Education in Turkey in terms of gender asymmetry

The wide representation of women at different levels of the education system is not only an indicator of the prestige and status of the teaching profession, but also an important indicator of the socio-cultural and political development of society. The purpose of this article is to analyze the Turkish education system in terms of gender asymmetry. The research problems include: 1) the study of the historical reasons that led to the phenomena of gender asymmetry in certain “zones” and at certain levels of education; 2) the study of the motives for choosing a teaching profession by women of different age groups; 3) determination of the social profile of a Turkish female teacher; 4) the formation of recommendations for overcoming gender asymmetry in the field of Turkish education. Contrary to prejudice, Turkey is not a “gender bounded” country; moreover, its educational system is subject to problems common to the systems of most developed countries. The main ones are: 1) underrepresentation of female teachers in higher education (with a tendency to reduce the gender gap) and 2) underrepresentation of women in leadership positions. Despite the fact that all conditions have been created in Turkey for the professional development of a female teacher, the mentality of the average Turkish woman does not allow her to put her career interests above the interests of her family. This, in our opinion, largely explains the “restriction” of female education at the level of secondary specialized and insufficient “popularity” of higher education. For further study of the manifestations of gender asymmetry, a more detailed study of all stages of the Turkish education system is required, using data from different regions, in particular, from the southeast region. The situation there may differ significantly from the situation in the central regions, and the problem of adapting the education system to regional conditions will be extremely relevant.

SOME ILLUSTRATIONS OF FEMALE CHARACTERS IN ATSIZ'S BOZKURTLAR NOVEL

In this article, the place of Turkish female characters in society is explained in Hüseyin Nihal Atsız's novel Bozkurtlar. The article consists of three chapters; the life of Hüseyin Nihal Atsız, the place of the ancient Turkish woman in society and Turkish female characters in the novel Bozkurtlar. In the first part of the article, information about Atsız's life, literary aspect and political identity is given. In the second part, the place of women in ancient Turkish society is explained in detail. In the third part, Bozkurtlar novel written by Atsız is discussed and Turkish female heroes in the story are depicted considering their various features. These women reflect to the reader as an ordinary woman who can hunt better than her husband when necessary, a young girl who is protected by the laws and who can resist the orders by relying on these rights, a sovereign who has gained the respect and love of her own people or a woman who loves her homeland enough to leave her title. In the conclusion part, it is emphasized that the woman who is the companion of her man in the difficult steppe life in the ancient Turkish society is respected as a valuable being in contrast to other societies in the same period. This article was written to reveal the status of women in ancient Turks. Keywords: Description, woman, Turkish, status, Atsız, Bozkurtlar

The Politico-Poetic Representation of Turkish Women in Türk Kadını Magazine (1966–1974)

This chapter aims to explore the ways women are represented in the context of 20th century Turkey by analyzing four poems, namely “Türk Kadını” (Turkish Woman), “Anadolu Kadını” (Anatolian Woman), “Kadın–Ana” (Woman-Mother), and “Ayşe,” published in the Türk Kadını magazine in the 1960s. Purposive sampling was used in the selection of the poems, which were later interpreted with the strategies of descriptive content analysis. In these poems, the Turkish woman is being represented and celebrated in at least the following four ways: (1) by being celebrated for combining heroism, goodness, and naturalness; (2) by having her struggle with primitive conditions of life celebrated as yet another form of heroism; (3) by being celebrated as a creative mother of the nation, charged with finding solutions to the problems of the country; (4) by being celebrated as a hardworking daughter of the nation to whom the country owes recognition and support.

Simbolika vode u književnom narativu Emine Sevgi Özdamar / THE SYMBOLISM OF WATER IN EMINE SEVGI ÖZDAMAR'S LITERATURE

Emine Sevgi Özdamar (born 1946 in Malatya/Türkiye), one of the most prominent representatives of German-Turkish literature in the contemporary German speaking literature, establishes in herIstanbul-Berlin trilogy The Sun On a Halfway an intercultural dialogue between Türkiye and Germany, between two cultures, two traditions and two languages. She creates a “third space” by using the model of aesthetic and literary hybridisation and by literally translating idioms, phrases, proverbs and fairy tales from her mother tongue Turkish into German. In the novels Life is a Caravanserai Has Two Doors I Came in One I Went out the Other, The Bridge of the Golden Horn and Strange Stars Stare at the Earth, the first person female narrator has woven her life story from the time before her birth till her early thirties. In her life between Malatya, Istanbul and Berlin, between patriarchal society, tradition, religion and social conventions, on the one hand, and the modernity of the West on the other, the motif of water plays a significant role. When talking about the river (e.g. about the Euphrates) and the seas (Aegean Sea, the Marmara Sea, the Mediterranean Sea, the Bosphorus and the Golden Horn), about the rain or ritual wash, the nameless heroine sees the water as a mythical, religious and political sign in its role as blessing, healing, punishment, friendship and hostility, homeland and otherness. Through the water in myth, religion and socio-political reality Özdamar writes about a young Turkish woman in her search for identity between two worlds, two traditions and cultures.

DYBINTSY FAIENCE FACTORY OF COUNTS BRANITSKY IN THE KIEV PROVINCE IN THE LIGHT OF THE GIVEN PRIMARY SOURCES

Article is devoted ordering of existing data about competitive Kyivo-Mezhigorskoj to faience factory to Dibinetsky faience factory of counts Branitsky in an area of the Kyiv province. The majority of materials is introduced in scientific use for the first time, that allows to reconsider separate sections from a history of development of the Ukrainian faience of its time of «the gold period», namely 19th centuries. The list of products amazes. Services from white faience of the first grade on 4 roubles, soup vases of «the English style» with printing drawing on 7 roubles 10 copeck and 20 copeck painted on 9 roubles, flowerpots of a new style «Lily» 30 copeck painted on 4 rouble the Sculpture «the Young lion, the Lamb and the Dog» were the most expensive things from this register «Goat» cost on 30 copeck for a piece in the sealed up kind, 40 in painted, no less than. «Partridge» in last type of a decor — is almost twice more expensive, 75 copeck for a piece. Banks pharmaceutical — from 5 copeck for a piece, pots on 10 copeck for a piece, smoking tubes-«stambulki» («Turkish woman») and a bowl for salad on 15 copeck for a piece were the cheapest among products of the first grade.