Bulanıklılık özellikli zamansal veri tabanlarından XML'e otomotikleştirilmiş çevirme.

The importance of incorporating time in databases has been well realized by the community and time varying databases have been extensively studied by researchers. The main idea is to model up-to-date changes to data since it became available. Time information is mostly overlaid on the traditional databases, and extensional time dimension helps in inquiring or past data; this all becomes possible only once the idea is realized and favored by commercial database management systems. Unfortunately, one disadvantage of the temporal database management system is that it has not been commercialized. Firstly XML ,eXtensible Markup Language, is a defacto standard for data interchange and hence integrating XML as the data model is decided. The motivation for the work described in this thesis is two-fold; transferring databases into XML with changing crisp values into fuzzy variables describing fuzzy sets and second bitemporal databases form one interesting type of temporal databases. Thus, purpose is to suggest a complete automated system that converts any bitemporal database to its fuzzy XML schema definition. However, the implemented temporal database operators are database content independent. Fuzzy elements are capable of having different membership functions and varying number of linguistic variables. A scheme for determining membership function parameters is proposed. Finally, fuzzy queries have also been implemented as part of the system.M.S. - Master of Scienc

First Person Documentaries; The Gaze of The Ego To Herself / Birinci Tekil Şahıs Belgeselleri; “Ben”in Kendine Bakışı

As internet started to take an important role on the circulation of the audio visual and written material, it is seen that new forms are starting to appear as well as it effects traditional mediums like cinema, television and print media. In traditional documentary narrative, while documentarists produce representations of individuals it was completely ignored that they may be interested of producing their self-representations. As it is more possible and common with the help of new technologies that people produce their self-representations, the boundaries between the documentarist and the subject/ individual began to disappear. In the first person documentaries, documentarist may be in the center or may be looking from a distance to her own surrounding, so may not start the sentence with the word “I”. She may narrate stories from the society, from her own family with a personal point of view or directly may narrate her own life experiences. In this manner, as she may be identified as the camera as well as the source of the images it may be said that the screen functions as a mirror. Whether it is in a manner of confession, a diary or a social activist first person journalism, it is obviously subjective than the narrative form of documentarist telling something on behalf of someone else. Just to better understand the communicative potential of documentaries which are transforming continuously with the effects of social, cultural, political and technological changes, it is important to crystallize the narrative layers of documentarist, subject and audience, within the framework of recent advancements in digital technology enabling and facilitating self-representation practices in the film narrative. In other words, the exemplification and analysis of most recent and strong films which have met the audience would be pertinent to concretize the potential of first person documentaries as a prevalent narrative form. As it is obvious that visual media has a strong effect on the establishment of reality in the society, first person documentaries reaching masses easily with the help of the new technologies must be accepted as an important arena of social involvement, as well as an instrument of social justice. Because, the lives and experiences of ordinary people, mostly unheard and unseen, may have strong influence on the way how the facts and events are to be interpreted and be carried into the future

Ötekini belgelemek; belgesel sinemada kültürel temsiller

Anahtar Kelimeler : Belgesel, Gerçek, Öteki, Temsil, KültürÖZETÖTEKİNİ BELGELEMEK; BELGESEL SİNEMADA KÜLTÜREL TEMSİLLERSinemanın kullandığı temsillerin, egemen kurumları ve geleneksel değerleri meşrulaştırmak ve ideoloji aşılamak yönünde bir işlevi vardır. Bu bağlamda tür özelliği olarak gerçeğin yeniden sunumu iddiasında olan ve izleyici açısından inanırlık düzeyi en az sorgulanan belgesel sinema bu işlevin yürütülmesi açısından önemli bir kültürel temsil arenası halini alır. Bu çalışmanın amacı, belgesel sinemanın yapım özelliklerini ve günümüz ticari yayıncılık anlayışını göz önünde bulundurarak, medyumu şekillendiren etik seçimleri ve “biz”in, “öteki”ni tanıma biçimini, oryantalist çalışmaları da göz önünde bulundurarak sorgulayarak, belgeselcinin bu noktadaki sorumluluğunu irdelemektir. Batı medyasında yer alan belgesel filmlerde yer alan kültürel yeniden sunumları örneklendirme amacıyla, yabancılar tarafından yapılan Türkiye konulu belgeseller analiz edilmiştir. Etkin bir kültürlerarası iletişim aracı olabilecek belgesele dair bu çalışmada biz ve öteki konumlandırmaları, temsil politikaları çerçevesinde çözümlenerek başarılı bir kültürlerarası iletişimin verileri sağlanmaya çalışılmıştır. Çünkü, farklı kültürlerin özgün sosyal, kültürel, politik yapısını değerlendirebilmekten uzak, turistik bir kartpostal gibi kültürel dokuyu sadece sembolik olarak sunabilen, bir nevi propaganda aracına dönüşmüş filmlerin üretimi belgesel sinema alanına hiçbir katkı sağlamayacağı gibi, kültürlerarası iletişim açısından da önkabullerin yinelenmesinden öteye geçemeyecektir. ABSTRACTDOCUMENTING THE OTHER; RE-PRESENTATIONS OF CULTURES IN DOCUMENTARY CINEMAThe representations which cinema use have a function of legalizing dominant associations, traditional values and also instilling ideologies. In this context, as a genre, documentary, which has a claim of re-presenting reality and has the less questioned level in terms of its believability in its viewers’ mind, becomes a particularly important arena of cultural representations for carrying out such a function. The aim of this study is to analyze the production process of documentary film making considering the commercial worries of today, in addition considering the orientalist works to evaluate ethical choices which shape this medium and ways of depicting the “other” from “our” point of view, and finally to examine the responsibilities of the documentary film maker in this context. In order to exemplify the cultural representations in documentary films broadcasted in Western media, the documentary films produced by foreign film makers were analyzed. As documentary has a potential of being an affective intercultural communication tool, this study aims to contribute to a successful intercultural communication by analyzing “we” and the “other” emplacements through representation politics. Therefore to make such films which show cultural patterns as touristy symbols in depth of a postcard, far away from understanding the unique social, cultural and political characteristics, in a way which turn into tools for propaganda, will not contribute to the documentary genre. As a conclusion, such documentary films will not go further than repeating and reinforcing the prejudices in intercultural relations

Ötekini belgelemek belgesel sinemada kültürel temsiller

Anahtar Kelimeler : Belgesel, Gerçek, Öteki, Temsil, Kültür ÖTEKİNİ BELGELEMEK; BELGESEL SİNEMADA KÜLTÜREL TEMSİLLER Sinemanın kullandığı temsillerin, egemen kurumları ve geleneksel değerleri meşrulaştırmak ve ideoloji aşılamak yönünde bir işlevi vardır. Bu bağlamda tür özelliği olarak gerçeğin yeniden sunumu iddiasında olan ve izleyici açısından inanırlık düzeyi en az sorgulanan belgesel sinema bu işlevin yürütülmesi açısından önemli bir kültürel temsil arenası halini alır. Bu çalışmanın amacı, belgesel sinemanın yapım özelliklerini ve günümüz ticari yayıncılık anlayışını göz önünde bulundurarak, medyumu şekillendiren etik seçimleri ve “biz”in, “öteki”ni tanıma biçimini, oryantalist çalışmaları da göz önünde bulundurarak sorgulayarak, belgeselcinin bu noktadaki sorumluluğunu irdelemektir. Batı medyasında yer alan belgesel filmlerde yer alan kültürel yeniden sunumları örneklendirme amacıyla, yabancılar tarafından yapılan Türkiye konulu belgeseller analiz edilmiştir. Etkin bir kültürlerarası iletişim aracı olabilecek belgesele dair bu çalışmada biz ve öteki konumlandırmaları, temsil politikaları çerçevesinde çözümlenerek başarılı bir kültürlerarası iletişimin verileri sağlanmaya çalışılmıştır. Çünkü, farklı kültürlerin özgün sosyal, kültürel, politik yapısını değerlendirebilmekten uzak, turistik bir kartpostal gibi kültürel dokuyu sadece sembolik olarak sunabilen, bir nevi propaganda aracına dönüşmüş filmlerin üretimi belgesel sinema alanına hiçbir katkı sağlamayacağı gibi, kültürlerarası iletişim açısından da önkabullerin yinelenmesinden öteye geçemeyecektir. ABSTRACT DOCUMENTING THE OTHER; RE-PRESENTATIONS OF CULTURES IN DOCUMENTARY CINEMA The representations which cinema use have a function of legalizing dominant associations, traditional values and also instilling ideologies. In this context, as a genre, documentary, which has a claim of re-presenting reality and has the less questioned level in terms of its believability in its viewers’ mind, becomes a particularly important arena of cultural representations for carrying out such a function. The aim of this study is to analyze the production process of documentary film making considering the commercial worries of today, in addition considering the orientalist works to evaluate ethical choices which shape this medium and ways of depicting the “other” from “our” point of view, and finally to examine the responsibilities of the documentary film maker in this context. In order to exemplify the cultural representations in documentary films broadcasted in Western media, the documentary films produced by foreign film makers were analyzed. As documentary has a potential of being an affective intercultural communication tool, this study aims to contribute to a successful intercultural communication by analyzing “we” and the “other” emplacements through representation politics. Therefore to make such films which show cultural patterns as touristy symbols in depth of a postcard, far away from understanding the unique social, cultural and political characteristics, in a way which turn into tools for propaganda, will not contribute to the documentary genre. As a conclusion, such documentary films will not go further than repeating and reinforcing the prejudices in intercultural relations

C-MOPP ve Radyoterapi Alan Hodgkin Lenfomalı Çocuklarda İkincil Neoplaziler: Dört Olgu Sunumu

Patients who survive Hodgkin lymphoma (HL) are at increased risk of secondary neoplasms (SNs). A wide variety of SNs have been reported, including leukemias, non-Hodgkin’s lymphomas, and solid tumors, specifically breast and thyroid cancers. Herein we report subsequent neoplasms in four patients with HL receiving chemoradiotherapy. It is interesting that three SNs, fibrosarcoma, thyroid carcinoma, and retrobulbar meningioma, were observed in the radiation area in one of our patients. A hypopharyngeal epithelioid malignant peripheral nerve sheath tumor as an unusual secondary malignant neoplasm developed in another patient, while a benign thyroid nodule and invasive ductal breast carcinoma were observed at different times in the female patient. Follicular adenoma of the thyroid gland developed in one of our patients.Yaşayan Hodgkin lenfomalı olgularda ikincil neoplazilerin gelişme riski yüksektir. Lösemiler, Hodgkin-dışı malign lenfomalar ve solid tümörler özellikle meme ve tiroid kanserlerini içeren çok çeşitli ikincil malign neoplaziler raporlanmıştır. Burada kemoradyoterapi alan Hodgkin lenfomalı dört olguda gelişen ikincil neoplaziler sunulmuştur. İlginç olarak hastalarımızdan birinde ışın alanında üç ikincil neoplazm; fibrosarkom, tiroid karsinom ve retrobulber meningiom, diğer bir hastamızda sıradışı ikincil malign neoplazm olarak hipofaringeal epitelyal malign periferik sinir kılıfı tümörü gelişirken kız hastada farklı zamanlarda benign tiroid nodülü ve invaziv duktal meme kanseri saptandı. Bir hastamızda ise, tiroidde folliküler adenoma gelişti