Yıl: 2015 Cilt: 10 Sayı: 15 Sayfa Aralığı: 503 - 518 Metin Dili: Türkçe İndeks Tarihi: 29-07-2022

7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ

Öz:
Çocuk çizdiği resimlerle kendini ve dünyayı nasıl algıladığını bize anlatmaktadır. Bu bağlamda çocuk resimleri, çocukların zihin dünyasını anlamamızda son derece önemlidir. Bu araştırmada, 7-10 yaş grubu çocukların şiddet algılarının resimler aracılığı ile sosyal güçler bağlamında incelenmesi amaçlanmıştır. Muş İl Milli Eğitim Müdürlüğüne bağlı il merkezinde ve merkeze bağlı köylerde farklı sosyo-ekonomik düzeyde olan dört farklı ilkokula devam eden 86 çocuk araştırmanın çalışma grubunu oluşturmuştur. Çalışma grubunda yer alan öğrencilere A4 boyutunda olan resim kâğıtları verilmiştir. Bir ders saatinde öğrencilere resimler çizdirilmiş ve öğrencilerden resimleri hakkında açıklama yapmaları istenmiştir. Veriler analiz edilmeden önce öğrencilerin çizmiş olduğu resimlerin verilen yönergeye uygun olarak çizip çizmedikleri incelenerek ön elemeden geçirilmiştir. Bu eleme sonucunda kalan çizimler erkek öğrenciler E1, E2, kız öğrenciler ise K1, K2 şeklinde formüle edilmiştir. Daha sonra elde edilen veriler, iki uzman tarafından ayrı ayrı analiz edilmiştir. Bu analiz sonucunda elde edilen veriler, tema olarak kabul edilen araştırma soruları altında sınıflandırılmıştır ve taslak kod listesi oluşturulmuştur. Kodlanan veriler uzmanlar tarafından tartışılarak uzlaşma yoluyla tema ve kod listesine son şekli verilmiştir. İlgili temalar altında toplanan kodların frekans ve yüzde değerleri alınarak değerlendirilmiştir. Araştırma sonucunda; şiddet temalı çocuk resimlerinde hâkim sosyal gücün medya olduğu, şiddetin algılandığı mekânların en çok ev ve sokak olduğu, şiddet aracı olarak en çok fiziksel gücün kullanıldığı, şiddete maruz kalan kişinin en çok tanımadığı diğer kişiler olduğu, şiddeti uygulayan kişinin ise en çok akran olduğu görülmüştür
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REINTERPRETING THE STORY, “SHAHMARAN’S LEGS” BY MURATHAN MUNGAN WITH REFERENCE TO VALUES EDUCATION

Öz:
Eğitim kurumlarının temel amaçları arasında akademik başarının yanı sıra temel insani değerleri benimsemiş bireyler yetiştirmek de yer alır. Çünkü kişinin toplumda saygın bir yer edinmesi, nesilden nesle aktarılan değerler sistemi ile uyumlu olmasına bağlıdır. Bu değerler; dürüstlük, sorumluluk, sabır, sadakat gibi evrensel nitelikleri olan ve özünde "iyi insan" olmanın özelliklerini barındıran olgulardır. Kişi, bu değerleri doğumundan itibaren aile, okul ve sosyal çevreden edinir. Kültürlere ait masal, efsane gibi sözlü anlatılarda da -kimi zaman tersi ön plana çıkarılarak- didaktik olmadan bu değerlerin yüceltildiği görülür. Çocuklukta dinlenen/okunan bu masal ve efsaneler büyüdükçe/zaman içinde unutulabilir. Onları tekrar hatırlamanın yollarından biri, modern anlatılarda yer bulmalarıdır. Bu çalışmada, efsanevi bir anlatının modern öykü ile birleştirildiği bir eser olan Murathan Mungan'ın "Şahmeran'ın Bacakları" adlı öyküsü, değerler eğitimi bağlamında incelenmiştir. Binbir Gece Masalları içinde yer alan Şahmeran'ın hikâyesi, halk arasında çok sevilmiş ve farklı varyantlarla söylenegelmiştir. İç içe geçmiş birkaç hikâyeden oluşan anonim yapıya sadık kalan Mungan, şahmerancı çırağı İlyas ve ustasının hikâyesini de bu sarmalın üstündeki çerçeve hikâye hâline getirmiştir. "İnsanoğlunun ihanet edeceği" öngörüsüne dayanan öyküde "sadakat", "güven", "sevgi", "sabır" ve "kanaatkârlık"ın yanı sıra "bağışlayıcı olma", "fedakârlık", "sebat", "erdem" gibi değerlerin de okura duyumsatıldığı görülmektedir. Bu değerleri içselleştirerek hayatının bir parçası kılmak, insanoğluna huzurun ve mutluluğun kapısını açacaktır
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DEĞERLER EĞİTİMİNDEN HAREKETLE MURATHAN MUNGAN’IN “ŞAHMERAN’IN BACAKLARI” ADLI ÖYKÜSÜNÜ YENİDEN OKUMAK

Öz:
As well as the academic achievements, raising people who have adopted the basic human values is among the basic aims of the educational institutions. The reason is that gaining a respectable place in the society depends on a person’s compliance with the system of values which is transferred from generation to generation. These values are the phenomena which inhold the features of being a ‘good person’ and have the global features such as honesty, reliability, friendship, humility, respect, responsibility, patience and loyalty. A person acquires these values from the school, family and the social environment as from birth. In the oral narrations such as tales or myths belonging to some cultures, sometimes it is seen that these values are -sometimes by highlighting their reverses- aggrandized. These tales and myths that were listened to/read during the childhood can be forgotten in time. One of the ways to recall them is their partaking in the modern narrations. In this study, “Shahmaran’s Legs”, which is a story by Murathan Mungan and a work in which a mythic narration and modern story are composed is examined in the context of education of values. The story of Shahmaran from 1001 Arabian Nights is liked by the people very much and overtold in different variants. Mungan, abiding by the anonymous structure which has a few interwoven stories, makes the story of Ilyas the apprentice of basilisk and his master the frame story for this corkscrew. In the story which is based on the foresight “man will betray’’, it can be seen that besides “loyality”, “trust”, “love”, “patience” and “austerity”, some values like “forgiveness”, “sacrifice”, “constancy”, “merit” are evoked in the reader. To make these values a part of the life by interiorising them will give the humanbeing peace and happiness One of the main aims of education is to help individuals adopt thevalue judgements of society. Taking academic achievement as a basisonly is not sufficient for individual and societal peace. It is alsoimportant to educate individuals for them to have higher emotionalquotience and to adopt basic humane values. Although some of the“values” regarding society and people have been neglected a bit latelydue to competitive life standards, the studies related to “valueeducation” have increased, since the importance of these values forboth society and individuals are now understood.Values that are taught by the family initially continue in theschool and social environment. Societal peace may decay if these valuesimpacting individuals’ behaviours directly are not sufficiently passed onto future generations. This is why, every culture would like to pass onvalue judgements that have been refined over centuries to newgenerations. These values, which are at the same time used as a socialsupervision mechanism, not only help prevent inappropriate behaviourbut also help ratified behaviour to be embraced and reinforced. Whenthe individual sees that his behaviour is ratified by society, he turnsthem into “values”. Myriad methods can be carried out when helpingindividuals earn values that remind them of the necessities of beinggood people and regulate social life. The mentioned values can either beconveyed by giving direct advice or by literary work. Even thoughliterature is for literature’s sake, the reader can empathize with thecharacters and events through empathy. This way, the reader can sensethe values in the subtext by putting emphasis on the opposite values.Fairy or folk tales and legends in Turkish literature that have beenpassed from one generation to another for centuries stand as witness ofthis folk wisdom. One of the ways for these values to be transmitted toour youth is reinterpreting these values in modern narrations.In this study, the story called “Şahmeran’ın Bacakları”1 written byMurathan Mungan who is inspired and motivated by traditions hasbeen studied, read again and related to value education. The story ofShahmaran which takes place in 1001 Arabian Nights with the name“Yeraltı Sultanı Yemliha’nın Öyküsü”2, talks about the prophet Danyal’sson, Camasb. This tale which is narrated in the form of interwovenstories, talks about Camasb spending his days with Shahmaran. InPersian literature, the same story, called “Camasbname” in masnavi,has been taken as a reference by classical Turkish literature. The storyof Shahmaran was not only the subject of classical Turkish literaturebut was also narrated in different versions by the people of Anatolia.Especially in southeast Anatolia, different reproductions of Shahmaranare made and mounted on walls and are believed to protect people fromthe negative energy of evil people and provide abundance.Murathan Mungan’s story, called “Shahmaran’s Legs”, adheres tothe original story but narrates it in a modern frame. In 1001 ArabianNights some stories are framed within other tales and there are innertales within those tales. Just like 1001 Arabian Nights, Murathan Mungan designates a frame story. This is the story of İlyas tasked to aShahmaran master to work as an apprentice. İlyas, who is the narrator,talks about his feelings of admiration, love, jealousy and infidelitytowards his master in this frame. Shahmaran’s story which is told bythe master to İlyas is the second story in the spiral.Camsap who is betrayed by his friends decides he would like tosee his family again. Therefore, Shahmaran helps him leave, providedthat he promises not to tell anyone about her since Shahmaran’s andher vassals’s lives are based on secrecy. What is more, mankind hadpreviously betrayed Shahmaran. She tells İlyas the story of Belkıya whowas the first person to betray her, which is the third story in the spiral.Shahmaran’s path crosses Belkıya who followed the doomsday prophethe read about in the Old Testament and when he promises to keep hersecret, Shahmaran releases him. Howeve
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EXAMINING THE PERCEPTION OF VIOLENCE OF THE CHILDREN BETWEEN 7-10 AGES THROUGH THE PAINTINGS IN THE CONTEXT OF SOCIAL FORCES

Öz:
The child tells us how he/she perceives himself and the world by the pictures he/she draws. In this context, children’s paintings are extremely important to understand their mind. In this study, it has been aimed to examine the perception of violence of the children between 7-10 ages through the paintings and in the context of social forces. The working group consists of 86 children who have different socio-economic levels and who attend 4 different elementary schools in the city centre or central villages affiliated to Mus Provincial Directorate of National Education. The students in the working group were given papers for drawing which were A4 size. In one lesson, the students were made to draw pictures and were asked to make statements about the pictures they had drawn. Before analyzing the data, the pictures were pre-selected by examining whether the students had drawn their pictures according to the given instructions or not. As a result of this pre-selection, the chosen pictures were formulated as E1, E2 for boys and K1, K2 for girls. The data obtained were then analyzed separately by two experts. The data obtained as a result of this analysis were classified under the research questions which are accepted as themes and the list of the draft code was created. Coded data were discussed by the experts and the theme and code list was finalized by consensus. The frequency and percentage values of the codes which were collected under the relevant themes were taken and evaluated. As a result of the study, it has been seen that the dominant social power in violence-themed children's paintings is media; the places where the violence is mostly perceived are the houses and the street; the physical force is mostly used as the violence means; the person who is exposed to violence is mostly exposed by the people he doesn’t know; the person who perpetrate violence is mostly a peer IntroductionIt can be said that many factors such as biological, socio-cultural,psychological and environmental factors are effective in the birth andshaping of violence. It can be seen in many studies that social forces suchas media, family, relatives and school play an important role in theforming of violence in the life of the child. Painting which has a puredescribing style has an important place in the child’s defining himselfand perceiving and describing the events and phenomena out of him. Inthe terms of seeing how the children perceive themselves and the outerworld, child paintings may be an important reference.In this study, it has been aimed to examine the perception ofviolence of the children between 7-10 ages through the paintings in thecontext of social forces. With this main aim, answers have been soughtto the questions below; 1. How does the dominant social force in violence-themed childpaintings differ according to gender, age and the place where the child iseducated?2. Does the place where the child perceives the violence changeaccording to gender, age and the place where the child is educated?3. Does the violence tool in the child’s paintings change accordingto gender, age and the place where the child is educated?4. Does the person who is exposed to the violence in the child’spaintings change according to gender, age and the place where the childis educated?5. Does the person who perpetrates the violence in the child’spaintings change according to gender, age and the place where the childis educated?MethodModel: This is a qualitative study which examines the perceptionof violence of the children between 7-10 ages through the paintings in thecontext of social forces.Study Group: The working group consists of 86 children who havedifferent socio-economic levels and who attend 4 different elementaryschools -2 in the village and 2 in the city centre-in the city centre orcentral villages affiliated to Mus Provincial Directorate of NationalEducation.Data Collection and Data Collection Tools: The students in theworking group were given A4 size papers for painting a picture having aviolence theme. During a lesson, the students were made to draw picturesand were asked to make statements about the pictures they had drawn.Analysing Data: The paintings collected from the study group andthe views taken about the paintings were analysed through using contentanalysis method. Content analysis is interpreting similar data bycombining them according to certain concepts and organizing them in away the reader can understand. Content analysis isn’t a method usedonly in texts. It can also be used in for the examining of TV programmesand visuals like student paintings. (Büyüköztürk, Çakmak, Akgün,Karadeniz and Demirel, 2014; Yıldırım ve Şimşek, 2013).Before analysing the data, the pictures were pre-selected byexamining whether the students had drawn their pictures according tothe given instructions or not. As a result of this pre-selection, the chosenpictures were formulated as E1, E2 for boys and K1, K2 for girls. The dataobtained were then analysed separately by two experts. The data obtainedas a result of this analysis were classified under the research questionswhich are accepted as themes (dominant social force, the place where theviolence is perceived, violence tool, the person who is exposed to violenceand the person who perpetrate violence). A list of the draft code has beenprepared by taking the research questions into consideration and byexamining similar studies in the literature. Then by examining thepictures drawn by the children, new codes have been added. By takingnew codes into consideration, some former codes have been altered and some have been deleted. In order to ensure the reliability of the work,some codes have been done by another expert. Among the coders, theconsistency of the codes has been examined. The data encoded indifferent formats have been discussed and the theme and co
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Belge Türü: Makale Makale Türü: Araştırma Makalesi Erişim Türü: Erişime Açık
APA HİÇYILMAZ Y, DEMİR H, İNCİ M, Şahin H, SEVEN S (2015). 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. , 503 - 518.
Chicago HİÇYILMAZ Yahya,DEMİR Hiclal,İNCİ Mehmet Akif,Şahin Hafize,SEVEN SERDAL 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. (2015): 503 - 518.
MLA HİÇYILMAZ Yahya,DEMİR Hiclal,İNCİ Mehmet Akif,Şahin Hafize,SEVEN SERDAL 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. , 2015, ss.503 - 518.
AMA HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. . 2015; 503 - 518.
Vancouver HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. . 2015; 503 - 518.
IEEE HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S "7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ." , ss.503 - 518, 2015.
ISNAD HİÇYILMAZ, Yahya vd. "7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ". (2015), 503-518.
APA HİÇYILMAZ Y, DEMİR H, İNCİ M, Şahin H, SEVEN S (2015). 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. Turkish Studies (Elektronik), 10(15), 503 - 518.
Chicago HİÇYILMAZ Yahya,DEMİR Hiclal,İNCİ Mehmet Akif,Şahin Hafize,SEVEN SERDAL 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. Turkish Studies (Elektronik) 10, no.15 (2015): 503 - 518.
MLA HİÇYILMAZ Yahya,DEMİR Hiclal,İNCİ Mehmet Akif,Şahin Hafize,SEVEN SERDAL 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. Turkish Studies (Elektronik), vol.10, no.15, 2015, ss.503 - 518.
AMA HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. Turkish Studies (Elektronik). 2015; 10(15): 503 - 518.
Vancouver HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S 7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ. Turkish Studies (Elektronik). 2015; 10(15): 503 - 518.
IEEE HİÇYILMAZ Y,DEMİR H,İNCİ M,Şahin H,SEVEN S "7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ." Turkish Studies (Elektronik), 10, ss.503 - 518, 2015.
ISNAD HİÇYILMAZ, Yahya vd. "7-10 YAŞ GRUBU ÇOCUKLARIN ŞİDDET ALGILARININ RESİMLER ARACILIĞI İLE SOSYAL GÜÇLER BAĞLAMINDA İNCELENMESİ". Turkish Studies (Elektronik) 10/15 (2015), 503-518.