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Artemisia Gentileschi, 1593 yılında Roma’da dünyaya gelmiştir. Ressam olan babası Orazio Gentileschi’den resim dersleri alan sanatçı, Caravaggio’nun izinden giden (Caravaggist) ressamların en başarılısı olarak kabul edilmektedir. Artemisia Gentileschi yaklaşık kırk yıllık sanat yaşantısında kutsal metinlerden tarihi söylencelere, mitolojiden portre çalışmalarına kadar çok sayıda esere imza atmıştır. Eserlerinde seçtiği konularda, dinler tarihi, tarih ve mitolojik anlatılar ağırlıktadır. Artemisia’nın sanatı erken, olgunluk ve geç dönem olmak üzere üç evrede incelenebilir. Sanatçının erken döneminde ele aldığı kadın figürleri incelendiğinde, Artemisia bu figürlerde tıpkı çağdaşlarının eserlerinde görülen ruh hallerine yer vermiştir. Dönem ressamlarının tablolarında, kolektif bilinci yansıtır şekilde çaresizlik içerisinde, korkan, çekinen ve kararsızlık duygusuyla ifade bulan kadın figürleri, Artemisia’nın da erken dönem tablolarına yansımıştır. Sanatçının 1630’larda başlayan olgunluk döneminde ise eserlerindeki kadın figürleri, yaptığı işten emin, son derece kararlı ve cesaretleriyle ön plana çıkan karakterlere dönüşmüştür. Bu açıdan özellikle Kitab-ı Mukaddes, apokrif metinler ve tarihi anlatılarda bahsi geçen kadın figürleri sanatçının eserlerinde sıkça yer bulmuştur. Bu figürler kimi zaman ulusunu kölelikten kurtaran, kimi zaman masumiyetiyle ön plana çıkan kimi zaman da yaşadığı trajedi sonucunda bir devrime yol açan kahramanlardan oluşmaktadır. Çalışma, tarafımızdan daha önce değerlendirmesi yapılmamış olan on eseri, Gentileschi tablolarında kadın figürlerinin geçirmiş olduğu değişimle ele almaktadır. Sanatçının ilk dönem eserlerinde çağının diğer sanatçılarıyla benzer betimlemelere giderken olgunluk dönemiyle birlikte bu ortak bilinçten uzaklaşmasının sanatına nasıl yansıdığı incelenmiştir. Bu açıdan söz konusu bu on eser merkezinde sanatçının diğer eserleri de değişimin aktarılabilmesi açısından çalışmaya dâhil edilmiştir.

Mythology and cinema are two significant art forms that leave deep marks on the collective memory of humanity. Mythology is a collection of stories, gods, and symbols that reflect the beliefs, values, and worldviews of societies. Cinema, as one of the powerful art forms of the modern era, conveys mythological elements through a visual language to reach wide audiences. Thus, cinema not only uses mythology as a source of stories but also adds deep meanings by relating mythological figures and themes to the problems of modern society, helping viewers reinterpret and understand mythological stories and symbols in the modern world. This article aims to examine the relationship between cinema and mythology through Guillermo del Toro's film Pan's Labyrinth (2006). The film presents a fantastical story set after the Spanish Civil War, enriched with mythological elements and symbols. This study analyzes the mythological themes of the film and how these themes merge with cinematic narration. The research method used is qualitative, with an intertextual analysis technique applied to the film. Firstly, the mythological elements and symbols in the film are identified, and then their meanings and functions in the film are detailed. By utilizing mythology literature, the mythological references and symbolic meanings of the characters, events, and settings in the film are explained. In this context, Ofelia's journey parallels the hero's journey archetype, and the film deepens themes such as growth, sacrifice, and resistance by using mythological elements. [ABSTRACT FROM AUTHOR]

Copyright of Artvin Coruh University International Journal of Social Sciences (ACUSBD) is the property of Artvin Coruh University International Journal of Social Sciences 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 Anatolia Sport Research (ASR) is the property of Anatolia Sport Research (ASR) 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.)

The branch of science that identifies, compiles, classifies and analyzes the material and spiritual culture of a nation is called folklore. Folklorists use folklore studies to recognize a nation itself or to introduce itself to other nations of the world. Folklorists who carry out these studies need to recognize and classify their field of science as in other branches of science. Because this field, which we call folk life, does not maintain its continuity as a whole and is divided into different branches and sub-branches over time. Undoubtedly, one of the important branches of folklore is folk literature. However, folk literature is also divided into many sub-branches within itself. In this study, we have studied folk narratives, which is one of the sub-branches of folk literature, and the epic/dastan genre within it. Our aim in this study is to show and use the term "epic/dastan" as an inclusive term for all other Kurdish epic narratives, since, in Kurdish folklore studies, there is a clear confusion of literature and a problem of polysemy. In this study, we have created a new classification of epic narratives by analyzing Kurdish epic narratives in terms of event chain structure. In addition to the classification and suggestions we put forward in this study, we have also shared the studies and discussions on this subject in the field before us. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Literature & Humanities / Edebiyat ve Beşeri Bilimler Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

Kadim kültürlerde önemli bir yeri olan mitler tanrıların yaşamlarına dair kutsal hikayeler, dünyanın nasıl var olduğunu açıklayan geleneksel anlatılar olarak nitelendirilebilir. Mitoloji tarihinde birçok hayali, doğaüstü güçlere sahip karışık yaratıklar, kimi zaman kötünün kimi zaman ise iyinin temsili olmuşlardır. Kadim kültürlerde kimera olarak adı geçen bu karışık yaratıklar, İlk Çağlar’dan günümüze kadar farkı özelliklerde ve amaçlarda var olmuşlardır. Bu araştırmada literatür tarama yöntemi kullanılarak tarihi süreç içerinde çeşitli biçemlerde tasvir edilmiş kimeraların, plastik sanatlardaki betimlemeleri incelenmiştir. Bu bağlamda araştırmada, İlk Çağ’dan itibaren, çağdaş sanata kadar kimeraların yüklendikleri anlamların irdelenmesi amaçlanmıştır. Bu karışık yaratıkların tanrı ve tanrıça formu ya da şeytani vasfı, günümüzde üçüncü bir türün varlığını ya da bu türün gelecekte var olma ihtimalini ve insanlık tarafından kabulünü vurgulayan anlayışın yansıtıldığı eserlerin yaratılma amaçları ele alınmıştır.

Primitive people tried to find a meaning for natural events through causal relations with their limited knowledge. One example is mythological monsters, which are actually the different aspects of nature in forms. All these monsters are products of the Mother Goddess as a woman, and they are visualized versions of uncanny and dangerous side of nature. One of these monsters, with a lion ahead, a goat body, and a snake tail in Greek Mythology, is called Chimera. Later, these multi-identity monster, whose parts also mean something on their own, became a symbol and a source of reference for different fields such as biology, psychology and art. Chimerism, i.e. the coexistence of different identities in one body, has gained a scientific basis, especially in biology through the advancement of gene technology. Finding different gene codes in the same body has proven that there are real chimeras, including humans, in nature. The fact that human, animal and plant genes can exist in one body has led to many ethical debates. Art opens a discussion space for the redefinition of such ethical boundaries today. In this study, the counterparts of creatures called Chimera in the history of contemporary art will be discussed.

Cinema has been influenced by mythology since the first years of its invention. Mythological elements, which are frequently used in today's cinema, are used as an important reference. Cinema strengthens the narrative language by reproducing myths and creating new myths. Cinema, which has a strong and effective aspect in this respect, reflects the unconscious of the masses in human history. Considering the similarities of cinema with mythology, dream and reality are intertwined while cinema reshapes reality. Both cinema and mythology use experiences that are constantly repeated throughout generations through archetypes that have been in our collective unconscious since ancient times. Therefore, today, cinema appears as a reshaped form of mythology. In this process, film directors have almost become myth-tellers. At this point, cinema, just like myths, has changing and even transformative effects on society. Especially with the studies of writer Joseph Campbell in the field of mythology, the "monomyth" theory - the hero's journey - was adapted to the filmmaking process in cinema. An example of the work that offers a different cinematic experience is the movie "Dark City" (1998), directed by Alex Proyas, which deals with sociopolitical, scientific and philosophical themes as well as mythological elements. Functionally, the film makes one think about the questioning of human nature and the concepts of identity and memory. The journey of John Murdoch, the protagonist of the film, is designed in accordance with Joseph Campbell's theory of the hero's journey. The hero's journey is a fictional structure frequently used in mythological stories. The hero's journey in the movie "Dark City" follows the outline of Joseph Campbell's hero's journey scheme. The hero breaks away from his normal life and finds himself in an adventure where reality is questioned. This adventure provides opportunities for his personal growth and transformation, and eventually the hero discovers his true identity and power. "Dark City" is a science fiction film inspired by ancient mythological stories and Jungian psychology. In this regard, the study aims to look at various aspects of the film from a psychoanalytic perspective. It is aimed to examine the symbols and cinematographic techniques used in the film, the archetypal characteristics of the characters in the film and mythological references. [ABSTRACT FROM AUTHOR]

Dede Korkut stories are symbolic texts reflecting the subconscious of society. These stories have been analyzed from various views centered on language and structure, but there are very few meaning-oriented analysis studies on these stories. For this reason, the story titled "Dirse Han Oğlu Boğaç Han", the first of the Dede Korkut Oghuznâmes consisting of twelve stories, will be analyzed with a religious-mythological and archetypal approach. The story is based on the transformation of state and society, ruler and ruled, astral symbols, zoological symbols, family relations and time connections. In the story, connections are established among the astral cycle consisting of the Sun, the Moon and the stars determining time in the form of day, month and year; their effects on life, animal and plant life, economic cycle, spiritual life cycle. We think that the epic was created by establishing similarities between the spiritual authority consisting of prophethood, sainthood and corruption periods, which are the cycle of the history of religions, and the material state structure and family structure. In the epic, which exhibits a mythological structure, it is intuited that there are common laws among many elements, especially cycle, renewal, time, space and quality relations. Among these laws based on similarities, there are transitions from the visible to the invisible, from the easily comprehensible to the difficult to understand through symbols. Within all these relationships, the similarities between the family-society relationship and the state-cosmos functioning come to the fore. The story moves from the prototype of the family to the parameters of global functioning while describing the relations between the life of a small beylik family and a larger beylik. Understanding Oghuznâmeler, which has the characteristics of a political treatise, has educational and consciousness-raising functions in terms of understanding the tradition of Turkish society and shedding light on the future. [ABSTRACT FROM AUTHOR]

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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals 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 Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

20. yüzyılın sonlarına doğru modern pozitivist paradigmanın etkisini kaybederek yorumsamacı (hermenötik) paradigmanın ön plana çıkmasıyla birlikte modernizmin yapıtaşlarından birisi olan sekülerleşme tezi kapsamında dinin ve kutsalın toplumsal hayat içindeki konumu yeniden sorgulanmaya başlamıştır. Bu sorgulamaların odak noktası modern dönemde dinin kamusal alandaki işlevinin nasıl değiştiği ve sekülerleşme tezinin nasıl işlevsel hale geldiği olmuştur. Ancak, 20. yüzyılda yorumsamacı paradigmanın ortaya çıkarttığı postmodern eleştiriler sekülerleşme tezinin temel argümanı olan dinin ve kutsalın modern toplum içinde ortadan kaybolacağı hipotezini tam tersine çevirmiştir. Modernizm düşüncesi, yaşamı kutsal alan ile seküler alan olarak birbirinden ayıran, kutsalı ahlaki değerlerin ve ibadet şekillerinin biçimlendirdiği bir alan seküleri ise siyaset, ekonomi, bilim, eğitim vb. yapıları içine alan kamusal bir alan olarak nitelendirmiştir. Modernizmin bu köktenci ve yapısal ayrımının bir sonucu olarak ortaya çıkan kutsal-seküler ile dini-dindışı arasındaki ayrım postmodernizm çoğulculuğu ve farklılaşmayı ön plana çıkartan yaklaşımıyla birlikte yeniden sorgulanmıştır. Günümüzde postmodern kutsal veya seküler kutsal olarak nitelendirilen, küreselleşmenin yarattığı tüketim kültürünün bir sonucu “popüler kültür spiritüelliği” olarak farklı form ve yapılarda ortaya çıkan kutsallıkların varlığını devam ettirmesi, kutsalın modernizmden postmodernizme kadar geçirdiği dönüşümün anlamlandırılmasında önemli olmuştur. Buna paralel olarak, ilk çağlarda dinsel ve kutsala dair anlatılar olarak kabul edilen mitler modern dönemde her ne kadar gerçeküstü anlatılar olarak nitelendirilmiş olsa da postmodern dünyada seküler kutsallığın ortaya çıkışında yeniden görünürlük kazanmıştır. Bu kapsamda, yapılan çalışmada modernizm ve postmodernizm düşüncelerinin temel argümanları etrafında modernleşme, sekülerleşme ve postmodernleşme süreçlerinde mitsel düşüncenin ve kutsalın geçirdiği dönüşüm ele alınarak çağdaş toplumlardaki postmodern ve seküler kutsallıkların ortaya çıkışında mitsel düşüncenin ve mitolojik ögelerin etkisi tartışılmıştır.

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center 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.)

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The study evaluates the current presence of elements from Turkish oral culture, such as mythology, tales, and stories, by comparing them with the contemporary state and historical evolution of similar content in Western culture. The aim is also to determine whether analogous content in Western culture is adapted and utilized as a sphere of cultural influence by mass media worldwide. The study further assesses how these existing Turkish cultural elements are applied in daily life, drawing examples from Keloğlan tales and Dede Korkut stories. Through the analysis of these examples, the study emphasizes the significance of the discussed issue and highlights not only the necessity of preserving it but also adapting it. According to the conducted research, despite initial efforts to collect and preserve these cultural elements during the early years of the Republic period, similar to the initiatives in the Western world between the 17th and 19th centuries, it is concluded that the process was shortlived and failed to secure a lasting place in the contemporary world. The study attempts to draw some inferences considering the relevance of these cultural values in the present time, utilizing sufficiently updated Keloğlan tales and insufficiently updated Dede Korkut stories. It underscores the role and importance of mass media in the context of Turkey and the Turkic World concerning this issue. [ABSTRACT FROM AUTHOR]

Myths, which are the products of human imagination that tries to understand and make sense of itself, other beings and the universe, are belief-based creations. Myths, which are accepted by some researchers as the first religious experiments, are also considered as the first scientific efforts of human beings by some other researchers. Myths, which have managed to survive in the transition period from archaic to modern era due to their belief-based nature, show themselves in many elements and stages of the daily life of human beings. Mankind, who wants to interpret, understand and tell what is happening about himself and his environment, has produced literary products since the first periods of history; wished to convey his thoughts, feelings, observations and dreams to his interlocutor through these products. While this transfer was sometimes instantaneously between contemporaries, sometimes it took place between generations over a long period of time, depending on the content and function of the literary genre. The reality of life and the reality of literature are undoubtedly different. Tales, which have an important place among folk narratives, are literary products that reflect the reality of life indirectly. The purpose of this study; to examine the reflections of a mythical concept which mentioned in a tale known as "Kence Bala (The Little Child/The Youngest Child)" among the Kyrgyz Turks, including a belief about the emergence of the hollow on the inner side/underside of the kneecap of the human being, and which can be considered as a creation myth in this respect, in Turkish tales inside and outside of Anatolia in the context of intertextuality. In addition to this main purpose, it is aimed to deal with the myth's process of becoming an idiom, which continues its existence among the people in the Anatolian field, in the context of intertextuality. Since the wideness of the study universe does not make it possible to carry out a field study on the subject, the study has been limited to scientific works belonging to Turkish culture in printed and digital media. Within the scope of the research, the resources were reached by making searches with the keywords related to the subject, the obtained resources were subjected to document review and content analysis was carried out. As a result of the research, it has been observed that some of the folkloric elements that can find place in oral or written texts can preserve their existence in the public memory, and it has been determined that this situation is related to the possibilities provided by intertextuality. In this context, examples of scientific views that the elements participating in the intertextual process have been re-used in different environments, that is, in new creations, thus saved from becoming ordinary and being forgotten over time, in a sense being updated and remythologized, have been presented to the attention of researchers. The tales, in which the general acceptances and motifs of the common human mind, and the local acceptances and motifs of the nation to which they belong, can be seen together are folk narratives with universal and national aspects. One of the protagonists of the creation myth, which aims to explain the cause of the cavity on the inside/under the kneecap of human, is an extraordinary bird named Alp Karakuş/Alpkarakuş. Extraordinary birds and the travels on these birds are seen in the tales of almost all the nations of the world. This situation can be evaluated within the framework of the universality of tales. Although it is not related to the main element of the myth, the extraordinary bird as an auxiliary element and some of the examples of the journeys made riding this bird will be included in this study. [ABSTRACT FROM AUTHOR]

Towards the end of the 20th century, the modern positivist paradigm lost its influence, and with the hermeneutics paradigm coming to the forefront, the position of religion and the sacred in social life began to be questioned again within the scope of the secularization thesis, which is one of the building blocks of modernism. The focus of these inquiries has been on how the function of religion in the public sphere has changed in the modern period and how the secularization thesis has become functional. However, in the 20th century, the postmodern critiques of the hermeneutics paradigm have reversed the hypothesis that religion and the sacred will disappear in modern society, which is the main argument of the secularization thesis. The idea of modernism defined life as a public sphere that distinguishes between the sacred and the secular sphere, ansd that the moral values and forms of worship shape the sacred, while the secular is a public space that includes politics, economy, science, education, etc. The distinction between the sacred-secular and the religious-irreligious, which emerged because of this radical and structural separation of modernism, was questioned again with its post-modernism approach that emphasizes pluralism and differentiation. The continuation of the existence of sacredness that is defined as post-modern sacred or secular sacred today, which emerge in different forms and structures because of the consumer culture created by globalization as “popular culture spirituality”, has been crucial in making sense of the transformation of the sacred from modernism to post-modernism In parallel, myths, which were accepted as religious and sacred narratives in the early ages, have reappeared in the emergence of secular holiness in the postmodern world, although they have been characterized as surreal narratives in the modern period. In this context, in this study, the transformation of mythical thought and the sacred in the processes of modernization, secularization and postmodernization around the basic arguments of modernism and post-modernism ideas is discussed and the effect of mythological view and mythological elements in the emergence of post-modern and secular sacredness in contemporary societies is examined. [ABSTRACT FROM AUTHOR]

The story of Romulus and Remus being kept alive by being suckled by a she-wolf, the most important known example of the founding of Rome, is called "Lupa Romana". It is understood that the depiction, which we encounter in Roman mosaic art examples, especially in civil architecture, was used as an element of propaganda. In addition, it has been determined that the depiction of the she-wolf was first used in Central Asia based on the myths of Roman, Etruscan and Turkish mythology. The use of the wolf image in world mythologies was also examined to avoid focusing on a single culture when determining the archetype. As a result, the points where the sacred wolf in different cultures influenced the cultures were analyzed and it was understood that the depictions in Central Asia were accepted as archetypes and spread to other communities with the Roman culture. [ABSTRACT FROM AUTHOR]

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Thebai, which serves as a mythological scene in narratives, appears in many works from Homer to Apollodoros, Sophocles to Seneca, especially as a city associated with tragic myths. The aim of this study is to draw a picture of Thebai, with selected texts of Antiquity, the city which is an important part of the geography and narrative of the period. Then, in order to reveal the dramatic structure of the city, the main mythological characters with which it is connected will be revealed, and its connection with the lineage of Cadmus and Dionysus will be described. Another aim is to provide a compendium that will serve as a reference for researchers interested in this topic; for this reason, general questions about the specific structure of the city of Thebai will be answered. In the light of selected texts, this city, which is very close to the heart of the Greek world, Athens, will be seen from the perspective of the ancient people, and it will be revealed where the strong connection of the city with mythology and tragedy stems from. [ABSTRACT FROM AUTHOR]

The prominent religious feature of the Hittites is that they are polytheistic. However, these deities are not just the creator deities, but a chaotic community of deities with hundreds of gods and goddesses. The Hittite gods are anthropomorphic with their emotions, eating, drinking, and procreating features and descriptions. There are also more local forms of the same gods worshiped elsewhere. The cult of each god is consecrated according to his/her degree. The change in the Hittite political history also affected the worship of the gods, and there were changes in the precedence of the gods. In a religious cult where there are many gods, taking care of these gods and consecrating their cults are difficult and time-consuming activities. The consecration of the cult of the gods is among the main duties of the Hittites that should not be neglected. By always offering sacrifices to the gods, they should be treated well. Especially the festival ceremonies are the times when a kind of show of gratitude is made to the gods. Natural events were perceived as a punishment method sent to the Hittites by the gods. The anger of the gods meant that the people faced bad living conditions such as flood, drought, famine, and disease. They tried to find out why the gods were angry because they did not want to the calamity. In their mythological texts, they describe what the angry gods could do, and therewith they worship more the gods. After they died, they believed that kings and queens were among the gods and goddesses and worshiped their cult. After other people died, their afterlife continued in the dark underworld. [ABSTRACT FROM AUTHOR]

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This article deals with the origin and history of the terms myth, mythology. There were described myths and features which are common to the Turkic world. Also the main theme of discussion were the peculiarities and similarities of the earth mythology, water and sky worlds of Turkish literature. Descent of the "Jeruyik" concept originates from the written monuments of Sak, Hun, Orkhon. The article analyzes the mythical nature of the concept. In Kazakh literature, the "jeruyik" concept originates from the time of Asan's grief. The "jeruyik" concept is an idea similar to heaven on earth. Jeruyik means peace, freedom and liberty for the Kazakh nation after independence. Zhambyl Zhabayev is known as Kazakh Homer. In Zhabayev's poems, the "jeruyik" concept is considered together with the mythology of "paradise". At the same time, there were analyzed the mythical examples found in the poems of the Turkish poet Ziya Gökalp regarding to the homeland, the birthplace. The characteristic features and elements of Turkish literature were clearly shown in this article. Comparative analyzes are made and relevant conclusions are drawn. [ABSTRACT FROM AUTHOR]

Football, which has a history dating back to ancient times and carries meanings far beyond being an amateur entertainment tool today, is a field that should be evaluated socio-culturally beyond being a mere sport in terms of affecting world cultures and bringing all local cultures to the world through the media. Football and the culture around it, which social scientists can deal with in different contexts, draws the attention of researchers. The origins of football in Türkiye dates back to the Ottoman period and after traces of a long process. After the clubs established by non-Muslims, school teams and military teams football descends into the neighborhoods. While interest in football is increasing, it is seen that this interest is interrupted from time to time due to wars. With the proclamation of the Republic, sports became important to the state in relation to physical training. The state, which uses sports as a tool to create a healthy nation, has prioritized health sports, and team sports such as football had not been so popular. Even if the leagues were established, it took a long time to establish the national league. In the 1960s, football became professional and the state started to encourage both clubs and football players. Sportsmanship is now seen as a profession and the rights of clubs and football players are guaranteed. As a result of these incentives, the number of local clubs has increased. Especially after the state's request that "every city should have a club", many clubs in the cities united and a single team was established to represent that city in the national league. The field of football plays a successful role in bringing local cultures to the nation. For this reason, football clubs have chosen to take advantage of this power of football. When local clubs discovered that they could show themselves in the national arena, they began to look for badges and logos. In this study, the emblems of football clubs competing in Turkish leagues were examined. Arms have a very important place in creating a brand. Considering that sports clubs are also companies, it will be seen that a high quality and unique emblem is necessary. Crests and jerseys are rare visual fields of football clubs. That's why they can use these areas successfully and be different by capturing originality. In the study, fifty club crests were examined and evaluated from the point of view of folklore. It has been determined that teams generally prefer cliché designs. The few local motifs identified have much in common. Local values are represented in several different ways in football club coats of arms: Mythological elements, city images, local productions, geographical forms, historical developments, etc. In this study, the cultural values that football clubs prefer to use in their coat of arms were identified and the relationship between city recognition and football club was examined through these elements. Examples from world clubs have been given and similar uses in Türkiye have been identified. Looking at the historical process, it is seen that the football industry in Türkiye was not created with an urban perception, but with a focus on sportive success. Therefore, it was also discussed whether there is a perception that the clubs can also be the means of visibility of the cities in the national level. In the study, it has been tried to understand what/for what reason the clubs that prefer urban elements in their coat of arms prefer. It has been discussed whether it provides the identification of that city with the urban elements used in the coat of arms through the football team. It has been examined which city images and how they used the emblems in question. The study focuses only on football club crests. Examples are selected from Turkish football leagues. Considering that the cities where the football clubs were founded are promotional tools in the national and international arena, suggestions were made after evaluating the diversity of the emblem designs and their local allusions. [ABSTRACT FROM AUTHOR]

In the history of humanity, nearly all known religious traditions incorporate a future savior idea. Throughout the history, it is evident that the belief of a savior has evolved and enriched itself with various symbolic motifs, acquiring mythological dimensions Similarly, mythological accounts from numerous cultures from ancient times have themes similar to savior idea. In the early period of the communities of G_h_ulāt Shī'a within Islamic culture, it is noteworthy that some motifs can be traced in the concept of the Mahdi, woven around the savior idea present in Middle Eastern religious traditions and mythological narratives. In this context, we believe that considering the mythological elements, which are the products of collective imagination of the humanity, is of great importance in order to understand the various aspects of savior belief. Our study aims, in this regard, to draw attention to certain mythological images present in the early Shiite sects' understanding of the Mahdi, through a comparative analysis with the mythic narratives of other religions and societies. In this study, we have employed a methodology rooted in the fundamental principles of general science, including description, explanation, comparison, establishing relationships, and interpretation. [ABSTRACT FROM AUTHOR]

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In this article, the meaning and importance of the crescent symbol in mythology, Jewish Christian tradition and Islamic tradition will be discussed. In addition to being present in many cultures, the crescent symbol has become a symbol reminding of the Islamic religion. Accordingly, it will be examined why the crescent symbol gained sanctity and became a symbol in the Islamic world. In this context, the general framework of the symbol will be created and the relationship between the crescent symbol and mythology, Jewish Christian tradition and Islamic tradition will be touched upon. Thus, it is aimed to reveal the values it represents by tracing the background of the crescent as a religious symbol. [ABSTRACT FROM AUTHOR]

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Prayer has been the main means of communicating with God since the earliest periods of human history. In the prayer beliefs and actions of Turkish folk belief, some religious motifs have a unique mythological structure. With the premise that mythological thoughts and actions are reflected in beliefs and actions in daily life from past to present, a sociological and anthropological reading method, which is one of the mythological analysis methods related to the mythological origin of thoughts and actions in the prayer tradition, was determined. The religious idea that prayers will be accepted through sacred beings such as stones, rocks, mountains, trees and water, which developed around the ancestral faith and are believed to be sacred, is still alive as a widespread folk belief in Turkey. In this context, the tree, the mountain, the fire symbolizes verticality and its height, with its water cleanliness and clarity, with its representation of vitality and eternity, with its stone or rock symbolizing hardness and solidity, it has been the places where the sacred beings hold space and communication with God by carrying the box of God on it. [ABSTRACT FROM AUTHOR]

Greek and Roman mythology, which is its follower in many ways, show similar characteristics from the beginning. Roman mythology, which enriches it by taking the basic elements of Greek mythology and mythology, also reflects similarities in the deification of natural forces. It is seen that the forces that have always existed between the two cultures related to the sky from the beginning also have an important place in religion and mythology. Among these, the changes between the sun, the moon and the stars, and the day and night in the sky were regarded as related and sanctified. In particular, it is observed that the changes of the Olympian god lineage related to the sky were effective on people in different periods. This basic way of thinking has been reflected in the works of many artists as a source of inspiration. [ABSTRACT FROM AUTHOR]

Copyright of Sakarya Communication Journal / Sakarya İletişim is the property of Sakarya Iletisim 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 Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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 Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)