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- Yüksek Lisans TeziAçık Erişim2023Yakın dönem Türk sinemasında mekan, zaman ve aile: Emin Alper örneği
Eray Elik
Sinemanın doğuşundan itibaren insan odaklı bir sanat olarak gelişmektedir. Geliştiği ve genişlediği her toplumda kendine özgü akımlardan etkilenmiş, bu akımların neticesinde de şekillenmiştir. Türk sinemasının da bu dönemlerden geçerek ve çeşitli akımlardan etkilenerek gelişimini bu şekilde sürdürmektedir. Yakın dönemdeki Türk sinemasında yaratılan filmler ise geçmişte yaratılan Türk filmlerine göre farklı yapıda seyirci karşısına çıkmıştır. Özellikle neoformalist bir anlayış içerisinde yaratılan filmler izleyici odaklı bir yapı ile sadece izlemenin değil aynı zamanda düşünmenin de kapılarını açmıştır. Çalışmada Emin Alper'in üç uzun metrajlı filmleri Tepenin Ardı, Abluka ve Kız Kardeşler, neoformalist bir bakış açısıyla incelenmiştir. Bu filmler izleyici tarafından nasıl alımlandığı, Emin Alper'in filmlerinde kullandığı mekan, zaman, aile, dil, anlatım tekniği ve temaları nasıl yorumladıkları üzerinde durulacaktır. Sorulardan alınan cevaplar neticesinde Emin Alper ve sinemasına dair çeşitli çıkarımlar yapılacaktır. Çalışmada belirlenen filmlelerin içerik analizleri yapılmış, izleyicilerin film ile ilgili kavramları nasıl alımlandığı ise yarı yapılandırılmış görüşmelerle analiz edilmiştir.
- MakaleYalnız künye2018Scopus SJRQ2Determining the degree of saturation of rocks as a function of time: A case study from mountainous area of Turkey
Dağ, Serhat
The aim of this study is to scrutinize whether, in terms of saturation, the 48 hour duration suggested by ISRM (International Society for Rock Mechanics) methods and ASTM (American Society for Testing and Materials) standard in rocks is sufficient or not, and to examine how the degree of saturation of rocks may be determined as a function of time. For this purpose, samples from five different rock groups including igneous (andesite, granite, andesitic tuff) and sedimentary (limestone, sandstone) exposed in Gümüşhane city which is from mountainous area of north-eastern Turkey, have been compiled. Measurements were taken on the samples left for saturation under laboratory conditions as a result of which the degree of saturation values at the end of these time periods were determined. Similarly, at the end of 48 hours, the samples were left to dry under atmospheric conditions in the laboratory environment and their time dependent degree of saturation were also calculated at different times. The changes as a function of time in the degree of saturation were then examined mathematically using non-linear, exponential and logarithmic functions. Graphs and equations related with the acquired time-degree of saturation values and the correlation coefficient (r) values for these equalities have indicated a high accordance between time and degree of saturation for the studied rock groups. The applied methodology will be beneficial for determining the degree of saturation based on time for engineering studies that will be carried out in similar lithologies.
AtıfScopus4WoS1OpenAlex5İncele - MakaleYalnız künye2017Scopus SJRQ2The Stranger to Time: What a Collector Stands for in a Hurried Society
Demir, Sertaç Timur
City-dwellers who are threatened by the risk of natural or social disasters are in search of safer houses. Each attempt to satisfy their need for safety, however, turns into another version of the security problem; so much so that, escaping from risk itself turns into different (yet nevertheless more powerful) risks. The film 10 to 11 (2009) focuses on the socio-spatial conflict between a stranger and his neighbours who are anxious about a possible earthquake risk in Istanbul. Mithat, the protagonist of the film, is a stranger not only to place but essentially to time. He lives within time and understands place as an essential means loaded by temporal experiences and memories. This paper deals with the multiple dichotomies between time and memory, between risk and fear, between aesthetics and security, and between attachment and profit in the context of urban transformation. The stranger, who is analysed for the first time as a temporal being in this paper, is discussed using Zygmunt Bauman’s concepts of uncertainty and liquid modernity, Richard Sennett’s capitalism, Ulrich Beck’s risk society, Frank Furedi’s culture of fear, Stephen Bertman’s hurried culture, Elias Canetti’s death, Giorgio Agamben’s forgotten and gone, Svetlana Boym’s nostalgia, and Halbwachs, Assmann, Connerton, and Arendt’s memory, as well as around the temporal spaces of museums, bibliopoles, antique shops, and cemeteries.
AtıfWoS1OpenAlex2İncele