DSpace@HacettepeDSpace dijital arşiv sistemi toplar, depolar, dizinler, korur ve dijital araştırma materyallerini dağıtmaya aracılık eder.https://openaccess.hacettepe.edu.tr:443/xmlui2024-03-19T12:23:26Z2024-03-19T12:23:26ZUtilizing Mixed Methods in Social Capital ResearchHacımahmutoğlu, Handehttps://hdl.handle.net/11655/347962024-03-19T08:56:29Z2024-01-01T00:00:00ZUtilizing Mixed Methods in Social Capital Research
Hacımahmutoğlu, Hande
The purpose of this thesis is to contribute to the mixed-methods research methodology literature, which continues to develop. the main issue that shapes the course of a mixed methods research study is its design strategy, which influences the integration process of the research. As a major issue for mixed methods research methodology, integration during the interpretation phase of a mixed methods study directly affects the output of the study. With this regard, the aim of this thesis is to seek the appropriate design type for a mixed methods research on a complex social phenomenon, how mixed methods research would be beneficial to comprehend a complex social phenomenon, and to see how design strategy, integration, and interpretation processes would occur within mixed methods research. In this study, social capital concept was taken as an exemplar complex social phenomenon for the mixed methods research.
The goal of the mixed methods research within this thesis is to comprehend social capital of the individuals in Turkey as completely as it can be. In the quantitative strand, nationally representative surveys that contribute to the generation of data on social capital were analysed, and data of the 2014-2015 Turkey Time Use Survey, which contains the most comprehensive questions on this subject were used. A composite index of social capital was created by conducting a factor analysis. The index involved three sub-indices, i.e. everyday sociability, social network support, and cultural sociability. The results of the quantitative research were related to the networks component of social capital. In the qualitative strand in-depth interviews were conducted with 16 individuals, 8 women and 8 men. The findings of the qualitative research involved information related to the trust and norms components of social capital, in addition to the networks component. In the last strand of the study, the two data sets were integrated by merging them using a joint display matrix. An important finding of the study is that an individual's family and social environment is very important for social capital and that this environment provides stronger tools for men than for women.
As a significant outcome, we defined a new design type, i.e. complementary sequential design, to carry on a suitable integration process. On the other hand, although the purpose of this study is not to provide a questionnaire to be used in social capital research, since we find the results of our mixed methods research valuable for use in a social capital survey, a set of question recommendations that can guide a survey on social capital was presented.
2024-01-01T00:00:00ZKimlik ve 'Ben' İkiliğinin Sanat Pratikleri ile ÇözümlenmesiAşcı, Fazilethttps://hdl.handle.net/11655/347952024-03-15T07:19:48Z2024-03-08T00:00:00ZKimlik ve 'Ben' İkiliğinin Sanat Pratikleri ile Çözümlenmesi
Aşcı, Fazilet
This research is based on the question "Who am I?", asked by the conscious subject, to confirm their existence as an 'I'. Since the concepts of 'I' and identity are different, initially the foundational meanings of these concepts are examined. This examination has been conducted with qualitative research based on philosophical and psychoanalytic literature.
When the philosophical dictionary meaning of the concept 'I' is studied, the concept of consciousness comes forward. Therefore, the first chapter is based on Descartes' proposition "I think, therefore I am". Seeking to confirm the existence of the ‘skeptic consciousness', this proposition has been put forward based on the consciousness that observes themselves and questions their existence. The subject, who wants to 'be' and define themselves, makes this definition sometimes by rejecting what is through negation, and sometimes by accepting what is through the other. The subject, who thinks and seeks the truth through thinking, desires to fix and define 'I', which however contradicts the dynamic structure of the 'I'. The existential struggle of the consciousness drives into the attempt to save their selves from nothingness, which forces them to define existence. However, as Hegel expresses, the subject, which is neither existence nor absence, acquires temporality within the movement of "becoming". Due to the indefinable structure of the 'I' and the fact that it is only a transitory moment for the subject, the first chapter is titled I's Hide and Seek. Since the 'I' comprises dynamicity and the self is established within this dynamicity, movement plays an important role in this research’s artistic practice. Through the art practice, in which the viewer's intervention is also invited, the structure of the 'I' has been tried to be analyzed conceptually and artistically.
In the second chapter, the meaning and the function of the concept of identity are explored. With this, it is understood that identity is a determination of reflection. Identity is a structure that remains stable because it has the function of positioning the subjectified 'I' within the social context. In addition to this stability, its being a fantasy causes more meaning to be attributed to it than it already has. However, it is concluded that the subject, whose sense of identity has changed, must confront the fantasy, and overcome it to escape this paradox.
As a result of the pioneering research, particularly Lacan's, examined in the third chapter, the subject's confrontations have been carried out theoretically and artistically. What it means if the 'father' who plays an active role in creating the subject's identity narrative, is actually dead and how it affects the identity construct has been analyzed. ‘Father’ plays a crucial role in the subject's entry into the social order by becoming a subject. If the 'father' is actually dead, the being of the 'father' is replaced with the father's function, and the identity is shaped by the 'law', therefore needs reckoning. The subject clings to an imaginary 'father', meaning a father that is impossible to reach, in addition to the laws and impositions that replace the actual father. The imaginary ‘father’ is a type of God prototype, as also articulated by Lacan. When the subject confronts why they created an impossible-to-reach imaginary 'father' through the missing 'father', face the fact that he is unnecessary. Instead of the identity they construct through the name-of-the-father and the imaginary 'father', they begin to construct themselves over emptiness. Through these confrontations and reckonings, the unfixability and alterability of the 'I', as well as the unnecessity of the 'father', have been able to be shaped and conveyed within the practice of art.
As a result of this research, the alterable structure of the 'I', the stability of identity and its fantasy were confronted. Accordingly, by building the construct through emptiness, the proposition of the subject’s ability to move from what ‘is’ to ‘becoming’ has been presented. Since the viewer can also experience this phenomenon through the art practice and be part of the artwork, this research has no longer become a subjective reckoning.
2024-03-08T00:00:00Z"İç Mimarlık Eğitiminde Sunum Teknikleri Dersine Analitik Bir Yaklaşım: Boyutsal Denemeler"Esen, Ecehttps://hdl.handle.net/11655/347942024-03-14T08:00:00Z2024-03-01T00:00:00Z"İç Mimarlık Eğitiminde Sunum Teknikleri Dersine Analitik Bir Yaklaşım: Boyutsal Denemeler"
Esen, Ece
This research aims to evaluate the presentation techniques courses included in the curricula of Interior Architecture and Environmental Design/Interior Architecture departments at various universities in Turkey, which fall within the scope of this study. It also aims to propose an approach to presentation techniques in addition to the current course contents based on discussions with course instructors.
Presentation techniques are indispensable in both the educational and professional performance processes of the interior architecture profession. The manner in which the act of "presenting" serves us with various techniques from the developmental stage to the finalization stage of a project can vary depending on the subject matter.
The study comprises five main sections. The first section constructs the historical development of the interior architecture profession from past to present and its evolution in Turkey. The second section investigates the development of interior architecture education globally and in Turkey through various schools of thought. The third section, which is the main focus of this study, explores the position of presentation techniques courses within the scope and shares the information gathered.
The fourth section encompasses the field study conducted on the presentation techniques courses conveyed in the third section. In this study, in-depth interviews were chosen as the data collection method. The participants, or the sample, were determined using the criterion sampling method, which is one of the purposive sampling methods commonly used in qualitative research. Face-to-face and/or online interviews were analyzed in this section.
The fifth and final section of the study, the conclusion and recommendations, attempts to illustrate the proposed course with examples from the study and aims to contribute to the course content by offering a different perspective on presentation techniques and evaluation.
Keywords: Design Education, Interior Architecture Education, Presentation Techniques, Visual Communication, Drawing Techniques.
2024-03-01T00:00:00ZResim Olarak Asemik Yazı ve İmzaAYHAN, Yavuzhttps://hdl.handle.net/11655/347932024-03-14T06:43:04Z2024-01-01T00:00:00ZResim Olarak Asemik Yazı ve İmza
AYHAN, Yavuz
In this study titled "Asemic Writing and Signature as Painting", it covers the theme of "asemic writing" and "signature" as the subject of painting. In the first part, starting from the concept of meaning, information about the process of language formation is given. In the second part, research has been conducted on the development of the representation of language on the surface with writing and the development of signs, which are the representation of individuality called signatures, in the historical process, and their importance for art and individuality has been emphasized. In the third section, the emergence of the concept of asemic writing and the studies that were found to fit the definition of asemic writing before and today, before this concept was named, are examined. In the last section, applications and explanations on the theme of asemic writing and signature are included. In the last section, the applications and explanations on the theme of asemic writing and signature are given. With the selection of asemic writing and signature as the theme of the painting, in addition to the works created by writing in free forms, original works were created in which the signature was used as an artist metaphor and used as the element that constitutes the painting.
2024-01-01T00:00:00Z