Turkish Metaphors of Anger

Studies in Cognitive Linguistics have established that metaphors have an important role in the conceptualization of feelings, and that these conceptualizations present clues about the properties unique to the nature of languages. (Lakoff, 405; Kövecses, Metaphor and Emotion 15; Kövecses, Metaphor in Culture 34). The concept of anger, which is one of the most frequently studied feeling concepts examined with a cognitive view, has a signicantly important role in determining the cultural differences of the languages (Lakoff and Kövecses 200; Yu 60; Soriano 110; Kövecses, Handbook of Anger 164; Kövecses et al. 350). There have been prominent studies in Turkish as well which aim to put forward the general and culture specic conceptualizations of anger metaphors (Aksan, Metaphors of Anger 31; Aksan, The Container Metaphor 103). The aim of this study is to analyze Turkish anger metaphors and to describe their culture specic views. To reach this aim, the distribution and metaphorical mappings of anger metaphors in a database, which has been built from news articles and newspaper columns, have been determined. The ndings of the study show that the metaphors of container, natural force and opponent have signicant role in the cognitive model specic to Turkish; and that the Turkish specic model displays common properties with the model developed by Lakoff and Kövecses (200) for American English, aside from having some culture specic differences

SURİYELİ MÜLTECİLERİN MOBİLYA SEKTÖRÜ İŞGÜCÜ ÜZERİNE ETKİLERİ; KAHRAMANMARAŞ İLİ ÖRNEĞİ

Doğal felaketler, savaşlar, küreselleşme ve göç olayları ülkelerin demografik yapılarının, sosyal hayatının, üretilen mal ve hizmetlerin niteliğinin, fiyatının ve ayrıca işgücü özelliklerinin değişmesine neden olmaktadır. Göç sebebi ile değişen işgücü yapısı rekabet ortamında işletmelere bazı avantajlar sağlamaktadır. Bu çalışmada, 2011 yılında Suriye’de başlayan iç savaş sonrası Türkiye’ye gelen ve mobilya sektöründe çalışmaya başlayan mültecilerin etkileri yüz yüze görüşme anket metodu ile incelenmiştir. İşyeri sahiplerinin görüşleri ve memnuniyet dereceleri, Türk işçilerin bu konudaki görüşleri, mültecilerin sorunları ve geleceğe yönelik olası gelişmeler karşısındaki kararları tespit edilmeye çalışılmıştır.

Soyut Dışavurumcu Kompozisyonlar

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Sosyal Bilimler Enstitüsü, 1996Thesis (M.A.) -- İstanbul Technical University, Institute of Social Sciences, 1996Soyut çalışmalarımın kapsamı maddesizliği temelinde anılan doğamn akustik renk dinamizmi çarpıcı bir biçimde ele alınmıştır. Her bir renk karşıtı insanın sosyal bir varlık dışındaki var olma duyarlılığını hissettirmektedir. Sürekli hareket halinde gözüken, aslında maddenin kendi içindeki statik enerjisinden başka birşey değildir. Var oluduğum duyarlılığımla resimlerini yapmaktayım. Eserlerimde çıkış noktası olarak bir olay, konu yada bir görünümün yorumu düşünülmemiştir. Soyutlayıcı olmayıp tamamiyle soyut anlayışı göstermektedir. Bilinç altoda birikmiş olan imajları subje eleştirisi olarak başı ve sonu belli olmayan, bitme ve sonuçlanma kaygısı duymayan insanın, ikinci bir kere yaratma hırsından uzak, tekrarlanmayan, soyuta kendisi ile başbaşa bıraktıran ve izleyicisinin yorumuna sunan bir anlayış söz konusudur. Geçmiş ve gelecek, yaşanmış ve yaşanmamışlıklar uzay özleminin kendisidir. Ulaşmak hissi, kendinden sıyrılma, bedeninden ayrılarak sonsuzun kendisine ulaşabilmek, sonunda yine bir aitlik; sonsuza ait olma yada sonsuzun kendine ait olması. Uzay konusu hep bu çelişkilerin, bu yitkinliğin bir göstergesidir ki bu çalışmalarımla izleyicinin soyut imgelerimle başbaşa kalarak, kendine olan güvenini ve iç mutluluğunu bulmasına yardıma olmasına çalışıyorum.The content of our abstract works and the accustic dynamism in the roots of nature has been studied in a very striking style. Since the abstraction in art can never be contained in any elements in the world, can only be differentiated by ordinary people unless they are perceivable enough. An artist can prove this with his own abilities and talents. These concepts are in two or three dimensions and have been realised in abstract perception avoiding a realistic descripton even if they have done a volume effect. Here what we mean by abstract is bringing the objects together. In the essence of a being, apart from the concrete. As it is done in music, we can feel the accustic harmony by the eye. This accustic harmony and movement done with the synthesis of forms is the total excitement created from movement and rhythm. The spectators watchers all of these concepts in a very striking-style. These impressions effect the formal structure of painting and become more effective, the more the spectator tries to solve the colour harmony. The equalance of every colour makes one feel the sensitivity of a man apart from being a social existance. Colours of nature are known by everybody. A human being can only perceive these colours. The colours which reflect the abstract understanding of the artists are mysterious, what seems as a continuous movement is nothing but the static energy of the matter. What we mean by "matter" is the expression of the abstract forms, not the movement of a concrete matter. All the objects which are perceived in mind through sences, have been shown in a precie certainity and the whole action which is not included has been considered in a completely different place, away from time concept. Time of the painting starts the moment it has been perceived much further than the past or future, and action which tends to be completed after it has been watched thoroughly. The elements forming the movement are caused by structures. In this structure lines and colours are important factors because movement shows, itself in the smallest vibration. The dynamism and changes of the colour parts importance in this movement. Effects of forms in human psyhology and their relation between the whole and the parts can be explained by Geştalt psychology and can be solved by the theory "Unity in the whole" This unity is the value of every piece in itself and the absolute agreement of it with the whole. The static balance in the whole and the rhyrmic movements of the pieces supply the necessary energy. This energy causes vibrations and visual excite ments when it is perceived shave been doing my paintings with all the sensitiveness of my presence. Meanwhile I have accepted all the scientific esthetic solutions a goal in my life. In the paintings we haven't thought of a subject or a topic as an exit point. When the classisc history of art has been studied, we notice that it narrates a specific subject. In time, we begin to notice that this narration is not through the exterior of things but through their essence. All my pointing are done in an abstract style and contain the specific narration and technique of modern art. In this special narration, a realistic representation of nature hasn't been in question. What is meant here is the representation of the subject. It hasn't been abstract but has an abstract understanding. In the pictures, which are painted with an abstract understanding, the realistic structure is spoilt on purpose and it leaves its place to new comments in which the basic forms have been tried to be changed. However, in abstract understanding it is not possible to set out from a spesific subject. What is studied in abstract painting is the description of images. These images seem to be the sign of the artist's life who is excluded by nature. What is aimed here is the understanding of a man has no worries of creating a second time and whose images have been collected in the sub- conscience as the critics and images of the perceivable objects and who has no worries about coming to an end or conclusion, who is away from all the anxieties and the desire of creaviness as his self-meeting with the non repeated abstract. However, what we feel important is to make the other existance gain a new style. That presence has already got an outside appearance. The artist puts a heavy accent on what he wants to see with an exageration and tries to show this to the observer. We don't have an understanding of prothotypr and structures. Because of this there is quite a lot of disagreement between abstract and concrete understanding though it seems very little at the beginning. So it is out of question for another person to realise these pictures in another place or time. The past and future, lived and non-lived things are in fact longings for the space. The sense of reaching to a place, leaving's one's body or soul, is the "will" to reach the infinite while making social judgements on the hand. Space has always been the scale of many conflicts on this subject. While leaving the observer with these images I'm triying to lead him to earn his own self-confidence and the inner happiness. We noticed the first abstract picture which appeared in the beginnind of the 20 ft century, in 1910 by Kandinisky, however it has widespread since then. When we try to make a relation between these works and my pictures, we can say their accustic musical effects and the spreading of the forms in a composition are smilar to terms which New York school used because they used the term of "expressions" for the abstract and expressive works. This term equals for "Art Informer "Tachism" "Lyrical Abstarction" m Europe, European artists who have adopted abstract expressionism have also rejected formel composition just like the American understanding. They have preferred the expressive character of images with pictures. Beginning from the past to the present works of artists, I have valued them as (a source of) inspiration. On the other hand, my works are all composed of free forms. These forms are sometimes give the impression of unfinished triangles, trapezium or ellipse. The disallusions in their design create the question whether the forms are in the front or in the back. Kinds of tissues used in the paintings are sometimes used on the direction of the forms or on the opposite direction. I have tried to make these tissues using desk or light colours together on the canvas causes sudden ups and downs. Colour and space togetherness in tissues gives comfort to light. In order to supply the relation between form and light, the artistic effects of light, its non-symetric balance, line and colour changes are used. In my paintings, the light doesn't scatter from a central point, but it scatters onto general surface. The diffrentt tissue which has been used in my pointings are sometimes done by the help of a brush, a tool, a finger or a piece of cloth.Using the same kind of tissues make decorative effect, whereas the aim is telling the esthetic values. _- In proportions questioning the small and big has covered a duration. We have searched the phases oh the abstract art and its history and how the artists who have different styles behaved to words modern art and when and how abstract has been put into rules and style. Problem of proportion has been englightened. The solution of other values in plastic works are planned in an order too. This plan brings a series of explanations beginning from the size to which narration techniques should be used. All these works have reached their aims and the more the arrived at a solution. Although some of the wasterpieces have been used as a source of information, initation has always been avoided. All these works have been completed with the supervision of the counceller within the formal education duration.Yüksek LisansM.A

Organic Vapor-ınduced Latex Film Formation

Tez (Yüksek Lisans) -- İstanbul Teknik Üniversitesi, Fen Bilimleri Enstitüsü, 2002Thesis (M.Sc.) -- İstanbul Technical University, Institute of Science and Technology, 2002Latex parçacıklar modern endüstride sıklıkla kullanılmaktadır. Boya, fotokopi makinaları, su-bazlı yapıştırıcı boya ve kaplama endüstrisindeki uygulama alanlarındandır. Bu çalışmada, Fast Transient Fluorescence (FTRF) Tekniği kullanılarak organik çözücü buharıyla latex film oluşumu mekanizması incelendi. Floresans madde olan Pyrene (Py) etiketli poli(metil metakrilat) (PMMA) – poli(izobütilen) (PIB) latex parçacıklarıyla yedi ayrı toz film hazırlandı. Her bir film farklı kloroform-heptan karışımı buharına maruz bırakılarak, film oluşum sürecinde Py’nin yaşam zamanı (lifetime) izlendi. Filmin çözücü buharına maruz kaldığı süre arttıkça Py’nin yaşam zamanının azaldığı görüldü. Bu azalmayı açıklamak için, düşük sönüm etkisi için Stern-Volmer kinetiği kullanıldı. Prager-Tirrel(PT) tarafından geliştirilen model, film oluşumunu belirleyen etken olan arayüzeylerin kaynaşması olayını araştırmak için kullanıldı. PT, de Gennes’ in sürüngen modelini geliştirmiştir. Amorf polimer malzemelerde bir zincirin diğer zincirlerle kısıtlanan hareketi sürüngen hareketi, yani tüp içinde ileri ve geri rastgele hareket şeklini alır. Zincirin birim zamanda, ileri-geri yaptığı hareketin sayısı “salınım frekansı” (back-and-forth frequency),  değerleri bu modelle hesaplandı ve bu değerlerin karışımdaki kloroform oranı ile ilişkili olduğu görüldü. Film oluşumu sürecinde polimer zincirlerinin difüzyonunun t1/2 yasasına uyduğu gözlendi. Yine aynı latex parçacıklarla hazırlanan yedi ayrı toz film aynı oranlardaki kloroform-heptan karışımlarının buharına maruz bırakılarak optiksel geçirgenlik metodu ile film oluşum mekanizması incelendi. Görüldü ki buharla temas zamanı arttıkça geçirgenlik şiddeti, Itr arttı. Bu sonuçlar ilk araştırmamızdaki sonuçları desteklemektedir. Bu sonuç arayüzeylerdeki kaynaşma ile yani ara yüzeyi kesen zincir sayısındaki (crossing density) artış olarak yorumlanmıştır. Pekcan ve arkadaşlarının daha düşük molekül ağırlıklı PMMA zincirleri içeren latex parçacıklarla aynı metodla film oluşumunu incelemişlerdir. Bu çalışma ile bir karşılaştırma yapıldığında görüldü ki zincirlerin salınım frekansı,  organik çözücü karışımdaki kloform oranıyla birlikte polimer zincirlerinin molekül ağırlıklarıyla da ilişkilidir. Yüksek molekül ağırlıklı zincirlerin salınımını düşük molekül ağırlıklı zincirlerin salınımına göre daha yavaştır.Latex particles are frequently used in modern industry. Paints, paper coatings and water-based adhesive are commonly referred to as applications of latex in coating and dye industry. In this study, Fast Transient Fluorescence (FTRF) technique was used to study latex film formation induced by organic solvent vapor. Seven different films with same latex content were prepared separately from poly(methyl methacrylate) (PMMA) –poly(isobutilen). Latex films were prepared from Pyrene(Py)-labeled latex particles. These films exposed to vapor of various chloroform-heptane mixture in seven different experiment. Flourescence lifetimes of Py were monitored during vapor- induced film formation.It was observed that pyrene lifetimes decreased as vapor exposure time increased. A Stern-Volmer kinetic analysis was used for low quenching efficiencies to interpret decrease in pyrene lifetimes. Prager-Tirrell used to de Gennes’ reptation model. Each polymer chain is considered to be confined to a tube in which it executes a random back-and-forth motion. Prager-Tirrel model was employed to obtaine back-and-forth frequencies,  of the reptating PMMA chains during latex film formation induced by solvent vapour.  values were obtained and found to be correlated with the chloroform content in vapour mixture. It is observed that polymer interdiffusion was obeyed t1/2 law during film formation. Seven different powder latex film prepared with the same content of the other set of latex films. The optical transmission method was used to study film formation induced by vapor of various chloroform-heptane mixture. Tranmitted light intensities, Itr, from these films increased in time under vapor exposure, which was attributed to the increase in “crossing density” at the junction surface. The results of optical transmission experiments were found to support these findings. Pekcan and coworkers did the same experiment with low molecular weight PMMA latex films. When we compared the results, the back-ad forth frequencies, , were found to be strongly correlated with the percent of chloroform in the solvent mixture and the molcular weight of the polymer cahin. It is observed that high-molecular-weight chains reptate much more slowerly than low-molecular-weiht chains.Yüksek LisansM.Sc

Comparison of different progesterone applications in luteal phase support in artificially prepared frozen embrio transfer (FET) cycles

Giriş ve Amaç: Günümüzde, infertil çiftlerin yardımcı üreme tedavi seçeneklerinden biri de in vitro fertilizasyon (IVF) tedavisidir. IVF tedavisi taze siklus (FRESH) ve donmuş embriyo transfer (FET) siklusu şeklinde yapılmaktadır. Özellikle FET sikluslarında, gebeliğin devamı için luteal faz desteğinin progesteron kullanımı yoluyla sağlanması gerekmektedir. Progesteronun farklı uygulama yolları vardır. Bu çalışmada, yapay olarak hazırlanmış donmuş embriyo transfer sikluslarında kullanılan farklı progesteron uygulama yöntemleri arasında bir karşılaştırma yapılması amaçlanmaktadır. Gereç ve Yöntem: Çalışma, Uludağ Üniversitesi Tıp Fakültesi Hastanesinin Tüp Bebek Merkezinde Haziran 2022 ile Aralık 2022 arasında IVF gerçekleştirilen, 237 infertil kadının dahil edildiği randomize kontrollü ve prospektif bir çalışmadır. FET prosedürü uygulanan hastalar, luteal faz progesteron rejimine göre randomize edilerek üç gruba ayrılmıştır. Grup 1 (artan dozlarda vajinal progesteron; 400mg-600mg-800 mg), Grup 2 (devamlı 600 mg vajinal) ve Grup 3 (600 mg vajinal progesterona embriyo transfer günü 25 mg subkutan progesteron eklenen). Serum progesteron düzeyleri ve endometrium kalınlıkları progesteron uygulamasına başlama günü, embriyo transferi günü ve gebelik testi yapılacak günlerde ölçülmüştür.Bu değerler ile biyokimyasal gebelik,klinik gebelik ve canlı doğum sonuçları karşılaştırılmıştır. Bulgular: Toplam 237 hastanın dahil edildiği bu çalışmada, Grup 1'de yer alan 67 hastanın medyan serum progesteron düzeyleri diğer gruplardan önemli ölçüde yüksekti [Sırasıyla; 12.9 ng/ml (6.6-24.5), 10.5 ng/ml (0.20- 25.9), 9.8 ng/ml (3-25.5), p<0.01]. Canlı doğum oranları (CDO) ise gruplar arasında benzerdi (Sırasıyla; %37, %34.8, %28.3, p=0.345). ROC analizi, embriyo transfer günündeki progesteron düzeyi ile canlı doğum oranı arasında anlamlı bir ilişki olduğunu gösterdi (Eğri altındaki alan: 0.65, p=0.004) ve canlı doğumu tahmin etmek için progesteron eşiği 10.65 ng/ml olarak belirlendi (%71 duyarlılık ve %51 özgüllük). Sonuç: Düşük serum progesteron seviyeleri (<10 ng/ml), vajinal progesteron ile luteal faz desteği (LPS) uygulanan FET sikluslarında azalmış canlı doğum oranları ile ilişkilidir. Bununla birlikte, FET sikluslarında farklı progesteron uygulama yolları luteal faz desteği protokolleri ile serum progesteron seviyeleri arasındaki ilişki konusunda belirsizlik vardır. Embriyo transferi gününde serum progesteron seviyesi 10,65 ng/ml'den yüksek olanlar, progesteron rejiminden bağımsız olarak daha yüksek canlı doğum oranları ile ilişkilidirIntroduction and Aim: In vitro fertilization (IVF) is one of the assisted reproductive technologies available for infertile couples. In IVF, fertilization occurs in a laboratory setting, where sperm and eggs are brought together to form an embryo, which is then transferred to the uterus in an attempt to establish a pregnancy. However, there is still debate regarding the appropriate use of progesterone support for this process. Specifically, in cycles where frozen embryos are being transferred, luteal phase support must be provided through the use of progesterone. Choosing between different methods of progesterone administration to provide luteal phase support can affect treatment success and pregnancy rates. Therefore, comparing the effectiveness of different progesterone administration methods in frozen embryo transfer cycles is an important research topic. The objective of this study is to compare different progesterone administration methods used in artificially prepared frozen embryo transfer cycles. Materials and Methods: A randomized prospective study including 237 infertile women was performed between June 2022 and December 2022 in the IVF center of a tertiary university hospital. Patients who underwent HRT-FET (single – blastocyst) were randomized into three groups depending on the luteal phase progesterone regimen; Group 1 (incrementally increased vaginal progesterone doses; 400mg-600mg-800 mg), Group 2 (600 mg vaginal) and Group 3 (on the day of ET subcutaneous progesterone 25 mg added to 600 mg vaginal). Serum progesterone levels were measured on the day of starting progesterone administration, on the day of embryo transfer and on the day of pregnancy testing. Results: A total of 237 patients were included (67 in Group1, 95 in Group2, 75 in Group3). The median serum progesterone levels on the day of ET in Group 1 were significantly higher than the other groups [Respectively; 12.9 ng/ml (6.6-24.5), 10.5 ng/ml (0.20-25.9), 9.8 ng/ml (3-25.5), p<0.01]. Live birth rates (LBR) were similar between the groups (Respectively; 37%, 34.8%, 28.3%, p=0.345). The ROC analysis showed a significant correlation between progesterone level on ET day and LBRs (Area under curve: 0.65, p= 0.004) and a threshold of progesterone to predict the LB was found at 10.65 ng/ml (71% sensitivity and 51% specificity). Conclusion: Lower serum progesterone levels (<10 ng/ml) were associated with reduced live birth rates and higher miscarriage in FET cycles LPS with vaginal progesterone. However, there is uncertainty about the association between serum progesterone levels and different routes of progesterone administration luteal phase support protocols in HRT-FET cycles. A serum progesterone level on the day of embryo transfer greater than 10.65 ng/ml is related to higher live birth rates, regardless of the progesterone regimen