The term modern Turkish poetry is a general term given to the understanding of poetry that developed in Turkey, starting with the four (Kaside) odes that $inasi wrote after returning from Paris to describe Re§it Pasha who is Grand Vizier (1850-55) and his reforms, and until the declaration of the Republic of Modem Turkiye in 1923. The poetry of this period is also called new Turkish poetry, Turkish poetry of the modernization period, modem Turkish poetry, poetry developed under Western influence, etc. Many researchers have been suggested under different names about this period. But today, Turkish literature historians call this period Modem Turkish literature. There are 6 basic groups, communities and movements in modem Turkish poetry. These communities or movements have developed under the influence of different aesthetic understandings. The basic philosophical and aesthetic understandings that developed in Europe since the beginning of the European Enlightement Era have also influenced modern Turkish poetry. While the Namik Kemal-Ziya Pasha-Shinasi school followed the rationalist aesthetic approach, the second generation of Tanzimat adopted Immanuel Kant's aesthetic authonomy. While the commities of Servet-i Fünun's representatives adopted young Hegelian aesthetics, which developed in Germany in the second half of the 19th centry, Fecr-i Ati adipted the Nietzschean phonecentric aesthetics. In this respect, the philosophical and aesthetic tendencies that develop in Europe, especially in the nineteenth centry, also guided modem Turkish poetry. In this article, the basic trends in Turkish poetry that developed between 1850 and 1923 will be analyzed in a descriptive way, taking into account aesthetic and philosopic tendencies.

In addition to historical consciousness, ‘culture' is another area where important foundations are laid between the past, the present, and the future, which is transmitted across generations and plays an important role in the construction of social identity. In general terms, ‘culture' is a special social space that each society constructs within itself and a system of values produced within this space. The field where this system of values is established is the social field. The most important characteristic of this field is that people belonging to a certain land, flag, identity, thought, and environment have learned to live and produce together. One of the most important contributions of such learning is the construction of cultural identity, that is, social memory. Today, when we think of the term ‘culture,' we think of all the material and spiritual values of a nation, including both written and unwritten works. For instance, Kutadgu Bilig is one of the significant works that has made critical contributions to the development of Turkish literature and cultural heritage. It is highly critical regarding language, meaning, and aesthetics and is a worthy reference artwork in terms of learning about Turkish culture, lifestyle, and thought. Accordingly, this study attempts to interpret Yusuf Has Hacib's work of art and the essential ideas in his masterpiece within the aesthetic value and meaning framework.

Children's drawings are one of the most important productive actions that enable the child to establish relationships with his environment and the outside world. Each picture drawn contains a piece of the child himself. Because he tries to express his inner world, his way of thinking, his relationship with his environment, and any problems he has; through his paintings. Therefore, due to their iconic qualities, they have a semiotic function and enable the child to be recognized and understood by those around him. As a means of communication or a sign that mediates communication, children's drawings also have aesthetic properties. Aesthetic appreciation in children's drawings transcends traditional norms. It's not about technical proficiency but about the purity of expression. A child's artwork often exudes a raw authenticity, unburdened by societal conventions, which resonates deeply with viewers. In this study, we would like to consider the importance of drawing, which is one of the semiotic function areas of communication in children, the aesthetic aspects of drawings, and how children communicate through drawing.

Women were peace-loving and avoided war unless necessary. Throughout history, women's roles in war have been based on serving in the background, such as nursing duties. In peace as in war, goodness and healing were provided through nurses. Florence Nightingale, who worked as a nurse during the Crimean War, is known for her contributions to the nursing profession and the institutionalization of the profession in the Ottoman Empire. Nurses contributed to patient care for Muslim Turkish soldiers, starting from the Balkan War in 1912, and during the Gallipoli War and World War I. Among these pioneer women was Kerime Salahor. Many portraits and busts of Kerime Salahor were made; The most striking among these is the portrait made by Feyhaman Duran. It reflects his female sensibility of the artist, who carries the spirit of Art Nouveau as well as his impressionist palette. Nazli Ecevit also made a portrait of Kerime Salahor. Sculptors Yervant Osgan and Ihsan Özsoy made a bust of Kerime Salahor. We can also trace the history of Turkish Nursing based on Kerime Salahor's painting and bust. This gradually turns into an effort to understand what women do and experience regarding healing and care, not only in Turkey, but also in the rings of the chain of human history, starting from the earliest times of history via Peircian semiotics. In this article, we evaluate portraits and busts of Kerime Salahor, a symbol of women providing care in wartime in the context of history of nursing, gender, and portraiture.

Aesthetics has been the subject of different fields from the past to the present and has been evaluated through various approaches. There are different definitions of aesthetics, but the common aspect is its association with beauty and the senses. Despite its close relationship with fields such as philosophy and art history, everyday aesthetics has developed in a different direction from these fields today, focusing on the ordinary aspects of daily life. Everyday aesthetics reveals the aesthetic value of ordinary and commonplace phenomena. Daily spoken language is such a phenomenon. Before the emergence of everyday aesthetics, studies on aesthetics mostly focused on the literary aspects of language. For example, Turkish is one of the languages in which such studies exist. There are many studies aimed at revealing the aesthetic value of Turkish, whose earliest written products we have started to see since the 7th century. The main focus of these studies is on written language and literary works thought to reflect the aesthetic value of written language. Other studies on the aesthetic dimension of language have also concentrated on written language. However, the daily spoken language of Turkish has not been included in these aesthetic studies. One of the areas where the real richness of Turkish discourse and its aesthetic value are revealed is spoken language. This study aims to provide an opportunity to make inferences about the aesthetic value of the daily spoken language of Türkiye Turkish through the concept of everyday aesthetics. The sample of the study has consisted of the most frequently used formulaic expressions in daily language. The spoken language has been analyzed in terms of everyday aesthetics by considering the functions of these formulaic expressions. While analyzing the formulaic expressions, the evaluation criteria of everyday aesthetics have been taken into consideration, and efforts were made to reveal their aesthetic value based on their alignment with these criteria and their functions in daily life. This study highlights that aesthetics extends beyond the formal and literary domains of language. It illustrates that everyday language usage can also be associated with sub-fields of aesthetics based on various criteria, in addition to the more traditional areas such as formal and literary language. The primary objective of this study is to uncover the aesthetic value inherent in the Turkish spoken language, addressing a gap in this area, and to introduce the concept of everyday aesthetics to the Turkish academic literature within the realm of linguistic performance.

If we think about aesthetics, we see that there are many definitions and interpretations. With the most well-known definition, there are still comments on aesthetics, which is known as beautiful, useful, and pleasing, and this is normal. Since aesthetics is a pleasant field of study, it opens vast doors for those interested in it. Aesthetic understanding can offer different perspectives according to societies. Aesthetics offers an artistic point of view and awakens emotions by appealing to human beings. Straying from its known purpose and definition, we now see that aesthetics is used in advertisements to make products more attractive by affecting human consciousness. Before showing purchasing behaviour, the buyer looks at whether the product appeals to his/her lifestyle, identity and status as well as appealing to his/her needs and buys or does not buy the product according to these features. For this reason, aesthetic concerns come into play for marketers. As it is known, television commercials are one of the types of advertisements that mobilise the emotions of the audience the most. From this point of view, the use of aesthetics in Turkish television commercials is discussed in this study. Firstly, a general framework of aesthetics is drawn and then the relationship between advertising and aesthetics is emphasised. The study endeavours to understand the appearance, construction and positioning of aesthetics in Turkish television commercials. For this purpose, at the end of the study, the aesthetic appearance of an advertisement film selected by random sampling method is presented.

Human beings are naturally inclined towards beauty in terms of taste and senses. This situation has led people to try to evince beauty through their artistic creations. In this context, each community has aesthetic values and elements that are unique to its own culture to understand or reveal beauty. Depending on culture, the aesthetic understanding of each community, nation, or civilization also differs because all the values, beliefs, and traditions inherited from the ancestors can be considered the source of the aesthetics of that society. According to Günay, “culture is a complex structure that encompasses religious beliefs, art, everything that people make, produce, create, learn, and teach” (Günay, 2016, p. 54). It can also be said that the concepts of aesthetics and literature also constitute one of the sub-systems of culture because both concepts appear as a result of human artistic production. Therefore, a work of literature is considered a work of art and has an artistic value in terms of aesthetics. “Like every work of art, a work of literature reveals itself with its aesthetics and intellectual load” (Timuqin, 2013, p. 16). Accordingly, in Turkish literature as a production of Turkish culture, it is possible to see aesthetic elements pertaining to the values of the society in terms of worldview or societal structure in particular times of Turkish history. That is why some concepts such as sublimity, grotesque, tragic, understanding of comic and beauty, etc. also constitute the aesthetic perception of Turkish literature. Hence, this study aims to trace some patterns and motives in Sabahattin Ali's selected narratives within the book titled “Yeni Dünya” [New World] in terms of aesthetics. Selective narratives will be examined from various aesthetic aspects to gain an understanding of the reflection of artistic qualities and to reflect the social perception of the period. Through close reading and examination of Sabahattin Ali's narratives, it will be tried to explore how some aesthetic concepts, elements, or patterns contribute to the overall aesthetic experience of the narratives.

This study analyzed the Harry Potter-Balenciaga meme to explore the impact of new memes generated by Generative Al technology on online meme culture. The concept of memes, introduced by Richard Dawkins in ''The Selfish Gene” as units of cultural information, has evolved into contemporary internet memes, becoming a significant element of online culture. The Harry Potter-Balenciaga video, created using Al technology in 2023, garnered significant attention as an innovative online meme, demonstrating an epistemological expansion in the realm of online memes. It transcended the limitations of traditional meme creation by realizing abstract ideas, leading to the emergence of a new meme genre, the 'Idea Meme.' This study captured this phenomenon by considering the Harry Potter-Balenciaga meme as a new genre. It discussed the meme as an Idea-Realizing Meme, based on Shifman's (2016) traditional meme classification, through semiotic analysis of the images and text. By analyzing the three dimensions(content, form, and stance) of the Harry Potter- Balenciaga meme from a semiotic perspective, the study explained how AI-generated memes overcome the limitations of traditional memes and expand communicative and epistemological possibilities. This research aimed to shed light on the impact of the fusion of Al technology and online digital culture on cultural life and contribute to digital culture studies and online communication research.