Cet écrit traverse l'encre de la peinture par la sienne propre. Elle a ce corps en partage, à la fois fraternel et inconciliable. L'encre de l'écrit a voulu ici se frayer un chemin de liquidité dans la peinture, donnant à son mouvement l'ébranlement de la couleur, qui est un geste de la matière elle-même. Mon geste, lui, bu par le papier et retiré dans des plis de vagues, opère un glissement jusqu'au blanc d'une page sur la table qui se déploie jusqu'à cet objet singulier qu'est la thèse en arts. De fait, comme la peinture accompagne dans son sillage d'ombres le questionnement d'un regard, son itinéraire sans tracé, l'écrit depuis la peinture, se retourne sur son propre objet — d'une encre à l'autre. La construction d'une parole en prise avec une errance d'atelier est délicate. Elle mêle son corps résonant d'images à celui des mots des poètes, travaillant un langage inconnu au creux de l'impasse même que constituent les mots, la prise de parole. La voix du peintre est la seule que je connaisse. Elle est issue de l'abandon et du dessaisissement à l’œuvre. Elle engage la pensée dans le faire, au milieu d'une déposition qui est celle, multiple, d'un corps d'encre, d'une peinture en éclat, d'un geste et sa dépose, d'une voix et de ses fragments. La déposition appelle le sol. C'est bien de ce sol dont il est question tout au long de cet écrit. Un fondement, comme fondation mais aussi comme ce qui fond sous les pas. Liquide, fluide, mouvante. Une déprise qui est aussi un ancrage, une attache qui est aussi un débord. / This writing goes through the ink of painting through its own. It has this body to share, both fraternal and irreconcilable. Here the ink of writing sought to pave a liquid way in painting, giving to its movement the trembling of color, which is a gesture of matter itself. As for my gesture, drunk by the paper and withdrawn in folds of waves, operates a drift to the white of a page on the table, that unfolds to this singular object that is the thesis in fine arts. In fact, as painting accompanies in its shadowy wake the questioning of a gaze, its course without outline, writing from painting, turns on its own object - from one ink to another. The construction of a discourse in touch with the wandering of the studio is delicate. It merges its body resonant with images with that of words from poets, working an unknown language in the very core of the impasse that constitutes words, access to speech. The painter's voice is the only one I know. It is the result of the abandonment and divestment at work. It engages thought in making, in the midst of a deposition which is, multiple, that of a body of ink, of a radiant painting, of a gesture and its removal, of a voice and its fragments. Deposition calls for the ground. It is that very ground that is being discussed throughout this writing. A grounding, as foundation but also as what melts under the steps. Liquid, fluid, moving. A release that is also an anchor, a tie that is also an overflow.

This thesis aims to contribute to ecocentric views by revising and criticising Callicott&#039 / s conception of environment and ecocentric ethics that he develops in the light of ecology and the Copenhagen Interpretation of quantum physics. The thesis also aims to support the ecocentric point of view by suggesting a different approach to the conception of environment in the light of the Existential Interpretation.

The aim of this study is to investigate the Upper Visean substages, delineate the Visean - Serpukhovian boundary with calcareous foraminifera and interpret the foraminiferal evolution and sequence stratigraphical framework by using sedimentary cyclicity across the boundary section. For this purpose a 59,61 m thick stratigraphic section consisting of mainly limestone and partly sandstone and shale is measured in the Aziziye Gedigi and Oru&ccedil / oglu Formations in the Pinarbasi Region of Eastern Taurides. A detailed micropaleontological study has revealed presence of important foraminiferal groups namely, parathuramminids, earlandiids, endothyroids, archaediscids, biseriamminids, fusulinids, loeblichids, tournayellids and paleotextularids and 145 species and three biozones. The biozones are, in ascending order, Eostaffella ikensis &ndash / Vissarionovella tujmasensis Zone (Mikhailovsky / Late Visean), Endothyranopsis cf. sphaerica &ndash / Biseriella parva Zone (Venevsky / Late Visean) and Eostaffella pseudostruvei &ndash / Archaediscids @ tenuis stage Zone (Taurssk / Early Serpukhovian). A detailed microfacies analysis was carried out in order to understand the depositional history and sedimentary cyclicity and construct the sequence stratigraphic framework of the studied area. Three main depositional environments consisting of open marine, shoal or bank and tidal flat environments were interpreted based on the analysis of 12 major microfacies and 11 sub-microfacies types. Based on the vertical association of microfacies twenty-six cycles, two sequence boundaries and three sequences were recognized in the studied section and these two sequence boundaries, which correspond to the Mikhailovsky and Venevsky horizons, are the records of the global sea level changes during the Late Paleozoic Ice Age. Within this context Visean &ndash / Serpukhovian boundary falls in the transgressive system tract of the third sequence. The duration of cycles are calculated as 117 ky and interpreted as orbitally induced glacioeustatic cycles.

This thesis analyzes the direction of time problem in the framework of philosophy of science. The radiation arrow, Newtonian arrow, thermodynamical arrow and quantum mechanical arrow have been studied in detail. The importance of the structure of space-time concerning direction of time is emphasized.

The aim of this study is to delineate the Campanian-Maastrichtian boundary by using planktonic foraminifers. In this manner, Kokaksu Section (Bartin, NW Anatolia) was selected and the Akveren Formation, characterized by a calciturbiditic-clayey limestone and marl intercalation of Campanian-Maastrichtian age, was examined. 59 samples were emphasized for position of boundary. Late Campanian-Maastrichtian planktonic foraminifers were studied in thin section and by washed samples. Two different biostratigraphical frameworks have been established. Globotruncanid zonation consists of Campanian Globotruncana aegyptiaca Zone, Upper Campanian-Middle Maastrichtian Gansserina gansseri Zone and Upper Maastrichtian Abathomphalus mayaroensis Zone, whereas heterohelicids biozonation includes Campanian Pseudotextularia elegans Zone, Lower Maastrichtian Planoglobulina acervuloinides Zone, Middle Maastrichtian Racemiguembelina fructicosa Zone and Upper Maastrichtian Pseudoguembelina hariensis Zone. Campanian-Maastrichtian boundary was determined as the boundary between Pseudotextularia elegans and Planoglobulina acervuloinides zones and Cretaceous-Tertiary boundary was designated by total disappearance of Late Cretaceous forms. Heterohelicid biozonation has been established in this study for the first time in Turkey. Collecting 300 individuals from each sample, diversity and abundance of assemblages were analyzed in terms of genus and species. ir evaluation of are important in observation of evolutionary trends and ecological changes. Moreover, evolution of different morphotypes is important in this evaluation. Such a study is new in Turkey in terms of examination of responses of planktonic foraminifers to environmental changes. Taxonomic framework has been constructed to define each species and differences of comparable forms have been discussed. Both scanning electron microscope (SEM) photographs and thin section photographs were used in order to show se distinctions.

This thesis is a comparison of the philosophical systems of Zen Buddhism, which is an Eastern Philosophy, with Ludwig Wittgenstein&rsquo / s philosophical studies, who is an extraordinary name of the Western Philosophy in the 20th century. The history and sources of Zen Buddhism were given with its adoption in the use of language and arts. Besides, this study exemplifies the philosophy of Zen Buddhism with the examples from the life story of Wittgenstein. The thesis is written with a full awareness of the sensitivity of comparing different systems which always embody counterexamples and speculations. This is the reason why speculative ideas and resources were deliberately ignored. The aim is to contribute the cultural life of Turkey by taking such a subject to the academic milieu. Moreover, Turkey is the passage of the East and the West both geographically and culturally. There are resemblances between Zen and Wittgenstein by means of method and the useof language. Furthermore, it was given the names of the books that Wittgenstein read and the philosophers who influenced Wittgenstein. The parallels between Zen and Wittgenstein are justified.

This study is focused on the use of visible light in photoinitiated cationic polymerization. Photoinitiated polymerization of oxiranes, vinyl ethers, and other vinyl monomers was achieved. In doing so, (2-(2,3 dihydrobenzo [b][1,4]dioxin-6-yl)-3-(2,3-dihydrobenzo[b]-[1,4]dioxin-7-yl)-5-(2,3-dihydrothieno[3,4-b][1,4]dioxin-5-yl)-8-(2,3-dihydrothieno[3,4-b][1,4]dioxin-7yl) quinoxaline) (DBQEd) and poly(2,3,5,8-tetra(thiophen-2-yl)quinoxaline) (TTQ), two dibenzo[a,c]phenazine derivatives / 10,13-bis(2,3-dihydrothieno[3,4-b][1,4]dioxin-5-yl)dibenzo[a,c] phenazine (PHED) and 10,13-bis(4-hexylthiophen-2-yl)dibenzo[a,c]phenazine (PHEHT) were utilized as the photosensitizers for diaryliodonium salt photoinitiators. Novel dyes based on the dibenzo[a,c]phenazine and quinoxaline skeleton were shown to be efficient in carrying out the cationic photopolymerizations of a wide variety of epoxide, oxetane, and vinyl monomers at room temperature upon irradiation with long-wavelength UV and visible light. The polymerizations were initiated at room temperature in the presence of diphenyliodonium hexafluorophosphate (Ph2I+PF-6) and monitored by optical pyrometry (OP). The photopolymerization of an epoxide monomer via solar irradiation was also demonstrated.

The intellectual and political roots of present-day China lie in the late imperial era and the transition to modern statehood. As the last chain of the thousands years of dynastic rule in China, the Qing Dynasty ended in 1911 with a revolution. Even though the Republican regime was immediately established after their revolution, it took three decades until thenew government (People&rsquo / s Republic of China) achieved full sovereignty on the territory. The thesis argues that the 1911 Revolution is a major turning point in Chinese transformation not only because of the regime change but also the ideological shift towards modern statehood. In this study, first, the social forces and actors on the eve of the Revolution are analyzed. The gentry-domination of society and the power relations within the forces involved in the Revolution - especially the intellectuals and the military - appear to be the two major reasons why the transition was not completed with the Revolution. The second focus of the study: the process of breaking with the past. In other words, how was the shift in people&rsquo / s mind achieved? In China, this turning point did not coincide with the 1911 Revolution and/or regime change. It came later in 1910s, reaching its peak in 1919, with the New Culture Movement of the May Fourth intellectuals. There had been some influential intellectuals building a nationalist discourse even before the May Fourth Movement (e.g. Liang Qichao, reformist and ideologue in late Qing dynasty) but the radical and outspoken tone of the New Culture Movement achieved the grounds for a shift in minds. I will briefly analyze the intellectual work of the period and its politicization. A special emphasis is given on Sun Yat-sen&rsquo / s political and intellectual contribution to the transition since he was not only a major political activist but also a theoretician whose works (Three Principles of People) have been influential on China&rsquo / s nation-building process.

The objective of this dissertation is to establish the notion that art can serve to create and communicate an awareness of the interconnectedness between people and nature. This study debates the theoretical similarities and differences in attitudes toward the planet as interpreted in the artworks of pre-history shamans and traditional societies, 20th century land and urban artists and contemporary environmentally concerned artists. The comparative findings suggest that attitudes of anthropocentricism, greed and power and a denial of Pantheism associated with agriculture, industrial and technological developments, have changed the human-nature symbiosis found in early societies. The creative component of this study has employed the processes of etching and embossing, digital image manipulations and the juxtaposition and layering of images to establish visual metaphors that communicate interconnectedness. Sculptures, billboards, prints and photographs as artworks of the conscience intend to shift socially and personally constructed perceptions from human-centeredness toward a symbiotic worldview. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Fandom is, as scholars in relevant areas of Media Studies and Sociology attest, a vibrant aspect of contemporary culture and influential in individuals' expression and construction of their identities. This thesis examines and endeavours to challenge how fandom, defined as "emotionally involved consumption of a given popular narrative or text," is conceived and received in contemporary art. It addresses misconceptions about art by four artists who explicitly express their fan identities in their artwork and examines how a finer understanding of fandom can enrich contemporary art discourse and illuminate the artists' works. Bringing together the fields of art criticism and cultural studies, the thesis explores the impact of contemporary artists' fandom on their depiction of celebrities and the critical reception these artworks have received. The principal artists whose works and fan identities are analysed are: Ryan McGinley (b. Ramsey, New Jersey, 1977-), Elizabeth Peyton (b. Danbury, Connecticut, 1965-), Karen Kilimnik (b. Philadelphia, Pennsylvania, 1955-) and Stella Vine (b. Alnwick, England, 1969). In addition to these, art works by eleven other prominent late twentieth and early twenty-first century artists are presented as revealing contrasts. These artists, the principal artists and their comparisons, all are not only doing something interesting artistically; their work presents different approaches to expansive concerns about the nature and function of fans and celebrity in wider culture. Therefore, the purpose of this study is to evaluate how fandom manifests itself in artists' work, whether fan feelings are discernible in their artwork and how admissions of fandom, either through artists' public declarations or evidence in their art, influence critical interpretation of art and colours public perception of the artists themselves.