<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1871">
    <dcterms:title><![CDATA[Language of Violence in the Arab Press]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Arab Press, Middle East, Critical Discourse Analysis, Language of Violence  ABSTRACT  The news in the international press about the Middle East mostly cover acts of violence like clashes or wars taking place in the region. The language of violence used in the news creates the Middle East perception and prejudicies against Arabs in different countries. Contrarily in our research, the coverage of violence in Arab press and its discourse will be analysed.  The Middle East region is passing through a period of rapid change and this change leads instability in many Arab countries. Mass demonstrations, clashes between political groups or with security forces and cross-border acts of violence are a few examples of the consequence of the instability in the region. The language of violence in the Arab press is as sensitive as the political situation in the region.  In our research, language of violence in the Arab press will be questioned. For this purpose, news stories covering acts of violence from Al-Ahram newspaper in Egypt, An-Nahar newspaper in Lebanon, Az-Zaman newspaper in Iraq, SANA news agency in Syria and the Pan-Arab newspaper Asharq Al-Awsat from London will be analysed with the perspective of critical discourse analysis. We will seek answers to following questions:   What kind of acts of violence does the press cover?   Is the press biased when covering the violence?   What are the dynamics effecting the bias in the language of violence?   Are there any difference in the language of violence among different Arab countries?   If there are differences, what are the reasons?  Macro and micro level discourse analysis of texts will bring out the ideological background of news stories and express the differences between the newspapers’ approaches. On the other hand, the research will give the opportunity to analyse the language of violence from the “local” newspapers’ point of view. As these are the main sources which inform the Arab population in the region and have –a discussible- effect on the masses, analysis of the language is expected to make a positive contribution to possible revisions.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[2071]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1870">
    <dcterms:title><![CDATA[Teaching Young Learners: The Importance of voice]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Young Learners Voice Chant  ABSTRACT  This workshop will look at the imporatnce of voice in teaching young learners. It is based on an actual lesson given to fourth year students on a Teaching Young Learners course. It will take as its premise a quote from a British voice coach: &quot;Everyone comes into this world with a beautiful voice but then it becomes blocked. The natural voice wants to come through but it gets stopped by the habitual voice.&quot; Participants will be led through a series of drama techniques which focus on the voice (taken from Maley and Duff 2009). These will then be applied to a children&#039;s chant. After which the participants will be asked to incorporated the chant into a lesson plan. The feedback discussion will focus on the appropriacy of using the activities both in training teachers and in teaching young learners.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1890]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1869">
    <dcterms:title><![CDATA[Postmodern Drawings on Language Teaching: Cartoons]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words : Language Education, Cartoon, Education  ABSTRACT  Mehmet Kaplan, modern sanatın binlerce yıllık tecrübeden meydana geldiğini ifade etmektedir. Bugün her sanat dalının kendi içerisindeki tecrübelerine ek olarak bir de sanat disiplinleri arasında bağlar kurulmuştur. Dille uğraşan bireyler olarak bu sanat dalları arasında bizlerin dikkatini çeken iki tür vardır: Edebiyat ve karikatür. Yazının ve çizginin bir şeyleri anlatma ve estetik çabası, onları yan yana getirmektedir.  Edebiyatta başta hiciv, taşlama olmak üzere pek çok alanın karikatürle ilişkisi söz konusudur. Yazar ve şairler imge unsurlarıyla karikatüristler de çizgiler aracılığıyla sanata ve topluma açılırlar. İki alan arasında belli bir katkıdan da söz edilebilir. Öncelikle edebiyat karikatüristlere ilham kaynağı olurken karikatürler de edebiyat âlemini zenginleştirmekte ve eğlenceli kılmaktadır. Bazen pek çok sanatçının portrelerini karikatüristlerin kaleminde görebilir, bazen de bir karikatürden esinlenerek yazılmış pek çok hikâye okuyabilmekteyiz.  Sergilerde görmeye alışılan karikatürlerin aslında çok geniş bir kullanım alanı vardır: Gazeteler, dergiler, reklam afişleri, TV’ler ve tişörtler bunlardan bazılarıdır. Bu iletişim aracına bazen sadece gülünüp geçilirken, bazen üzerinde tartışılır, bazen de uzun uzadıya düşünülür. Yani karikatür, haber verir, eleştirir, eğlendirir ve eğitir.  Karikatürler eğitim sürecinde çok önemli bir yere sahiptir. Güldürürken düşündürerek insanlara bakmayı değil, görmeyi öğretir. Bireyleri aydınlatarak, toplumların olumlu yönde ilerlemesine yardımcı olur. Eğitim ve öğretim boyunca ne kadar çok duyumuzu kullanarak bilgileri öğrenirsek, bilgiler o derece kalıcı ve verimli olur. Bu yönüyle de karikatürlerin eğitimde yararlı olacağı düşünülmektedir.  Karikatürler, dil eğitiminin yapısına uygundur. Dil eğitiminde amaç ve kazanımların gerçekleştirilmesinde yardımcı bir materyal olup derste verimin arttırılması, öğretilenlerin kalıcılığının sağlanması ve temel dil becerilerinin geliştirilmesi gibi birçok fayda sağlayacağından dil eğitiminde kullanılması gerekmektedir.  Çalışmamızda, karikatürün dil eğitiminde nasıl kullanılabileceği sorusuna ilişkin cevaplar aranmıştır. Bunun için öncelikle karikatürün tanımı, tarihçesi, çeşitleri, amaçları ve kullanım alanları irdelenmiş, daha sonra bireye ve topluma etkisinden bahsedilmiştir. Ayrıca eğitimde karikatür kullanımının yararları nelerdir ve dil eğitiminde karikatür nasıl kullanılmalıdır? şeklindeki sorular cevaplandırılmıştır.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1700]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1868">
    <dcterms:title><![CDATA[Through Translating to the Similarities of Syntactical Functions]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: syntax, contrastive grammar, translation, language, literature  ABSTRACT  Due to expansion of knowledge and education, there was a need for translating certain written works and novels and all because of the thorough and detailed study and familiarity of the mentioned written works. Besides bringing the new semantic aspects of translated works, there are also a variety of new syntactical changes and transformations. With the close-up and review of different translations of the same literal work, we tend to emphasize the similarities between syntactical functions and also some of the differences. This work aims to unite two different language field, translation and syntax through contrastive grammar and to associate literature as the third language field within, as well as to establish the possibility of innovations and conclusions into the world of language.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1772]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1867">
    <dcterms:title><![CDATA[A Leap into Interculturalism Tom Stoppard&#039;s Indian Ink]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Interculturalism, drama, transculturation, deconstruction, hybridity  ABSTRACT  Interculturalism as “the[n] the latest avant-garde [...] which has set up a dialectic between a source culture and a target culture” (Singleton, 1995: 162) has been more manifest in dramatic texts and theatrical performances since the 1980s. Even though early intercultural plays and/or theatre have been dismissed as Eurocentric and problematic in regards to how they represent their respective source/foreign cultures (cf. Pavice, 1992; Singleton, 1995; Sakelleridou, 1995), there have been instances of „leaps‟ into intercultural theatrical practices, such as Tom Stoppard‟s Indian Ink (1995), that exploit diverse strategies in their attempt to provide a less partial portrayal of foreign cultures and the proceedings of transculturation.  By focusing on the characterisation of three distinct groups of characters (Indians, Anglo-Indians and British), on the language-games played by the protagonists Flora Crew and Nirad Das, and on the symbolism of Flora‟s portraits, the paper looks into the very strategies Stoppard uses to deconstruct not only the stereotypical representations of the Other, but also notions of a homogenous and “pure” culture.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1778]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1866">
    <dcterms:title><![CDATA[W. G. Sebald&#039;s Austerlitz and the Emigrants: Suffering Absorbed into the Setting of Human History]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: suffering, history, Austerlitz, The Emigrants Bushehr  ABSTRACT  History can be viewed both as a science and a form of remembrance. This means that it is an experience which has the capacity of bringing the past into presence while keeping the two in tension. The tension is due to the fact that remembrance makes the forgotten events in the past appear in the present through disruption. Therefore, remembrance is an experience that does not allow us to see history as a cumulative. Not only does it force its invincible story to fragment but our very existence as responses to the suffering in the past is refashioned. This is what happens in Sebald’s works. The reader is placed in a position to remember events of ruined lives, thus preventing us to see history as progress without ruins and destruction; this, in turn, calls into question our own tranquility. The Emigrants interrupts the flow of history by depicting the protagonists’ attempted homecomings, only to find mere ruins of their personal histories. Here Sebald has a retrospective look into the silent and pervasive presence of the traumatic legacy of unspoken horror. The Emigrants seems to be a kind of album dedicated to the lives and sufferings of people who surely would have otherwise been forgotten. The next work, Austerlitz, illustrates an adult expected to reconstruct his forgotten origins in order to discover his true identity. It is novel about the delayed and deferred sufferings of an orphan. It can also be regarded as critique of European social history. Here the protagonist tries uselessly to recall his own life, but cannot eradicate the fifty years of not remembering, driving him to increasing despair. Sebald’s works are concerned to a great degree with the suffering body. The slight shift of perspective brought about by physical pain is both the driving force and the structural principle of Sebald’s narratives. This paper is an attempt to examine how W. G. Sebald&#039;s narrative establishes the interrelation between history and suffering.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1904]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1865">
    <dcterms:title><![CDATA[A Postmodern Approach to Sam Shepard’s Dramatic Dilemma]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: fragmentation, dramatic dilemma, postmodernism, popular culture, Sam Shepard  ABSTRACT  The American dramatist, Sam Shepard has now gained a reputation as one of the icons of the postmodern aesthetics, actively engaged in American stage. In his plays, he traverses the modernist borders of logic, order and social coherence in order to picture a fractured mythic and cultural territory, filled with disintegration, loss of identity and bafflement. In some of his best dramatic works, he artistically portrays heroes who struggle to preserve their old self, while being inevitably entangled within the challenging games and rules of a wholly postmodern condition.This paper attempts to analyze the various interpretive dilemmas and tensions in Shepard’s writings which can be seen as representing an unresolved conflict between modernist and postmodernist perspectives on such issues as fragmentation of language, nature of subjectivity and the search for coherence and meaning in mass culture. In doing so, attempts have been made to demonstrate how this challenging shift form modernist high arts to postmodernist embracing commercial forms, suggested in Shepard’s discourse of popular culture, is marked by an awareness of the latter’s limitations and obstacles and would ultimately reveal an ambivalence toward postmodernism itself .This undertaking will be an endeavor to answer these key questions:  How is the erosion of distinction between high and popular culture, rendered in the conflict and tension among characters in the play? How are the dark possibilities of postmodern fractured discourse contrasted with the modernist notion of a centered and unified language? How do the plays impart the postmodern sense that subject is constituted in language and discourse? One of the key points of departure between Modernism and postmodernism is marked by an erosion of the distinction between high art and popular culture while the ruling ideas of critical orthodoxy and aesthetic value have fallen into disrepute. In this regard, Shepard as a writer for whom the discourse of popular culture assumes a richness and variety and whose material is drawn from the fabrics of popular culture serves as a perfect example of an author whose work tends to delve deeper into this rapture. This is the undertaking, which is to be followed, alongside with the issue of subjectivity which would be tackled in the light of Fredrick Jameson’s discussion of subjectivity]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1838]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1864">
    <dcterms:title><![CDATA[Don DeLillo’s White Noise: Whitere is the Postmodern Consumerist Condition Taking the People?]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: consumerism, human identity, postmodern, White Noise, Don DeLillo  ABSTRACT  DeLillo’s sturdy, lyrical, precise novels are considered classics of American postmodern literature. First published in 1984, White Noise by Don DeLillo is concerned with the emergence of technology, the power of images, popular culture, and the pervasiveness of the media. The influence of DeLillo’s brief experience with advertising is clearly observed in many of his works, particularly White Noise, which deals with product placements and commercials and mirrors the author’s sensitivity to the power of consumerism. Consumerism also has serious effects on people&#039;s identity; it has the capability to shape it with possessions: what a person wears, where one lives, to what extent does one fit the social and political stereotypes of one’s gender all culturally determine who one is. This postmodern identity gets complicated by technology—since the dialogue of television affects the people&#039;s consciousness, they relate their lives more to the media than to reality per se; people use the media to specify other groups of people as the “enemy” or as the “other.” DeLillo maintains that consumerism and technology have oddly disembodied the physical body; he implies that materialism is the basis of human identity. DeLillo views the human subject as being further disembodied by the penetration of death and disaster in postmodern American culture. He also sees that technology has complicated the human body and identity to such an extent that everything must be deciphered, even ourselves. White Noise is concerned with the extremes and limits of this culture. According to DeLillo, in the late twentieth century, consumerism and materialism have become the mediums through which people identify one another in life as well as death. In White Noise, Don DeLillo presents a clear picture of the postmodern toxic world in which people are not provided with any real certainty, but rather with a fear of death and fatal diseases. This paper is an attempt to trace the negative effects of consumerism on people in the postmodern condition in Don DeLillo’s White Noise.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1842]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1863">
    <dcterms:title><![CDATA[Milton&#039;s Paradise Lost: Originally Traditional; Traditionally Original]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: Milton, Paradise Lost, Biblical, Originality, Imagery  ABSTRACT  John Milton is one of the most prominent figures of the seventeenth-century not only with his prose, poetry, political works, and literary criticism but also with his theological works. Milton draws on the Bible both in his prose works, such as in his divorce pamphlets, and in his poetry. He lived in an era when the Bible was in more popular use , perhaps, than at any other time in English history; “During the English Civil War, soldiers carried a Bible into Battle; before entering the fray, they sang its psalms; before bedtime, parents recounted its narratives; during parliamentary conflicts, proponents cited its verses. The bible was used in Parliament, in pamphlet wars, in education, in courtship and in conversation to an extent that is hardly imaginable today” (Schwartz qtd. in Corns 37). Besides, his personal religious convictionscombined with the fact that he could rely on his audience to pick up biblical allusions easily. This is why, like many other writers and poets, Milton based most of his works on biblical narratives.  In the first Book of Paradise Lost Milton states his purpose explicitly: “To justify the ways of God to men” (I. 26). In this work, in spite of basing his epic on biblical narratives, Milton creates “a deeply traditional and a boldly original poem” (Abrams 1475). Sticking to classical traditions while trying to be original at the same time was the major difficulty Milton faced writing Paradise Lost. This article intends to analyse the difficulty the author faced in two distinct aspects: The first one is the maintenance of decorum with biblical characters, and the second one is the achievement of originality while retelling biblical stories from Genesis.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1974]]></dcterms:extent>
</rdf:Description><rdf:Description rdf:about="https://omeka.ibu.edu.ba/items/show/1862">
    <dcterms:title><![CDATA[Acquisition of Syntax in Turkish]]></dcterms:title>
    <dcterms:abstract><![CDATA[Key words: acquisition, syntax, morpho-syntax, Turkish, learning  ABSTRACT  Syntax investigates the rules of functions of the words in sentences and how words form a meaningful sentence in an order (Galda et al., 1997: 27;), while morphology investigates organization and formation of words (Yavuz and Balcı, 2011) and the order of the morphemes. In Turkish, morphemes gain inflectional or derivational features in a word in a sentence or this one single word might be a sentence on its own. It is difficult to separate morphology from syntax in Turkish, since Turkish is inflected, agglutinative and allowing diversion via free word-order. Inflectional morphology constitutes a relationship between sentence formations (Penke, 2012). Thus the aim of this study is to investigate morpho-syntax acquisition and development of language of Turkish infants; i.e. what types of words are observed in morpho-syntax acquisition in Turkish infants and at which stage syntax acquisition can be followed. As methodology, empirical data which is longitudinal data of a child called Özge starting from the age of 1:4.26 to 2:04.14 from CHILDES, in addition to some sample data of the longitudinal study of Ekmekçi (1979) that was showed in the study of Ekmekçi and Can (2000) on Turkish language acquisition. As a result, the last phases of one-word stage is the start for syntax acquisition, an early acquisition period; and nouns and verbs both are observed for the use of morpho-syntax stage.]]></dcterms:abstract>
    <dcterms:publisher><![CDATA[IBU Publishing]]></dcterms:publisher>
    <dcterms:date><![CDATA[2013-05-03]]></dcterms:date>
    <dcterms:extent><![CDATA[1749]]></dcterms:extent>
</rdf:Description></rdf:RDF>