INDICATORS OF GAGAVUZ TURKISH IDENTITY IN SOCIO-CULTURAL AND ARTISTIC CONTEXT

As with every society, Gagavuz art also have been directed and styled by cultural and historical resources of the society. When Gagavuz intercultural interaction and cultural accumulation examined, from past to this day, it will be noticed that abstract and concrete components which form the cultural axis is of “indication of Turkishness”, system of beliefs, iconographic indicators, traditions which in turn form one whole set of culture. The Gagavuz Turks have lived under the sovereignty of various nations throughout their history, and although interacted and influenced by dominant cultural elements of other nations and beliefs, they never have adopted the dominant features of influential culture and continued with their culture and traditions uninterruptedly. The essence of this mentioned tradition and general characteristic of Gagavuz art is formed by perception of life and instinct to survive and this idea must have been given momentum by their feeling Turkishness. As Gagavuz culture was formed by combination of more than one culture and is a synthesis of cultures; this particular side is giving its own unique general characteristics. In general, motifs which are made of plant and animal stylizations are reflecting Gagavuz daily life as well as being an extension of Turk-Islam painting tradition.</p

Possibility of using lichen and mistletoe extracts as potential natural wood preservative

Increasing environmental pressures on toxic chemical wood preservatives lead to the development of natural and environmentally friendly wood preservatives. In this study, using possibilities of lichen (Usnea filipendula) and leaves of mistletoe (Viscum album) as potential natural wood preservative were researched. Impregnation procedure was applied at four different concentration levels and with two different extraction methods (hot water and methanol). The concentration levels were arranged as 3%, 5%, 10%, 15% for hot water and as 3.75%, 6.25%, 12.5%, 18.75% for methanol. The treatment procedure has been applied according to the ASTM D 1413 (1988) standard test method. The fungal decay test has been done according to the EN 113 (1996) standard test method using a brown rot fungus, Coniophora puteana for both treated test and untreated control samples. The best results were obtained at the highest concentration level of the solutions. However, the weight losses in treated test specimen have not met the standard requirements. Nevertheless, it can be assumed that both natural extracts provide promising protection performance

Sosyo-Kültürel/Sanatsal ve İkonografik Bağlamda Gagavuz Türk Kimliğinin Göstergeleri

Her topluma olduğu gibi Gagavuz sanatına da k&uuml;lt&uuml;rel birikimler ve tarihsel kaynaklar y&ouml;n ve bi&ccedil;im vermiştir. Gagavuzların ge&ccedil;mişten g&uuml;n&uuml;m&uuml;ze değin &ccedil;eşitli etkileşimler ile biriktirdiği ve g&uuml;n&uuml;m&uuml;ze taşıdığı k&uuml;lt&uuml;rel değerler irdelendiğinde; soyut ve somut k&uuml;lt&uuml;r unsurlarının, gelenekler, inan&ccedil; sistemleri, T&uuml;rkl&uuml;k unsurlarının g&ouml;stergeleri ve ikonografik verilerden oluşan bir b&uuml;t&uuml;n&uuml; oluşturduğu g&ouml;r&uuml;lmektedir. Tarih boyunca &ccedil;eşitli toplumların egemenliği altında yaşayan Gagavuzlar, etkileşim i&ccedil;erisinde bulundukları hi&ccedil;bir toplumun ve k&uuml;lt&uuml;r&uuml;n dominant &ouml;zelliklerini taşımayıp, se&ccedil;meci bir yaklaşımla kendi &ouml;zg&uuml;n T&uuml;rk kimliklerini oluşturarak, g&uuml;n&uuml;m&uuml;ze değin s&uuml;regelen kesintisiz bir geleneğin devamını sağlamışlardır. S&ouml;z konusu geleneğin &ouml;z&uuml;n&uuml; ve Gagavuz sanatlarının genel karakteristiğini yaşamsallık g&uuml;d&uuml;s&uuml; oluşturmakta olup, &ldquo;T&uuml;rkl&uuml;k&rdquo; duygusundan hız almaktadır. Genel olarak, hayvan ve bitki stilizasyonlarından oluşan motifler, yaşam bi&ccedil;imlerinin ve k&uuml;lt&uuml;rel birikimlerinin bir uzantısı olmasının yanı sıra T&uuml;rk-İslam resim geleneğinin de derin izlerini taşımaktadır.As with every society, Gagavuz art also have been directed and styled by cultural and historical resources of the society. When Gagavuz intercultural interaction and cultural accumulation examined, from past to this day, it will be noticed that abstract and concrete components which form the cultural axis is of &ldquo;indication of Turkishness&rdquo;, system of beliefs, iconographic indicators, traditions which in turn form one whole set of culture. The Gagavuz Turks have lived under the sovereignty of various nations throughout their history, and although interacted and influenced by dominant cultural elements of other nations and beliefs, they never have adopted the dominant features of influential culture and continued with their culture and traditions uninterruptedly. The essence of this mentioned tradition and general characteristic of Gagavuz art is formed by perception of life and instinct to survive and this idea must have been given momentum by their feeling Turkishness. As Gagavuz culture was formed by combination of more than one culture and is a synthesis of cultures; this particular side is giving its own unique general characteristics. In general, motifs which are made of plant and animal stylizations are reflecting Gagavuz daily life as well as being an extension of Turk-Islam painting tradition

Türk Şaman Giysilerine Semantik Yaklaşım

Rusya sınırları i&ccedil;erisinde olan Sibirya b&ouml;lgesi ge&ccedil;mişten g&uuml;n&uuml;m&uuml;ze &ouml;nemli Şamanlık (Kamlık) verilerini barındırmakta olup bu b&ouml;lge, klasik literat&uuml;rde T&uuml;rk Şamanlığının en &ouml;nemli merkezini oluşturmaktadır. Ele alınan konu, bu b&ouml;lgede yaşayan &ccedil;ok sayıda topluluk i&ccedil;erisinden, T&uuml;rk Şaman k&uuml;lt&uuml;r&uuml;ne d&acirc;hil olan ve t&uuml;m b&ouml;lgenin ana tasarım tarzlarını yansıtan belli başlı kabileler ile sınırlandırılmıştır ki bunlar; Altaylar, Yakutlar, Hakaslar, Tuvalar, Tofalar, Dolganlardır. Babadan oğula miras yolu ile ya da &ldquo;&ccedil;ağrı y&ouml;ntemi&rdquo; ile devredilen, kutsal bir k&uuml;lt eşyası kabul edilen Şaman giysileri, kozmik ve sınır &ouml;tesi &acirc;leme taşıyan bir ara&ccedil; olup onu toplumun diğer &uuml;yelerinden ayıran ve izole yaşam tarzlarının bir g&ouml;stergesi olan bir nişandır. Giysilerin tasarımlarının b&uuml;t&uuml;n&uuml;ne bazen g&ouml;k hayvanı olan kuş, bazen ise yer hayvanı olan geyik, mus, ayı h&acirc;kimdir. Ancak g&ouml;k ve yer hayvanlarının birlikte temsil edildiği tasarımlara da rastlanmaktadır ki bu en eski T&uuml;rk Şaman kost&uuml;mlerinin esasını oluştururlar. Tek başlarına din&icirc; bir kozmografi oluşturan Şaman giysilerinde, bi&ccedil;im ve tasarımın birbirinden farklı kavramlar oldukları g&ouml;r&uuml;lmektedir. Bi&ccedil;im, Şaman giysisinin anlam boyutu ile tasarım ise form ile alakalıdır. Dolayısı ile bi&ccedil;im Şamanik insanın simgesel anlatımı olan g&ouml;k ve yer hayvanının bi&ccedil;imleridir. Oysa tasarım zaman i&ccedil;erisinde gerek işlev gerekse mana olarak farklı anlamlar y&uuml;klenen ve etkileşimler sebebi ile değişime uğrayan bir yapı arz ederler. Sokulan yeni formlar ve oluşturulan tasarımlar bize Şamanlık sisteminin mill&icirc; gelişimini g&ouml;stermektedir. Ge&ccedil;mişten g&uuml;n&uuml;m&uuml;ze din olup olmadığı tartışıla gelen Şaman giysileri diğer dinlerin ve &ccedil;eşitli toplulukların baskısı altında ve her toplumda g&ouml;r&uuml;len k&uuml;lt&uuml;rel yozlaşmadan nasiplerini alarak geleneklerinden &ouml;nemli &ouml;l&ccedil;&uuml;de uzaklaşmışlar eskiye oranla &ouml;nemlerini ve orijinalliklerini kaybetmişlerdir.Siberian region being within Russian borders is host to important Shaman data from past to this date, and forms the most important region for the &ldquo;Turkish Shamanism&rdquo;. The subject under examination addresses main design types that reflect the style of the region and among many tribes; those which had been selected are qualified within Turkish Shaman cultural criterion and they had been limited to some major tribes which are: Altai, Yakut, Hakas, Tuva, Tofa and Dolgan tribes. The Shaman clothing which passes from father to son through inheritance or &ldquo;Call Method&rdquo; has been considered a form of sacred cult articles which were accepted as cosmic accessories that would transfer one into another universe which in turn has separated the owner from the rest of the members of the community and became the symbol of their isolated lifestyle. Almost all decorative elements of their clothing are consist of either aerial animals &ldquo;Birds&rdquo; sometimes ground animals such as deer, moos or Bear. However, it is possible to come across Shaman clothes designs which depict both aerial and ground animals together which form the basis of the oldest Turkic Shaman costumes. Style and design have been noticed as different concepts in Shaman costumes which form a religious cosmography when stood alone. As style is to do with &ldquo;expression&rdquo; side of the shaman&rsquo;s dress, design is related to &ldquo;the form&rdquo; of it. Based on this, style is developed in a way which is in symbolic expression of shamanic person these are shapes of aerial and ground animals. However, the design reflects the signs of modification either on the basis of functionality or meaning throughout the time due to interaction. New forms being added and new designs being made indicates us the national development of system of shamanism. Shamanism that still has been on the forefront of a debate whether it is a religion or not, under oppression of other religions, shamanic costumes also have been influenced by cultural corruption which was seen almost in every society by significantly deviating from their traditions, in comparison to the past they have lost their authenticity and importance

Proposals for Regional Administrative Structure and Planning in Turkey

On a global scale, the region which not only defines economic but also social unity has been brought once again to the agenda in a manner unlike those of the past, both as a result of globalization and localization tendencies, and with arguments towards formulating a more democratic administrative structure. Conversely, although regional planning and administrative pursuits and debates have ensued in Turkey since its foundation, regional plans have never been effectively administered, a regional administrative structure requiring continuity has not been established and problems requiring solutions at the regional level have increasingly continued their presence. In this study, proposals have been developed for regional planning and regional administration in Turkey, taking into consideration not only global tendencies but also the country's related experiences along with the current circumstances, and spatial unities that would form a basis for these have been defined