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AZÚCAR AMARGA: EL INEVITABLE OXÍMORON DE LA HISTORIA CUBANA
Published 2009-01-01Subjects: Get full text
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SOCIAL NETWORK IN MOTHER GODDESS WORSHIP: A CASE STUDY OF MEDIUM DANG THI MAT, HANG PAGODA-QUAN TAM TEMPLE, THANH MY COMMUNE, SON TAY TOWN, HANOI
Published 2022-09-01“…This article adopts some points of view in social network theory to study a specific social network in Mother Goddess worship, that of medium Dang Thi Mat, of Hang Pagoda-Quan Tam Temple, Thanh My Commune, Son Tay Town, Hanoi to clarify the characteristics, structure, homophily, operating principles, and development of this social network in modern society. …”
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Bir Japon Yüzbaşının İzinde Japonya’nın Yakın Doğu Açılımını Okumak: Yüzbaşı Haroşiya Hirayama’nın 1906 Yılının Son Demlerinde İstanbul’dan Basra’ya Uzanan Yolculuğu ve Anlattıkları
Published 2023-06-01“…Bu çalışma, Japon devletinin Yakın Doğu’yu tanımlama arzusu neticesinde 1906 yılının son demlerinde Osmanlı ülkesine giriş yapan Japon Yüzbaşı Haroşiya Hirayama’nın İstanbul’dan Basra’ya uzanan seyahatine odaklanmıştır. …”
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Reporting What’s Going on at the Neighbors from a Distance: Turkish News Channels’ Breaking News Coverage of the 2018 Missile Strikes against Syria
Published 2021-06-01Subjects: Get full text
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TÜRKİYE CUMHURİYETİ’NİN İLK ON BEŞ YILINDA VE SON ON BEŞ YILDA EĞİTİM PROGRAMLARI ALANINDA YAŞANAN SORUNLAR: KARŞILAŞTIRMALI BİR ANALİZ - CURRICULAR ISSUES IN THE FIRST 15 YEARS AND LAST 15 YEARS OF THE TURKISH REPUBLIC: A COMPARATIVE ANALYSIS
Published 2017-09-01“…Nitel araştırma özelliği taşıyan bu çalışmada, Cumhuriyet’in ilk 15yılı (1923–1938) ile son 15 yılda (2000–2015) eğitim programları ile ilgilisorunları karşılaştırmalı olarak değerlendirmek ve günümüze ilişkin önerilerdebulunmak amaçlanmıştır. …”
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La représentation paradoxale du chemin de fer chez Dickens : fantastique et mythe au service d’une peinture de la modernité dans Dombey and Son (1848) et « No. 1 Branch Line. The Signal-Man » (1866)
Published 2010-06-01“…But what appears more surprising and paradoxical is the use of archaic elements, such as myth, and teratological images—as in Dombey and Son—to depict modernity. The reason may lie in the fact that trains or factories, belching fumes and staining everything about them, were seen as dangerous, all-powerful, voracious monsters and that writers were powerless in front of such disturbing, unprecedented phenomena and had to fall back on familiar, reassuring narrative techniques to come to terms with them. …”
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