Hacettepe Üniversitesi Açık Erişim Sistemi (HÜAES)
- HÜAES, Hacettepe Üniversitesi bünyesinde üretilen kitap, makale, tez, bildiri, rapor gibi tüm akademik kaynakları uluslararası standartlarda dijital ortamda depolar, etkisini artırmak için telif haklarına uygun olarak Açık Erişime sunar.
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Recent Submissions
Şeffaf Plak Tekniğinde Ramus Plağı veya Bukkal Shelf Mini Vidası Kullanımının Mandibular Molar Distalizasyonuna Etkisinin FEM ile İncelenmesi
(Sağlık Bilimleri Enstitüsü, 2026-09-16) Burak Şanlı; Ordodonti
ŞANLI, Burak. Investigation of the Effects of Ramus Plate or Buccal Shelf Miniscrew Use on Mandibular Molar Distalization with Clear Aligners Using FEM. Hacettepe University Faculty of Dentistry, Department of Orthodontics, Specialization Thesis, Ankara, 2026. This study compared the initial biomechanical responses of ramus plate, buccal shelf miniscrew, and Class III elastic mechanics combined with metal buttons or precision cuts during mandibular total arch distalization with clear aligners. Six finite element models were generated from the CBCT data of a Class III patient suitable for camouflage treatment. Forces of 300 gf and 170.1 gf were applied in the skeletal anchorage and Class III elastic models, respectively. Tooth displacements, periodontal ligament and clear aligner stresses, aligner deformation, anchorage responses, and surrounding bone stresses were evaluated. In all models, mandibular crowns displaced posteriorly and root apices anteriorly; distal tipping occurred in posterior teeth and lingual crown tipping in incisors. Molar posterior displacement was greatest in the ramus plate models, lower in the buccal shelf miniscrew models, and lowest in the Class III elastic models. In all models, total displacement was concentrated in the canine–first premolar region and decreased posteriorly. In the skeletal anchorage models, precision cuts reduced canine periodontal ligament stress, shifted the maximum stress to the first premolar, and increased clear aligner stress and deformation in the canine region. In the ramus plate models, stress increased toward the fixation region and displacement toward the free end, whereas peak stress in the buccal shelf miniscrew models occurred at the screw head–threaded body transition. Principal stresses around the anchorage components were greater in cortical than trabecular bone. The findings indicate that the initial biomechanics are influenced by the anchorage system, force magnitude and direction, and force-transfer method.
Monsters, Martians and Machines: The Evolution of “The Other” Through the Nineteenth and Twentieth Century British Science Fiction
(Sosyal Bilimler Enstitüsü, 2026) Zehra Safa MANGIRCIOĞLU; İngiliz Dili ve Edebiyatı
Science fiction has long been a fertile ground for reimagining what it means to be human by exploring what it means to be not human. In particular, British science fiction of the nineteenth and the twentieth centuries has served as a powerful narrative laboratory for representing and interrogating the concept of “the Other.” Across the span of approximately one hundred and fifty years, the figure of the Other in science fiction transforms—from bodily grotesquerie to imperial threats, and finally to disembodied yet intelligent systems. Through detailed analysis of Mary Shelley’s Frankenstein: Or the Modern Prometheus (1818), H.G. Wells’s The War of the Worlds (1898), and Arthur C. Clarke’s 2001: A Space Odyssey (1968), this study traces a progression from the bodily Other to the colonial Other, and finally to the posthuman Other. Each novel reflects its historical moment: Shelley’s creature embodies fears of scientific transgression and physical monstrosity; Wells’s Martians mirror imperialist ideologies and fears of reverse colonisation; and Clarke’s HAL 9000 personifies anxieties about artificial intelligence and the loss of human agency. Drawing on theoretical frameworks from monster theory, colonial studies, and posthumanism, the thesis demonstrates how the genre of science fiction participates in redefining the boundaries of the human by reimagining the figure of the Other across time. Ultimately, this study argues that British science fiction offers a unique lens through which to understand the shifting cultural constructions of otherness in modernity.
Osmanlı İmparatorluğu’nun Evrensel Sergilerde Resimlerle Temsili (1851-1910)
(Sosyal Bilimler Enstitüsü, 2026-10-13) KAHRAMAN Kadriye Demet; Sanat Tarihi
From the mid-nineteenth century onward, the importance of cultural representation increased in universal exhibitions, which were organized to promote industrial production, create markets, and develop international commercial relations. During the late Ottoman period, when modernization gained momentum, these exhibitions became a field of cultural representation that influenced the Empire’s visibility in the world. This thesis aims to examine the painting exhibitions presented at universal exhibitions to which the Ottoman Empire is identified as having sent paintings between the 1851 Great Exhibition in London and the 1910 Brussels International Exhibition, within the context of Ottoman representation, and to reveal the ways in which the Ottoman Empire was represented in these exhibitions.
The research employed document analysis, one of the qualitative research methods. Primary sources, including state archival records, exhibition catalogues, memoirs and travel books, and periodicals, as well as secondary sources, including books, articles, and academic theses, were examined. In addition, painting collections were consulted to determine the current status of the works and to access their images and available information. Based on the thesis aim and research questions, the documents were examined and the data obtained were categorized. The findings were presented and interpreted accordingly. Artist and work titles were identified to a large extent, and the works were found to encompass a range of subjects and techniques. The research revealed that painting exhibitions at universal exhibitions represented the Ottoman Empire through a process shaped by various factors, and that, within this representation, the Ottoman Empire stood out both through an Eastern and exotic appearance and as an Empire establishing a relationship with the modern world. It was also determined that the painting exhibitions shared aspects with the other forms of display examined in the thesis in terms of the representation of the Empire.
II.Uluslararası İletişim Çalışmaları Kongresi Özet Kitapçığı: Popüler Kültür 2025
(2026-10-26) Sadioğlu, Uğur; Kültür, Abdurrahman; Aydın, Ahmet; Başakcioğlu, Abdullah Güray; Gençoğlu, Ali; Kalkan, Arzu; Akyol, Ayça Selin; Yavuz, Ayşe; Demirel, Yaren; Yavuz, Ayşe Sümeyye; İlhan, Erol; Altay Erişen, Bahar; Cemiloğlu, Meltem; Yazıcı, Belgin; Artan Özoran, Beris; Budan, Beste; Eroğlu, Ayten; Aydoğdu, Özgü; Başer, Betül; Yılmaz, Elif; Şakrak, Bilgehan Ece; İli, Burak; Mete Baydur, Buse; Yılmaz, Mehmet Barış; Arslan, Cansel; Karaman Cengiz, Cansu; Tutar, Cem; Siner, Esennur; Ülker, Deniz Bilge; Baykal, Zeynep; Şimşek, Dursun Can; Ergün, Duygu; Dalman, Ekin; Çevik, Elif; Özgültekin, Fatih Serdar; Doğan Baş, Gülay; Özuz Dağdelen, Elif; Kara, İlkay; Ede, Nurcan; Altar, Oya; Uğurlu Akbaş, Özge; Öztürk, Özgül; Saroğlu, Ömer Can; Gulmammadov, Rovshan; Orujov, Umud; Zeynalov, Javid; Mertoğlu, Selver; Kurt, Süheyb; Eray Sarıtaş, Şenay; Garip,Tuğçe; Zoroğlu, Ülkü Mehtap; Türedi Yapan, Zehra; Tekten Kültür, Zeynep Serap; Zıddıoğlu, Yiğit; İletişim Bilimleri
It is a profound honor and privilege to present the Book of Abstracts of the II. International Communication Studies Congress, organized in partnership between Hacettepe University Faculty of Communication and İletişim Studies in 2025, to our academic community, researchers, and scholars worldwide.
Following our initial call announced on September 9, 2025, a total of 116 abstract submissions were submitted, culminating in 59 accepted papers following a rigorous review process conducted by our Scientific Committee. Across the 3-day event,nearly 60 researchers from 33 different universities convened to share their research on popular culture. In-person sessions
took place at the Faculty's Mehmet Akif Ersoy Hall and Hall K, hosting 4 keynotes and presenting 44 papers across 17 distinct sessions.
In line with our Faculty's core mission, the congress was structured around the central theme of “Popular Culture and the Zeitgeist”. Historically and etymologically rooted in "that which belongs to the people"—such as urban legends, folktales, jokes, minstrels, and everyday gossip—popular culture has evolved into a fluid and transient phenomenon mediated by mass media, new media, and internet technologies. Expressed through iconic series catchphrases, TikTok dances, global cinematic universes, YouTubers, and influencer culture, this phenomenon shapes not only modes of entertainment, but also social relationships, political imaginations, and collective dreams of the future. Once struggling for academic legitimacy in its early years, popular culture has transformed into a fully legitimate field of study owing to the interdisciplinary strength of communication sciences. On this occasion, we respectfully honor the theoretical legacy of pioneering Turkish scholars
such as Ahmet Oktay (1933-2016), Ünsal Oskay (1939-2009), and Erol Mutlu (1949-2005), who examined popular culture through political-economic critiques of commodification and encirclement while exploring the possibilities of "producing a better popular culture".
The presentations across congress sessions addressed the transient and fluid nature of popular culture under multilayered thematic axes:
• Digital Subcultures, Identity, and Discourse: Researches critically addressed the digitalization of aesthetic taste in Dark Academia, traditional domestic sociology in the "tradwife" movement, masculinity crises in Instagram's Red Pill discourse, alt-right anti-intellectualism in "PhD tayfa" and "foncu" online debates, vegan stigma constructed via Reddit memes, and infantilization in adult animation within kidult culture.
• Artificial Intelligence, Digital Memory, and Nostalgia: Papers thoroughly evaluated generative AI in cinematic narrative and visual aesthetics, synthetic and artificial nostalgia constructed via 1970s Turkey AI videos, algorithmic
homogenization in CGI influencer Lil Miquela based on Stuart Hall, Boym's reflective/restorative nostalgia applied to TRT Nostalji on YouTube, and cyclical nostalgia in the Manifest-Winx collaboration.
• Media Representations, Gender Politics: Critical interrogations focused on femvertising and the female image in advertising, the "incompetent male" archetype and "weaponized incompetence" in commercials, female
representations in Netflix Turkey productions, biopics in Turkish cinema, gender-asymmetric panic attack representations in post-2000 TV series, and body art politics through ORLAN, Marina Abramović, and Stelarc.
• Activism, Public Spheres, and Social Responsibility: Sessions interrogated affective publics shaped around #FreePalestine on TikTok, memory activism in the 'To Gaza, With Love' collective animation project, comparative
discourse analysis of the Gaza Genocide in Turkish and Western alternative media, protest masks (V for Vendetta, La Casa de Papel/Dali), and corporate greenwashing/deepfake practices in the energy sector.
• New Media Spheres, Popular Practices, and Urban Space: Empirical insights illuminated e-sports bibliometrics (2015-2025), museum reconstruction of popular culture in "The Art of James Cameron" exhibition, platform
dramaturgy in Grand Theft Hamlet, left-wing nostalgia in Istanbul's türkü bars, and the semi-religious representations of digital influencers.
The international dimension of our congress was reinforced by Scientific Committee members affiliated with prestigious institutions across Türkiye as well as global universities in Germany (e.g., HS Niederrhein, Hochschule für Künste Bremen), the UK (e.g., Goldsmiths University of London, University of Nottingham), the USA (e.g., University of California), Canada (e.g., Ontario Tech University), and Australia.I firmly believe that this rich academic collection will provide significant momentum for future research in digital media, cultural studies, and communication sciences, serving as a guiding framework for upcoming interdisciplinary endeavors.
I extend my deepest gratitude to the members of our Organizing and Scientific Committees and all contributing researchers whose academic efforts enriched this publication.
ASSESSMENT OF NEGATIVE FRICTION AND OF NEUTRAL POINT IN PILES BY 3D NUMERICAL ANALYSES
(Fen Bilimleri Enstitüsü, 2026) orhan gök; İnşaat Mühendisliği
Negative skin friction (NSF), caused by greater settlement of compressible soil relative to the pile, generates downward shaft shear and dragload. At pile-supported viaduct abutments, this vertical interaction may be accompanied by embankment-induced lateral soil movement, leading to pile bending and horizontal group displacement. This study investigates the combined axial and lateral pile response associated with this mechanism using a floating 5 × 5 pile group subjected to one-sided surcharge in PLAXIS 3D. Piles are represented by embedded beam elements, and NSF development is simulated through consolidation. Dragload, neutral-plane depth, bending moment and lateral displacement are evaluated for each pile from the same analyses. The parametric study examines surcharge magnitude, pile spacing and length, clay thickness, embankment distance to piles, interface strength and pile-head load, with a four-sided surcharge case analyzed as a symmetric reference. Results show pronounced front-to-back differences in dragload and neutral-plane position. Under one-sided loading, bending in the loading direction may govern the structural response while the group translates away from the fill. Thus, pile-supported abutments on soft ground should be assessed as three-dimensional soil–pile–cap systems rather than by considering NSF only as an axial load-transfer problem.