GÖÇ VE YAŞAM

Uluslararası Bakalorya Programı, A1 dersi Türk Dili ve Edebiyatı alanında ele alınan bu tezde, Orhan Kemal'in Gurbet Kuşları adlı yapıtında göç olgusu nedenleri ve sonuçlarıyla beraber incelenmiştir. Göç olgusuyla değişen toplumsal yapı, ekonomik ve kültürel farklılıklar çerçevesinde değerlendirilmiştir. Bu tezin amacı, göç olgusunun toplumsal yapıda alt sınıf ve üst sınıflardaki bireyler üzerindeki etkilerini ortaya koymaktır. Üç ana bölümden oluşan tezin ilk bölümünde yapıta adını veren Gurbet Kuşları kavramı üzerinde durulmuştur. Köylülerin aidiyetsizliği ve uyum sorunu bu bölümde aktarılmıştır. Tezin ikinci bölümünde ise köylülerin köyden kente göç sürecinde yaşadıkları kadın ve erkek figürler üzerinden neden ve sonuçlarıyla işlenmiştir. Tezin üçüncü bölümünde şehirliler başlığı altından genel olarak şehirde – İstanbul – yaşayan insanların göç sürecinde köylülerle yaşadıkları uyumsuzluk ve çatışmalara yer verilmektedir. Çalışmada göç sürecinde şehre yerleşen figürlerin şehirlilerle aralarındaki ekonomik ve kültürel farklılıkların sınıflar arasında geçişe olanak tanımadığı sonucuna varılmıştır

Cyanobacterial bacteriohopanepolyol signatures from cultures and natural environmental settings

Cyanobacteria are ubiquitous, ecologically important and phylogenetically diverse components of the phytoplankton of marine and freshwater environments, as well as some extreme settings such as hot springs, and highly saline and ice covered lakes. They have also been shown to be amongst the most prolific sources of bacteriohopanepolyols (BHPs; pentacyclic triterpenoids produced by taxa within the bacterial domain and especially in the proteobacteria) and are considered to be the most environmentally significant source of C-2 methylated hopanoids. The compounds therefore have the potential for wide application in studies of the contemporary marine carbon cycle as well as providing a means of tracking cyanobacteria back through geological history where organic matter is well preserved. Here, we have used liquid chromatography ion-trap mass spectrometry to investigate the intact BHP distributions in cultured cyanobacteria (pure cultures and enrichment cultures) and in a variety of environmental settings. We present data on the detection and characterisation of BHP structures in 26 cultured cyanobacteria (ranging from marine and freshwater species to isolates from hydrothermal systems), 10 of which have not been tested for hopanoid production. Of the 58 strains of cyanobacteria studied to date, 49 have been shown to produce BHPs and 21 of them produce C-2 methylated BHPs. We show that, paradoxically, hopanoid production appears to be absent from the most prolific marine picocyanobacteria, although two important marine nitrogen fixing species, Trichodesmium and Crocosphaera, do produce BHPs. The diversity of BHP distributions in a range of environmental samples, including lake sediments, bacterial mats from lakes and hydrothermal springs, and samples from hot and cold deserts, including endoliths, hypoliths and small stromatolitic structures is also described

Recasting the heroic resistance ideal: Robert Bresson's condamne a mort sest echappe

This article argues that a re-reading of Un condamné à mort s’est échappé (1956), directed by Robert Bresson, is timely because of its sophisticated insight into the nature of resistance, how it came about, and how it was sustained in daily life. Much Bresson criticism focuses almost exclusively on the visual quality of his films and the timelessness of his themes. Many have suggested this film’s wartime setting is a mere backdrop for the playing out of a drama that transcends its historical location. Others simplistically describe it as the near perfect articulation of the ‘Gaullist myth of resistance’. Un condamné à mort s’est échappé is relevant to the ongoing debates about resistance in France because it redefines the heroic resistance ideal and because of its emphasis on process rather than outcomes. It speaks to a new generation of historians aiming to supplant the unsustainable and misplaced epic representation of resistance with one that is more in keeping with the lived experience of resisters and the everyday decisions that rooted them in their local communities. More than solidarity, the film depicts the complementarity of the roles of the protagonists and calls into question the false dichotomy between ‘active’ and ‘passive’ resistance.Vesna Drapa