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.
Communities in DSpace
Select a community to browse its collections.
- Ankara State Conservatory
- Directorates
- Faculty of Dentistry
- Faculty of Pharmacy
- Faculty of Letters
Recent Submissions
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.
DENİZ KAVRAMININ SERAMİK MALZEMEYLE YORUMLANMASI
(Güzel Sanatlar Enstitüsü, 2026) Merve GENÇ; Seramik ve Cam
This research examines the concept of the sea not merely as a visual source of inspiration, but as a realm that integrates with the conceptual and formal possibilities of ceramic art. The biological and philosophical foundations of the connection between humans and the sea have been explored within the framework of the doctrine that ‘everything is in flux’ and mythological narratives.
In the theoretical section of the research, the morphological richness and growth principles offered by the marine ecosystem have been examined through a biomorphic approach, which is based on the developmental logic of organisms rather than a direct imitation of nature. In this context, the works of artists in contemporary ceramic art who address the sea in its psychological, mythological and ecological dimensions have been evaluated.
In the personal practice phase, the aim was both to address the sea in its own pure form and to trace the emotional traces it leaves behind. In line with this, drawing inspiration from selected marine creatures such as seahorses and corals, work was carried out to develop an original visual language based on the formal and structural characteristics of these organisms.
İletişim Aracından Sanat Nesnesine: Posterin Araçsal Dönüşümü ve Kişisel Üretimler Üzerinden İnceleme
(Güzel Sanatlar Enstitüsü, 2026) Nisa Harman; Resim
This study examines how the poster transformed into an artistic medium through the
changes it underwent throughout history and through its relationship with various art
movements. Although the poster initially emerged with the functions of
communication and announcement, over time it evolved into a visual field of
expression capable of producing aesthetic, political, critical, and questioning
meanings.
Within the scope of the study, the reproducible structure of the poster, its visibility in
public space, and its relationship with typography and critical language are
examined. In this process, movements such as Art Nouveau, Pop Art, which placed
everyday popular images at the center of art, and New Realism, whose artists
frequently made use of posters in their works, are discussed. In relation to the
poster’s process of becoming a medium within the field of art, the works of artists
such as Jules Chéret, Alphonse Mucha, and Andy Warhol, as well as contemporary
artists such as Barbara Kruger, Guerrilla Girls, Shepard Fairey, Wes Wilson
Lawrence Weiner, and Jenny Holzer, are analyzed in order to discuss the position
of the poster within the field of art.
Kozan’da Günlük Hayatın Merkezinde Cere
(Güzel Sanatlar Enstitüsü, 2026-08-28) Nermin Elmalı; Seramik ve Cam
This study aims to shed light on the traditional craft of pottery, which has been practiced for many years in the Kozan district of Adana Province, as well as the life stories, production techniques, and cultural heritage of the master potters who represent this craft. The research examines the historical development of pottery production in Kozan, the raw materials used in the production process, shaping and firing techniques, and the masters’ professional experiences.
As part of this study, field research was conducted, interviews were held with family members of the master craftsmen, oral history data was collected, and photographs, documents, and original works found in family archives were analyzed. Based on the findings, the following individuals were identified: Hüseyin Cereci, nicknamed Goca Usta, born in 1894; his son Ali Cereci; Ali Cereci’s sons Kadir and Osman Cereci; and Kadir Cereci’s son Ali Cereci; as well as Mahmut Koç (nicknamed “Çil Mahmut”), born in 1909, who moved from Avanos to Kozan; his sons Ömer and Zeki Koç; Ali Özer (nicknamed “Kara Ali”); Mehmet Çabuk (nicknamed “İngiliz Ali”); and other pottery masters—their roles in the formation and continuity of the region’s traditional pottery culture have been highlighted.
The research concluded that Kozan basketry is not merely an economic production activity; it is also an important element of intangible cultural heritage that reflects the region’s social memory, cultural identity, and the intergenerational transmission of knowledge. Although production has largely ceased today, it was concluded that the works of master artisans and family archives serve as important resources for documenting traditional craft culture and passing it on to future generations.