This article discusses the reading method of Walter Benjamin through six key moments in the narrative of experience of modernity. The figures chosen (Baudelaire, Proust, Kafka, Brecht, Hölderlin and Goethe) are analyzed as sites at which the tensions and transformations of modernity become visible within Benjamin’s critical framework. José Asunción Silva is presented as an extra-textual figure outside Benjamin’s own corpus. Silva is not a comparative analogy but a shift in perspective that allows marginal modern experiences to be reexamined. Each author is traced as a threshold through which modern experience is revealed as a dialectical image. In these pictures the meaning is not directly explained but is created through tension. Benjamin's formulation from The Arcades Project: “I have nothing to say. " articulates a reading practice in which montage replaces explanation and meaning arises from juxtaposition. Just to show. The structure is not based on a unitary concept or linear historical narrative. Rather, it is made up of heterogeneous moments with overlapping historical tensions at varying intensities. The article constructs authors and moments as discrete elements that retain their singularity while producing relations by virtue of proximity, drawing on Benjamin’s notions of montage and constellation. Here, the constellation names these nascent clusters of meaning and montage is the operative method of arrangement. This approach does not seek a totalizing interpretation, but rather inscribes incompleteness as a methodological principle. Benjamin’s reading atlas, therefore, beckons readers to chart their own trajectories, where meaning is made through disjuncture, comparison, and relational tension.

Throughout human history, the future has occupied a central place in philosophical thought, evoking both curiosity and anxiety. Reflections on the future are not only considered as individual forecasts or imaginings but also hold critical significance for the organization of social life and the shaping of decision-making processes. In many domains—from education to politics, from technology to culture—planning for the future is seen as an essential tool for establishing order and reducing uncertainty. However, futurist thought goes beyond this traditional planning by focusing on envisioning what does not yet exist, creating possible scenarios, and confronting the unknown. At this point, a fundamental question arises: Can the future truly be planned, or can it only be imagined? In other words, this approach raises the issue of whether the future is a fully controllable domain, highlighting the constant tension between planning it and envisioning it. The strength of futurist thinking lies in its capacity to open creative horizons and to enable thinking beyond conventional boundaries; yet it also carries the risk of attempting to regulate an uncontrollable or uncertain domain with claims of certainty. This study aims, within a philosophical framework, to reveal both the creative possibilities and the limitations of futurist thought, analyzing the tension between planning and envisioning, and demonstrating that thinking about the future is not merely a technical planning activity but a philosophical issue encompassing ethical, cultural, and creative dimensions.

This study aims to examine the development of judicial ethics, current legal regulations, and application areas within the judicial systems of Türkiye and the Turkish Republic of Northern Cyprus from a comparative perspective. Beyond legal knowledge, the preservation of ethical values in the administration of justice is a fundamental necessity for building public trust in the judiciary. In Türkiye, judicial ethics have been shaped primarily based on the Bangalore Principles of Judicial Conduct and institutionalized through the Judicial Ethics Principles of the Court of Cassation and the Declaration of Ethics of the Turkish Judiciary published by the Council of Judges and Surveyors. These regulations embody universal values such as independence, impartiality, integrity, and propriety.In the TRNC judicial system, the influence of the English legal tradition and the principles of equity form a unique structure in determining ethical standards. Under the TRNC Constitution and the Courts Law, the independence and impartiality of judges are under constitutional guarantee. This study analyzes the similarities and differences in ethical codes in both countries, discussing the protection of judicial independence, the strengthening of the right to a fair trial, and the effectiveness of oversight mechanisms against ethical violations. It emphasizes that in both legal systems, judicial ethics is not merely a set of professional rules, but a way of life befitting the honor of the judicial profession.

Bu çalışma, Türkiye'deki kamu kurumları tarafından kullanılan yapay zekâ (YZ) destekli sosyal medya pazarlama stratejilerinin Türkiye'nin bölgesel güç projeksiyonu üzerindeki etkisini incelemektedir. Hızla dijitalleşen uluslararası sistemde devletler, dış politika mesajlarının iletilmesi, kamu diplomasisinin yürütülmesi ve kriz iletişiminin yönetilmesi amacıyla sosyal medya platformlarından giderek daha fazla yararlanmaktadır. Türkiye'nin dijital dönüşümü, geleneksel iletişim araçlarından veri odaklı, hedef kitleye yönelik ve yapay zekâ destekli stratejik iletişim anlayışına geçişi ortaya koymaktadır. Bu çalışma, Türkiye'nin dijital devlet söyleminin bölgesel güç statüsünü nasıl desteklediğini analiz etmekte, yapay zekâ tabanlı sosyal medya faaliyetlerinin etki kapasitesini değerlendirmekte ve dijital iletişim stratejilerinin bölgesel güç rekabetindeki rolünü tartışmaktadır. Nitel araştırma yönteminin benimsendiği bu çalışmada literatür taraması, karşılaştırmalı analiz ve söylem analizi birlikte kullanılmıştır. Araştırma bulguları, yapay zekâ destekli sosyal medya yönetiminin Türkiye'nin kamu diplomasisini, güvenlik iletişimini, ulusal marka değerini ve bölgesel etki kapasitesini güçlendirdiğini göstermektedir. Çalışma, yapay zekâ tabanlı iletişim stratejileri ile devlet düzeyindeki güç projeksiyonu arasında bütüncül bir ilişki modeli önererek dijital diplomasi literatürüne katkı sunmaktadır.

Geçtiğimiz bir buçuk yüzyıl boyunca, özellikle de yirminci yüzyılın sonlarında ve yirmi birinci yüzyılın başlarında hız kazanarak, Amerika Birleşik Devletleri dışındaki üniversiteler kurumsal adlarında “Amerikan”, “Amerika Birleşik Devletleri” ya da bunlarla yakından ilişkili Amerikan kimlik belirleyicilerini benimsemiştir. Bu makale, söz konusu olguyu sadece bir markalaşma, ticari faaliyet, taklit ya da yumuşak güç olarak değil, kültürlerarası arabuluculuk projesi olarak incelemektedir. Ana tez, yurtdışındaki “Amerikan” üniversitelerin, Amerikan akademik kültürü ile yerel veya bölgesel eğitimsel, siyasi, ekonomik ve sosyal ihtiyaçlar arasında bir arabuluculuk alanı işgal ettiği yönündedir. En güçlü haliyle bu model, liberal eğitimi, öğrenci merkezli pedagojiyi, İngilizce eğitim dilini, kurumsal özerkliği, mesleki hazırlığı ve akreditasyon kültürünü, ABD’yi yurtdışında basitçe kopyalamadan yerel bağlamlara aktarmaktadır. En zayıf haliyle ise “Amerikalı” kavramını, prestij, hareketlilik veya modernliğin pazarlanabilir bir sembolüne indirger. Makale, küresel yükseköğretimde “Amerikalı olma” kavramına ilişkin beş bölümden oluşan bir tipoloji önermektedir: miras/kurumsal Amerikalı olma, ulus inşa edici Amerikalı olma, işletim sistemi Amerikalı olma, piyasa Amerikalı olma ve nominal-sembolik Amerikalı olma. üniversitelerini Ayrıca, şube ülke markalı kampüslerinden, Amerikan ortak üniversitelerden, mikro kampüslerden ve lisans verme sürecine yönelik kurumlardan ayırmaktadır. Makale, “Amerikan” etiketinin en iyi şekilde çok anlamlı bir kültürlerarası gösterge olarak anlaşılabileceği sonucuna varmaktadır: bu etiketin anlamı, kurumsal uygulamalar, yerel beklentiler, küresel hareketlilik, kalite güvencesi ve dünya meselelerinde ABD’nin değişen sembolik konumu arasındaki ilişki yoluyla ortaya çıkmaktadır.

Drawing on James Clifford's theoretical essay “On Ethnographic Allegory” (1986), the author weaves a ten-day trip to Paris taken with her husband in August 2025 together with Clifford's text in a spiraling structure, shaping the result into a reflexive ethnographic essay. The theoretical framework of the article rests on Clifford's conceptualization of ethnographic writing as allegorical narrative and his positioning of travel as a legitimate ethnographic practice in Routes (1997). The first section explores how Paris had already been mentally constructed through postcards, newspaper stories, films, and songs long before the author set foot in the field, examining this “pre-Paris” image in relation to Clifford's notion of the always-already-written field. The second section uses the experience of a museum ticket scam to discuss the disenchantment of ethnographic writing and the permeable boundary between representation and reality. The third section foregrounds class privilege, migrant labor, and the ethical dilemmas of fieldwork, taking up Clifford's claim that difference seeps into the text. The fourth section interrogates the relationship between the salvage impulse and the narrative of loss within Clifford's framework of "ethnographic pastoral," bringing it into dialogue with the author's unsettling encounter with the seventy-two male names inscribed on the Eiffel Tower. In the fifth and final section, the passport theft the author experienced in Paris and the temporary passports she and her husband obtained are treated as allegory, serving to rethink ethnographic writing as a practice that carries both loss and the inevitability of loss. The article argues that every ethnographic text is allegorical, since the factual and the allegorical cannot be separated.

Despite significant advancements in modern medicine, the production of medical knowledge and clinical practices continue to operate within an overtly patriarchal structure. Decision-making processes related to the female body and women’s health remain largely shaped by male actors, a pattern visible in both historical and contemporary contexts. The recent example of a male Turkish parliamentarian defining cesarean birth as “not a normal birth” and male football fans displaying banners reading “normal birth is the real normal” illustrates how medical discourse is intertwined with gender norms. The silence of institutional and societal actors in such cases once again demonstrates that modern medicine persists in conceptualizing the female body through normative and patriarchal frameworks.This article examines enduring patriarchal medical practices through the lens of feminist bioethics. First, the U.S. Food and Drug Administration’s (FDA) 2024 decision to remove the “black box” warning from hormone therapy medications marks a significant shift for postmenopausal women’s health. This policy change necessitates a reevaluation of historically exaggerated risk narratives and scientifically questionable medical assumptions concerning women’s bodies.Second, the historical legacy of J. Marion Sims often referred to as the “father of modern gynecology” is analyzed, particularly his use of enslaved Black women in non-consensual experimental procedures that led to the development of the duck-bill speculum. Sims’s legacy is intertwined not only with unethical experimentation but also with the racialized and patriarchal biases embedded in the foundations of modern gynecology. In contrast, the “Lillum,” a new gynecological device developed by Dutch women engineers (Ariadna Izcara Gual and Tamara Hoveling), represents an alternative to male-designed instruments by prioritizing ergonomic design and sensitivity to the biological and emotional needs of women. Considering that approximately 35% of women experience fear regarding gynecological examinations, the Lillum constitutes not only a technological innovation but also a significant example of feminist biodesign.Overall, the male-centered production of knowledge in modern medicine necessitates a critical rethinking of scientific objectivity and the presumed neutrality of medical ethics. From this perspective, feminist bioethics emerges as both a critical analytical framework and a transformative knowledge domain aimed at reconstructing medical practices, instruments, and ethical standards.

This article examines the problem of the artistic concept of personality, one of the central issues in modern literary studies, within the framework of Russian and Uzbek literary theory. The study focuses on the poetry of Halima Khudoyberdiyeva, a prominent representative of contemporary Uzbek literature, analyzing the poetic interpretation of historicism, national identity, and the image of femininity. The research demonstrates that the poet reconstructs historical figures such as Tomyris, Nodira, Mohlaroyim, and Najmiddin Kubro not merely as historical personalities, but as symbolic embodiments of national consciousness, patriotism, and spiritual revival. In this context, the interaction between historical memory and individual spirituality is interpreted as a key aesthetic category within the poet’s creative worldview. The article further explores how historical reality is not directly depicted but rather artistically reinterpreted through a system of symbolic and metaphorical language. This approach reveals the philosophical and aesthetic dimensions of historicism in Khudoyberdiye va’s poetry. Special attention is also given to the elevation of female images to the level of historical heroism, which contributes to the artistic construction of national identity. From a theoretical perspective, the study is significant in that it analyzes the dialectical unity of the individual, history, and society through an interdisciplinary lens, treating the concept of personality not only as a literary phenomenon but also as a profound philosophical-aesthetic category. In conclusion, the article argues that Khudoyberdiyeva’s poetry represents an original artistic model formed through the synthesis of historicism and modern poetic thinking, offering a new interpretation of the relationship between national identity and artistic expression in Uzbek literature.

This article provides an in-depth analysis of the unique characteristics of lyrical-epic imagery in the works of Sirojiddin Sayyid. The author’s creative works combine a distinct lyrical spirit with an epic scale, forming a unique literary approach within Uzbek literature. Sayyid's epics harmoniously depict national values and human emotions, where the inner world of lyrical heroes is intertwined with the sequence of epic events, portraying their feelings, goals, and struggles in a profound way. The article explores the techniques of lyrical-epic imagery in Sirojiddin Sayyid’s epics, including character creation, plot development, and the blending of lyrical themes with epic narratives. It examines how these artistic elements convey both national and universal values. The epics reflect a folk spirit, where the individual emotions of lyrical heroes are intertwined with the social battles of epic characters, creating a rich literary and aesthetic experience. Themes of personal and collective interests, love, loyalty, fidelity, and struggle are vividly expressed, showcasing a unique approach to Uzbek literature.