Şehzade Mehmet Camii'nin Dış Yan Sofaları

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Fatih Albümünde "Şeyhi" İmzalı Minyatürler

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Sinan'ın Mirası

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Öğretmenlerin örgütsel sessizlik ve örgütsel sinizm düzeylerinin örgütsel vatandaşlık davranışları üzerindeki etkisi: Şırnak ili örneği

Bu çalışmanın genel amacı okullarda görev yapmakta olan öğretmenlerin örgütsel vatandaşlık, örgütsel sessizlik ve örgütsel sinizm algıları arasındaki ilişkiyi belirlemektir. Araştırmanın evrenini 2019-2020 eğitim öğretim yılında Şırnak ilinde eğitim-öğretim faaliyetlerine devam eden okullarda görev yapmakta olan 9000 öğretmen oluşturmaktadır. Bu çalışma kapsamında öğretmenlere kişisel bilgi formu, örgütsel vatandaşlık düzeylerini ölçmek amacıyla Örgütsel Vatandaşlık Ölçeği, örgütsel sessizliklerini ölçmek amacıyla Örgütsel Sessizlik Ölçeği, örgütsel sinizm algılarını ölçmek amacıyla Örgütsel Sinizm Ölçeği uygulanmıştır. Ölçeklerin uygulandığı grubun özelliklerine ilişkin olarak frekans ve yüzde dağılımları bulunmuştur. Araştırmada elde edilen bulgularda örgütsel vatandaşlık davranışı ile örgütsel sessizlik arasında negatif yönlü bir ilişki, örgütsel vatandaşlık davranışı ile örgütsel sinizm arasında negatif yönlü bir ilişki ve örgütsel sessizlik ile örgütsel sinizm arasında pozitif yönlü bir ilişki olduğu bulunmuştur

Demographic, Social Network Structure and Instagram Use Related Factors Predicting Parents' Sharenting Behaviors

There has been limited number of studies on sharenting which has occured as a new concept related to parenting due to parent’s extensive sharing of information about their children on social media. The aim of the present study was to examine mothers’ and fathers’ sharing of their children’s photos on Instagram as a sharenting behavior with its predictors. Thus, the relationship of the frequency of sharing children’s photos with the demographic (gender, age, education level and perceived financial status), social network structure-related (online: number of Instagram followers, ratio of followers liking and commenting on children’s photos; offline: perceived social support), and Instagram-use-related (frequency of visiting account, duration of having an account and frequency of general sharing) factors was analyzed. Six hundred seventy three parents using Instagram completed the demographic information form, the use of social media form, and the perceived offline social support scale. Five hundred thirty seven (300 mothers) parents reported to have shared at least one photo of their children on Instagram. Mothers and fathers did not differ in the frequency of sharing photos and the analysis of the contents of shared photos demonstrated that special events, trips and holidays with children, and times with family and friends were the most frequently reported contents. Regression analysis showed that the frequency of sharing children’s photos was predicted negatively by parents’ age; and positively by the frequency of general sharing, the ratio of followers liking children’ photos, and the perceived offline social support

How Brand Jealousy Influences the Relationship between Brand Attachment and Word of Mouth Communication

Objectives:  The aim of this study is to understand the relationships between brand attachment and word of mouth communication (WOM), brand attachment and brand jealousy; brand jealousy and WOM; and the mediating role of brand jealousy on the relationship between brand attachment and word of mouth communication. Approach: The measurement model is analyzed via confirmatory factor analysis (CFA). Further, structural equation modeling was performed in order to test the construct relations in the theoretical framework of this study. Results: Findings of the study show that even though as brand attachment increases positive word of mouth increases, however in the existence of jealousy even people that are attached to a brand they may not talk favorably about it, and in fact make negative word of mouth communication Value: The present research is expected to extend the prior research contributing to the extant literature by investigating an emerging concept of brand jealousy and its possible antecedents (i.e. brand attachment) and outcomes (i.e. negative and positive WOM)

Mimesis in Ottoman paintings: An evaluation in regards the paintings of Şeker Ahmed Paşa

Osmanlı resminde mimesis kendi iç dinamikleri sonucu ulaştığı bir yöntem değildir. Batıdan ithal edilen biçim dilinin Osmanlı sanatçıları tarafından uygulanmasından ibarettir. Osmanlı resminde bu kavram 17. yüzyıldan itibaren geleneksel biçim dilinin çözülmeye başlamasıyla gündeme gelir, ancak programlı olarak 19. yüzyıl resminde uygulanmaya başlanır. Bu makale, mimesis kavramını Şeker Ahmed Paşa’nın resimleri bağlamında incelemektedir. Felsefi anlamda mimesis, akılcı, nesnel ve bilimsel bir gerçekliğin resim düzleminde ifadesidir. Osmanlı-İslam kültürü içinde yetişen, tasavvufun ontolojik görüşü ve geleneksel ahlak sistemine büyük ölçüde bağlı olan bir sanatçının resimlerinde mimesisin kendini özgü yönü sorgulanmaktadır.  Anahtar Kelimeler: Mimesis, Osmanlı resmi, Şeker Ahmed Paşa.Mimesis was not a method that was attained as a result of internal dynamics in the Ottoman paintings. It consisted of the Ottoman artists implementation of a style that was imported from the Western world. This concept came into being in the Ottoman paintings, starting from 17th Century, when the style of language used became disintegrated; however, it’s programmed implementation in paintings dates back to the 19th Century. The image in painting is not only physical and technical result but also mental and cultural expression. This article presents a epistemological approach to the subject. Ottoman mentality that is based on a priory and idealist epistemology is in contrast with Western mentality that is based on empirical and positivist epistemology. These two different ways of thinking and seeing were conjoined and that constituted peculiar structure in Westernization period. Philosophically speaking, mimesis is the expression that is projected as painting as it is realized on a rationalistic, objective and a scientific scale. This paper examines the concept of mimesis in relation to paintings of Şeker Ahmed Paşa. The interrogation, in question, here is about the style of use of mimesis in paintings of Şeker Ahmed Paşa who was raised in an Ottoman-Islamic culture, who was bound by the views of Islamic mysticism and who was also tied to a traditional moral system. Keywords: Mimesis, Ottoman painting, Şeker Ahmed Paşa

Türkiye'de müzeciliğin gelişimi

Since the first ages, the motive of collecting flourishing in religios and other sacred traditions were  also the basis for art that has also been the core of collections. Collection was the main reason to establish the museums which led foundation of current museums. Upon opening collections to the public in the eighteenth century, brought about the need for systematic corporate approaches, in addition to the exhibitive and informative functions, and with the social, economic and political developments encountered in the nineteenth and twentieth centuries, the museums entered a fast-changing development process. Today, within this process, museums aim at social totality with a visitor and communication based approach. In our country, museums' target is primarily the protection of our rich historical and cultural heritage and the museums emerged as a "contemporary organization" as an indicator of westernization efforts in 19th century. This assumption about organizational process of museums also emphasizes two important factors, which effected the formation of museum applications in Turkey. One of these is: "protection" of historical and cultural heritage and the other concept is: "a contemporary institution as an indicator of westernization". The objective of this study is to emphasize influences of Westernization process in museum applications and formation while discussing development of museums in Turkey. Keywords: Museums in Turkey, ramification of collections, museum architecture. Batı’da, koleksiyonların, 18. yüzyılda topluma açılması; bir sistem çerçevesinde kurumsallaşmayı da gerektirmiş, bugün ziyaretçi ve iletişim temelli bir yaklaşımla toplumla bütünleşmeyi hedefleyen müzeler, 19 ve 20. yüzyıl boyunca hızla değişen bir gelişim süreci içerisinde olmuşlardır. Ülkemizde ise müzeler; öncelikle zengin tarihî ve kültürel mirasımızı korumayı hedefleyen, 19. yüzyılın Batılılaşma çabalarının göstergesi olan “çağdaş bir kurum” olarak ortaya çıkmışlardır. Müzenin kurumsallaşma sürecine ilişkin bu tespit, aynı zamanda Türkiye’de müzecilik uygulamalarının biçimlenmesini de etkileyen iki önemli kavramı, “koruma” ve “Batılılaşmanın göstergesi çağdaş bir kurum olma” kavramlarını da vurgulamaktadır. Sunulan bu çalışmanın amacı; Türkiye’de müzeciliğin gelişimini aktarırken, Batılılaşma sürecinin müzecilik uygulamaları ve bunları biçimlendirmedeki etkisini de vurgulamaktır.  Anahtar Kelimeler: Türkiye’de müzecilik, koleksiyonların çeşitlenmesi, müze mimarisi

The relationship between vix (fear) index and stock exchange indices in different continents

Bu çalışma küresel korku endeksi olarak ifade edilen VIX endeksi ile farklı kıtalarda yer alan gelişmiş ve gelişmekte olan ülkelere ait borsa endekslerinin VIX endeksi ile olan ilişkilerini analiz etmeyi amaçlamaktadır. Bu kapsamda 30.01.2012 - 13.02.2020 tarihleri arasında günlük veriler kullanılarak, Asya kıtasını temsilen Japonya ve Çin hisse senedi endeksleri; Amerika kıtasını temsilen Amerika Birleşik Devletleri ve Brezilya hisse senedi endeksleri; Avustralya kıtasını temsilen Avustralya ve Yeni Zelanda hisse senedi endeksleri; Afrika kıtasını temsilen Güney Afrika ve Nijerya hisse senedi endeksleri; Avrupa kıtasını temsilen Türkiye ve Almanya hisse senedi endeksleri ile VIX endeksi arasındaki uzun dönemli bir ilişkinin olup olmadığı ve bu değişkenler arasında nedensellik ilişkisi test edilmiştir. Analiz sonucunda VIX ile tüm değişkenler arasında uzun dönemli bir ilişkinin varlığı ve ancak kısa dönemde VIX’den Dow 30 (Amerika Birleşik Devletleri) endeksine doğru bir nedensellik ilişkisinin bulunmadığı tespit edilmekle birlikte, Dax (Almanya), BIST 100 (Türkiye), Shanghai (Çin), S&P/ASX 200(Avustralya), South Africa Top 40(Güney Afrika), Bovespa (Brezilya), NSX 50(Yeni Zelanda), NSE 30(Nijerya), Nikkei 225 (Japonya) endekslerine doğru nedensellik ilişkisinin bulunduğu gözlenmiştir.This study attempts to analyze the relationship between the VIX index, which is expressed as the global fear index, and the stock exchange indexes of developed and developing countries located on different continents. In this context, by using daily data for time period between 30.01.2012 and 13.02.2020, whether there is a long term and causal relationship between Japan and China stock indices representing the continent of Asia, United States and Brazil stock indices representing the continent of America; Australian and New Zealand stock indices representing the continent of Australia; South Africa and Nigeria stock indices representing the continent of Africa and Germany and Turkey stock indices representing the continent of Europe and the VIX index were tested. As a result of the analysis, the long term relationship between VIX index and all of the stock indices was found. Additionally, in the short term, the causality relationship was found from VIX index to Dax (Germany), BIST 100 (Turkey), Shanghai (China ), S & P / ASX 200 (Australia), South Africa Top 40 (South Africa), Bovespa (Brazil), NSX 50 (New Zealand), NSE 30 (Nigeria), Nikkei 225 (Japan) except Dow 30 (United States)

The differences between Ottoman "kaftan" and "entari" with their usage

Osmanlı giyim kuşamının temelleri ikibin yıldan eskiye, Orta Asya’da yaşamış olan atalarının giyim kültürüne uzanmaktadır. Yaklaşık altı yüzyıl, Osmanlı kıyafetleri, kesim özellikleri açısından benzer şekilde devam etmiş, 19. yüzyıldan itibaren köklü değişikliğe uğramıştır. 19. yüzyıl başında erkek kıyafetleri, yüzyılın ortasından sonra kadın kıyafetleri Avrupa modası etkisiyle tamamen değişmiştir.  Osmanlı giyiminde yüzyıllarca şalvar, iç gömleği, entari, kaftan ve hırkalar kullanılmıştır. Osmanlı kıyafetinin belirleyici unsurları kaftanlar ve entarilerdir. Kaftan ve entariler yüzyıllarca birlikte giyilmişlerdir. Entariler içte kalmakta, kaftanlar entarilerin üstüne giyilmektedir. Entariler herkes tarafından giyilirken kaftanlar özellikle, kamusal alana yönelik bir nevi üniforma görevi gören giysilerdir. Bu iki giysi kesim özellikleri açısından çok benzer ve bazen birbirlerine karıştırılırlar. Türkçede, kaftan sözcüğü çok eskiden beri kullanılırken, entari sözcüğünün 16. yüzyıldan itibaren kullanıldığı bilinmektedir. Entari kullanılış amaçları ile var olan ve her durumda giyilen giysidir. Kaftan olarak adlandırılan giysi öncelikle saray giysilerini düşündürmektedir çünkü Topkapı Sarayı Müzesi’nde büyük bir padişah kaftanları koleksiyonu yer almakta ve bunların dışında günümüze gelen pek fazla kaftan bulunmamaktadır. Kaftanlar itibarı temsil eden giysiler olmuş, değerli kumaşları ve aksesuarları ile itibar sağladıkları gibi kumaş desenleri ile sembolizm yaratmışlardır. Padişah giysilerinde, sultanın temsil ettiği güçler, kaftanlarda kumaş desenleri sembolize edilmektedir. 19. yüzyıl başlarında erkek kıyafetlerinin değişmesiyle kaftan kullanımı ortadan kalkar. Hem kadın hem erkek giysisi olan entari yalnızca kadınlara özgü olur. 18. yüzyıldan itibaren hafifleyen geleneksel giysiler, 19. yüzyıl sonunda ortadan kalkar. Anahtar Kelimeler: Kaftan, hil’at, entari, kesim, sembolizm.Ottoman dressing culture has a history of more than two thousand years. This culture was the inheritance of The Turks’ ancestors from Central Asia. For many centuries in the Ottoman period, the  articles of  dress were similar of  men and women and bore the same name. The main items were the şalvar (ankle-length trousers), gömlek (under tunic), hırka (cardigan), entari (gown), which could sometimes be called a kaftan (caftan). Cardigans and gowns opened down the front and were generally collarless. Narrow godets (peş) were added to the sides of these robes to give extra volume to the skirts, and they had inset pockets in the seams. This style of dress, the cut of which was known as “peşli” continued through to the mid 19th century, with minor modifications of the collar of cuffs. Gowns and caftans were usually made of costly fabrics. In this study, Ottoman kaftan and entari examined and compared according to their usage with their symbolism. The 18th century’s changes on costumes mentioned then after leaving to use kaftan in the early 19th century surviving entari and its different styles explained. The most interesting items of Ottoman costumes were kaftan and entari. They were very similar in their cutting style. These two articles of dressing worn together for hundreds of years. The caftan worn over the inner robes (entari) was usually made of heavy printed silk fabric and had short sleeves, which meant that the puffed sleeves of the inner robes could be seen underneath. In winter this was worn with an outer caftan lined inside with a sable skin, beach martin’s fur, squirrel fur or ermine fur. Entari could be worn alone but kaftan needed another inner robe. Kaftan, the outer robe was showing the level of the person who wore it in the public. The sultan and government gave the kaftan as pleasing gift or to make higher the statute of the one who took it. So, kaftan carried a high symbolism on it. Caftans of various styles were the important items of dress for both men and women. Caftans are fairly simple in construction and tailoring, using mostly straight seams; it was the quality of the fabric that was intended to impress. When we look at the caftans, firstly the imperial kaftans and the kaftans of inhabitants of the palace attract us. They pulled our interest on. Ottoman sultans used to attach great importance to their attire. They used to wear kaftans made of expensive and luxurious cloths. They generally have round necks, sometimes with a small stand-up collar. Women’s caftans likewise had round necks: styles that had low round or square necklines or even came under the bust date to the late 18th century. 16th century caftans did not expose the bosom. They usually have buttons to the waist, either jewelled or covered in the same fabric as the caftan. The sultan and his court would frequently wear gowns one with wrist length sleeves under another with short sleeves, under another with decorative ankle length sleeves, so their contrasting fabrics could all be seen and admired. In the 18th century, silk fabrics began to change. They become lighter both in design and the portion of silk. Also the style of the gowns was changed. Costumes were effected by European fashion and became lighter. The new style was very suitable with new style of social life. The dress of the 18th century is vividly described by Lady Montague..... The miniaturs of Levni and Abdullah Buhari also depict the dress of the time in close detail. Towards the mid eighteenth century, the length of the skirt rose to above the ankles and the neckline became deep enough to reveal the brests, while the right front panels of open fronted dresses were cut diagonally at the waist level to have an overlap over the left panel. Towards the end of the 18th century the neckline became so low that it exposed the breasts entirely. In the early 19th century new styles emerged in women’s fashions. The dresses, known as üç etek and dört etek (three and four panelled skirts, where the skirt was divided by waisthigh slits into three and four panels respectively) were highly favoured in capital and worn until 1875. Women in conservative circles continued to wear them up to the end of the century. In the provinces and particularly in rural areas the fashion continued even into the 20th century. Keywords: Kaftan (outer robe), hil’at, entari (inner robe), cutting style,symbolism.&nbsp