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Artikel ini menyajikan hasil analisis struktur musik dan teknik penyajian “Partita in A Minor” (BWV 1013), karya Johann Sebastian Bach. Repertoar “Partita in A Minor” (BWV 1013), karya Johann Sebastian Bach aslinya digubah untuk solo flute, namun untuk kepentingan pementasan, disajikan dalam permainan solo saksofon alto. Rumusan masalah yang muncul adalah terdapatnya perbedaan dalam teknik permainan antara flute dan saksofon alto sehingga menghadirkan beberapa tantangan dalam mengartikulasikan kalimat-kalimat musik dalam repertoar tersebut. Hal-hal yang muncul dalam permainan saksofon alto dipaparkan berdasarkan metode penelitian kualitatif dengan pemaparan secara deskriptif analisis musikologis. Bentuk kebaruan dalam artikel ini adalah menyajikan analisis struktur musik dan tantangan dalam permainan solo saksofon alto, karena repertoar ini aslinya untuk solo flute tanpa iringan. Melalui kajian ini disimpulkan bahwa repertoar untuk instrumen flute sangat memungkinkan dimainkan alto saksofon karena memiliki beberapa persamaan dalam hal register suara dan klaviatur organologis, meskipun juga memiliki perbedaan yang cukup signifikan pada warna suara dan frasering pernafasan. Pengaruh yang paling signifikan adalah cara penyajian dalam tempo yang lebih lambat dari permainan flute. Penulis berharap bahwa penelitian ini dapat memberi dorongan kepada para musisi lainnya untuk mentranskipsi atau memainkan repertoar-repertoar klasik instrumen flute ke saksofon menjadi semakin masif. Abstract Analysis of Musical Structure and Technique in the Presentation of "Partita in A Minor" (BWV 1013) for Alto Saxophone. This article presents the results of an analysis of the musical structure and performing technique of "Partita in A Minor" (BWV 1013) by Johann Sebastian Bach, an alto saxophone soloist whose original repertoire was composed for solo flute. The formulation of the problem that arises is that there are differences in playing techniques between the flute and the alto saxophone, which present several challenges in articulating the musical sentences in the repertoire. Any things that appear in alto saxophone playing are explained based on qualitative research methods with a descriptive presentation of musicological analysis. This article's novelty is that it analyzes the musical structure and challenges in alto saxophone solo playing because this repertoire was originally for unaccompanied flute solos. This study concluded that the repertoire for the flute instrument could be played on the alto saxophone because it has several similarities in register and organological claviature. However, there are also significant differences in timbres and breathing phrasing. The primary influence factor is executing this repertoire at a reduced pace compared to the original flute. The author hopes this research can encourage other musicians to transcribe or play the classical repertoire from flute instruments to the saxophone more massively. Keywords: Partita in A minor; classical; articulating; flute; alto saxophone

With the revelation of the Qur'an, Hz. Prophet (s.a.v.) from the time of the, the activity of interpreting the Qur'an, both orally and in writing, has begun. To understand the divine will in the verses, many studies have come into being. However, the need for the classification of these works has arisen. These studies are historical period, place, Tafsir method, sect, etc. historiography of Tafsır has been done by classifying according to the criteria. In this context, the author, who determined that the Maghrib region, which served as a bridge between the Eastern Islamic world and the Andalusian Civilization, was neglected, aims to write a regional history of exegesis by classifying them within in a system the tafsir studies in the Maghreb region. The book; consists of an introduction, two main parts and a conclusion. The introductory part of the study consists of two main titles: "Importance, Scope, Method and Sources of Research" and "Political, Social and Scientific Structure of the Maghreb Throughout History". In the work, the Tafsir History of this region is handled chronologically and its historical process is classified into the Classical Period and the Contemporary Period. The period before the 19th century refers to the Classical Period for the Tafsir History of this region, and the period after the 19th century refers to the Contemporary Period. In the First Chapter titled "Tafsir in Maghrib: Classical Period", the author classifies the works that were copyrighted until the 19th century as "Lost Tafsırs", "Manuscript Tafsırs", "Printed Tafsırs", "Hashiyahs", "Ihtisars" and "Studies on Qur'anic Sciences". This titling is largely maintained in the second part of the book. As a result, the work; mentions the tafsir activity and copyrighted works, which started with the conquest movements in the Maghreb region and have survived to the present day, and introduces them in general terms. [ABSTRACT FROM AUTHOR]

Qur’an basically Aims to guide human beings. Besides, some of the arguments Qur’an used for this goal are related to the scientific facts. A few of them even contain the scientific miracles, which are referred as iʻjaz al-ilmi (scientific iʻjaz) by some scholars. The verses of the Qur’an of this nature have given rise to a type of tafseer called “scientific tafseer” in the modern period, and various works have been written in this field both in the classical and modern periods. So far, the works in the field of scientific tafseer have predominantly focused on exploring the relationship between Quranic verses and scientific concepts. These works also discuss the proponents and critics of scientific tafseer, presenting the reasons for both its acceptance and rejection. In our study, rather than the contrast between these two groups, an effort has been made to determine the arguments and methodology used for the interpretation of the kawnî (cosmic) verses in the Classical and Modern Period, based on some examples. In addition, as a general acceptance, an attempt has been made to reveal the scientific school of tafseer initiated by al-Ghazālī and its predecessors. [ABSTRACT FROM AUTHOR]

Copyright of Nigarhane Art Journal / Nigarhane Sanat Dergrisi is the property of Nigarhane Art Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nigarhane Art Journal / Nigarhane Sanat Dergrisi is the property of Nigarhane Art Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Opera Batak yang terlahir dari masyarakat Batak Toba mengalami mati suri sejak tahun 1980-an, setelah melalui perjuangan masa kolonial hingga masa kemerdekaan NKRI. Hingga pada awal abad ke-21 sekitar tahun 2000-an Opera Batak muncul kembali dengan penamaan, struktur dan makna pertunjukan berbeda. Kehadiran PLOt sebagai wujud tranformasi Opera Batak dari TIlhang Serindo, dipahami melalui teori transformasi-transisi Svašek, dengan pendeskripsian Opera Batak Klasik dan Transisi. Penelitian kualitatif dengan pendekatan studi kasus di lakukan untuk pendeskripsian sejarah-naratif (Droysen) eksistensi kedua kelompok yang berasal dari Pematang Siantar Sumatera Utara, dengan melakukan metode rekonstruksi historis, field research dan wawancara. Transformasi Opera Batak adalah peristiwa transisi objek tradisi melalui ‘pengayaan’ yang berasal dari dalam tradisi atau perubahan endogen, yakni subjek kultural sebagai pelaku (pewaris), di lokasi sama dengan ruang waktu berbeda. Pengayaan sebagai hasil transisi terjadi berupa (akibat) perubahan visi (nilai) dan konsep (wujud) dalam struktur Opera Batak, yang menghasilkan identitas, nilai dan pemaknaan baru. Arti penting eksistensi Tilhang Serindo dalam Opera Batak Klasik adalah sebagai seni hiburan profan pengusung identitas kultural batak sentris abad ke-20. Sedangkan kehadiran PLOT sebagai seni representatif adalah upaya suatu entitas etnis untuk menghidupkan kembali dan melanjutkan visi Opera Batak Klasik, melalui ‘pengayaan’ seni tradisi lisan abad ke-21 dan di definisikan sebagai Opera Batak Transisi.

Revolution is one of the most ambiguous concepts in the history of thought. There are several reasons why a clear definition of the revolution cannot be made. First, scholars point to a different side of the revolution. Second, the revolution is used as an umbrella concept. Revolution is used as a form of political violence that includes rebellion, coup, and civil war. These two factors make it difficult to give a clear definition of the revolution. In this work, we will propose an alternative reading of revolution to overcome these problems, at least to some extent. This reading draws attention that the revolution has two fundamental usages: classical usage and modern usage. The classic use of the revolution also includes other forms of political violence, such as rebellion and insurrection. The classical use of the revolution we have seen since Ancient Egypt continued until the 18th century. With the 18th century, the concept of revolution reached its modern content and started to be used in the sense of creating a new society based on the radical rejection of the past. The modern content of the revolution may be more revealing in showing the difference between the revolution and other forms of political violence. We believe that such a reading of revolution can offer a more satisfactory answer to what revolution is, by sharply revealing the differences between revolution and other forms of political violence.

“Comparative literature” that started with Villemain and Ampère in the first quarter of the 19th century began to spread in the academic circles of Arab countries after the Second World War. However, comparisons were made between literary works in Arabic before modern comparative literature. Although most of these comparisons occur between products in the same language, there are also comparisons between products in different languages. Until the modern period, terms such as “mufâdala,” “tabaqat,” “muvâzana,” “vasâta,” “comparison,” “musâvât,” “mukâbele,” and “mukarane” were used for literary product comparisons. While “mufadala” was used for works that included comparisons of literary products generally in the same language and rarely in different languages in the Jahiliyya, Sadru’l-Islam, and Umayyad Periods, “tabaqat,” “muvâzana,” and “vasâta” were used for works in the Abbasid Period. The term “mukâbala” was used to refer to product comparisons in different languages in the 19th century, and “mukarane” was generally used for works in the 20th century. This study aimed to deal with the first literary product comparisons in classical Arabic literature in the form of “mufâdale,” “tabaqat,” “muvâzene,” and “vasâta” as an introduction. For this aim, this study will attempt to answer the questions of when the first literary comparisons in Arabic literature began, how they developed, whether they were compared with literary products in different languages, and what was considered in the comparisons. [ABSTRACT FROM AUTHOR]

Copyright of Izmir Katip Celebi University Faculty of Health Sciences Journal / İzmir Katip Çelebi Üniversitesi Sağlık Bilimleri Fakültesi Dergisi is the property of Izmir Katip Celebi University, Faculty of Health Sciene Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dîvân edebiyatı Batı etkisinin başladığı Tanzimat döneminden sonragittikçe artan, koyulaşan bir reddedilişe maruz kalmıştır. ÖzellikleCumhuriyet’ten sonra neredeyse büsbütün hiç olmamış farz edilen klasikedebiyatımız, artık keşfedilmeyi, canlandırılmayı ve yeniden yorumlanmayıbeklemektedir. Toplumsal seviyede ve eğitim-öğretim bünyesinde neleryapılabileceğine dair düşünceler üretilmeli, dönemler boyu kasıtlı bir ihmal ileunutturulmaya çalışılmış dîvân edebiyatımız, bize ait bir miras, bir değerolarak tekrar topluma kazandırılmalıdır. Ön yargılardan ve siyasi ideolojikyönlendirme, biçimlendirme çabalarından uzak, bilimsel ve gerçekçi biryaklaşımla bu konuya eğilmenin zamanı geldiği kanısı ortaya çıkmıştır. Esasenkültürel birikim, belli başlı dönemlerle sınırlı kalarak birkaç kuşağın gözündenkaçırılsa bile, onun bütünüyle yok farz edilmesi ya da sonsuza kadar tamamenunutturulması, bilimsel olarak da mümkün değildir. Öyleyse en gerçekçiyaklaşım, dîvân edebiyatımızın ve klasik birikimimizin varlığını kabul etmek,onu tanımak ve ciddiye almak. Bu yazı, resmi kurumlar kapsamında, eğitim -öğretim düzeyinde ve toplum nezdinde klasik edebiyatımızın tekrargüncellenmesine dair yapılabileceklerin tespiti üzerinedir ve dikkat çekmekabilinden konu hakkındaki düşünceleri paylaşma mahiyetindedir.

Copyright of Felsefelogos is the property of Felsefelogos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Social Sciences Institute / Sosyal Bilimler Enstitüsü Dergisi is the property of Bingol University / Rectorate and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tale is one of the oldest genres of narration. Such narration, fictionalized in classical-traditional view, creates a world with extraordinary people and events. These are texts in which the villains, who are given the role to impede the helpers, are in a battle against each other. In the end, the good always win and the bad face the punishment. The Frog Prince of Grimm Brothers, dated 1812-1815, is one such tale with classical-traditional storyline. In 2002, through E. D. Baker's creative world, it gains a modern look and is named The Frog Princess. In 2009, The Walt Disney Company blends these two versions and adding several different elements comes up with a new tale which can be considered in the category of postmodern story telling. It takes The Frog Prince and The Frog Princess on a colourful journey. The name of this very familiar yet unique new tale becomes The Princess and The Frog. This article elaborates on this centuries old adventure of The Frog Prince. [ABSTRACT FROM AUTHOR]

Copyright of Mukaddime Journal is the property of Mukaddime Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cumhuriyet Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi is the property of University of Cumhuriyet, Faculty of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Classical theology of Islam spread broadly to Islamic community in wider context. The concept of faith, believer, unbeliever, heaven and hell as the main themes of classical theology have undergone the changes of substantial meaning. The current theology not only discuss the above theme as, but also focuse on how to harmonize the relation between religions. There has been the sustainity and continuation of theological school form Jabariyah to a moderate one such Asy’ariah, whereas, Qadariyah-Mu’tazilah’s theology has metamorphosed into liberal-inclusve theology.

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Power struggle between men and women can be followed in Greek mythology from the beginning. With the establishment of order in Olympus, women's dependence on men was sealed. That women should stay at home and be kept under control is a prevailing opinion, both in mythology and in real life. Virgins on the other hand were considered to be young men's equal. Under the influence of Oriental art in a short period naked goddess figure appeared in Greek art. Up to Late Classical Period a naked woman was regarded as either a hetaire or a maenad. In arts the maenads' contradictory behavior in relation to social order were adjusted to common standard. Only the Amazons are perceived as a threat in Archaic and Classical mythology and art. They are often depicted in order to increase the perception of a danger: because of them the public order was threatened. Even marriage was a burden for women, the status of a married woman always was desirable in the ancient Greek. With the transition from myth to logos a discussion on female stereotypes started. But the idealized representation of the mistress in the house remained on the athenian grave stelai of the Classical Period. Only in Hellenistic times there were attempts of selfrealization when women partially were adopting male role models. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the Persian Islamic didactic masnawi Gulshan-ı Rāz by Mahmûd Shabustarī who have a highly important place in the history of Islamic thought. In this study we will first present brief information about Shabustarī’s life and his works. Then, we will deal with the writing process of Gulshan-ı Rāz and Amir Hüseynī’s questions as the driving force in this process. After dealing with Gulshan-ı Rāz’s content and literary features, the study ends with the assessment of the literature which emerged around this work and its effects on other works of the classical period. [ABSTRACT FROM AUTHOR]

This article examines Islamism, which is rooted in one source but which has tended to move in different directions since the 19th century. In this sense the ideology of Islamism shows an eclectic posture since Islamic intellectuals have presented different postures. Therefore making a classification of the intellectuals is rather difficult. However, the essentialist intellectuals who initiated the religious agent referring to the main sources (Kuran and hadith) and shared the same idea and fixed the essence so that the reconstruct of religious identity took different approaches to following sharia and union with God (vahdet). The tension and cleavage between the two approaches is the result of the unionist intellectuals who accepted the religious agent consistent with the Kuran, sunnah, saints, and local culture. A third group of intellectuals synthesize the construction of the religious agent according to the main sources and through the acceptance of the religious agent as an instead of seeing a contradiction in it. This article examines the differences between the first group of religious essentialist intellectuals, naming Babanzade Ahmed Naim, Mustafa Sabri, and Mehmet Akif; the second group of cultural essentialists, namely Şehbenderzade Filibeli Ahmet Hilmi, Ferit Kam, İsmail Fenni Ertuğrul, Nurettin Topçu, and Necip Fazıl; and the neo-essentialists, namely Hayrettin Karaman, İsmet Özel, and Ali Bulaç. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Since Tanzimat period, one of the debates of Turkish literature has been, not to determine standart and definable criteria for the term of classic. Today, if you ask anybody the question "which classics do you read?", the answer will not be from the Turkish classics. The first reason for this is, turkish classics are not considered in the context of world classics. In accordance with the canon debates, the questions of "what is a classic " and "who identify these books", are come up again in recent years. In this article, ideas about the questions "can we identify classics" and "do Turkish literature have classics" will be interpreted by the help of survey and inquiries done in years since the eighties by different institutions. The perception of classics in western literatures and interpretations about "who identify classics" also take part in the article. This is not for comparing Turkish and western literatures one to one, it is just for indicating similarities with the perception in Turkish literature. The debates of classics, started by Ahmet Mithat, were exacerbated by the intellectuals of that period around the questions of "do we have classics" and "what should we call classics". In this context, because the period before the foundation of republic is not accepted as a classic period, it causes a "confuse" around the question of "what are the classics of Turkish literature". In this article, it is emphasized that this "confuse" can also be seen the publishers' perception of classics. It is also emphasized in the article that even if different groups accepted some books "important and great" without any debate, it is impossible to talk about a standart "classics" list for everyone unless the debates of canon/canons in Turkish literature settle down. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background and Design: Kaposi sarcomas (KS) are vascular tumors with a low malignant potential which include overlapping infectious, immunologic, and neoplastic processes. Recently, many histological subtypes have been defined. Material and Method: In the present study, 151 cutaneous classic KS lesions in 56 patients were retrospectively evaluated with regard to histological subtypes. Determination of the subtypes was based on the predominant histopathological component in the lesion. We examined changes in epidermis and dermis along with intratumoral inflammatory response characteristics in the lesions. By defining histopathological variants of the cases, differences regarding subtypes were investigated. Results: Cases that bear the ordinary characteristics of KS and those that can not be classified otherwise, comprised 82..8% of the study group. Twenty-six cases showed consistency with the subtypes outlined in the literature in terms of their histopathological properties. The most common histological subtype was the lymphangiectatic variant in 7.3% of the cases. Bullous (2.6%), lymphangioma like (2.6%), intravascular (2%), and pyogenic granuloma like (2%) variants were less common. The most uncommon histological subtype was micronodular (0.6%) type. Lymphangiectatic, bullous, intravascular, and pyogenic granuloma like variants were frequently observed in the nodular stage of KSs. Lympangioma like changes were seen to be present in the early KS lesions. Lymphangiectatic type was oftenly associated with bullous component, whereas pyogenic granuloma like type demonstrated superficial ulceration and intense inflammatory response. Lymphangioma like and intravascular types exhibited a characteristic appearance, while other variants were accompanied by components belonging to different subtypes. Conclusion: In KS, histopathological subtypes can develop as a result of different pathological processes. The next stage of the current study, which is one of the largest case series in the literature, will be investigation of the clinical and prognostic characteristics of the variants. (Turkderm 2010; 44: 73-8) [ABSTRACT FROM AUTHOR]

In this article the new excavation results of the earliest settled area on the Tepecik Acropolis at Patara is going to be introduced through the recently unearthed terracotta figurines dated to the Late Archaic and Early Classical Period. Although the number of finds is so limited, they are particularly important in terms of to complete the deficiency of the coroplastic art tradition in the city, before the Hellenistic Period. Among the finds, there are basically the elements of the so called "Aphrodite Group" such as -seated goddess, adorant figurines, protomes, figured vases etc.,- and also the fragmentary animal figurines. Although they did not present a new type or typology for the coroplastic art of the period, they proved the existence of the energetic trading activity of the city during that period. On the other hand as the debate is still going on about the main manufacturing centre on these so called "Aphrodite Group" figurines, it is here preferred to give more general location for the most of the finds belonging to this group. In this sense, generally the southwest Anatolia, including Ephesus, Miletus and the nearest islands such as Rhodes and Samos are offered all together for the probable maritime commerce relation for the city of Patara. Another main result ascertaining equality of Patara two Patara figurines with the Corinthian seated and peplophoros figurines. This new discovery possibly will bring a new aspect to the not very well known relations between Patara and Corinth. Finally these results help once more to understand the role of Patara as a harbour city amongst the Lycian upcountry neighbours. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cumhuriyet Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi is the property of University of Cumhuriyet, Faculty of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: The launch of new generation antipsychotics in 1990 impacting the prescription trends all over the world. The aim of this study was to evaluate trends and patterns regarding antipsychotic prescription on inpatient and outpatient basis at a university clinic. Method: Study period encompassed the years 1996–2005. A total of 34120 records were reached and retrospectively evaluated. Those who had been prescribed antipsychotic medicine of any kind were chosen for the study group (n=2868). Patients' socio-demografic characteristics, diagnosis, the first choice antipsychotic, and were included determined the switch of first antipsychotic and the reasons for that switch. Results: Prescription of conventional antipsychotics has been decreased dramatically within the study period (89.8%-15.5%) where the new generation antipsyhotics were introduced. The most commonly used new generation antipsychotics were risperidone (38.7%), olanzapine (22.4%) and clozapine (19.8%). While new generation antipsychotics stand for chronic psychosis like schizophrenia (58.2%), conventional ones stand for affective psychosis (56.8%). Antipsychotic-switch was not made for 70.3% of clasical antipsychotics and 85.9% of new generation antipsychotics during the study period. The most common reason for antipsychotic switch was lack of efficacy for both clasical and new generation antipsychotics (35.3%). Conclusion: Study period indicates a major shift in prescription patterns. Dominating preference of new generation antipsychotics seem to be the case for that shift in question. Rate of antipsychotic switch was low for both groups, but more switch was made for classical antipsychotics. [ABSTRACT FROM AUTHOR]

Sebuah situs yang terletak di Dusun Candi, Desa Menoreh, Kecamatan Salaman, Kabupaten Magelang pun tak luput dari penjarahan. Penduduk menyebut situs itu Candi Wurung, karena dianggap sebagai candi yang belum selesai dibangun. Beberapa tahun lalu situs yang terletak di tanah milik Hadi Prayitno itu digali oleh sekelompok orang. Masyarakat sekitar tidak tahu asal mereka dan maksud penggalian itu. Hanya berita dari mulut ke mulut tersiar kabar bahwa tujuan mereka adalah mencari harta karun. Entah ketemu entah tidak tetapi lubang bekas galian tanah itu mereka tinggalkan begitu saja. Situs itu sempat terbengkelai setelah terjadinya penggalian liar itu. Pemilik tanah pun tak tahu apa yang akan dia kerjakan, sehingga tanah sawah yang sebenamya produktif itu dibiarkan saja tak ditanami apapun.

Daerah lereng gunung Merapi dan Merbabu, rupa-rupanya merupakan tempat yang sejak jaman dahulu selalu ramai. Di daerah Boyolali pada lereng timur Gunung Merapi banyak dijumpai candi-candi petirtaan, diantaranya situs Cabean Kunti/ Sumur pitu. Tradisi yang masih hidup adalan tradisi Nguras Lepen yang dilakukan secara massal oleh seluruh warga Desa Cabean Kunti, dan tradisi Ngirim Lepen yang dilakukan oleh perorangan. Dua tradisi yang masih hidup sama-sama ditujukan kepada penguasa alam raya/ Tuhan Yang Maha Esa atas rahmat yang diberikan berupa air yang memberikan kehidupan bagi seluruh warga desa.

Dalam tulisan ini akan dilakukan terhadap kajian pada relief candi di Jawa Timur, dimana candi-candi tersebut dibangun pada masa kerajaan Majapahit berkuasa. Relief yang digambarkan mengandung unsur cerita yang populer pada masa itu, misalnya cerita Sri Tanjung, Panji, Bubuksah dan Gagangaking, serta Jarum Atat. Selain berdasarkan relief candi-candi tersebut, dalam prasasti masa Jawa kuna telah disebutkan adanya jenis kain batik yang digunakan oleh masyarakat pada masa itu. Di Jawa Timur berhasil diarnati pada dua relief candi yakni; Candi Pendopo Penataran abad XIlI - XV M dan Candi Kendalisodo abad XV- XVI M. Pada kedua candi tersebut, relief wanita digambarkan menggunakan busana yang berbeda, baik dari segi bentuk dan cara memakainya.

Classical Kaposi's sarcoma (KS) typically affects elderly men of Mediterranean and Jewish origin. We present an unusual case of classical KS in a human immunodeficiency virus (HIV) negative elderly farmer from rural Nigeria. He had multiple brownish nodules and plaques on both lower extremities associated with lymphoedema. Histopathological examination of a biopsy of the skin nodule confirmed the diagnosis of KS. The lesions only showed marginal improvement on chemotherapy which necessitated a referral for radiotherapy. There is a need to look beyond the traditional geographical distinction of KS variants as we continue to experience a dynamic role for environmental co-factors in the development of KS. [ABSTRACT FROM AUTHOR]

Selama terlibat dalam penyusunan Rencana lnduk Pengembangan Pariwisata Kawasan Boko tahun 1992 dan penyusunan Studi Kelayakan Pengembangan Kawasan Ratu Boko tahun 1994/ 1995, penulis telah mengumpulkan dan menganalisis berbagai data sejarah-arkeologi mengenai situs Ratu Boko. Dalam makalah singkat ini semua yang dipaparkan dalam kedua laporan kegiatan tersebut tidak mungkin diuraikan. Oleh karena itu apa yang akan dikemukakan hanya terbatas pada ringkasan hasil analisis dan interpretasinya.

Penelitian mengenai musik dalam arkeologi selama ini masih dirasa kurang diminati, karena sifatnya yang abstrak. Peninggalan musik sering menjadi pertanyaan apakah data berupa visual seperti relief dapat berbunyi? Sebagai akibatnya data aspek musik kurang diperhatikan. Misalnya dengan ditemukan nakara perunggu berbentuk genderang di Asia Tenggara pada permulaan abad ke-19 M. Perhatian para sarjana Eropa pada masa itu hanya pada bentuk, dekorasi dan fungsi.

Agama Hindu dan Buddha berasal dari India, masuk ke Indonesia hampir bersamaan waktunya yaitu sekitar abad pertama masehi. Kebudayaan yang berasal dari India tersebut sering disebut dengan istilah kebudayaan Hindu saja. Pengaruh kebudayan itu selain telah mengantarkan bangsa Indonesia memasuki jaman sejarah juga telah membawa perubahan besar dalam berbagai aspek kehidupan, seperti agama, struktur pemerintahan, dan aspek kehidupan masyarakat yang lain.