also extend to the negotiations of gender roles. The article examines what this concretely means in terms of masculinity varieties implied in German-Turkish films – a subject that has so far been largely ignored in research. This will be realized on the basis of a serial of (subjectively) selected films, whose analysis is presenting a structural overview of the subject. The focus lies on four mutually impacting points: 1. state vs. milieu, 2. father vs. son, 3. Cain vs. Abel (the rivalry between brothers) and 4. man vs. woman. For the theoretical perspectivation of these oppositions, which are worked out in detail, various hypotheses from the Men’s Studies, which are attached to Connell’s concept of ‘hegemonic masculinity’, are applied.&nbsp;On 1.: In the life of young men with a migration background, the clique, peer group or gang is of central importance. For membership, in addition to immigrant or districtrelated origin, the criterion of gender is also decisive. To a certain extent, this is linked to the obligation of ‘doing masculinity’, which is expressed in the staging of (hyper)masculine physicality and the devaluation of homosexuality or femininity as well as in the exercise of violence. The masculinity practiced in such groups shows a more or less close relationship to violence or crime in general. In this sense, crime also appears in German Turkish films of the 2000s and 2010s, particularly in contexts in which the contrast between state and milieu is striking. This fact is illustrated in the first chapter with the help of the films Kanak Attack by Lars Becker, Asphaltgorillas by Detlev Buck and Wut by Züli Aladağ. On 2.: The main characters in German-Turkish films of the 2000s and 2010s, whether men or women, mostly come from the younger generation and thus tend to embody the phenomenon of transculturality. In contrast, the strict fathers usually represent the tradition of the country of origin. From the view of social science, their morally rigid behaviour is primarily due to their marginalized position as a man. If one reads the exaggerated and aggressive portrayals of masculinity by young people of Turkish origin against this background, they appear as a turning away from the father or as a helpless attempt to rehabilitate his devalued masculinity. Regarding the German-Turkish film, one could think of numerous male characters, although it goes without saying that the paths taken by the protagonists in their alternative conception of masculinity are not always lined with toxic masculinity and/or criminality. An example of this would be Nejat Aksu in Auf der anderen Seite by Fatih Akın; his relationship to his father forms the subject of the second chapter. On 3.: In addition to the father-son conflict, the motive of the fraternal feud is also to be mentioned. What characterizes this compared to the first variant is that the brothers are mostly at almost the same age – and thus de facto equal – with the older one always tending to be the “bad” of the two. Considered that rivalries are fought hardest where resources are particularly scarce or exclusive, it is not surprising that two prominent examples of the fraternal feud motive are Solino by Fatih Akın and Almanya – Willkommen in Deutschland by Yasemin Şamdereli, i.e. films which tell stories about the first generation of immigrants; they form the subject the third chapter is addressing to. On 4.: The dominance among men is of such central importance in German-Turkish films of the 2000s and 2010s that the question of its function on the heterosocial level inevitably arises. How are man-woman relationships staged here and which image of women is shown? Somebody who pursues this question will quickly realize that in the relevant films, women are mostly portrayed as self-confident, sometimes tough, and that they have a strong influence on heterosocial relationships, even dominating them quite often – a circumstance that is illustrated in the last part of the article including the examples of Einmal Hans mit scharfer Soße by Buket Alakuş and Asphaltgorillas by Detlev Buck.

Männlichkeit im deutsch-türkischen Film

Zennube

The Swiss author Peter Stamm got caught up in the dream of writing and took a break to do so. He spent long stays in the USA, France, England, Germany, and Scandinavia and gained a certain degree of notoriety with the publication of plays and radio theater between 1995-1997. In 1998, he published his debut novel Agnes and has also received a number of awards and prizes, such as the Honorary Gift from the City of Zurich twice (1988 and 2001), the Rauris Literature Prize in 1999, and most recently the Carl Heinrich Ernst Prize in 2004 (Eger, 2011, p. 1–2f). Peter Stamm is an important author who describes life by addressing the emotional depressions modern people experience and the contradictions with which they have to live. Stamm places surrogates in the world of the novel as representatives of compulsory daily lives. (Albayrak, 2017, p. 150) Peter Stamm is neither a psychologist nor an educator pastor; he doesn’t judge or condemn his characters but rather introduces and describes them. In so doing, he evokes different reactions in the reader, such as identification and distancing, as well as has the reader consider adopting a different perspective. Almost all stories have open endings, and sometimes with a certain chill. Stamm’s style of expression&nbsp;is unfussy, precise, and laconic, and he uses judgmental adjectives sparingly. Readers who want answers are prompted by the gaps in the books to look for them themselves and to work out constructive solutions to problems (Burger, 2013, p. 6). Peter Stamm presents his figures in a gripping narrative as individuals who want to escape from the problems of daily life and take shelter within themself, and anyone can take a part in these narratives. Because Stamm studied psychology and psychopathology and is a writer who knows human psychology closely, he also deals with his characters in this psychological world. Human being occur at the center of Peter Stamm’s works, and in his novel To the Back of Beyond, Stamm writes in great detail about the impulses, desires, and conflicts that shape human beings, handling them alongside all their desires and conflicts. According to the psychodynamic point of view, reasons exist behind each individual’s actions and behaviors. This causality is closely related to Freud’s principle of determinism and offers a number of ways to address background sources. Peter Stamm’s novel tells the interesting life story of a family in which one can evaluate some of the troubles in the figure’s spiritual world, as well as the problems in their mental world, based on Freud’s psychoanalytic system of thought, and these troubles can be seen as the reason behind the figure’s sudden decision to leave his home and throw himself into the mountains. One can’t help but see that he is overwhelmed by his environment. The novel mainly focuses on both the figure of Thomas and the relationship between him and the character of Astrid. In the meaninglessness of the monotonous life he lives, Thomas suddenly walks away from the home garden after spending the holiday with his family. Thomas hesitates for a moment, then leaves his house, wife, and children behind. The desire to be someone else or to give a different direction to his life suddenly removes him from his daily life and pushes him to different adventures. His sudden decision to leave his family can be seen as a defense mechanism that corresponds to his inability to live the life he wants as well as his boredom with the monotony. He always seeks to go further away from his family, with his only desire being to get away. Unable to live the life he wanted Thomas finds himself in different places when his suppressed desires suddenly erupt. Endless roads and living on these roads can be considered as an escape from the bored family life and a return to the self. The study discusses the figure of Thomas from Freud’s psychodynamic point of view. It reveals him to be lost in a routine life and to then embark on a journey in search of a new life, drifting from one place to another for days hungry and thirsty. This journey opens the door to the figure’s inner world, feelings, thoughts, comments, and reactions.&nbsp;The article also focuses on the character’s inner journey and the issues that, according to the psychodynamic approach, involve the instincts and desires that drive people toward a behavior or a situation.

Peter Stamm’ın Uzağın Ötesinde Adlı Romanına Psikodinamik Bir Yaklaşım

Mersiha

This article examines the references to the Habsburg myth in selected works by the author Ingeborg Bachmann. The article mainly analyzes the texts that involve the short stories from Simultan and the novel Malina. Probably one of the best-known studies on the subject of the Habsburg myth is Claudio Magris’ analysis Der habsburgische Mythos in der österreichischen Literatur [The Habsburg Myth in the Austrian Literature]. Magris used the Habsburg myth to imply the glorification of values and the idealization of the fallen empire, focusing on the literature of the 19th and first half of the 20th centuries. The characteristics of the phenomenon he identified will serve at this point as a guide for the analysis of Bachmann’s works, which despite having been written later, analyzed the consequences of such an attitude. In addition to the characteristics Magris suggested, this article seeks other elements of the Habsburg myth that are specific to the treatment of this phenomenon post-World War II. The paper will also examined the extent to which Bachmann had followed the path of her predecessors, whether she had distanced herself from them, and how she had positioned herself differently. In the novel Malina, the utopian dream world of the ’Ungarngassenland’, in which the protagonist has a love affair with the Hungarian Ivan, reminds the reader of the historical connection between Austria and Hungary. In Drei Wege zum See [Three Paths to the Lake], the internationally successful photographer Elisabeth returns home and longs for a sense of belonging and for a multi-ethnic state as had existed in the Habsburg Empire, something she can still partially recognize in the border triangle near her hometown. As the analysis will prove, however, both texts speak of utopian wishful thinking and not of glorified, backward-looking attempts at restoration. The author can be noted to have departed quite a bit from the aforementioned main features of the Habsburg myth, dealing with the history of the Austro-Hungarian monarchy in a dissecting and critical rather than nostalgic way. For example, she exposed Vienna as a city that had become completely irrelevant after the collapse of the Habsburg Empire, one that neither gave its&nbsp;citizens a reason to be proud of the earlier times nor served Austrians as a place with which to identify. That her writings contain nostalgic elements is true, and these apply above all to the characteristic of supranationality. The younger generation of Austrians cannot identify with their homeland and partly longs for a sense of belonging to a large empire, one that is the home of many languages and cultures. However, this longing is wishful thinking and does not apply to the actual historical connection between Austria and Hungary. Bachmann created the utopian idea of a House of Austria, which served as a mental homeland for her protagonists and is not to be equated with the actual empire that had perished. The author thus distanced herself from the perpetuation of the Habsburg myth by calling for a confrontation with one’s own past instead of an idealization of the past that had often been done in the novels of the authors whom Magris had presented in his study

Der habsburgische Mythos bei Ingeborg Bachmann

Paloma

Onomatopoeia in German Verb Suffixes

Maryana

Khrystyna

Nataliia

The purpose of the article is to study silence and its linguistic means of expression in relation to the macro- and micro-structures of literary text. The theoretical foundation of this research involves linguistic and literary studies that consider the communicative, pragmatic, semantic, cultural, and literary-historical aspects of silence and emphasize its difference from quietness, which should be understood as a natural phenomenon. Based on the model of literary communication, the study has identified the role of silence in the author-text-reader triad, as well as the ways it is realized in the structure and language of literary text. This paper finds within its scope that silence not only occurs as non-speaking, but also as non-meaningful speech that actualizes the semantics of silence in the context of the communicative situation. These two opposite forms of silence come to the forefront in Robert Walser’s (1878-1956) Berlin novels and are subject to a close analysis from the perspectives of macro- and micro-stylistics. The study analyzes the narrative principle of chatting in Walser’s The Tanners (1907), text irony in his The Assistant (1908), and the fragmentary narrative style in his Jakob von Gunten (1909) and establishes that silence is realized both at the thematic level, as well as in the structure and language of the text. The context of silence in the artistic and linguistic macrostructure of Walser’s novels is created by means of: the use of the micro-themes of travel, a little man, a failure, and humble service in the motive-thematic complex; the structure of the genre of the noveldiary; fragmentary composition; heterogeneous narrative perspective; rendering the characters’ communication through quasi-direct speech and indirect speech; monologues; describing a communicative situation or creating a speech portrait of a character on the basis of their chatty or quiet behavior; and textual irony. The speech microstructure of the text in R. Walser’s novels represent silence as the absence of a verbal response in the following ways: with the help of verba tacendi, and verba dicendi in the form of negation, as well as verba dicendi and verba credendi indicating selfdirection at the lexical level; by means of reducing the syntactic structure (aposiopesis,&nbsp;ellipsis, parcellation) and means of violating the syntactic coherence of the sentence (prolepsis, connectives, parenthesis, anacoluthon) at the syntactic level; and by use of the single, double, or triple dash and two-line indentation between the depicted episodes at the graphic level. The individual author’s narrative principle of chatting, which actualizes the semantics of silence in a text fragment by annihilating the semantics of the statement, arises on the following bases: the use of synonyms or semantically related words accompanied by the repetition of lexical-grammatical figures and listings, contrasting antonymous pairs by means of antithesis, the chain accumulation of adjectives and participles before the modified word, and the negation or refutation of the denied. This study also explains the relationship between irony and silence. In the text, irony expresses the dual nature of artistic communication and denotes the difference between the narrator’s speech activity and the author’s intention. At the linguistic level of the text, irony determines the metaphorical nature of speech, which diverts attention from the semantics of the statement and represents silence as a storytelling strategy. Based on this comprehensive analysis of R. Walser’s novels, the study has found that the peculiarities of the means of actualizing the semantics of silence in the macro- and micro-structures of the text in R. Walser’s novels reflect its functioning as a narrative strategy within the author’s individual creative system. The use of silence as a narrative strategy increases the communicative and pragmatic effect of the text, contributes to the realization of the author’s intention, determines the content and form of the text, gives its linguistic structure a stylistic expressiveness, produces an effect on readers, and engages them in receptive activity.

Schweigen als narrative Strategie in den Berliner Romanen von Robert Walser

Meltem

Res. Assist.

Arsun

Friedrich Dürrenmatt (1921-1990) was a Swiss playwright and one of the most important names in German theater. The theatre text Die Physiker (The Physicists) by Dürrenmatt constitutes the corpus of the study. By interpreting the grotesque elements in this play, one can see how the author wanted to reveal the threat technology creates in daily human life. He shared the worries of individuals who’d been alienated from the world due to World War I and who’d experienced many emotions together, thus creating a tragedy aimed at revealing the painful realities of that period under the comedy genre. The grotesque, which had been brought to literature through the fine arts, had emerged in Italy and soon spread all over the world to become a genre famous writers included in their works. Dürrenmatt elevated this concept both in his paintings and in his plays, successfully revealing all its features, which is why he remains a prominent representative of the genre. The study evaluates the author’s life from the perspective of the grotesque, which shows that his character and world view leaned toward this genre. His close relationship with this concept had undoubtedly been his greatest help in creating and implementing this style in all his works. To say that Dürrenmatt, the second most famous Swiss author after Max Frisch, is one of the first names that come to mind when addressing the grotesque and his unique personality is why he is still widely recognized today would not be wrong. As a play rich in grotesque elements, Dürrenmatt’s (1962) Die Phyisker is a two-act play in which the grotesque is at the forefront. Die Phyisker became an instant great success upon being staged in Zürich in February 1962 and was performed for the first time in Munich in September 1962. It was produced 1,598 times on 50 different stages in 1962- 1963 and became the most frequently staged play in German-speaking countries. Almost&nbsp;all of Dürrenmatt’s works have gained worldwide fame and been translated into 50 languages, with his plays Der Besuch der alten Dame (The Visit) (1956) and Die Phyisker (The Physicists) in particular still being included on international theater calendars. Die Phyisker is a tragedy in two acts and one of the most popular, well-known plays in Türkiye, still current both on state and university theater stages as well as on radio theater. This study analyzes Friedrich Dürrenmatt’s play Die Phyisker by focusing on the grotesque genre through the Turkish translation of the work and evaluating it according to Gideon Toury’s (1995) a priori norm approach. This theory is based on target orientation, in which Toury argues translations to be the products of the target culture rather than the source culture and to have a different function in the target culture. Translated texts can cause changes in the target culture and create values that the target culture can take as an example. In this way, new literary genres emerge in the target culture, and their functions differ depending on their position in the target system. Based on this, the study aims to identify the grotesque in Türkiye, provide resources on this subject, and support future studies. The first part of the study analyzes the grotesque features in Dürrenmatt’s life and personality through his play Die Phyisker. The second part of the study presents the approach that includes Gideon Toury’s (1995) norms, as the theoretical basis. The evaluation section interprets by Mustafa Tüzel’s (2005) Turkish translation of the play in terms of the characteristics of the grotesque genre. The sections of the play that are thought to reflect the characteristics of the grotesque genre and the translator’s decision to remain faithful to the source text points to the phenomenon of an adequate translation as suggested by Toury (1995), despite having no one-to-one equivalence. The study discusses the features by categorizing them as contrast; incongruity; fright; excess, mockery, and satire; and ridicule. However, at this point, these features feed each other and should be seen as a whole, and evaluating the sections in which they are presented on their own can be said to be quite challenging. The study is based on emphasizing the existence of works in the field of literature and art in Türkiye that aim to introduce the grotesque phenomenon to readers and audiences through translation. Although an increase in the number of grotesque works is observed to have occurred over the years, this genre can be said to have settled within Turkish literature quite slowly. Because the translations aiming to fill this space in the field cannot be denied as having a role, the increase in the number of authentic and translated texts is noteworthy, thus suggesting a method in which readers and spectators can question themselves through humor.

Edebiyatta Grotesk Kavramı: Friedrich Dürrenmatt’ın Die Physiker Adlı Tiyatro Oyunu ve Çevirisi

Sanela

This paper analyzes the translation of Turkish loanwords (i.e., Turkisms) from literary works in Bosnian to German. The contemporary Bosnian language is rich in Turkisms that were mostly adopted during the Ottoman reign. The corpus for the analysis has been selected from the novel Grozdanin kikot [Grozdana’s Giggle] by Bosnian writer Hamza Humo (1927). Earlier research has indicated his works as a good choice for analyzing this topic due to being rich in Turkisms. The German translation of the novel’s title is not a literal translation of the original, with the translator instead opting for the title Trunkener Sommer [The Drunken Summer]. The novel would go on to be a success in Germanspeaking regions, with many positive reviews subsequently being published in newspapers. The Turkisms in this novel mostly refer to objects and persons, and some of the lexemes are labelled as archaic while others are still in everyday use. Still, all these lexemes are considered part of the Bosnian and Herzegovinian culture. Translating culture-specific concepts is often a challenging task. Therefore, this paper aims to analyze the translation strategies employed when translating Turkisms from Bosnian to German in this novel. The paper has been organized as follows. The theoretical section explores the ways and means by which Turkisms had entered the Bosnian language by relying on the findings in the field of Oriental studies as well as those by Best (2005), who wrote about Turkisms in the German language. The number of Turkisms in Bosnian is significantly higher than the number of Turkisms in German and they are so deeply rooted in everyday language that many speakers are unaware of them, while Turkisms in German are still considered exotic. In Bosnian, Turkisms usually refer to some culture-specific concept. These lexemes are particularly intriguing, which is why one section of this paper is entirely devoted to the&nbsp;issue of translating culture-specific concepts from one language to another. Another topic in the study’s theoretical section involves the different kinds of translation equivalence as adopted by Koller &amp; Henjum (2020). The first phase of the analysis identifies all the lexemes and phrases of Turkish origin that are accounted for in monolingual and bilingual dictionaries and compares these to their translation equivalents in the German version of the novel. German electronic databases were utilized as well to further explore the lexemes’ meanings and frequency of occurrence. The corpus of this study consists of original Turkish words as well as those that entered Bosnian through Turkish. Dictionaries were used to help establish which lexemes in the corpus from languages other than Turkish had entered Bosnian through Turkish. Some of the lexemes were adopted as they were, while others were adapted, and some are marked in Bosnian, while others are not. The most important part of the paper is the equivalence analysis. A semantic analysis provided answers in terms of whether Turkisms in Bosnian and Turkisms in German represented false cognates and was able to confirm many such pairs. This can be explained by how transferring a lexeme from one language to another may keep the meaning in one particular receiving language while changing it in another. The findings here indicate that many lexemes had been mistranslated, which implies translating Turkisms into German to be a challenging task, especially if the translator wants to also transfer the stylistic markedness. This paper recommended better translation options wherever possible and also established that certain Turkisms can be translated using the Turkisms present mainly in older German literary texts, as well as some newer newspaper texts. Some of the archaic lexemes had been translated using archaic German lexemes. The study has also established that the translator used hypernyms for certain lexemes, with some parts being translated with more freedom and information not present in the original text, while other lexemes were not translated at all, despite having available options. In addition to the lexemes referring to objects and persons, this study’s corpus of Turkisms also comprises several exclamations and a small number of idioms. The idioms were particularly interesting to analyze because they represent a specific reflection of the culture. This research has also yielded a glossary of Turkisms based on this novel, as well as their translation equivalents in German. The glossary also contains many of the solutions the translator Manfred Jähnichen (1958) had offered while also providing better options for some.

Zur Übersetzung von Turzismen aus dem Bosnischen ins Deutsche am Beispiel des Romans Grozdanin kikot von Hamza Humo

İrem

Barış

Assist. Prof.

Alman Dili ve Edebiyatı Dergisi – Studien zur deutschen Sprache und Literatur CfP für die nächste Ausgabe  2023/2, Heft: 50

Julie

John Anster’s Memorable Translation of a Couplet from Goethe’s Faust

Tianxue

Traveling and the experience of being in a foreign place are recurring themes in Sebald’s works, which may be influenced by his own life experiences as an emigrant andwanderer. This research aims to analyze the representation and interpretation of space, particularly in relation to abandoned hotel settings, to understand the unique spatial experience and perception created inW. G. Sebald’s texts. This study situates itself within the interdisciplinary and hybrid nature of Sebald’s works, which cover diverse themes and discourses, including trauma, memory, image, melancholy, and home. Although extensive research has been conducted on the temporal dimensions of Sebald’s texts, particularly history and memory, the spatial representation and perception in his fictional works remain largely unexplored. This study aims to fill that gap by analyzing the uncanny perception of space that Sebald’s narrators develop upon entering the realm of abandoned hotels.This paper examines the habitation of hotels and the portrayal of space as cultural phenomena through the lens of cultural studies to investigate the historical contexts and individual perceptions interwoven therein. Regarding the comprehension of spatial arrangements within hotels, this paper employs the theoretical analysis of Vilém Flusser’s notion of “unfaithful things” and Sigmund Freud’s clarification of the concept of the uncanny. These conceptual tools are used as pivotal points of reference to elucidate the distinctive rapport between individuals and architectural structures in Sebald’s literary works. The former represents the unique material properties in the ruins of Sebald’s hotels and the inversion of the human subject object in this space. The latter points to the restrangeness of the perception in the individual experience of the social space in Sebald’s narrative, and the new space of meaning that emerges from it.The study contends that Sebald’s narrators develop an uncanny perception upon entering the space of abandoned hotels, resulting in a unique aesthetic that emerges from lingering in various ruins and useless objects. The failure and dysfunction of the architectural structures and objects play a significant role in Sebald’s texts. Moreover, the disruption and reversal of human subjects’ dominance over objects generates ambivalent tension between humans and things. The narrators’ reactions to this relationship are depicted as they venture into forbidden areas, such as abandoned industrial zones or desolate hotels. The interactions between the narrator and the buildings, as well as the hotel staff, are frequently met with resistance, leaving the narrator feeling alienated and observed in these empty architectural spaces. By examining specific textual passages, this study reveals instances where the failure of objects and the intrusion of the narrator intersect. The description of dysfunctional keys, overgrown paths, and abandoned hotels, as well as the discomfort felt by both the narrator and the hotel staff, emphasizes the spaces’ abandonment and malfunction. The narration of these ruins’ exploration generates tensions between repression and intrusion, resulting in a complex spatial atmosphere. There are irreconcilable tensions between the individual’s existential experience and influences beyond individual knowledge, between the individual’s experience and structural conditions, and between logic and insanity. When the individual experience no longer corresponds to history, discrepancies and reconfigurations of the place’s time occur. This implies that a unified view of history is undesirable, as it is overshadowed not only by continuity but also by numerous unrelated and even unrecognizable forces. Hybrid memory can actively contribute to the development of the hotel and urban space. The city beneath the walker’s feet is no longer an empty, frozen map and geographical coordinate, but rather a personal space intimately associated with life experience. Therefore, it dwells onthe associations triggered by the uncanny perception of the hotel ruins, resulting in a unique aesthetic experience that embodies Sebald’s distinctive spatial storytelling.This study aims to demonstrate how Sebald’s narrators acquire an uncanny perception upon entering the realm of abandoned hotels, thereby generating a distinctive aesthetic and critical force. The analysis of spatial representation and perception in Sebald’s works sheds light on the relationship between humans, architecture, and objects, illuminating the broader thematic concerns of his texts.

Das Ungeheuerliche und Unheimliche im Hotel: Über die Dysfunktion der Architektur in W. G. Sebalds Die Ausgewanderten und Die Ringe des Saturn

Tuğba

Woyzeck is Back!: A Comparative Reading of Traumatised Soldiers in Georg Büchner’s Woyzeck and Anthony Neilson’s Penetrator

The literature addressing children and young adults has constructed diverse notions regarding childhood and youth, and this pattern holds true within the medium of comics or graphic novels, particularly when stories revolve around characters with childlike or adolescent characteristics. This article focuses on the sociocultural conceptualizations of childhood and youth in a plurimedial graphic novel and analyzes these conceptions at a meta-level. The questions arise as to how these concepts of childhood and youth have been represented and how they should be interpreted. Specifically, these concepts are tangent to the questions of how characters can be interpreted as children and adolescents when considering with a pedagogical attitude the familial and social expectations placed upon this group.One can assume the concept of focalization to be insightful for analyzing the conceptualization of childhood underlying the graphic novel. For this reason, the study examines the divergences and convergences in the parametric arrangement of textual and visual perspective. Furthermore, the article pays attention to the mechanisms that guide the reader’s attention. The article focuses on these aspects and explores them through the award-winning graphic novel Weites Land by Catherine Meurisse (2019) using the method of close reading. The following aspects are of interest in this context.Firstly, this graphic novel was created two years after the graphic novel Die Leichtigkeit (Meurisse, 2017), in which the author processed the events of the attack on the editorial office of the critical and satirical magazine Charlie Hebdo and attempted to keep the memory of this attack alive. The theme influenced the work’s artistic form, including thechoice of colors and panel design. Weites Land stands in stark contrast to this in every aspect. Catherine Meurisse artistically stages a locus amoenus, which can be culturally linked to children’s and youth literature. The autodiegetic narrator disappears into this apparent paradise as if through a door, escaping the dreariness of everyday life. At first glance, however, not only blissful simplicity but also idyllic images of harmonious coexistence with nature and provincial society prevail in the rural enclave. Not everything at this place of longing is straightforward and devoid of deficiencies. This corresponds to the central characteristics of Arcadia. Yet, this idyll becomes a strengthening tailwind. Its psychological impact holds interpretive significance, as will be demonstrated within the context of this article.Secondly, the author reconstructs her own childhood. Subjectivity is inherent in autobiographical texts. It correlates with the desire to make one’s own life appear as a meaningful continuum and to stage oneself in a certain way. The concept that the autodiegetic narrator creates in her own memoirs allows the recipients to identify her as a nature-bound, cheerful, and adventurous child. This implies notions that are conveyed to children, including anthropomorphism, creativity, and playfulness. An important role is attributed to the parents of the character, who expose their children to themes such as ecology and environmental protection, alterity, responsible actions, self-determination, and art.Certainly, the challenging question of how to address Meurisse’s (2019) graphic novel Weites Land arises. This question is more easily answered in the case of graphic novels such as those by Isabel Kreitz, who adapted the children’s novels by Erich Kästner (e.g., Der 35. Mai [2006], Pünktchen und Anton [2009], Emil und die Detektive [2012], and Das doppelte Lottchen [2016]), or the series Fünf Freunde as Béja and Emmanuel Nataël (2019–2023) illustrated based on the literary works of Enid Blyton. Nonetheless, an attempt is made to determine how to address the graphic novel Weites Land against the background of its construction. Intertextual references in the form of concretization and reconstructions of children’s literature seem particularly fruitful in this regard.Catherine Meurisse’s (2019) graphic novel Weites Land interconnects the process of constructing the personal memories of childhood experiences with broader life narratives. These narratives are structured through models ofgenerations and family and are linked through an event chronology of the 20th century that have been out into perspective based on the narrator’s present. The conception of childhood is created through symbolic and iconic signs and have been particularly aided by perspective and its parameters such as language, space, time, ideology, and perception.

Konstruktion und Rekonstruktion der Kindheit in der Graphic Novel Weites Land von Catherine Meurisse (2019) unter einer besonderen Berücksichtigung der Theorien des point of view, der Fokalisierung und der Perspektive

Ali Osman

Prof. Dr.

Kadir

Otto

This study examines how love and violence are perceived in Luise Rinser’s Die rote Katze (1956) and Ein Bündel weißer Narzissen (1956). Luise Rinser is a significant figure in 20𝑡ℎ-century German literature. The story Die rote Katze is about a child who kills a cat in a postwar period to save his family and himself from starvation, and Ein Bündel weißer Narzissen tells the story of a mother who takes the blame for her son’s crime so that he is not seen as a fratricide. In the study, both stories were analyzed in terms of value orientations.The section on the concept of value explains the concept of value and the perception of value, particularly from the perspective of Reinhard Mokrosch. Mokrosch attempts yet another religious classification of these values, dividing them into three categories: Christian confessional religious (love of neighbor, love of enemy, nonviolence, and pacifism), general religious (reverence for life, human dignity, and fellow humanity), and inter-religious (compassion, love of neighbor, partnership, respect, consideration, tolerance, and love’) (vgl. Mokrosch, 2013, pp. 48–49). This religion-oriented tripartition of values can help us better understand the earlier narrative characters of Luise Rinser, adevout but critical Catholic, who motivates their actions not by prescribed values but by humane necessities. Following the value orientation concepts, the section titled Luise Rinser discusses the author’s life and the subjects she addresses in her works.The difference between her and other writers dealing with the same issues is that she may have experiencedWorldWar I and World War II as a woman, a child, a wife, a mother, or a lover and views the events through these lenses. Rinser, a devout Catholic who is critical of the church hierarchy and dogmas, has always stood up to those who created the conditions that condemned her to starvation and even death at various points in her life. She gains endurance as she transposes her feelings of joy, sadness, and depression into a fictional reality.Subsequently, the two stories are thematically evaluated in the sections Die rote Katze and Ein Bündel weißer Narzissen. The discussion section reveals which elements are evaluated in both stories as the evaluating subject, the valued object, and the evaluating act. In the context of these evaluations, the following comments about Rinser’ examined works were made in the conclusion section.Rinser’s characters are not satisfied with the prescribed/handed down values; instead, they orient themselves to the current situation, which forces them to broaden the range of the value act. The valuing subject hereby values the valued object in such a way that it does not lose its value but, if necessary, exchanges its value with another object (love of animals with the love of one’s neighbor or reverence with the love of children), which requires an emergency decision on the part of the valuing subject at the time. Rinser’s characters adhere to prescribed confessional-Christian (in our case generally religious or inter-religious) value concepts prior to the moment of their decisive act of valuation. They are then concerned in the emergency that has arrived with questioning the prescribed attitude, as a result of which they decide to act according to what is unavoidable in each case. Rather than rigid insistence on prescriptions, this deliberate approach makes the corresponding characters appear more humanistic. In an emergency, they think differently and devise another solution to get themselves out of trouble. If the 13-year-old child would turn a blind eye to the cat (in Die rote Katze) (love of animals) as a creature demanding food, the family (love of family) could be in even a worse predicament. In the case of the woman (in Ein Bündel weißer Narzissen), there are two considerations: on the one hand, if she breaks her vow at the altar and does not marry, the family may face financial hardship. On the other hand, if she told the truth about her younger son’s accidental death, she could sentence the older one, who caused the accident, to life in prison for fratricide in front of the father. Thus, in both cases, one value object is exchanged for another out of necessity, without the previous one losing any of its value.

Zur Wahrnehmung von Liebe und Gewalt in den Erzählungen Die rote Katze und Ein Bündel weißer Narzissen von Luise Rinser

Melike

In his 1970 pioneering essay “The Uncanny Valley,” Masahiro Mori (2012) wrote that “once we realize that the hand that looked real at first sight is actually artificial, we experience an eerie sensation” (p. 99). According to the Japanese robotics professor, when we shake hands with a prosthetic hand, “its limp and boneless grip together with its texture and coldness” makes us uncomfortable, and “when this happens, we lose our sense of affinity, and the hand becomes uncanny” (Mori, 2012, p. 99). Mori’s concept of “the uncanny valley” proposes that the more humanlike robots appear, the more attractive they seem to people. Conversely, at some point, that attractiveness is replaced by a feeling of uncanniness. Mori’s concept of the “uncanny valley” is defined today as “people’s negative reaction to certain lifelike robots” (Caballar, 2019).The negative reaction has occurred in every field in which digitization has necessarily integrated into our lives during the 2019 coronavirus pandemic, including theatre. Theatre is ontologically based on the condition of presence. The opposite is usually considered to be non-theatre. Examples of digital theatre are mostly considered to be non-theatre precisely because of the violation of this ontological condition of presence. Because, according to classical understanding, the stage of the theatre is the stage of humanity, this is the great theatre of theworld that belongs to human beings (theatrum mundi). Although we have witnessed the collapse of this comprehension of the human perspective in the posthuman era, the need to rethink theatre arises. It is a fact that digitization has altered and transformed the aesthetics of theatre today. Therefore, the concept of digitization in theatre should be viewed not only as a feature unique to digital theatre but also as a technological aspect that impacts all aspects of theatre-making. Conversely, the term digital theatre refers to a distinct subgenre within the theatrical umbrella, separate from this overarching trend. The defining characteristic of the performances that can be included in the genre of digital theatre is that the dramaturgic context of the performance is established through the use of a digital element.In a performance based on digital dramaturgy, the digital element in the centre has a substitutive basis. This substitutive quality can be defined as meeting a physical condition specific to the theatre with the digital condition. In other words, there is a displacement — the virtual replaces the physical. This article argues that the digital element, replacing the tangible one, can create virtual space, time, or humans — therefore a virtual presence — by what is defined here as the principle of substitution. Thus, the article intends to read digital theatre here through a dichotomy of presence and absence as a process that threatens the condition of presence, which is assumed to be the sine qua non of theatre. In a performance based on digital dramaturgy, the theatre-specific presence is replaced by what is absent. When it comes to digital theatre and even digitization in theatre, “to be or not to be,” just as Hamlet said, is strangely right in front of us again as the key answer that explains the “whole issue.” “What is” is known, visible, and familiar and inspires confidence rather than anxiety. Conversely, “what is not” is unknown, invisible, and unsettling. As such, our first reaction to the digital is an uncanny feeling of absence. In the specific case of Masahiro Mori’s definition, this feeling of uncanniness becomes even stranger when one meets a non-human but humanoid being.In this article, the German theatre collective Rimini Protokoll’s 2018 play Unheimliches Tal / Uncanny Valley is examined in light of the views outlined above. The play, which has an animatronic robot at its centre instead of a human actor, is discussed in the context of the uncanny and its relationship with theatre. The fact that an inanimate robot rather than a living human actor takes the stage in the play moves the actor from the presence to the absence in the actor-audience component of the above-mentioned displacement specific to the theatre. In Unheimliches Tal / Uncanny Valley, absence creates the uncanniness, just like the appearance of a ghost on stage.To define this uncanniness, first, the uncanny nature of theatre itself and the academic literature that currently considers theatre with the analogy of ghosts are mentioned. Then Jacques Derrida’s views on Western theatre arepresented, focusing on his concepts of the metaphysics of presence, logocentrism, and hauntology. Last, Unheimliches Tal / Uncanny Valley is discussed, with a consideration of the theatricality of this production in relation to contemporary theatre productions and digital dramaturgies.

Varlıkla Yokluğun Eşiğinde, Tekinsiz Bir Vadide: Rimini Protokoll’ün Unheimliches Tal / Uncanny Valley Oyunu Üzerine

Mutlu

Das Mädchen vom Goldenen Horn by Kurban Said is a remarkable literary work that beckons scholars and enthusiasts alike to engage with its intricate cultural commentary and historical significance. The present article endeavors to dive deeper into various aspects of this novel, offering a comprehensive analysis that underscores its lasting impact on ourunderstanding of the cultural dynamics between the Occident and the Orient.As the narrative unfolds, the reader is transported to the vibrant environment of 1938 Berlin, a Western metropolis that embodies the quintessence of modernity and progress. Against this backdrop, the character of Asiadeh emerges as a captivating embodiment of the clash between civilizations, serving as a conduit through which the complex interplay of cultures is illuminated. From the bustling streets of Berlin to the enchanting alleys of Istanbul, Asiadeh’s journey parallels the broader historical tension that has largely defined the Western and Eastern worlds.Kurban Said highlights the stark contrasts between these two worlds through masterful craftsmanship. Berlin, emblematic of the West, is meticulously portrayed, showcasing its technological advancements and societal norms. In sharp relief, Istanbul takes center stage as a mesmerizing tapestry of Eastern traditions and sensibilities. Through vivid imagery and evocative prose, the narrative immerses readers in the palpable dichotomy that shapes the characters’ lives, inviting contemplation of the intricate forces that shape cultural identities.The sequence of events in Das Mädchen vom Goldenen Horn extends beyond cultural exploration, intertwining the personal and political trajectories of its characters with the broader canvas of history. Said’s deft incorporation of historical and political realities may serve as a reminder that literature, specifically fiction, serves as a mirror that reflects the socio-political context in which it is conceived. The text seamlessly weaves real events into its structure, enriching the reader’s engagement and prompting reflection on the fusion of storytelling and historical consciousness.Moreover, the story invites readers to deeply examine the Turkish diaspora experience, illuminating the cultural and oriental essence that persists even amid the challenges of displacement. Asiadeh’s journey becomes a poignant exploration of the aspirations, dreams, and visions that define this particular diaspora. By examining the emotional landscapes of characters straddling multiple worlds, the novel paints a complex portrait of identity, belonging, and the quest for self-discovery.Essentially, this forthcoming article provides scholars and other readers with a comprehensive understanding of the multifaceted dimensions of Das Mädchen vom Goldenen Horn. Its meticulous analysis not only sheds light on the intricate cultural clashes that permeate the narrative but also showcases the novel’s profound ability to transcend time and space, resonating with contemporary discussions on identity, multiculturalism, and the enduring echoes of historical events.Within this scholarly context, the article’s contribution to the exploration of Das Mädchen vom Goldenen Horn becomes manifest. The analysis – meticulously dissecting the interplay of characters, historical events, and cultural clashes – encourages readers to consider the implications of Said’s narrative in the broader discourse of cross-cultural interactions and shaping of societal narratives.In conclusion, Kurban Said’s literary masterpiece is a gem that continues to captivate and inspire. The present article, with its scholarly rigor, offers readers a deep comprehension of the novel’s nuances across continents and epochs. This paper intends to uphold the legacy of Das Mädchen vom Goldenen Horn, encouraging future generations to engage with its tapestry of cultural, historical, and human intricacies.

Kurban Said’in Das Mädchen vom Goldenen Horn Eserinde Doğu-Batı Karşıtlığı

Ayşenur

Habib

From past to present, women have generally remained in the shadow of men for many millennia and been left in the background. In this process, women have focused on tasks such as childcare and housework at home and were expected to be ready to support their husbands. The female body was frequently tabooed during this process. As a result of this tabooing, women sometimes retreated into their own inner worlds and had to struggle with feelings of individual and social inadequacy. At various times, women have generally had a subordinate position and tried to assume a role as mother and wife within the home or been forced to do so. The study conducts an analysis under two main headings, with the first part dealing with the concept of taboos, which are argued to be rooted even further back than the emergence of religions and which is subjected to great criticism even today in women’s struggle for existence. Meanwhile, the second part of the study examines the taboos in Elfriede Jelinek’s (1983) The Piano Teacher. The theme of this work has succeeded in making one of the situations many women have experienced a topic of discussion in society. Erika Kohut, the main character of the work being studied here, is a woman who grew up under maternal pressure, and although she is in her thirties, she is still trying to live her life under the strict matronage of her mother. This novel discourse deals with a woman’s endeavor to find herself after growing up with pressures and taboos. This study analyzes the taboos in the discourse and how a woman can feel alien in her own body.Jelinek wrote The Piano Teacher in two separate parts. The first part of the study analyzes the main character Erika’s relationship with her mother, which is based on psychological violence. While analyzing Erika’s psychological conflicts with her own body, the study also examines the taboos and masochistic actions affecting the character’s life and body by making use of the concept of taboos as described by Sigmund Freud (1913), the founder of psychoanalysis, in his work Totem and Taboo. The second part of the study analyzes Erika’s relationship with her younger student, Walter Klemmer. While Klemmer wants to liberate Erika spiritually in this relationship, he also sees her as a stepping stone for his other future relationships. Meanwhile, Erika demands that Klemmer inflict violence on her and even rape her.This article describes the various sexual and corporeal taboos that dominate the main character’s life and showshow these taboos are reflected in her life. The analysis of these taboos provides a perspective on how such issues are presented in literature. In the novel Jelinek as the author is able to shed light on the psychological and social mechanisms that are effective in maintaining taboos and how they reflect in individuals’ lives. At the same time, the author wrote about the psychological effects of sexual violence and the forms masochism takes, which are difficult to depict in literature, and reflected on the possible consequences all these have in individuals’ lives. The exploration of corporeal taboos in this work also provides an opportunity to write critically about women’s roles in society. In fact, their roles prepare the groundwork for understanding a systematic order that limits women’s existence and sexual identities within the patriarchal social order and for trapping them in their lives. This study analyzes how the system can also cause self-destruction in women’s lives. At the same time, this novel analyzes how women are forced to suppress their sexual identities and the deep psychological consequences of doing so. Being able to shed some light on these issues gives an idea about how individuals maintain social norms and taboos even today.As the protagonist of the work, Erika Kohut’s relationships also offer an artistic perspective on the work. Jelinek wrote about art as a method the character uses to suppress her own traumas. This study analyzes the character who lives at home under the domination of an oppressive mother and creates a different identity for herself through art, where she transforms from a victim to an oppressive character, and also examines the imbalances in protagonist’s existence. In general, analyzing the corporeal taboos in Elfriede Jelinek’s The Piano Teacher provides an opportunity to examine the effects social norms and stereotypes have on individuals’ lives.

Elfriede Jelinek’in Piyanist Romanında Bedensel Tabuların İncelenmesi

Büşra

Muhammet

This study analyzes Turkish and German university names to determine which factors are emphasized in their naming, by first providing theoretical information on onomastics and its sub-areas, including ergonomics and Institutionyms. The study then introduces these concepts in Turkish literature and examines the naming practices of universities in both countries, offering concrete examples to illustrate the legal implementation of naming higher education institutions. Through document analysis, this study compares university names in both countries, revealing effective naming elements and cultural differences.The analysis of Turkish and German university names revealed the most commonly used categories, including ‘geographical elements’, ‘personal names/surnames/titles’, ‘specialized names’, and ‘mission names’. German universities had these four classifications, while Turkish universities had just ‘important history and events’ and ‘names related to the history of the relevant geography’.Regarding geographical elements, both Turkish and German universities commonly used titles of ‘city’, ‘town’, and ‘region’, with ‘city’ being the most frequently used. However, German universities use the titles ‘state’ and ‘continent’ , which are not commonly used in Turkish universities. Additionally, Turkish universities have names of ‘district’, ‘sea/lake’, ‘river’, and ‘mountain’ that are not found in German universities. It is noteworthy that Turkish universities do not have names of specific geographical formations like ‘Pamukkale’ (travertine) and ‘Bakırçay’ (valley) classified under the heading of ‘other’. The most significant distinctions were found in the category of ‘university names that include the person’s name, surname, or title’. While both countries prefer ‘founder and/or philanthropist names’. German universities demonstrated a longer historical process, dating back to ancient times.For example, the Ruprecht-Karls-Universität Heidelberg, founded in 1386 by I. Ruprecht, the prince of Kurpfalz, holds the distinction of being Germany’s first university. The university’s name also honors another historical figure, Karl, who restructured the university in 1803. This example highlights how German universities often include the names of multiple individuals in their naming conventions.After analyzing German universities, eight universities, including Ludwig-Maximilians-Universität München and Julius-Maximilians-Universität Würzburg, were formed by merging two distinct names. In Turkey, only foundation universities like Koç and Sabancı have names of founders, while four state universities (Sıtkı Koçman, İzzet Baysal, İbrahim Çeçen, and Eren) are named after benevolent individuals.In addition, the names of personalities such as Leibniz, Luther, Schiller, and Gutenberg in Germany were named after universities of the regions where they lived, while the name of Nobel Peace Prize winner Carl von Ossietzky was named after the university in Oldenburg, although it is not related to the region where he lived.This situation is similar in Turkey, where names of personalities such as Hacı Bayram Veli, Hacı Bektaş Veli, and Ahi Evran are named after the universities in the regions where they lived, and only Korkut Ata’s name is included in the name of the university in Osmaniye, regardless of his geographical connection.A noteworthy observation in Turkish university names is the prevalence of government officials’ names, both from the pre-Republican and post-Republican periods. Officials such as Fatih Sultan Mehmed, Alparslan, Alaaddin Keykubat, Atatürk, Adnan Menderes, Alparslan Türkeş, Necmettin Erbakan, and Bülent Ecevit were among those honored named in this context.Notably, Turkish universities also adopted the practice of naming institutions after contemporary figures such as Recep Tayyip Erdoğan, Abdullah Gül, and Binali Yıldırım during their lifetime. In earlier times, the name of 9th President Süleyman Demirel was also given while he was alive. Contrary to Turkish universities, the names of poets, writers, and scientists are more common in German university names, while the naming of folk heroes is not common in German universities.Furthermore, this study found that Turkish universities have 17 different names, while German universities have 10. German universities also use more specific domain names such as ‘mining’, ‘psychology’, and ‘company management’, which are not common in Turkish university names. Similarly, Turkish universities used mission names more frequently (21 times) than German universities (4 times).In summary, both Turkish and German universities use geographical, specialization, and mission names. However, Turkish universities also incorporate historical figures, opinion leaders, folk heroes, and pre-republican civilizations in their naming, reflecting the cultural/national and spiritual sensibilities of Turkish society and the state. On the other hand, German universities prioritize the names of founders, poets, writers, and scientists, placing less emphasis on national and spiritual elements. The most significant difference between the two countries lies in the preference for people-based names.

Ergonimi/İnstitutionimi Açısından Sözcüksel Düzeyde Bir İncelenme: Türk ve Alman Üniversite Adları

Betül

Rezension über Turkish-German Relations in Literary History from the Fifteenth Through the Twenty-First Century

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Sabine

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

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

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

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

_Yeni Makale

Valeria

Prof.

Kommunikation in der Wissenschaft: Ein Plädoyer für Mehrsprachigkeit

Sergei

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

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

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)

Laura

Wolfgang Koeppens Erzählungen: mehrere Wege eines autobiographischen Schreibens

Cristiano

Lecturer

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

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

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

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

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, kültürbilimi, medyabilimi ve çeviribilim 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

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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, kültürbilimi, medyabilimi ve çeviribilim 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>

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 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.

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.

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/JTA6CLJ8T5/4E414315E68D473D96D7AA06F9B11F48" 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 APA6’ya 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/F51E012016F041A6B9670EC702B90FDE" 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/F51E012016F041A6B9670EC702B90FDE" 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 6. edisyonunu benimser. APA 6.Edisyon hakkında bilgi için:-    American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.-    <a href="http://www.apastyle.org/" target="_blank">https://apastyle.apa.org/6th-edition-resources</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;Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)Altı ve daha çok yazarlı kaynak;(Çavdar ve ark., 2003)Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetikolarak numaralandırılmadan verilmelidir. Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Türkçe KitapKarasar, N. (1995). Araştırmalarda rapor hazırlama (8.bs). Ankara: 3A Eğitim Danışmanlık Ltd.b) Türkçeye Çevrilmiş KitapMucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İstanbul: İletişim Yayınları.c) Editörlü KitapÖren, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. İstanbul: Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. ve Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Ankara: Total Bilişim.e) İngilizce KitapKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) İngilizce 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, UK: Edinburgh University Press.g) Türkçe Kitap İçerisinde BölümErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), Örgüt sosyolojisi kitabı içinde (s. 233–263). Bursa: Dora Basım Yayın.h) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Ankara: Yazar.Makalea) Türkçe MakaleMutlu, 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) İngilizce Makalede 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) Yediden Fazla Yazarlı MakaleLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) 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. (Doktora Tezi). Ankara Üniversitesi Sosyal Bilimler Enstitüsü, Ankara.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). Retrieved from 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. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, BoluDiğer 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.milliyetc) 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 [Podcast]. Erişim adresi: 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 6 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/JTA6CLJ8T5/9003698C8F5344C3A8E741FF8484464F" 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/JTA6CLJ8T5/5B6411254C504C48858AA63B8F466E24" 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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