Albrecht

Self-Control, Rationality, Ethics, and Mutual  Respect: A Dominican Poet Addresses His  Audience and Calls Them to Reason. Ulrich  Bonerius’s The Gemstone (1350)

Ksenia

Lucie Schmurrer and Herr Klinge are extravagant characters in Dita Zipfel‘s psychological, character oriented novel for young adults Wie der Wahnsinn mir die Welt erklärte. They are agents performing actions in the story. The young girl and the old man could not be more opposite. Nevertheless, they become best friends. They are central in the narrative , and they motivate the reader to read on. Furthermore, children and young adults read fiction because they are interested in human nature and human relationships as revealed through fictive characters. Nevertheless, characters and characterization are such obvious parts of fiction that they are very seldom discussed in critical works or in textbooks on children’s literature.&nbsp;The focus of this article is the analysis of the addressee-oriented conception of the characters as well as the components belonging to the conception of characters. One of the most profound problems in dealing with literary characters is their ontological status. The two extremes are the mimetic and the semiotic approaches. Mimesis means imitation, so from this approach literary characters imitate real people. The reader can ascribe them a background and psychological features that may not have any support in the text. With a semiotic approach, characters are merely signifiers: they do not have to be coherent and believable; they do not have to behave logically. Both formalist and structuralist characters are role figures in the plot. For Aristoteles characters are subordinate to the plot, and their function in literary work is merely to perform actions. He distinguishes between agent (pratton) and psychological figure / personality (ethos), maintaining that agents are indispensable in a literary work, while psychological&nbsp;characters are optional. The only psychological traits allowed are noble or base. No other human features are essential for the plot. His theory has been used as the underlying principle for traditional children’s fiction in which characters’ actions are more important than their psychological features. All structural models describe characters in relation to plot and only superficially as to how they relate to each other. They do not allow a deeper analysis of the character’s traits and still less any ‘inner world’. Such models can be successfully applied to plot-oriented children’s stories. The functional or actantial models are less adequate to describe the characters in psychological and character oriented novels with ethical dimension.&nbsp;Using theories from the cognitive sciences, the article examines the special status of figures as mental models. Characters as mental models present complexity inherent in human beings in real life and they show psychological development. The conception of characters as a mental model includes complex components like emotions and changes in the minds of narrated individuals. Emotions are intersubjective, culturally, and linguistically coded text phenomena. The forms of manifestation, the genesis of emotions, and the courses of development take the form of both thematization and presentation in narrative discourse. They can be implicit or explicit. This study seeks to delineate criteria and conditions for mental events and emotions and develops a typology of techniques for depicting the consciousness and emotions of narrated figures. These cultural coded phenomena in the minds of narrated individuals are an essential feature of narrated works for adults. The article investigates how changes in consciousness are depicted in works for children and young adults. The emphasis is placed on intertextual allusions to international character-oriented novels for children and young adults (Carroll, Lindgren, Freytag, McManus, Rowling, Sabitova etc.), philosophical pre-texts (Platon, Aristoteles, Heraclid, Hegel, Jean Paul, Nietzsche, Pierce, Foucault, Wittgenstein, Heidegger, Russel, Kripke, Douglas) and psychoanalytical theories (Freud, Jung) and their role in the development and structuring of the plot. The philosophical dimension shapes the intellectual climate of Zipfel’s psychological, character oriented novel for young adults and contributes to the aesthetic conception of the characters.&nbsp;A final focus of the study is on theories of the comic (Bachtin, Horn, Jurzik, Boreev), their differentiation in Zipfel’s psychological novel for young adults, and their artistic and cultural significance.&nbsp;

Ästhetische Verfahren der  adressatenorientierten Figurenkonzeption am  Beispiel des jugendliterarischen Werks von Dita  Zipfel Wie der Wahnsinn mir die Welt erklärte

Teuta

Assoc. Prof.

One peculiarity of all Indo-European Balkan languages is object reduplication or clitic doubling; however, the conditions under which it occurs and its usage differs according to language-specific factors. One of the most confusing aspects of usage is the fact that the grammatical, semantic, and pragmatic interpretation of the clitic doubling in a Balkan language is subject to various idiosyncratic constraints that make it difficult, if not impossible, to define its function consistently (for all Balkan languages). This is not the case even within related languages. In Macedonian, for instance, object doubling is nearly fully grammaticalized. It functions merely as case markings or to indicate direct and indirect objects. In Bulgarian however, clitic doubling depends primarily on discourse factors. Interestingly, the linguistic research of this morphological appearance in Balkan languages shows a geographical particularity as well. Object doubling is more grammaticalized in western than in eastern Balkan countries with the following scheme: Macedonian&gt; Albanian&gt; Romanian&gt; Greek&gt; Bulgarian. While on the left (western Balkan) side (of the scheme) are the languages with predominantly grammatical reduplication, on the right (eastern Balkan) side are the languages with free, mainly pragmatic object reduplication. In other words, the dialects vary with almost complete dependence on discourse factors in the east and with relatively complete grammaticalization dialects in the west.Since the German language does not use reduplication of objects, the aim of this article is to examine possible equivalent in German to Balkan clitic doubling. Consequently, to find (or check) a possible equivalent in German, I selected one Balkan language so that the research methods used in this language can be implemented as a model method in other Balkan languages. In this article, the Albanian (Balkan) language was chosen because it is the language that best expresses both grammatical and&nbsp;discourse-specific features, with a grammaticalized clitic doubling of the indirect object, and a discourse-dependent direct object clitic doubling.After researching the literature, two applicants can be considered as potential equivalents: the pronoun es and scrambling. There are two reasons the pronoun es is under consideration: (i) the pronoun es participate in a kind of a duplication construction when used in the so called correlate function, and (ii) reduplicated object clitics perform some functions as the expletive pronoun es does. Scrambling came into attention because some linguists suppose that both object duplication and scrambling are driven by the same information structure mechanisms. Due to the seemingly free sequence of arguments in the middle of sentences, the German language is classified as a language with a relatively free-word order. In fact, the sequence of arguments in the midfield is not so free. This sequence is controlled by various factors. Although according to some linguists, how these factors interact and how the sequence regularities determine the midfield has only partially been clarified. The communis opinio is that it is regulated mainly through discourse-dependent factors. This article shows that object reduplication clitics and the correlated pronoun es can be treated as an equivalent to each other but only peripherally, in a few specific uses. Besides other differences, they diverge in their tendency to perform different specific grammatical functions. While regarding scrambling, in contrast to some linguists, it turned out that object duplication and scrambling have not so common features as initially thought. Consequently, they are not always driven by the same language mechanisms to object reduplication clitics. Scrambling is allowed even if the object is an existential noun phrase (without an article). Furthermore, there are indications, that scrambling does not always assign the feature [-focus] as claimed in some research and it is not always driven by information structure mechanisms as object duplication does.

Die Balkan Objektverdoppelung und ihre mögliche Entsprechung im Deutschen

Viktoria

Tatiana

The authors developed the present paper across onomastics and social-, gender-, Internet,- and psycho-linguistics. The study will test its hypothesis that the influence of the age and sex attributes of Internet users on the creation of their virtual image is critical even at the pre-communicative stage in the form of self-nomination. The authors focus on virtual anthroponyms, which result from acts of self-nominations. This paper is confined to the so-called nicknames / usernames of German-speaking adolescent girls. The main research interest aims at identifying ways of verbal embodiment of virtual personalities in the form of self-nomination, as well as the correlation of their linguistic implementation with gender and age factors. The analysis of approaches to understanding the adolescent period available in the scientific literature helps define this phase of ontogenetic development as the period between 11 and 17 years.The research data were collected from 2017 to 2020 inclusive. The authors used popular social Internet services and hosting sites Twitter, Facebook, Instagram, YouTube, Flickr, Pinterest, and TikTok as sources of material for the study. The study used a random sample to select accounts belonging to German-speaking adolescent girls. Part of the material was collected through online and offline interviews and questionings among informants over four years of research. The collection of material took place partly in the territory of Germany in the city of Hanover during a research fellowship at the Leibniz University Hanover in 2017 to 2019. In total, the authors conducted four surveys with the participation of 149 female informants, including 38 personal and 54 online interviews. Research material included 2,363 nicknames. Thus, the study directly deals with anthroponymic units (usernames and nicknames) in the above-mentioned Internet services. The authors use the material collected in this way exclusively for scientific, research purposes and do not violate the EU-General Data Protection Regulation (DSGVO 2018) and Federal Data Protection Act (BDSG 2018). All data attracted for the study exist on the open Internet or are voluntarily provided by informants with permission for subsequent publication.The authors subjected the collected material to a multifaceted descriptive linguistic analysis, taking into account the age and sex and psychophysiological characteristics of girls at the age of 11–17 years. The analysis of semantic motivation shows almost a complete absence of unmotivated nicknames and only a quarter of examples show opaque semantics. The semantics of virtual self-nomination is characterized by a different nominative potential. In more than half of the cases, users preferred autonym-nicknames consisting of real anthroponyms, mostly first names. Just under a third of girls use pseudonym-nicknames, created out of appellative units, diverse in their semantics. Such self-nominations are more descriptive and have attitudinal meanings. Adolescent girls emphasize their positive external, physical, and personal qualities. There is also a tendency to create sexocentric pseudonym-nicknames. Hybrid nicknames based on the combining or contamination of a real anthroponym with any onymic or appellative lexeme make only one-fifth of the data. Their main feature is the name transposition, expressed by transanthroponymization and transonymization. Hybrid nicknames also have an increased characterizing ability, indicating hobbies, idols, ideals, and subjective qualities of their authors.The analysis of the types of nicknames revealed their high linguocultural status, expressing the interest of users in various events from the world of music, politics, and sociocultural life, captured in self-nominations. The research of the degree of the nicknames’ stability overtime in the focus group showed the minimum variability of adolescent girls’ virtual self-nominations. The grammatical structure demonstrated approximately the same proportion of monocomponent nicknames, designed in the form of one (single) usual or occasional lexeme, and polycomponent nicknames, presented in the form of two or more words in their composition. Diverse variations of structural models of nicknames demonstrate a high degree of derivational linguocreativity of adolescent girls. In that sense, the polycomponent nicknames have the most interesting design such as nicknames-phrases and nicknames-sentences. The difficult to understand monocomponent nicknames contain the “insert”-words or contamination of lexemes. The overwhelming number of self-nominations were created using graphic means and techniques. The most popular are: symbols and signs (especially periods, underscores and numbers), capitalization, and iteration. The motives for using paraverbal means vary from the implementation of aesthetic, humorous attitudes to the introduction of additional individualizing information into the nickname through graphics. However, the primary motive is the utilitarian motive of overcoming the technical ban on identical nicknames within the limits of some Internet services.The study confirms that age and sex characteristics of Internet users are deliberately or unconsciously projected onto a virtual image at the stage of choosing a name. The analyzed data of German-speaking adolescent girls of 11–17 years old demonstrate specific linguistic tendencies in the construction of virtual self-nominations. Gender selfidentification of adolescent girls is manifested in the use of gender-marked vocabulary and derivational formants, as well as in self-nominations by the names of the feminine anthroponymicon or the names of female denotes. In addition, the authors found the following age characteristics of adolescence, which are reflected in the Internet self-nominations:• formation of the self-concept, • the need for individualization, • concentration on appearance and physicality with a focus on sexualization of the image, • positive or overestimated self-esteem, • improvement of cognitive functions, • maturation of the intellectual apparatus and critical thinking, • the need for acceptance by a certain social group and • involvement in a problematic or cultural context of interest.&nbsp;

Adoleszenz – Name – Internet: wie nennen sich  deutschsprachige Mädchen im Netz?

Blertë

Assist. Prof.

Vjosa

In linguistic studies, the German language is often described as a “particle-rich language.” Hence, it is difficult to translate the German particles, especially modal particles, to other languages. Previously published studies have shown that one should attempt to transfer the language functions using specific means of the target language, instead of looking for direct equivalents. In this article, we start from the hypotheses of Borst/Motsch (1986). They hypothesized the following: first, mental structures of a natural language can be expressed in any other language, and second, every language has specific expressive possibilities “that are not translatable, they can at most be rendered approximately in other languages” (Borst/Motsch 1986, p. 168).The literature in linguistics contains many studies on the translation of the German modal particles, particularly their rendering in “particle-poor” languages. These research studies have been mainly focused on neighboring languages such as French, Italian, Dutch, English, etc. The present study also focuses on the translation of the German modal particles, but here the translation equivalents of the modal particles are sought in Albanian. This is because, compared to the German language, the Albanian language system does not contain a group of modal particles and can be classified as a “particlepoor” language.Linguistics has considered modal particles to be a characteristic of spoken language. However, several studies have established alternative modal participles due to the lack of translation corpora (German literary texts and their translations) of spoken German with other languages. In our case, there is no corpus of the spoken German-Albanian language.&nbsp;Hence, two German novels—Franz Kafka’s “The Trial” and Hermann Hesse’s “Siddhartha - A Poem of India” were used to extract the sentences using the modal particle doch and their translations into Albanian-. Each of these novels has two different Albanian translations directly from German, and not from another language, by Albanian native speakers. The transmission of modal particles strongly depends on the feeling for the language. Thus, our translators were competent in identifying the nuances of the modality in German and then translate them into Albanian. The corpus analysis investigates the extent to which the German modal particle doch was transferred into Albanian and which lexical and/or syntactic means of expression were used in this transfer.In general, (inter)subjective language elements, such as modal particles in this case, can be better understood only in the context of use. Therefore, context should also be considered during translation. In this study, we assumed that various translation equivalents will occur in Albanian for the modal particle doch. Thus, we also considered that the particle meaning is dependent on the context. Additionally, all translation equivalents, as well as the omission, were considered in this study.For this corpus analysis, the Albanian translations were classified into the following categories based on the selected translation strategy:• Omission: This category includes cases whose translation into Albanian did not transfer the modality expressed in the original text. Alternatively, sentences were completely omitted • Transposition: In this category, “the phenomenon that certain parts of speech or grammatical categories of the source language are replaced by other parts of speech or grammatical categories in the target language” (Koller/Henjum, 2020, p. 350, Stolze, 2018, p. 73) • Paraphrasing: This category includes special forms of translation in which sentences or phrases are rewritten • Word-for-word translations: This category includes sentences rendered with particles in Albanian.The quantitative corpus analysis showed that the majority of cases did not use language elements in the target language for the modal particle doch. This resulted in a very high number of omissions (67.12% in total). However, wrong context transfer was observed in only a few cases. In some cases, omission avoided overloading the target text while still rendering the correct meaning of the sentence. Our findings showed that transposition is the second largest translation strategy (21.23% overall) used when transferring doch, compared to paraphrasing (total 10.10%) and word-for-word translation (total 1.54%), which are the least practiced translation strategies. This finding confirms the initial hypothesis of this article that specific expression options for the target language can facilitate the transfer of mental structures from one natural language to any other language.&nbsp;

Kann das doch weg? Zum Umgang mit der  deutschen Abtönungspartikel doch beim  Übersetzen literarischer Texte ins Albanische

İrem

Advertisements today are influenced negatively by the use of foreign language as a persuasive tool. This is driven by globalization and the expansion of international brands and multinational advertising agencies. Advertisers frequently use foreign expressions to attract attention and to evoke associations and internationality. Foreign words and phrases in advertisements may be defined as linguistic codes that can be easily distinguished and remembered by individuals because of their distinctive phonological and morphological features. Such foreign lexical structures are emphasized through the use of various visual codes as typographic components that affect the readability of the written text.The use of foreign verbal signs in advertisements is one of the most analyzed subjects in the field of advertising language. This study seeks to examine the use of foreign languages in German and Turkish magazine advertisements. Adopting more linguistic and semiotic approaches, which treat language as a sign and advertisement as a message system, this paper focuses on the growing role of foreign languages in German and Turkish advertisements. The corpus consists of the first three online issues of Elle magazine published in 2021 in Germany and Turkey. The selection criterion for advertisements was their inclusion of foreign words and/or phrases in their body, headline, and/or slogans. Advertisements in which foreign language appeared only in brand and/or product names were excluded.&nbsp;This paper’s methodology is based on linguistic and semiotic text analysis theories of Hartmut Stöckl (2004), and Janina Wildfeuer &amp; John Bateman (2014). The data are first classified quantitatively and qualitatively then analyzed in three steps applying linguistic and semiotic criteria. The first step involves the linguistic analysis of foreign words and phrases in the corpus. The second step undertakes a semiotic analysis of the typographic elements employed as visual codes of foreign language usage in advertisements. The third step is devoted to a discussion and comparison of the results of the visual and verbal codes identified in the foregoing analysis. Framed by a linguistic-semiotic analysis and interlingual comparison, this paper presents the similarities and differences in German and Turkish advertisements. It then compares these findings with the results of previous comparative studies of the use of foreign language in print advertisements.&nbsp;Results are presented separately for each language and interpreted comparatively by highlighting similarities and differences between the analyzed advertisements in German and Turkish. Notably, both German and Turkish advertisements use English, French, and Italian words/phrases to evoke positive connotations and to enhance value in the international ad market. The use of English is remarkably frequent in both sets of advertisements analyzed, which is likely associated with the dominance of English in the global market. As previous studies on advertising language have noted, English words typically make advertisements look more modern and attractive to consumers. English verbal structures also play a significant role in the target groups’ evaluations of a product, since they convey a positive image. The analysis shows that both German and Turkish advertisements use similar visual codes (e.g., font, point size, uppercase and/or lowercase letters, and color) to emphasize foreign verbal structures typographically. This may reflect the increasing impact of globalization on advertising. The results also indicate some differences in the frequency of particular visual codes. Foreign words and phrases in German advertisements are written in uppercase letters, whereas Turkish advertisements prefer lowercase letters to highlight them. This may be associated with the differing spelling conventions of German and Turkish: whereas all nouns are capitalized in German, this true only of proper nouns in Turkish. The results further indicate that the use of foreign language in advertisements might negatively influence the integrity of verbal structures in German and Turkish. The distinctive grammatical structure and naturalness of these languages might therefore be in danger of corruption.&nbsp;

Almanca ve Türkçe Dergi Reklamlarında  Yabancı Dil Kullanımı Üzerine Karşılaştırmalı  Bir İnceleme

Melike

Büchner wrote in Germany—the homeland of romanticism and idealism in the first half of the 19th century. His writings range far beyond that of the other writers of his time, conceptually and stylistically. By creating an anti-hero like Woyzeck, he overthrows all the noble values that Enlightenment thought ascribes to humanity. For the first time, he overtly acts to shine a bright light upon the isolated humans of modern drama. In Büchner’s fictional world, unlike the revolutionary period in which he lived, the idea of free will had no place. He sees man as a prisoner of fatalism and determinism. His characters are puppets in the hands of unknown forces, and they have no personalities. (Sayın, 1999, p. 121). These are the ancestors of the modern tragic anti-character we recognize from the plays of Beckett, Adamov, and Ionesco: Woyzeck is the first anti-hero, destined to wander forever in a labyrinth with no exit.The fictional universe of Koltès, who was writing in the 1980s, 150 years after Büchner, is compatible with the characterization of his time by the loss of values. From this recent past—which is but a short distance from our time—to the present, the individual is far from being only the victim of nature, society, and class inequality. The anti-hero is distilled from our times and fits the postmodern zeitgeist. Despite performing epic acts, he desires only to be erased and rebels in order to be absent; thus, the tragic is transformed. In Koltès, the tragic life of the central character unfolds far beyond the tragedy of the modernist anti-hero—that is, the state of being a puppet held captive by unknown forces. Instead, it reveals itself in the longing for non-existence.Woyzeck and Roberto Zucco have parallel plots and dramatic structures. Woyzeck is considered a pioneering work of both realistic and impressionist drama. The protagonist, Woyzeck, exhibits traits in contrast to those of the classic hero. According to Steiner,&nbsp;“Büchner was the first who brought to bear on the lowest order of men the solemnity and compassion of tragedy” (Steiner, 2013, p. 322) and Woyzeck is “the first real tragedy of low life” (p. 321). In this respect, Woyzeck is also the first proletarian (anti-)hero in the history of drama; his passive resistance creates an anti-hero prototype for the journey from Büchner to Brecht. For instance, Eagleton says, “plebeian protagonists are for the most part social rebels” (Eagleton, 2003, p. 98). However, the passive-aggressive tone in Woyzeck’s resistance and the absence of a clear consciousness accompanying his actions separates him from the classical hero’s knowing and doing style and brings him closer to the modern character’s not knowing and not doing state of being. In the passage of time from Büchner to Beckett, the subject who thinks, establishes civilizations, stands against the social order, and desires a new one becomes fragmented. His consciousness is frozen and action has ended, but tragic despair remains.Roberto Zucco is also close to impressionist drama because of its episodic structure; however, it can also be viewed as a contemporary tragedy with epic elements (Wodnicka, 2013, p. 35; Haleva, 2012, p. 82). Hegel writes, “it is the honor of these great characters to be culpable” (Hegel, 1975, p. 1215). The classical hero embraces the necessities of his tragic mistake (hamartia) with a passion in the extreme (pathos). In that sense, the dramatic character Zucco is very close to the ancient tragic hero. A crystal-clear mind accompanies Zucco’s pathos: the desire to perish that determines each of his deadly actions. In terms of the correlation between consciousness and action, Zucco differs from both Woyzeck and the modernist anti-character.The scapegoat—that is, the pharmakos—is acknowledged as having an implicit influence at the root of the tragedy form. Both Woyzeck and Zucco coincide in terms of uncanny pharmakos characters and their dual nature. Woyzeck, as the inevitable victim of class inequality, is both victim and savior—typical of the pharmakos. Zucco, in contrast, is an altogether different kind of pharmakos, who has come to take revenge on the modern world: he is a child who kills his parents, an innocent monster, and a prophet who sacrifices himself. Koltès creates a killer-hero by melding together the hero and anti-hero.&nbsp;

Büchner’den Koltès’e Karşı-Kahraman:  Woyzeck ve Roberto Zucco’ya Karşılaştırmalı Bir Bakış

Olajumoke

Lecturer

Moses

Res. Assist.

Methods of teaching foreign languages have evolved greatly over the years. A major change in this regard is from a traditional teacher-oriented stance to a learner-oriented one. One of such not too recent one is the use of the internet and information technology. The use of the internet and IT has introduced a variety of new methods into education such the use of serious games, YouTube, computer games, and mobile games, among others. This trend became even more popular across virtually the entire world because of the COVID-19 outbreak, which made it mandatory for teachers to find new ways of teaching to replace the traditional face-to-face methods. Of interest to this paper, however, is gamification, especially its introduction into the curriculum for the teaching of German at Obafemi Awolowo University, Ile-Ife, Nigeria.Gamification is, to put it simply, the application of game design elements and gaming principles to non-gaming contexts (Deterding et al., 2011: 13, quoted by Köhler 2016: 11). The results of various educational research have advocated the use of gamification in the classroom. Many have especially emphasized the positive effects of gamification with respect to improving not only the motivation of learners but also the learning process itself (see, for example, Huang &amp; Soman, 2013).Foreign language learning has its own challenges, especially when learning it as a beginner in an environment where the language is not in wide use, as is the case of German in Nigeria. A lack of adequate opportunities to put the knowledge into use outside the classroom, little or no contact with native speakers, inadequate learning materials, and a high cost of study—among other factors—often leads to poor grades, which in turn succeeds in reducing the motivation and confidence that is already low at the beginning of the course. Gamification could help to change the narrative if well applied. In the area of foreign language teaching, gamification should be defined as the use of game elements and principles in the teaching of foreign languages for the purpose of motivating, encouraging, and positively engaging learners to reach the desired level of competence.Most Nigerian students of German are between 16 and 30 years old. This age group tends to be more interested in playing computer and video games than doing their home- and class work with traditional materials such as textbooks and workbooks. Younger students need interesting activities that are fun for them and motivate them to learn and, as a result, make progress and achieve rapid success in their learning. It is therefore surprising that gamification has not yet been introduced into the curricula of Nigerian higher institutions. As a result, there is hardly any research in the field of gamification in foreign language learning in general or its use in the teaching of German in particular.This lacuna in research on gamification in German studies in Nigeria led to the present study, which examines the introduction of gamification into German lessons at Obafemi Awolowo University. The study aims at initiating a targeted discussion on gamification in German studies and stimulating further scholarly conversations on the topic. Through this, the possibility of creating a didactic design for the use of gamification in German studies in Nigeria can be achieved.This study uses secondary data sources including articles, books and reviews about gamification in education or classrooms. Other sources include websites and blog posts. These sources provide useful insights from various studies on gamification and its use in education, especially in foreign language teaching, which help in drawing up suggestions for a successful introduction of gamification into the curriculum of Nigerian universities especially that of German at the Obafemi Awolowo University in Nigeria. The analysis of the data is based on a descriptive and content analysis.&nbsp;

Die Einführung von Gamification im DaF  Unterricht an der Obafemi Awolowo Universität, Ile-Ife, Nigeria

Barış

CfP für die nächste Ausgabe

Historical narrative involves telling stories that presuppose recognizable history. In this sense, historical narration functions as an essential constituent of cultural memory and can be regarded as historia magistra vitae. The article offers a literary analysis of the historical dimension of Kirsten Boie’s young adult literary work Dunkelnacht (2021). The first step is to provide a critical assessment of the mostly consensual theories of docufictional narration and historiographical metafiction. The second step illustrates the possibility of the aesthetic hybridization of factual and fictional elements for the construction of a contingent narrative world. The article then focuses on the implemented narrative strategies that augment the impression of the construct character of docufictional historical novels. Docufictional narration is a mode of representation characterized by the hybridization of factual and fictional content. In this way, docufictions reconstruct extra-textual reality. By doing so, these texts try to overcome the insurmountable hiatus between fact and fiction. They try to be exciting and entertaining as well as give a relatively authentic representation of history, one to which their empirical or real readers have no direct temporal or spatial access. Documentary methods combine historical facts and reproduced documents as well as diverse forms of stylistic and structural aestheticization (e.g., episodic, pointed, and conjectural narration; intended breaks in chronology and coherence). In this manner, docufictional novels show that reality can be only a construction, even when authentic material is included. Historiographical metafiction, on the opposite, emphasizes the construct character of texts as well as the inaccessibility of reality and therefore consciously plays with the historical material in the hope of being recognized as a pseudo-documentary narration.&nbsp;This play can be realized both implicitly and explicitly at the level of histoire and at the level of discours. Dunkelnacht by Boie (2021) is not a historiographical metafiction in the defined sense. Boie’s historical novel for young adults gives an opportunity to participate in the special discourse concerning the final phase of World War II. The aesthetic synthesis of factual and fictional constituents, however, is marked in Boie’s novel differently than in the docufictional adult literature, whose telos consists of a connection of fact and fiction that is as coherent as possible and non-identifiable. The analysis focuses on the implemented narrative strategies that augment the impression of the construct character. The focalization is assumed to be the crucial strategy of docufictional narration in Kirsten Boie’s novel Dunkelnacht (2021). Therefore, the analysis considers such levels of focalization as language, ideology, time, space, and perception/introspection.The following questions guide the intended analysis using the close reading method: How are historical aspects treated on the level of histoire in Kirsten Boie’s work Dunkelnacht (2021)? How is the historical context illuminated through the representation of the past and the mediation of memory components and aestheticized at the level of discours? What can the art of language and rhetorical figures achieve for the evocation and deconstruction of history (e.g., hybridizations of novelty, reference to facts)? How does the interweaving of content and narratological aspects of factuality and fictionality and of approaching and distancing from reality take place? How are narrative strategies such as intertextual and multi-perspective narration (especially the complexity of contrasting perspectives on the same historical events) used?In conclusion, Dunkelnacht by Kirsten Boie is a highly complexly organized docufictional novel for young adults that uses the narrative techniques of traditional documenting and aesthetic fictionalizing strategies. The non-diegetic narrator follows the discourse of sobriety, which is a necessary predisposition for docufictional storytelling. Further, with the help of authenticating paratextual markings in the epilogue, Kirsten Boie accentuates the fictional narrative situation and the aesthetically legitimized modification of factual descriptions. At the same time, she presents her historical novel as an important constituent of cultural memory. Through the assurance of documentary dignity and at the same time through the evocation of insecurity due to the synchronicity of the markers, the text achieves strong affectation from the recipient, with the emotionalization of historical facts culminating in a reflective attitude.&nbsp;

Ästhetische Hybridisierung von Fiktionalität  und Faktualität als Erzählstrategie in historical narratives am Beispiel des jugendliterarischen Werks Dunkelnacht von Kirsten Boie (2021)

Elena

In 1802, Johann Gottfried Seume, a German writer of humble origins, set out from Dresden and travelled to Syracuse. The following year he published an account of his journey titled Spaziergang nach Syrakus im Jahre 1802 [A Stroll to Syracuse], which aroused great interest among the German public and inspired later travelers up until the 20th century.Travelling on foot allowed Seume to also experience the poorest and the most problematic aspects of the foreign land. He rejected Goethe’s idealization and aestheticization of Italy and observed The Other with a sober gaze that aimed to perceive Italy’s ills and their causes, which he depicted from a downward perspective enriched with political considerations. Seume’s work devotes much attention to inferior realities and marginality, and the underground is precisely what allows the relevant characteristics of the text and the representation of The Other to be highlighted. Underground terrains rarely are the focus of research on travel literature, although landscapes have increasingly become a field of study in literary research for some decades. Caves, catacombs, quarries, and volcanoes, are among the indispensable stages of the traditional Grand Tour of Europe, and these places fulfill interesting functions that go beyond describing the journey or being picturesque in Seume’s text. These are what this article aims to analyze, both linguistically as well as in terms of content.The representation of The Other in Spaziergang nach Syrakus im Jahre 1802 is very vivid, and the linguistic aspects of the text contribute decisively to this. In this respect,&nbsp;Seume also used the subterranean world to express value judgements and to describe unpleasant aspects, which lends originality and strength to his depiction of Italy. In this context, four main ways occur in which the underground plays an important role: it contributes to Seume’s description of places he does not appreciate (e.g., his use of the words “hole” and “nest”), it exacerbates Seume’s statement against immoral behavior, which portrays Italy’s situation as being even more miserable (e.g., his use of the word “troglodyte”), it shows the desolate state of the Italian peninsula (e.g., his use of the word “cloaca” [sewer]), and it is associated with topoi in the representation of Italy that colorfully affirms the author’s political views (e.g., his linguistic references to hell evoked by the volcanos Vesuvius and Etna). These examples show the underworld for Seume to be linked at the linguistic level to different contexts and functions with relevance for understanding the textual features and purposes.In terms of content, the underground world is particularly present in southern Italy, as the geological conformations of the Kingdom of Naples and Sicily offer more opportunities to experience it, as not just Mounts Vesuvius and Etna but also the catacombs of Naples, the Cave of the Sibyl near Lake Avernus, the quarries of Syracuse, and numerous caves are popular destinations for travelers that offer interesting insights into Seume’s relationship with his predecessors, antiquity, the classical literature, the European tradition of the Grand Tour, and the troubled beginnings of the 19th century.For example, although Seume’s experience also possesses scholarly features, the traveler’s deep respect for the classical world does not imply the assumption of an always reverent attitude; this becomes clear during his visit to the Cave of the Sibyl, which shows that the author’s approach to antiquity can also be desecrating as well as functional for the critical dimension of the text. Furthermore, the way he describes his visit to the Cave of Dogs near Naples shows his focus to not be on the tourist attraction but on his everyday personal experiences, with Spaziergang nach Syrakus im Jahre 1802 being written in a typical style: subjective, sometimes humorous, ironic, concise, and lacking pretension while also being very serious and passionate when it comes to denouncing Italy’s ills and problems. Particularly sharp tones are seen to be reserved for the representatives of the church. Within an extremely negative overall picture of corruption, obscurantism and exploitation of the people, the exception that confirms the rule is found precisely in the Italian underground, namely in the catacombs of Syracuse where a good old monk lives.&nbsp;The analyses of Spaziergang nach Syrakus im Jahre 1802 show Seume to have described a variety of experiences associated with subterranean spaces, whereby the representational strategies reveal to the reader important features of the text and of Seume’s attitude toward his past and present. Underground spaces thus contribute decisively in terms of language and content to make Spaziergang nach Syrakus im Jahre 1802 what its author wanted it to be: “not [sic] a complete picture, but an honest contribution to the configuration [of an] era [offered by] a man who is truthful, open, frank [and] independent” (Seume, 1803, p. 164).&nbsp;

Höhlen, Katakomben, Steinbrüche und  Vulkane. Italien ‚von unten‘ gesehen auf dem  ‚Spaziergang‘ von Dresden nach Syrakus von J.  G. Seume

Aylin

Jonas Lüscher’s novella Barbarian Spring deals with a financial crash in England, the effects of which reach as far as Tunisia. While at the beginning of the novella, money is shown to play no role in the wealthy society, the sudden financial crisis at the end throws everyone into chaos, which leads to a reflection on the existing financial system. A closer look at the text reveals other interesting aspects, with recurring scenes with camels, familiar motifs from the Orient, and insights into Tunisian luxury tourism drawing the reader into the world of the Arab Orient. The events additionally escalate into barbarism in this Oriental setting where characters from the most diverse milieus meet. Therefore, the novella implicitly leads to the question of whether it can be integrated into the discourse on Orientalism Edward Said set in motion. Does the novella possibly take up colonialist aspects? The title already raises associations with the barbarian topos that is widespread in Orientalism and characterized by a negative portrayal of the Orient, including the Arab world, with apparent allusions to the Arab Spring. In this context, the narration evokes an interest in uncovering how the novella positions itself in the literary Orientalist discourse. Particularly in view of today’s increasing fear of foreigners and of being overrun by other cultures, the discussion of Oriental images in contemporary literature is also of great importance from a sociopolitical point of view. In this sense, the aim of this paper is to relate Barbarian Spring to Western Orientalism and to question how the author stages the motifs of barbarians and of the camel, the camel being used here as a leitmotif, based on Edwards W. Said’s (1978) work Orientalism: Western Conceptions of the Orient, which has shaped the Orientalist discourse. Analyzing the imaginings of the Arab Orient has revealed how negative images were formed in the course of Western Orientalism. The blanket judgement of the camel-driving nomad from the desert and their perceived hostility are continuously perpetuated. This view is characterized by a dichotomy between the Orient and the Occident and uses the motif of the ugly camel to identify all Orientals. In this Western perception, even attempts to successfully initiate a revolution are always doomed to failure. The Orient is interesting to the West from a touristic point of view, but a respectful Western recognition of the Orient remains largely denied. The study of the novella clearly shows the imagining of the Orient in Lüscher’s novella to not correspond with the traditional perception Said had described. Comparing Lüscher’s Orientalist image with the earlier concepts of the Orient Said had debunked demonstrates the ability for a different Orientalist reading in Barbarian Spring. With its title designation and choice of leitmotif, a first glance at the narration in Lüscher’s text recalls the long-standing Orientalist discourse while representing a counter discourse. While the camel serves as a disparaging identification for the Oriental in Western Orientalism, the narration in Barbarian Spring steers toward the negative view of the camel as an ugly desert animal. Lüscher’s text shows the great importance these animals have for the local people’s livelihood. The exemplary camel scenes are subject to a clear empathic steering while at the same time chalk up the touristic interests of Western travelers only concerned with taking photographs as entire lives and livelihoods perish. Although these animals are existential for the Orient, the West simply cultivates a touristic curiosity toward camels. Therefore, the text, whose title initially evokes images of barbaric Orientals, plays with the conventional view of the barbaric camel driver from the Arabian desert. In the end, the once civilized guests from the West, namely successful businessmen and academicians, are the ones who mutate into horrible barbarians and offer a counterimage to the harmless camel under their mercy as well as to the empathetic Arab. This implicitly questions the outdated pejorative image of Arabs. In parallel with the leitmotif of the camel, Lüscher’s novella casts a completely different light on the familiar barbarian topos and the colonial conditions of luxury tourism, which now appear questionable. In this sense, one can conclude that Barbarian Spring draws a caricature of Orientalism. The escalation described here reveals an ironic perspective that aims to rethink colonial realities and foreigners’ negative typecasting. The parody that has been integrated into the novella in this sense, this time with the characters from the European West being portrayed as barbarians, presents a foil of contrast that urges the reader to insistently examine the traditional Orientalist images for their durability. At the same time, a transition occurs toward reflecting on the values and stereotypical perspectives of the civilized West. Accordingly, Barbarian Spring occupies a special position in the constantly ongoing discourse on foreign cultures.&nbsp;

Jonas Lüschers Novelle Frühling der Barbaren – Eine Parodie des westlichen Orientalismus?

Erkan

Aybike

The close economic, political and military relations established between the Ottoman Empire and the German Empire in the 19th century led to the formation of an alliance between the two Empire. In this period, this migration process took place intensively in the military field, with the idea of the German Empire settling in the Ottoman lands and getting stronger there. During this process, in addition to the economic, political and military sharing between the two empires, the interaction between the two peoples is also seen intensely. Especially the individual experiences written in the travel books shed light on the reason why the Germans went to the Ottoman lands and the life in that period in many aspects. It is seen that many travelogues of that period were written by men, mainly due to military immigration. At this point, Anna Grosser-Rilke differs from other travelers of the period. Rilke offers a different perspective to the literary world, both because she is a woman and because she is not of a military background. After the death of her husband, Grosser-Rilke took over the management of the ‘Agence de Constantinople’ news agency, which they founded together in Istanbul, and had the opportunity to get to know the Turkish people closely in many aspects. The fact that the author is at the center of the work as a traveler and narrator establishes a natural bond between the books. This bond will be examined in terms of imagology. The concept of image, which comes from the Latin imago, is briefly defined as the imaginary or image of an object perceived by the sense organs, reflected in the consciousness. As it can be understood from here, the image is formed depending on the relationship between the individual and the object. One of the cornerstones of this study is to reveal the mentality of the person who imagines these images: The image of the Other is produced always at least partly by the author’s subjective observation. It is not just an ‘other’ at stake, but also the reflection of the self and the society connected to the other. For this reason, in terms of imagology, it is aimed to reveal not only the formed image, but also the relations between the individual and the group or society that that individual represents. In this main quest, especially repetitive images and the specific aspects of those images are to be revealed. The main reason for choosing a female writer in this study is to reveal a female writer’s point of view rather than just revealing a masculine point of view. It will be tried to reveal the difference between the “real” and “reflected”, as Edward Said once said. Of course, the aim is not to show the difference between male and female travelers, but to evade a purely masculine point of view, in order to approach the images of the author from a different point of view.We see that the first title, Sultan, is reflected within the framework of ‘Eastern despotism’ in a ‘foggy image of the East’. The author also refers to the common discourses in Europe to strengthen her view. To give an example, we can give ‘the sick man in the Bosporus’. This expression posits the discourse of Europe in the center and thus adds ‘realism’ to the Turkish image of the Europeans as a universal truth. However, when we look at the definitions under the title of the Turkish people, the image moves away from the European discourse, as stated by Louis Massignon. The discourse of my ‘kind-hearted Turks’ in her travel book sums up this positive approach to the Turkish people and the bond she established in the best way. Thus, she also moved away from the evaluation of the Turks as ‘barbarian’ that was common in Europe, especially until the 19th century. The author often compares the Turkish women with the women in Europe, especially when describing them. Here she frequently emphasizes that Turkish women live in a golden prison and that the Turkish women can’t go out alone. The author, who often compares the life of Turkish women with the life of women in Europe, emphasizes the freedom of life in Europe. Thus, she stays within the framework of the notions of ‘us’ and the ‘other’. The superiority of the woman in Europe, especially regarding her lifestyle, is obvious for the author. All in all, we can say that already with its title, this travelogue differs from many other travel books. Especially, because in this period of the Ottoman Empire, it was very difficult (for men) to observe women’s lives or to communicate with them, since as a woman the author could gather much more information than men, who on top were mainly from the military.&nbsp;

Anna Grosser-Rilke’nin İstanbul’da Bir Hoş  Sada – Avrupa Saraylarından Yıldız’a Adlı  Seyahatnamesindeki Türk İmgesi

Valeria

Prof.

Sergei

Are We on Our Own or Pressed into ein  Kollektiv? The Keyword Pragmatic Trajectory  in the German Public and Political Discourse:  Corpus-Driven Discourse Analysis

Zekun

Yuan

Due to the study of foreign language learners’ written expressions tending toward being multi-dimensional and omnidirectional, researchers have gradually been extending the perspective from level of words and sentences to that of text, with textual cohesion and coherence having become an important research object. Among these, connectors attracting increasingly more academic attention because they are able to clearly reflect the coherence between textual units as a frequently used cohesive device. An extensive body of research has suggested that EFL-learners face potential difficulties when using connectors, such as overuse and misuse. However, few studies have been carried out for learners of German, and the classification of connectors and analytical dimensions have also remained limited to some degree. In addition, GFL-learners have only been examined at the level of static language. With this in mind, the development of German-related studies still remains to be done.In order to comprehensively, dynamically, and interactively analyze Chinese GFLlearners’ connector usage, this study draws on dynamic systems theory as the theoretical basis and has selected data based on 155 argumentative texts from Chinese GFL-students across four grades (German language levels A1, A2, B1, B2) and 13 texts from the FalkoEssayL1 corpus. Frequency, diversity, and accuracy are used as analytical dimensions for quantitative and qualitative examinations. The specific research questions are as follows:1) What are the characteristics Chinese GFL-learners’ connector usage in written texts for each learning stage?2) How do these characteristics develop as language level increases within the learning stages? 3) What similarities and differences can be identified in Chinese GFL-learners’ connector usage compared to native German speakers?In summary, the current study has partly verified and enriched the results from previous studies with some differentiations regarding the results. The main findings from the current study are as follows:Frequency: In the German argumentative texts, Chinese GFL-students generally use fewer connectors than German native speakers. As their language level increases, the frequency of the connectors Chinese GFL-students use does not change significantly from A1 to B1, but increases at the B2 level approaching that of German native speakers. On a syntactic and semantic level, the types of the connectors used by GFL-students and German native speakers are basically the same: syntactically they mostly prefer adverb connectors and semantically additive connectors.Diversity: According to the standardized type-token ratio, the diversity of connectors used by Chinese GFL-students increases with language levels. The diversity of connectors in Chinese GFL-students increases significantly from B1, and is then higher than that of native speakers. Specifically, the absolute number of the types of connectors used in most semantic classes are higher among German native speakers.Accuracy: The error rate in GFL-learners’ connector usage is significantly higher than that of native speakers, with GFL-learners on average making more than one connectiverelated error per sentence. Specifically, GFL-students make mostly syntactic errors while native German speakers make punctuation errors. The error rate regarding Chinese GFLstudents’ connector usage decreases as they reach higher language levels, with the correctness rate increasing significantly from A1 to A2 especially. However, the correctness rate at the B2 level is still significantly lower than that of native German speakers. Furthermore, GFL-students’ average error rate per sentence gradually decreases per increase in level. The distributions of other error types apart from syntax errors and orthographic errors do not change significantly as language level increases.Interaction: A dynamic and fluctuating correlation exists among the frequency, diversity, and accuracy of connectors. A positive correlation has been demonstrated between diversity and accuracy in the dynamic system of connectors, while a certain degree of negative correlation has been observed between frequency and diversity, as well as between frequency and accuracy.In conclusion, Chinese GFL-learners’ acquisition of connectors is non-unidirectional and non-linear, and dynamic interactions are present between the connective subsystems. Although the frequency of connectors learners use is still lower than that of native speakers, the diversity of connectors reflected by the standardized type-token ratio is higher than that of native German speakers. Moreover, errors occur in the use of connectors at all learning stages, with Chinese GFL-learners’ error rate being significantly higher than that of native German speakers. Although GFL-students’ acquisition process was always able to be observed dynamically, their system for using connectors tended to stabilize over time. More connectors with a high degree of diversity and correctness occur when they wrote German argumentative texts. Consequently, this study has verified and also enriched the dynamic systems theory with specific lexical language data.Many factors are found to cause Chinese GFL-learners to present the abovementioned characteristics. This study believes that the following four factors may affect the use of connectors: language input, linguistic interference, learning strategies, and thought patterns. Finally, this study puts forward some suggestions for teaching German connectors. First of all, learners need to be provided with more German connector exercises with contexts. Based on the findings, for some connectors, learners only master their language forms, but do not really understand their meanings and usages. Secondly, teachers should strengthen the practice of typical errors and compare connectors with similar meanings. In addition, teachers could compare German connectors with Chinese and English connectors at the cultural level to make learners aware of the transfer of other languages. At last but not at least, teachers should realize that the acquisition of connectors is not linear. Even if slow progress or even regression is noted, this should not be a concern. On the whole, it keeps moving forward.&nbsp;

Der Gebrauch von Konnektoren bei  chinesischen DaF-LernerInnen. Eine  korpuslinguistische Untersuchung  argumentativer Lernertexte

Nurseza

Kader

Anastasia

As a result of the COVID-19 pandemic, discussions about hybrid learning in foreign language teaching have quickly received attention and can now be described as promising. The basis for this situation is the discourse on e-learning, blended learning, and the digitization of foreign language teaching. Hybrid learning can be described as integrative learning based on a didactically meaningful combination (i.e., pedagogical added value) of traditional face-to-face learning and synchronous online lessons.This study presents and evaluates the hybrid learning model. The research was carried out during the 2021-2022 preparatory year at a Turkish university’s foreign language center. The hybrid learning model consists of 16 hours of face-to-face classes, six hours of synchronous online classes, and two hours of online language learning coaching each week. Data were collected in the study using a semi-structured, non-standardized online questionnaire. The students’ attitudes and justifications of the students were collected after one semester in a hybrid format with the help of Likert-type statements and openended questions. In this way, opinions were recorded for the students (n = 61) studying together in the German as a Foreign Language teaching program and Archaeology programs. The students were asked questions regarding motivation and learning efficiency in the online and face-to-face aspects of the teaching class, the general characteristics of the concept of hybrid learning, and the likelihood of continuing the hybrid learning format. The data were evaluated numerically using Google Forms and Microsoft Excel. The investigation aims to evaluate the hybrid learning model from students’ perspectives in order to gain insight about the discussions on the future of hybrid learning models.The study results show that students assessed their motivation differently with regard to hybrid learning. While more students considered the face-to-face aspects of the teaching lesson to be at a higher level and to be justified with efficient and collaborative learning, they felt the online aspects of the teaching lesson to be more in the lower and middle range. The students explained this in terms of such things as technical problems and difficulties concentrating. A similar trend was also observed with regard to information about learning efficiency. While most participants described the face-to-face aspects of the teaching lesson to be efficient, less than half of the students felt that way with regard to the online aspects. However, the information about learning efficiency regarding the online aspects of the teaching class was almost twice as high as the information about motivation. These subjective assessments can likely be attributed primarily to the adverse effects from the COVID-19 pandemic. This is because several empirical studies on virtual learning arrangements were unable to find any significant difference between the two forms of teaching (Goertler &amp; Gacs, 2018; Heidari, Khodabandeh &amp; Soleimani, 2018; Archan, 2021).The present study collected student assessments about the particular features of the hybrid learning model using Likert-type statements. These statements were theory-led and developed based on the researchers’ experiences with the concept of hybrid teaching. As an example, the students agreed with the teacher about the online aspects of the teaching course with regard to the relevance of being personal acquainted with the teacher and the importance of digital activities (e.g., interactive exercises) for foreign language learning. As another example, the students emphasized collaborative learning in a community with regard to the face-to-face aspects of hybrid learning because it enables fellow students to help one another with any difficulties and to be members of a social group.When asked about the likelihood of the hybrid learning classes continuing, the students turned out to be equally opposed and in favor of their continuation. A relatively large number of participants were strikingly undecided. Most students did not yet have a precise understanding of the overall hybrid model, but instead thought of the categories of face-to-face versus the online aspects of teaching and viewed the hybrid format as a temporary solution caused by the pandemic.&nbsp;Based on the survey findings, the following recommendations can be made. More attention should be paid to the distribution of content and activities between the online and face-to-face aspects when designing hybrid learning models. The term “pedagogical added value” should focus on all didactic activities because it helps people make an informed decision about which teaching activities are better to carry out in terms of the online and face-to-face formats. Making learners aware of the particular features of hybrid learning as part of the language learning consultation is also essential. This should include topics such as motivation, learner autonomy, self-control, organizing the learning process, and media education.&nbsp;

Das hybride Lernkonzept aus der Studierendensicht: Ergebnisse einer Befragung und Perspektiven für den universitären DaF-Unterricht

@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

Kommunikation in der Wissenschaft: Ein Plädoyer für Mehrsprachigkeit

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

Ali Osman

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

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

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

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

Khrystyna

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, çeviribilim ve dil öğretimi 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, çeviribilim ve dil öğretimi 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.

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Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve Committee on Publication Ethics (COPE), Directory of Open Access Journals (DOAJ), Open Access Scholarly Publishers Association (OASPA) ve World Association of Medical Editors (WAME) 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.&#65279;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 COPE ve ICJME 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 Committee on Publication Ethics (COPE), Directory of Open Access Journals (DOAJ), Open Access Scholarly Publishers Association (OASPA) ve World Association of Medical Editors (WAME) 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><div><div style="text-align: left;"> </div><div style="text-align: left;">4.    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;">5.    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;">6.    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;">7.    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;">8.    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;">9.    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;">10.    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;">11.    Kaynakça başlığı Almancada “Literaturverzeichnis”, İngilizcede “References”, Türkçede “Kaynakça” olarak yazılmalıdır.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">12.    Özlerin başlığı Almanca ve İngilizcede “Abstract”, Türkçede “Öz” olarak belirtilmelidir.</div></div><div><div style="text-align: left;"> </div><div style="text-align: left;">13.    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;">14.    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;">15.    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;">16.    Özel isimler/kişi adları italik ya da bold olmamalıdır.</div><div style="text-align: left;"> </div><div style="text-align: left;">17.    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;">18.    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;">19.    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;">20.    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>Anahtar Kelimeler: 5 makale dilinde ve 5 İngilizce</li> <li>İngilizce genişletilmiş özet (Extended Abstract) 600-800 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>Anahtar Kelimeler: 5 makale dilinde ve 5 İngilizce</li> <li>İngilizce genişletilmiş Özet (Extended Abstract)  600-800 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">http://www.apastyle.org/</a>Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kaynaklar aşağıdaki örneklerdeki gibi gösterilmelidir.Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir. Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci 2007, s. 72)Üç, dört ve beş yazarlı kaynak;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: 5 adet makale dilinde ve 5 adet İngilizceü    İngilizce genişletilmiş Özet (Extended Abstract) 600-800 kelimeü    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>

Sayı Türü	Regular
Editör(ler)	İrem Atasoy, Barış Konukman
Kapak (PDF)
Ön Sayfalar (PDF)

Alman Dili ve Edebiyatı Dergisi

SAYI 47, 2022

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