ULUSLARARASI NECATİBEY EĞİTİM VE SOSYAL
BİLİMLER ARAŞTIRMALARI KONGRESİ
(UNESAK 2018)
26-28 EKİM 2018, BALIKESİR TÜRKİYE
INTERNATIONAL NECATIBEY EDUCATIONAL AND SOCIAL
SCIENCES RESEARCH CONGRESS
(UNESAK 2018)
26-28 OCTOBER 2018, BALIKESIR, TURKEY
BİLDİRİ TAM METİN
KİTABI
PROCEEDING BOOK
CİLT I / VOLUME I
EDİTÖRLER / EDITORS
Prof. Dr. Hülya GÜR
Doç. Dr. Hasan Hüseyin ŞAHAN
Editörler/ Editors •
Prof. Dr. Hülya GÜR& Doç. Dr. Hasan Hüseyin ŞAHAN
Kapak Tasarım / Cover Design• Emre Uysal
Kitap Tasarım / Book Design• Emre Uysal
Akademisyen Yayınevi
Birinci Basım / First Edition• © Aralık 2018 // December
2018-ANKARA
TAKIM ISBN: 978-605-258-236-7
ISBN: 978-605-258-237-4
web: www.unesak.com
e-mail: unesak2018@gmail.com
KURULLAR /BOARDS Onursal Başkan
Prof. Dr. Kerim ÖZDEMİR Balıkesir Üniversitesi Rektörü
Düzenleme Kurulu Başkanı
Prof. Dr. Mehmet BAŞTÜRK
Balıkesir Üniversitesi Necatibey Eğitim Fakültesi Dekanı
Kongre Başkanları
Prof. Dr. Hülya GÜR, Balıkesir Üniversitesi,
Doç. Dr. Hasan Hüseyin ŞAHAN, Balıkesir Üniversitesi
Düzenleme Kurulu
Doç. Dr. Gülcan ÇETİN, Balıkesir Üniversitesi Doç. Dr. Mesut SAÇKES, Balıkesir Üniversitesi
Doç. Dr. Sevinç MERT UYANGÖR, Balıkesir Üniversitesi Doç. Dr. Ruhan BENLİKAYA, Balıkesir Üniversitesi Dr. Öğr. Üyesi Ayşen KARAMETE, Balıkesir Üniversitesi Dr. Öğr. Üyesi Dilek TÜFEKÇİ CAN, Balıkesir Üniversitesi Dr. Öğr. Üyesi Gülcan ÖZTÜRK, Balıkesir Üniversitesi
Uzman Mürsel SABANCI, Karesi Belediyesi Başkan Yardımcısı Mustafa Ayan, Altıeylül Belediyesi Kültür Sosyal İşler Müdürü
Sekreterya
Dr. Öğr. Üyesi Eyüp YÜNKÜL Dr. Öğr. Üyesi. Serkan ÇANKAYA Dr. Öğr. Üyesi Selcen GÜLTEKİN Arş. Gör. Dr. Dilan BAYINDIR Arş. Gör. Dr. Emine Feyza DİNÇEL Arş. Gör. Dr. Handan ÜREK
Arş. Gör. Ayşegül MESTER YILMAZ Arş. Gör. Fahrettin FİLİZ
Arş. Gör. Güliz GÜR ŞAHİN
Bilim ve Hakem Kurulu
- Prof. Dr. Abbas TÜRNÜKLÜ, Dokuz Eylül Üniversitesi, Türkiye - Prof. Dr. Adnan BAKİ, Karadeniz Teknik Üniversitesi, Türkiye - Prof. Dr. Ahmet DOĞANAY, Çukurova Üniversitesi, Türkiye - Prof. Dr. Ahmet OK, Orta Doğu Teknik Üniversitesi, Türkiye - Prof. Dr. Ahmet Şükrü ÖZDEMİR, Marmara Üniversitesi, Türkiye - Prof. Dr. Alaattin KIZILÇAOĞLU, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Ali DUYMAZ, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Asuman Seda SARACALOĞLU, Adnan Menderes Üniversitesi, Türkiye
- Prof. Dr. Bahattin KAHRAMAN, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Behiye UBUZ, Orta Doğu Teknik Üniversitesi, Türkiye - Prof. Dr. Birsel ORUÇ ASLAN, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Bülent GÜVEN, Karadeniz Teknik Üniversitesi, Türkiye - Prof. Dr. Canan NAKİBOĞLU, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Cansevil TEBİŞ, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Cevdet AVCIKURT, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Cihangir DOĞAN, Marmara Üniversitesi, Türkiye - Prof. Dr. Çavuş ŞAHİN, Çanakkale On Sekiz Mart Üniversitesi, Türkiye
- Prof. Dr. Dilek İNAN, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Dursun DİLEK, Sinop Üniversitesi, Türkiye - Prof. Dr. Duygu ANIL, Hacettepe Üniversitesi, Türkiye - Prof. Dr. Elif TÜRNÜKLÜ, Dokuz Eylül Üniversitesi, Türkiye - Prof. Dr. Emin KARİP, Gazi Üniversitesi, Türkiye
- Prof. Dr. Erdinç ÇAKIROĞLU, Orta Doğu Teknik Üniversitesi, Türkiye
- Prof. Dr. Erdoğan KÖSE, İstanbul Üniversitesi, Türkiye - Prof. Dr. Erdoğan TEZCİ, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Ertan ÖRGEN, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Esra BUKOVA GÜZEL, Dokuz Eylül Üniversitesi, Türkiye - Prof. Dr. Fatma ŞAHİN, Marmara Üniversitesi, Türkiye
- Prof. Dr. Filiz BİLGE, Hacettepe Üniversitesi, Türkiye - Prof. Dr. Halil EKŞİ, Marmara Üniversitesi, Türkiye
- Prof. Dr. Hamide ERTAPINAR, İstanbul Aydın Üniversitesi, Türkiye - Prof. Dr. Hasan ÜNAL, Yıldız Teknik Üniversitesi, Türkiye
- Prof. Dr. Hüseyin KÜÇÜKÖZER, Balıkesir Üniversitesi, Türkiye - Prof. Dr. İbrahim H. DİKEN, Anadolu Üniversitesi, Türkiye - Prof. Dr. İlyas YAVUZ, Marmara Üniversitesi, Türkiye
- Prof. Dr. İsa KORKMAZ, Necmettin Erbakan Üniversitesi, Türkiye - Prof. Dr. Jerneja ČELOFIGA, Univerza v Ljubljani, Slovenya - Prof. Dr. Jože RUGELJ, University of Ljubljana, Slovenya - Prof. Dr. Kemal DURMUŞ, Atatürk Üniversitesi, Türkiye
- Prof. Dr. Kerim GÜNDOĞDU, Adnan Menderes Üniversitesi, Türkiye - Prof. Dr. Kürşat YENİLMEZ, Eskişehir Osmangazi Üniversitesi, Türkiye
- Prof. Dr. M. Sabri KOCAKÜLAH, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Mehmet GÜLTEKİN, Anadolu Üniversitesi, Türkiye - Prof. Dr. Melek ÇAKMAK, Gazi Üniversitesi, Türkiye - Prof. Dr. Meral ATICI, Çukurova Üniversitesi, Türkiye - Prof. Dr. Meral GÜVEN, Anadolu Üniversitesi, Türkiye - Prof. Dr. Murat ALTUN, Uludağ Üniversitesi, Türkiye
- Prof. Dr. Musa YÜCE, Marmara Üniversitesi, Türkiye - Prof. Dr. Necati ÖZDEMİR, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Necdet HACIOĞLU, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Nevin SAYLAN, Balıkesir Üniversitesi (Emekli), Türkiye - Prof. Dr. Nilay BÜMEN, Ege Üniversitesi, Türkiye
- Prof. Dr. Osman SAMANCI, Atatürk Üniversitesi, Türkiye - Prof. Dr. Ozana URAL, Marmara Üniversitesi, Türkiye - Prof.Dr. Özcan DEMİREL, Hacettepe Üniversitesi (Emekli) - Prof. Dr. Özden KORUOĞLU, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Raşit ÖZEN, Abant İzzet Baysal Üniversitesi, Türkiye - Prof. Dr. Sadık ERDEM, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Safure BULUT, Orta Doğu Teknik Üniversitesi, Türkiye - Prof. Dr. Salih ÇEPNİ, Uludağ Üniversitesi, Türkiye
- Prof. Dr. Salih UŞUN, Muğla Sıtkı Kocaman Üniversitesi, Türkiye - Prof. Dr. Savaş BAŞTÜRK, Sinop Üniversitesi, Türkiye
- Prof. Dr. Sedat YÜKSEL, Uludağ Üniversitesi, Türkiye - Prof. Dr. Selahattin GELBAL, Hacettepe Üniversitesi, Türkiye - Prof. Dr. Serap NAZLI, Ankara Üniversitesi, Türkiye
- Prof. Dr. Serhat İREZ, Marmara Üniversitesi, Türkiye
- Prof. Dr. Sibel KILINÇ ALPAT, Dokuz Eylül Üniversitesi, Türkiye - Prof. Dr. Sinan OLKUN, TED Üniversitesi, Türkiye
- Prof. Dr. Soner DURMUŞ, Abant İzzet Baysal Üniversitesi, Türkiye - Prof. Dr. Suat IŞILDAK, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Şakir SAKARYA, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Şeref MİRASYEDİOĞLU, Başkent Üniversitesi, Türkiye - Prof. Dr. Tuğba YANPAR YELKEN, Mersin Üniversitesi, Türkiye - Prof. Dr. Tuncay DİRMENCİ, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Tuncay ERGENE, Hacettepe Üniversitesi, Türkiye - Prof. Dr. Tuncay ÖĞRETMEN, Ege Üniversitesi, Türkiye - Prof. Dr. Turgut KILIÇ, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Virginia TEICHMANN, Karlsruhe Üniversitesi, Almanya - Prof. Dr. Yavuz AKPINAR, Boğaziçi Üniversitesi, Türkiye
- Prof. Dr. Yavuz EGE, Balıkesir Üniversitesi, Türkiye - Prof. Dr. Yücel GELİŞLİ, Gazi Üniversitesi, Türkiye
- Prof. Dr. Yüksel DEDE, İstanbul Medeniyet Üniversitesi, Türkiye - Prof. Dr. Zekeriya NARTGÜN, Abant İzzet Baysal Üniversitesi, Türkiye
- Porf. Dr. Zeki ÇEVİK, Balıkesir Üniversitesi, Türkiye
- Prof. Dr. Zeynep Deniz YÖNDEM, Abant İzzet Baysal Üniversitesi, Türkiye
- Doç. Dr. Abdullah AYDIN, Kırşehir Ahi Evran Üniversitesi, Türkiye - Doç. Dr. Adnan KÜÇÜKOĞLU, Atatürk Üniversitesi, Türkiye - Doç. Dr. Ahmet KÖÇ, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Ali Rıza TERZİ, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Bülent PEKDAĞ, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Demet GİRGİN, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Deniz Beste KILIÇ, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Devrim ÜZEL, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Dilek TANIŞLI, Anadolu Üniversitesi, Türkiye
- Doç. Dr. Elisabetta MARİNO, University of Rome Tor Vergata, İtalya - Doç. Dr. Esin PEKMEZ ŞAHİN, Ege Üniversitesi, Türkiye
- Doç.Dr. Fahri SEZER, Balıkesir Üniversitesi
- Doç. Dr. Fatma ASLAN TUTAK, Boğaziçi Üniversitesi, Türkiye - Doç. Dr. Gamze DOLU, Balıkesir Üniversitesi, Türkiye.
- Doç. Dr. Georgeta ORİAN, 1 Decembrie 1918 University of AlbaIulia, Romanya.
- Doç. Dr. Gönül SAKIZ, Marmara Üniversitesi, Türkiye - Doç. Dr. Gözde AKYÜZ, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Gülseren KARAGÖZ AKAR, Boğaziçi Üniversitesi, Türkiye - Doç. Dr. Hasan Hakan OKAY, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Irena NANČOVSKA ŠERBEC, University of Ljubljana, Slovenya
- Doç. Dr. İbrahim AYDIN, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. İlke EVİN GENCEL, Çanakkale Onsekiz Mart Üniversitesi, Türkiye
- Doç. Dr. Jale İPEK, Ege Üniversitesi, Türkiye
- Doç. Dr. Kemal Oğuz ER, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Latif BEYRELİ, Marmara Üniversitesi, Türkiye - Doç. Dr. M. Tuncay SARITAŞ, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Mustafa DOĞAN, Yıldız Teknik Üniversitesi
- Doç. Dr. Nazlı YILDIZ İKİKARDEŞ, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Neşe GÜLER, İzmir Demokrasi Üniversitesi, Türkiye - Doç. Dr. Nilüfer KÖSE, Anadolu Üniversitesi, Türkiye
- Doç. Dr. Nurtuğ BARIŞERİ, Necmettin Erbakan Üniversitesi, Türkiye - Doç. Dr. Özge GENÇEL ATAMAN, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Ruhi İNAN, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Saadet MALTEPE, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Sabahattin KAHRAMAN, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Sami ÖZGÜR, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Serap ÖZ AYDIN, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Sibel ÇELİK SULAR, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Sibel TELLİ, Çanakkale Onsekiz Mart Üniversitesi, Türkiye - Doç. Dr. Sonnur IŞITAN, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Sümer AKTAN, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Uğur GÜRGAN, Balıkesir Üniversitesi, Türkiye
- Doç. Dr. Yasemin İNCE GÜNEY, Balıkesir Üniversitesi, Türkiye - Doç. Dr. Yunus Emre YILDIRIR, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Ahmet AKGÜN, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Ahmet Melih GÜNEŞ, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Asuman KÜÇÜKÖZER, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Ayberk BOSTAN SARIOĞLAN, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Aysel KOCAKÜLAH, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Ayşe Gül ŞEKERCİOĞLU, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Bayram YILDIZ, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Bilal DEMİR, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Burcu GÜNGÖR CABBAR, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Burcu SEZGİNSOY ŞEKER, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Elif GÜVEN, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Elsev BRİNA LOPAR, Prizren Üniversitesi, Kosova - Dr. Öğr. Üyesi Emine ÖZDEMİR, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Engül GALO, Prizren Üniversitesi, Kosova - Dr. Öğr. Üyesi Fatih YAVUZ, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Fatma PELİTOĞLU, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Filiz Tuba DİKKARTIN ÖVEZ, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Fuat ÖZER, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Gillian Mary Elizabeth ALBAN, İstanbul Aydın Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Gülcan ÖZTÜRK, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Gürhan DURAK, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Hakan ÖNAL, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Hasene Esra YILDIRIR, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Kazım BİBER, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Leondra RADFORD, MetropolitanCollege of Theology, ABD
- Dr. Öğr. Üyesi Mehmet Akif ERDENER, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Mehmet Ali KANDEMİR, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Mehmet Emin KORKUSUZ, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Monika KOPYTOWSKA, University of Lodz, Polonya - Dr. Öğr. Üyesi Münevver Muyo YILDIRIM, Prizren Üniversitesi, Kosova
- Dr. Öğr. Üyesi Nihat UYANGÖR, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Nuran Malta MUHAXHERİ, Prizren Üniversitesi, Kosova
- Dr. Öğr. Üyesi Nursen AZİZOĞLU, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Özlem KARAKOÇ, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi Satı KUMARTAŞLIOĞLU, Balıkesir Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Soner YILDIRIM, Prizren Üniversitesi, Kosova - Dr. Öğr. Üyesi Subhan EKŞİOĞLU, Sakarya Üniversitesi - Dr. Öğr. Üyesi Şule AY, Düzce Üniversitesi, Türkiye
- Dr. Öğr. Üyesi Zeynel Abidin MISIRLI, Balıkesir Üniversitesi, Türkiye - Dr. Öğr. Üyesi, Khouatra SAMIA, AlgerinneBoumereds Üniversitesi - Dr. Öğr. Üyesi, Mary Beth SCHAEFER, St. Johns University, ABD - Dr. Öğr. Üyesi, Shurubu KAYHAN, Kırgızistan
- Dr. Öğr. Üyesi, Thaher AL-NOWARAIN, Albaka Üniversitesi - Dr. Öğr. Üyesi, Zöhre BİLGEGİL, Balıkesir Üniversitesi, Türkiye
DAVETLİ KONUŞMACILAR / KAYNOT SPEAKERS
Porf. Dr. Özcan Demirel, Türkiye
Prof. Dr. Ana Maria SARMENTO COELHO, Portekiz Prof. Dr. İsmet TEMAJ, Kosova
Prof. Dr. Qufli OSMANI, Makedonya Prof. Dr. Leondra RADFORD, ABD Prof. Dr. Aslan GÜLCÜ, Türkiye Prof. Dr. Olcay Yavuz, ABD
Assoc. Prof. Dr. Gillian Mary Elizabeth ALBAN, Türkiye Asst. Prof. Dr. Donald F. STAUB, ABD
İÇİNDEKİLER / CONTENTS
TEACHING (MEDUSA) EMPOWERMENT THROUGH LITERATURE: HUMANITY’S NEED OF MEANING IN
LITERATURE AND MYTH ... 1 ULUSLARARASI DEĞERLENDİRMELERDE BAŞARILI ÜLKELER VE TÜRKİYE’DEKİ FEN ÖĞRETMENLERİNİN MESLEKİ GELİŞİM FAALİYETLERİNE KATILIMININ FEN BAŞARISI AÇISINDAN KARŞILAŞTIRMALI OLARAK DEĞERLENDİRİLMESİ ... 15 THE CORRELATION BETWEEN THE CREATIVITY LEVELS AND ACHIEVEMENTS OF THE PRE-SERVICE ENGLISH LANGUAGE TEACHERS ... 37 TIMSS-2015’DE BAŞARILI ÜLKELER İLE TÜRKİYE’NİN
MATEMATİK VE FEN BAŞARISININ OKULLARDAKİ DİSİPLİN DURUMU BAĞLAMINDA KARŞILAŞTIRMALI OLARAK
DEĞERLENDİRİLMESİ ... 49 METALINGUISTIC AWARENESS OF ELT FRESHMEN ... 68 BIYOLOJI ÖĞRETMENLERININ DOWN SENDROMU
HAKKINDAKI GÖRÜŞLERI ... 80 İLKOKUL ÖĞRENCILERININ OKULDAKI ÇEVRE KIRLILIĞI VE GERI DÖNÜŞÜM ILE İLGILI ALGILARI ... 91 ABSENTEEISM AND LATENESS AT SCHOOL; A STUDY ON NECATIBEY EDUCATION FACULTY STUDENTS ... 99 TÜRK HAVA KUVVETLERI SUBAY VE ASTSUBAY YETIŞTIRME OKULU ÖRTÜK PROGRAM KAPSAMININ SINIF İKLIMI
BOYUTUYLA İNCELENMESI ... 112 PEDAGOJİK FORMASYON EĞİTİMİNE DEVAM EDEN
ÖĞRENCİLERİN KARAKTER EĞİTİMİNE YÖNELİK
GÖRÜŞLERİNİN BELİRLENMESİ ... 131 GÜÇ ELEKTRONİĞİ DERSİNDE İŞLENEN DÖNÜŞTÜRÜCÜ
DEVRELERİNİN PSCAD PROGRAMINDA SİMULE EDİLMESİ .. 141 HASTANEDE YATAN ÇOCUKLARIN EĞITIM
GEREKSINIMLERINE YÖNELIK UYGULANAN EĞITIM PROGRAMLARININ ULUSLARARASI PERSPEKTIFTE
İNCELENMESI: TÜRKIYE ÖRNEĞI ... 150 ARDUINO UNO İLE FARKLI TİP DİSPLAYLERİN KULLANIMI VE MESAFE ÖLÇER UYGULAMASI ... 168
KİMYA EĞİTİMİNDE KAVRAM YANILGILARININ GİDERİLME YÖNTEMLERİNE LİTERATÜRDEN ÖRNEKLER ... 176 ARAŞTIRMA SORGULAMAYA DAYALI GENEL BIYOLOJI
LABORATUVARI DERSINDE BLOG KULLANIMININ YANSITICI DÜŞÜNME BECERISI ÜZERINE ETKISI ... 188 DİŞ HEKİMLİĞİ FAKÜLTESİNDEKİ ÖĞRENCİLERİN SPORA YÖNELİK TUTUMLARI ... 199 ‘KARİKATÜRÜ SEÇTİM; KALICI ÖĞRENMEYE GEÇTİM.’: 9. SINIF BİYOLOJİ DERSİ ‘CANLILARIN ORTAK ÖZELLİKLERİ’ KONUSUNDA HAZIRLANAN KARİKATÜRLERE İLİŞKİN
ÖĞRENCİ GÖRÜŞLERİNİN TESPİT EDİLMESİ ... 215 MEB 5. SINIF TÜRKÇE DERS KİTABI’NDA ÖĞRETİLMESİ
AMAÇLANAN KELİMELERİN SIKLIK AÇISINDAN
İNCELENMESİ ... 228 ELVES YÖNTEMİYLE İŞLENEN DİNLEME ETKİNLİKLERİNE İLİŞKİN ÖĞRENCİ GÖRÜŞLERİ ... 246 ÖĞRETMEN ADAYLARININ BILIŞSEL ESNEKLIK DÜZEYLERI ... 264 ÖĞRETİMDE WEB 2.0 ARAÇLARI KULLANIMI ... 274 YABANCILARA TÜRKÇE ÖĞRETİMİNDE ÖZEL YAZMANIN YAZMA KAYGISINA VE YAZMA EĞİLİMİNE ETKİSİNİN
İNCELENMESİ ... 283 RADYO TIYATROSU (ARKASI YARIN) TEKNIĞININ SESINI VE BEDEN DILINI ETKILI KULLANMA BECERISINE ETKISI ... 305 DERS DIŞI OKUMALARIN ÖĞRENCİLERİN OKUMA
STRATEJİLERİ ÜSTBİLİŞ FARKINDALIKLARINA ETKİSİ ... 322 BİYOLOJİ ÖĞRETMEN ADAYLARININ KAREKOD
TEKNOLOJİSİNİN BİYOLOJİ PROJELERİNE ENTEGRASYONU HAKKINDAKİ GÖRÜŞLERİ ... 328 II. MEŞRUTİYET DÖNEMİ İLKÖĞRETİM FEN BİLGİSİ DERS KİTAPLARININ FİZİKSEL ÖZELLİKLER AÇISINDAN
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MATEMATİK DERS KİTAPLARINDA ÖN ÖRGÜTLEYİCİLER AÇISINDAN İNCELENMESİ ... 357 ÖĞRENCİLERİN MİTOZ VE MAYOZ BÖLÜNME KONUSUNU ANLAMA DÜZEYLERİ: ÇİZME-YAZMA TEKNİĞİ ... 373
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BELEDIYELERIN STRATEJIK PLANLARINDA VE FAALIYETLERINDE KADININ YERI VE SIVIL TOPLUM İŞBIRLIKLERI ÜZERINE BIR DEĞERLENDIRME: KARESI
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YÖNELİK TUTUMA ETKİSİ ... 521 ORTAOKUL ÖĞRENCİLERİNİN HESAPLAMALI DÜŞÜNME BECERİLERİ ... 527 TÜRKİYE’DE FARKLI FAKÜLTE ÖĞRENCİLERİ VE ÖĞRETİM ÜYELERİ İLE ÖĞRETMENLERİN, ÖĞRETMEN YETİŞTİRME ÜZERİNE GÖRÜŞLERİ ... 547 SCRATCH PROGRAMI İLE WEB DESTEKLİ İŞBİRLİKLİ
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Teaching (Medusa) Empowerment Through Literature: Humanity’s Need of Meaning in Literature and Myth
*Gillian M. E. Alban
*İstanbul Aydın University, English Language and Literature Department, Istanbul
Abstract
This paper asserts the necessity of myth and literature in our lives, as affording a framework of meaning. The literature we inherit contains a wealth of inspired texts, offering imaginative approaches to life, written under the heat of inspiration. Such fiction, alongside religion and myth, affords humanity an accumulation of wisdom and significance, without which our lives would crumble into chaos. The worth of such accounts has been asserted by writers as different as Matthew Arnold in the nineteenth century, and Yuval Noah Harari in the twenty-first century. I argue for the use of literature and myth, as meaning-making aspects of our lives, in teaching students and teacher candidates. My own specific research into the position of women and their writing has led me to deviate from the well-known heroic myths of adventuring men, preferring instead to use formative mythic figures like Medusa, who offers an insightful story regarding the situation of women, as well as the underprivileged. The Gorgon Medusa was objectified, raped and executed, yet even after her violent death, her transfixing gaze retains the power to petrify, exerting a powerful force over her beholders. Here I demonstrate aspects of the Medusa archetype in relation to literature. Through the works of Margaret Atwood, Angela Carter, Jean Rhys and Toni Morrison, I suggest the use of such novels and stories in the classroom. Such exemplary writings present the metaphorical use of the powerful, enabling gaze of Medusa, also showing her destructive gaze, and her redemptive and maternal aspects in literary texts. In fact any literary and mythic material, ancient or modern, enhances teaching classes and inspires learners. This paper exemplifies my research into the use of myth in literature, indicating ways of presenting valuable literary texts in schools of education.
Keywords: literature, myth, significance, Medusa, interactive gaze, destructive, empowering, redemptive
My aim here, within this educational forum, is to promote the use of literature, arguing the importance, indeed the necessity of literature, fairy tale and myth, in the language classroom, as an integral part of instructing the teachers of the future. Matthew Arnold states that literature is the accumulation of the finest and the best writing of humanity, and we need to “try to know the best that is known and thought in the world” (Arnold in Leitch, 814). He also posits that in the nineteenth century period of grave intellectual and spiritual doubt and questioning, literature extensively took the place of religion. Here I wish to reinforce the statements of this nineteenth-century poet and scholar, Matthew Arnold, with a contemporary writer, who similarly asserts the necessity of fictional networks of meaning for humanity, in his study of humanity’s development. Yuval Noah Harari in his work, Homo Deus: A Brief
History of Tomorrow, outlines humanity’s distinctive and successful use
of patterns of meaning – whether religion, myth or literature, which enable homo sapiens to cooperate and achieve meaningful lives. Humanity dominates the world, Harari argues, because we weave intersubjective webs of meaning. Sapiens use language in order to create new, abstract realities. With our imagination, we ascribe power to invented stories, create intersubjective entities, including gods and nations, which cannot be reduced to scientific hormones or neurons. According to Harari, humans gathered together in nations are dominated by the fictions they create. We are overwhelmingly storytellers, and we ascribe a powerful force to the stories we create, assigning them authority over our lives. Once upon a time, people were prepared to suffer for a “great cosmic drama devised by the gods or by the laws of nature” (234). Now, while many are still driven by such universal, religious plans, others are sceptical regarding any such universal plan, considering, in some of Shakespeare’s words, that “the universe is a blind and purposeless process, full of sound and fury but signifying nothing” (234). Yet we still need to function purposefully, searching for truth and meaning on a planet that we could destroy through our greed and ambition. The fictional accounts that we create are more significant to us than the scientific algorithms or patterns that enable our lives, and we lack the will to operate without their binding force.
Harari gives examples of entities like the Sumerian gods who unified the ancient civilisation of the Sumerians, without any other reality than the mythic tales that posited their force and existence. He compares such deities to modern brands, corporations, or stars, including names like Elvis Presley or Madonna. He further elaborates how the development of writing enabled humanity to facilitate the creation of such fictional entities, enabling humans to experience reality through the mediation of abstract symbols. From the ancient era of Egypt to
contemporary Europe, anything written on paper has become as real to us as trees and humans. Similarly, money has gained an extraordinary force over our lives, without any other reinforcement than our common consent to assign money the abstract value it represents. This is also represented in the American dollar, with the slogan it employs, In God We Trust. The fictional worth of paper money, credit card transactions, stocks and shares, operate throughout the world, to compute and transfer vast masses of value. If someone asserts that these dollars or financial markets are abstract, worthless entities, they will be unable to survive in our world.
Harari explains that the web of meaning afforded by myths and fictions have a force surpassing their own reality, enabling humans to cooperate on significant goals, where other animals remain local and isolated in their endeavours, against human predations. Such fictions determine our goals, effectively dominating us. Through our own individual experience, we come to appreciate the value of binding and formative myths and inspirational literature, incorporating various abstract goals. Teachers inspire their students because they are themselves motivated. Such inspiration comes from curiosity regarding the stories told, and the development of action through empathetic characters, whom we imagine leading parallel fictional lives to our own. Hence literature has a significant place in the classroom, particularly in education studies.
Expository Language Texts, or Literary, Mythic Texts for the Classroom
The International Express Oxford Business English Upper-Intermediate Students’ English book, in Unit 8, includes a discussion entitled “Burberry’s journey through fashion.” Extensive work has gone into creating texts of interest to learners of English, including sports, the environment, travel, amongst many aspects of our lives. Here I sample a topic surely of interest to Turks, who adore fashion, and spend much of their surplus cash on fashion garments and accessories. Still, one wonders how thrilling or significance such a text is:
Burberry, with its distinctive red, black, and camel check, has become a must-have fashion brand. Stars including Madonna, Kate Moss, and David Beckham have sported Burberry goods, helping to boost its image (Harding and Wallwork 83).
Burberry’s colouring has certainly created a distinctive classic. Adding the names of Madonna, Moss and Beckham makes this writing more compelling, indeed incorporating such brands and associated names is part of Harari’s own argument explained above, that humans operate communally under the influence of corporations and super stars. But is
this writing part of the “best that is known and thought” (Arnold 814)? This writing relates how Thomas Burberry founded his business in 1856 with the ‘gabardine,’ and its adaption by Humphrey Bogart in
Casablanca (photo included), including how Burberry reinvented itself
through the creativity and industry of Rose Marie Bravo in 1997. The writing continues:
Rose Marie Bravo left the company in 2006 with a golden handshake of £10 million—thanks for turning the company into a global enterprise now worth over £2 billion. That’s a sum of money Thomas Burberry could only have dreamed about.
This article hones in on a fashion issue of interest to young learners, about a known brand. Just like fiction, it has a story, and people have been involved in the development or history of this project. And there we have it; a few names are dropped, a spark of curiosity is lighted. But…is this a fascinating or bewitching story? How intriguing or compelling are its characters? Will students be compelled to continue reading when they are supposed to move on to their maths problems? As we read about this global enterprise, valued at so many millions, does our pulse quicken? (the phrase used by Peter Widdowson, who advocated the use of literature for this reason). Do we impatiently scan the abstract to see how the story pans out? The film Casablanca it refers to is far more likely to quicken our pulse. We may be excited when we make our own shopping expedition, catching sight of a transformed self in an appealing new outfit, depending on our budget, or wearing it before our friends. But fashion on the page, in a school text book? How much does it compel; is it thrilling? I don’t wish to be entirely negative about the thousands of textbooks made on a plethora of issues; I simply insist on the worthy place of literature and myth amongst such writings.
Let us now consider the imaginary myth of Medusa. This story presents a woman become monstrous when she found herself in rivalry with the goddess Athena, who was herself a key figure for women with the Greeks, in charge of wisdom, textiles, crafts and war. Athena was significant in helping the Greeks, including the super warrior Achilles, during the Trojan war. When Medusa became entangled in a contest with Athena over who was the fairest, Medusa rashly challenged Athena, not a goddess to meddle with. Medusa not only lost her contest with Athena, she was subsequently raped by Poseidon, himself involved in an ongoing struggle with Athena, over which of them would represent the city of Athens. It’s obvious who won that contest, isn’t it? Athena gave Athens the olive tree, contributing food, cooking oil, and oil for use in bathing; the olive also represents peace and prosperity, fictionally binding concepts, and the city permanently adopted her name. Poseidon’s offer of salt water, or even the horse, could not challenge her cultural contribution to the city of Athens.
So returning to Medusa, she is raped by Poseidon, and Athena, far from supporting her, placed the blame squarely on the scapegoat, rather than the perpetrator of the crime; humans had better keep their distance from the gods. Poseidon chose to assault Medusa in Athena’s temple, and Athena is affronted at this sacrilege, punishing the rape victim by giving her snakes for hair. Medusa is henceforth banished to the borderlands of Ocean and Night, together with her sister Gorgons. Then the hero Perseus assigns himself the impossible challenge of bringing back the head of Medusa to his king, to save his mother from this man’s predations, while affording him an opportunity to blazon his own bravery. The monstrous Medusa is surrounded by the petrified bodies of all who look at her, since everyone who faces her is turned to stone. Perseus first ensures the support of Hermes, who gives him winged sandals, a sickle, and a pouch for Medusa’s dangerous head, and Hades contributes a cap of invisibility, before Perseus sets off on his perilous journey. Athena guides his very hand, enabling him to strike Medusa while looking at her reflection in a shield, thus deflecting her penetrating gaze, which would otherwise reduce his boastful prowess to stone. So Medusa becomes a victim of Perseus, but her story does not end there. This rape victim never loses her fame or notoriety, exemplifying the dread force of women whom men fear. Try googling the word Medusa and check the responses and number of books written in her name; she retains a perennial interest. The Metropolitan Museum in New York are exhibiting The Dangerous Beauty of Medusa inClassical and Modern Art throughout this year. The Sadlers Wells theatre in England has recently choreographed a dance show called Medusa. The computer game, Smite, has its own powerful Medusa character, and she figures in various contemporary films.
The story of Medusa shows her as a victim of the patriarchal forces that together mutilate her body, giving her snakes for hair, and then terminate her life, as she is caught up in overwhelmingly powerful forces. Beheaded, she represents women who are raped and subsequently blamed, or those caught up in a popularity contest beyond their means. Aspects of this ancient myth retain a compelling force. When Perseus beheaded Medusa, Pegasus the winged horse of inspiration, and the warrior Chrysaor, sprang from her neck. This original method of birth echoes the birth of Athena, who emerged from the head of Zeus. She calls him father, ignoring Metis, the Titan goddess of wisdom who actually conceived her and transferred her wisdom to her. But when Zeus is warned that any further progeny of Metis would overcome him (like his grandfather Uranus, castrated by his son Chronus, and Chronus, defeated by his son Zeus, whom he failed to swallow), Zeus plays a shape-shifting game with Metis, as Zeus swallows her in the form of a tiny fly. Metis continues to nurture Athena inside Zeus’ head, until Zeus suffers such
horrendous headaches, he begs Hephaestus for some relief. Hephaestus hammers on his head, and out emerges the warrior Athena, armed even to her helmet, with her spear and shield at the ready. Consider the symbolism of the goddess of wisdom emerging from the head of Zeus. So these fascinating stories continue, through many permutations and combinations.
Let’s return to the terrifying, monstrous Medusa, eternally waiting at the remote ends of the world to catch the unwary in her gaze. Consider too the word ‘monster,’ or the noun monstrum, meaning divine omen, portent or sign, and monere, the verb meaning to admonish or warn. Think of the forces of power lined up against Medusa, a downtrodden woman who is executed. She comes to embody the gaze so entirely, Hazel Barnes asserts: “For Sartre, Medusa is the look,” (Barnes 125); when she turns her look on someone, she is utterly invincible, transforming all gazers into stone. The power struggle occurring between Medusa and Perseus has been represented in various aspects, and the DarkAngelWarlord sculpture shows an alternate view, Mythology in
Reverse, where instead of Perseus grasping the bloody head of Medusa,
Medusa is presented with the decapitated head of Perseus in her hand. The wheel ofprescribed genders turns full circle in this compelling reversal. Susan Bowers affirms that as she reclaims potency, Medusa becomes “an electrifying force representing the dynamic power of the female gaze” (Bowers 235).
Interactive Gazes inThe Medusa Gaze in Contemporary Women’s
Fiction: Petrifying, Maternal & Redemptive: Medusa’s Destructive or
Empowering Force
In my book, The Medusa Gaze inContemporary Women’s
Fiction: Petrifying, Maternal and Redemptive, I elaborate the invincible
gaze of Medusa, through discussion of the power interactions between certain characters in contemporary women’s writing.In my initial study written years ago entitled “Mirror Image of Evil,” I observed how certain characters remain helpless before others, even their friends.Novels like Margaret Atwood’s Cat’s Eye, or A. S. Byatt’s The Game show two girls growing up as friends or siblings, with one girl exerting a destructive force against her other, so-called friend, gaining a pernicious control over her mate. In Cat’s Eye, Atwood presents girls at the tender age of nine, as Cordelia tortures her ‘friend’ Elaine to enact her wishes, while Elaine remains helpless under this pernicious influence for years. Elaine is driven to biting her fingernails down to the quick, or to bite off the skin of her toes, as the pain gives her something to concentrate on, while Cordelia and her other ‘friends’ order her what to do, and tantalisingly undermine her. It takes Elaine years to escape Cordelia’s power, while
she remains petrified under her force, needing her friendship, even as she is disempowered by her taunts. Cordelia effectively exerts the power of her Medusa gaze over her putative friend, with Elaine hounded almost to her death. When Cordelia throws Elaine’s hat down into the ravine, and playfully orders her to fetch it back, Elaine drearily goes down into the frozen creek, and falls into the icy water. She virtually gives up and allows herself to freeze, lacking the ability to climb up again.
An almost miraculous escape saves her from this situation, and encourages her to intuit, in sheer desperation, how she might re-assert her own rights against her friend’s influence. When the girls meet in a cemetery, Elaine describes herself as a spook who becomes a dead vampire at night, sleeping in a coffin. She becomes the “predatory Empusa and strangling snakes [which] recall the decadent image of the vampire and further embellish the metaphorical conception of Medusa” (Defendi 28). Turning the tables, this time it is she who terrifies Cordelia, managing to claim the Medusa force for herself. In the power games enacted by these characters, one girl is petrified, effectively turned to stone, by the self-assertive look of her supposed friend, remaining helpless under her predatory eye, until Elaine learns to gain control of her situation and exert her own Medusa gaze, liberating herself from subjugation to her other. The interactions of these doubles in literature demonstrate how people become caught up in a game with each other, as the weaker one is crushed, until the other desperately learns to empower herself and escape the other’s influence. In this extraordinary interaction, which I puzzled over for years, the original victim in both Atwood’s novel, Cat’s Eye and Byatt’s The Game, eventually reasserts her force over her other, in power games like these which occur in literature and in life.
My book The Medusa Gaze demonstrates this ‘Medusa force’ operating between characters within stories, who may be helpless,then gain the power to return their own defiant gaze against their others. We understand each other as we look through the eyes of another, yet at the same time we become entangled within twisted perceptions that return from the gaze of the other or double, with the potential to destroy the psyche.Such mirroring doubles in life and literature both shape, and also threaten, the subject’s integrity.Characters create their ego and identity through interactive gazes, reflected in each other’s mirrors, whether seeing themselves in a narcissistic, affirmative gaze as their compassionate alter ego, or objectified under the hostile gaze of their petrifying other. My book makes a study of such gazes in relationships, showing how people learn to understand each other better through the eyes of another, or become entangled in twisted perceptions, as the gaze of the objectifying other or double returns to destroy the psyche.Such
gazes help us to create ourselves, they empower us, but they may also destroy us, depending on which side of the interaction we stand. If we exert our own gaze, we may destroy those against us. If we become subjugated beneath the gaze of another, they coulddestroy us. Understanding empowerment through the Medusa gaze has the potential to protect us, as we become an ‘evil eye.’We build up our identity as a fortress to defend against the threat of fragmentation from others, creating our inner world against threats from the outside world. Jacques Lacan, in his Mirror Gaze theory, calls this a process whereby the “specular I” that we observe in our own mirror turns into the “social I” of those who surround us. “The child experiences the other as a mirror […] in the birth of the ego” outlines Philippe Julien in his book, Jacques Lacan’s Return
to Freud (30) As Vernant insightfully suggests in “Death in the Eyes,”
“The face of Medusa or Gorgo is the Other, your double. It is the Strange, responding to your face like an image in the mirror […] but at the same time, it is an image that is both less and more than yourself” (Vernant 138).The subject reflects themself (narcissistically) and Others (hostilely), creating their own identity against others’ assaults.
A clear example of such a mirroring interaction occurs in Jean Rhys’ Wide Sargasso Sea, where the two girls, once friends but now involved in an inter-racial scene of enmity, are caught up in a doppelgänger interaction with each other. Antoinette’s home is set on fire by the hostile blacks, who express their anger against the old slave owners’ mistreatment and abuse. These girls had fought, but they had also been girls together. Antoinette sees Tia standing with her mother at a distance, and determines to run to her old friend. When Antoinette runs towards Tia, the other girl picks up a stone to throw at her one-time friend. As Tia throws the stone at her friend, hitting her on the face, it is impossible to tell who is crying and who is bleeding, in this exchange between these girls as doubles. Caught up in each other’s destiny, they see themselves in each other’s mirror. “Antoinette and Tia stare at each other; blood on my face, tears on hers. It was as if I saw myself. Like in a looking-glass” (Wide Sargasso Sea 38).
The Redemptive, Apotropaic, Evil Eye Medusa Gaze
The Medusa who is beheaded, turns her powerful gaze back on the beholder as an apotropaic, evil eye force. She may destroy and petrify with her gaze. She may also become a protective force, turning her ‘evil eye power’ back on the gazer. We all know how the evil eye works— the eye turns back the hostile gaze, reverting the force away and back onto the beholder, in a reflective or apotropaic force, through which terror drives out terror by returning it with a similar counter force. The mortal Gorgon Medusa wields this power as, executed, she gains immortality.
Her powerful figure adorns temples as an apotropaic force, defending worshippers against their enemies, as seen in her statue on the pediment of the Temple of Artemis in Corfu. She is placed on the shield of Athena as her aegis, she also appears on the shield of Achilles, defending and making both goddess and warrior invincible against their foes. Her head is frequently shown on ancient sarcophagi as she extends her power over the dead. The Medusa head is prominent in the newly discovered and restored opus sectile Medusa mosaic in Burdur, in ancient times called Kibyra. This stunning mosaic built into the floor of the Odeon of Burdur, opened to the public in July 2018, shows the ancient Medusa continuing to return her powerful gaze on all beholders.
This protective aspect of Medusa as a redemptive force appears in Angela Carter’s revised fairy tale, “The Bloody Chamber,” showing how the Medusa gaze protects. Here I extensively use the text of this story to illustrate its force; no outline will excite, and summaries are useless and should be avoided. A Bluebeard marquis marries an innocent poor girl, after three previous marriages and the deaths of his wives. The girl’s mother asks her innocent daughter:
“‘Are you sure you love him?’ (2). To which the girl answers: ‘I’m sure I want to marry him.” And would say no more.”
This girl-narrator confesses how much older he was than her seventeen years, and her ignorance of the world. The Marquis had been “married three times within [her] own brief lifetime to three different graces; […] he had invited [her] to join this gallery of beautiful women” (5). She is overwhelmed by his selection of her, and his accumulated experience and riches. “He was rich as Croesus.” “His wedding gift, clasped around [her] throat [is] a choker of rubies, two inches wide, like an extraordinarily precious slit throat” (6), she remarks, without apparently noting the foreshadowing suggested by these gems. The young girl starts to watch herself in the surrounding mirrors, her new dress and jewellery. “I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even of a housewife in the market, inspecting cuts on the slab. […] I caught sight of myself in the mirror[…] I saw how much that cruel necklace became me. And for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.”
The next day [they] were married (6). […] “Into marriage, into exile” (7).
She finds herself on the hereditary matrimonial bed […] surrounded by lilies and multiplied by mirrors. “‘See,’ he said, gesturing towards those elegant girls. ‘I have acquired a whole harem for myself!’” (10). “He
stripped [her,] gourmand that he was, as if he were stripping the leaves off an artichoke” (11), and finally, clad solely in her choker, “A dozen husbands impaled a dozen brides while the mewing gulls swung on invisible trapezes in the empty air outside” (14).
If we understand which story we are reading, we know he will leave her after their sexual consummation. “Then, slowly yet teasingly, as if he were giving a child a great mysterious treat, he took out a bunch of keys.” […] “‘What is that key?’ she asks, ‘The key to your heart? Give it to me’ ‘Ah no,’ he said. Not the key to my heart. Rather, the key to my enfer’” (18).
When she starts exploring the magnificent mansion built on a prominence in the middle of the sea, she “felt no fear, no intimation of dread.” (25). She quotes her husband’s favourite poet: “‘There is a striking resemblance between the act of love and the ministrations of a torturer,’” as she reveals “the instruments of mutilation” (26) he had used against his previous wives. Penetrating to the core of his hell, she finds the three mutilated bodies. “The opera singer lay, quite naked, under a thin sheet of rare and precious linen. [...] On her throat […] the blue imprint of his strangler’s fingers […] the dead lips smiled” (27). A beautiful disembodied skull was strung up, as she realises: “One false step, oh, my poor, dear girl, next in the fated sisterhood of his wives, one false step and into the abyss of the dark you stumbled” (27). Where was the Romanian countess? “She was pierced, not by one but by a hundred spikes” (in the Iron Maiden), “this child of the land of the vampires who seemed so newly dead, so full of blood” (28), as the baleful light caught the fire opal on the girl’s hand […] “as if to tell me the eye of God—his eye—was upon me. My first thought, when I saw the ring for which I had sold myself to this fate, was, how to escape it” (28).
So the man who had left mysteriously on his honeymoon night, just as enigmatically returns to punish her for doing what he knew she would inevitably do.
“‘My virgin of the arpeggios, prepare yourself for martyrdom.’ “‘What form shall it take?’ ‘Decapitation,’ he asserts. She declares: “‘I only did what he knew I would,’ naturally; ‘Like Eve’” (38).
“I have a place prepared for your exquisite corpse in my display of flesh” (39).
“And then—a great battering and pounding at the gate, […] the frenzied neighing of a horse! […] The blade did not descend, the necklace did not sever, my head did not roll, the beast wavered in his stroke” (40). The girl’s mother, forewarned by her daughter’s tears as she described her
gold bath taps while talking on the phone, the very dolphin-eyed taps that afford an evil eye protection against this savage beast, gallops to her rescue: “The Marquis stood transfixed, utterly dazed, at a loss […] The puppet master, open-mouthed, wide-eyed, impotent at the last, saw his dolls break free of their strings,” witnessing the revolt of his pawns. “You never saw such a wild thing as my mother. […] And my husband stood stock-still, as if she had been Medusa, the sword still raised over his head as in those clockwork tableaux of Bluebeard that you see in glass cases at fairs” (40). The girl’s mother comes to protect her innocent daughter with her powerful Medusa gaze, transfixing the marquis and preventing him from executing her daughter even before she can shoot her gun at him. Against this powerful, protective force, the marquis remains helpless, disempowered, impotent. Here the mother becomes an apotropaic force defending her daughter against the man who determines to entrap this girl in his Bluebeard coils. She offers a three-fold Medusa force; one is the apotropaic, redemptive force protecting her daughter like a shield or an evil eye. She protects her as a maternal force. Also she operates as a destructive force, killing the man who threatens her child.
Many of Carter’s writings, particularly her Gothic, deconstructed short stories, lend themselves to engagement in the classroom. Her various Beauty and the Beast, and Bluebeard stories illuminate predatory men, indicating women’s enabling responses to them, far from traditional fairy tales and their entrenched gender roles. Such stories are a vital resource, including “Tiger’s Bride” and “Company of Wolves,” where Carter suggests it may be advisable not to allow the wolf to get on top.
The Maternal Gaze, and Using Literature
This fascinating, Gothic tale suggests how literature inspires, and how texts may empower. A further aspect of the Medusa gaze is maternal, as shown above, with the mother protecting her child. This can be further seen in Toni Morrison’s Beloved, when the escaped slave, Sethe, confronts schoolteacher and sheriff with her unearthly Medusa gaze— these powerful men can neither see her eyes nor face her, although she has been compelled to kill her daughter. Sethe’s ‘too thick love’ (193) for her child, in Morrison’s Beloved, makes her a monstrous evil eye. Freud has suggested this view of Medusa, in his writing on “The Medusa Head,” where he regards Medusa as the powerful threat of the mother’s genitals, which he sees as castrating, while also stimulating to men; Miriam Robbins Dexter in “Ferocious, Erotic Medusa” (39) calls this “rather confused thinking” (39). Hélène Cixous responds to such Freudian thinking on this issue, in “The Laugh of the Medusa,” as she encourages women to achieve the “emancipation of the marvelous text of herself.” “You only have to look at the Medusa straight on to see her.
And she’s not deadly. She’s beautiful and she’s laughing” (23-24). The male perspective offers an objectified view of women, assumed helpless object of the male gaze, as pure sex: “the jitters that gives them a hard on.” This view reduces women to two horrifying options; either to be the monstrous Medusa, or to drown in the abyss;the devil or the deep blue sea, Scylla and Charybdis, as expressed by Cixous. Does a women necessarily have to be a mere object, or does she need to become monstrous in order to liberate herself from this perspective?
Here I assert that literature, myth and fairy tale are compelling writings, stimulating their readers towards certain goals, and necessary in the classroom. The sheer enjoyment of reading is imperative—never bother with summaries. Discussion, encouraging the students to respond in any way they wish, at any personal or universal level, is key. Students may reflect on gender aspects, class/ status elements, or race, in pondering the interplays within such stories. I also find teaching the Medusa gaze of women as petrifying, destructive and empowering, personally empowers students in their lives. There are many aspects of Medusa; monstrous or furious, protective and maternal, operating as an evil eye. My research proves that Medusa women may be monstrous and should be taken seriously! In sum, simplyenjoy exploring the fascination of literature in the teaching classroom.
References
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Carter, A. (1979). The Bloody Chamber and other Stories. London: Vintage, 2006.
Cixous, H. (2012). “The Laugh of the Medusa.” Signs, The University of Chicago Press, 1/4, 1976: 875-93. JSTOR.
Defendi, A. S. (2000). “Arturo Graf’s ‘Medusa:’ Toward a Demystification of Myth.” Italica, 77/1, 26-44. JSTOR.
Dexter, M. R. (2010). “The Ferocious and Erotic ‘Beautiful’ Medusa and the Neolithic Bird and Snake.” Journal of Feminist Studies in
Religion, 26/1, 25-41.
Freud, S. (2003). “Medusa’s Head.” In The Medusa Reader, Garber & Vickers. New York: Routledge, 84-86.
Garber, Marjorie&Nancy Vickers (2003). The Medusa Reader. New York: Routledge.
Harari, Y. N. (2017). Homo Deus: A Brief History of Tomorrow. London: Vintage.
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and Criticism.
Morrison, T. (1987). Beloved. London: Vintage. Rhys, J. (2000). Wide
Sargasso Sea. 1966. London: Penguin.
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Mortals and Immortals. Trans. Thomas Curley & Froma I.
Zeitlin. In The Medusa Reader, Garber & Vickers. New York: Routledge, 210-231.
Uluslararası Değerlendirmelerde Başarılı Ülkeler ve Türkiye’deki Fen Öğretmenlerinin Mesleki Gelişim Faaliyetlerine Katılımının Fen
Başarısı Açısından Karşılaştırmalı Olarak Değerlendirilmesi
Comparative Evaluation of Participation to Professional Development Activities between the Science Teachers from the Countries that are
Internationally Successful and from Turkey in Terms of Science Achievement
Dr. Umut Birkan ÖZKAN
Milli Savunma Üniversitesi, umutbirkanozkan@gmail.com
Özet
PISA ve TIMSS, ülkelerin fen başarılarını farklı değişkenleri göz önüne alarak sunan uluslararası araştırmalardır. Bu çalışmada, Türkiye’nin fen alanına yönelik başarı durumu, fen öğretmenlerinin mesleki gelişim faaliyetlerine katılımı açısından son yapılan değerlendirmelerde ilk beş sırayı alan ülkeler ile karşılaştırılmıştır. Nitel araştırma yöntemlerinden doküman inceleme yönteminin kullanıldığı bu çalışmada bütüncül çoklu durum deseni kullanılmıştır. PISA-2015 ve TIMSS-2015 (8. sınıf) değerlendirmesinde fen alanında ilk beş sırayı alan ülkeler ve Türkiye’ye ait veriler araştırmanın evrenini oluşturmaktadır. Tespit edilen evrenin tamamına ulaşıldığından ayrıca örneklem tayinine gidilmemiştir. Toplanan verilerin incelenmesinde içerik analizi yönteminden yararlanılmıştır. PISA-2015 ve TIMSS-2015 verilerine göre, fen alanında ilk beş sırada yer alan ülkelerdeki fen öğretmenlerinin Türk öğretmenlere göre mesleki gelişim faaliyetlerine daha fazla katıldıkları bulgusuna ulaşılmıştır. Bununla birlikte, Türkiye’de sosyo-ekonomik durum açısından alt grupta yer alan okulların fen başarı puanlarının ve bu okullardaki fen öğretmenlerinin mesleki gelişim faaliyetlerine katılım oranlarının üst grupta yer alan okullardakilere göre düşük olduğu görülmektedir. PISA-2015’de ve TIMSS-2015’de ilk beş sırayı alan ülkelerde sosyo-ekonomik profillerin tamamında yer alan okullardaki fen öğretmenlerinin mesleki gelişim faaliyetlerine katılım oranı ve fen başarı puanı ortalaması, Türkiye’den daha fazladır. Ayrıca, Türkiye’de fen öğretmenlerin mesleki gelişim faaliyetlerine katılımlarının düşük olması, Avrupa Komisyonu tarafından hazırlanan Eğitim ve Öğretim Stratejik Çerçevesi’nde öğretmenlerin mesleki gelişimleri konusunda vurguladığı düşüncenin oldukça uzağında olduğunun bir göstergesidir. Bu araştırmada; fen öğretmenlerinin mesleki gelişim faaliyetlerine katılma oranlarının uluslararası değerlendirmelerde başarılı olan ülkelerin ortalamaları düzeyine çıkarılmasının öğrencilerin fen başarılarını artırabileceği, uluslararası eğitim değerlendirme çalışmalarında Türkiye’nin fen alanında üst sıralarda yer almasına ve
Avrupa Birliği’nin öğretmenlerin mesleki gelişimleriyle ilgili temel odağının yakalanmasında olumlu yönde katkı sağlayabileceği sonucuna varılmıştır. Araştırma sonuçlarına göre; fen öğretmenlerinin mesleki gelişim faaliyetlerine katılım olanaklarının artırılmasına ve bunlardan yararlanmasına yönelik olarak politika yapıcılar ve eğitim yöneticilerinin politika ve stratejiler geliştirmesi, mesleki gelişim faaliyetlerine katılımın fen başarısı ile ilişkisini ortaya koymaya dönük kapsamlı ve uzun soluklu araştırmalar yapılması önerilmiştir.
Anahtar Kelimeler: PISA, TIMSS, Fen Başarısı, Mesleki Gelişim. Abstract
PISA and TIMSS are the international surveys which report countries’ science achievement considering different variables. Study compares Turkey’s science achievement to top five countries in the most recent surveys in means of participation status of the teachers in professional development activities. Holistic multiple-case pattern is used in this study where document reviewing is used as a qualitative research method. Universe of the research is limited with data of top five countries in PISA-2015 and TIMSS-2015 (8. Grade) evaluation results and of Turkey. No samples are set as determined universe is completely accessible. Gathered data are examined using content analysis methodology. It is discovered that teachers of top five countries in science according to PISA-2015 and TIMSS-2015 participate in more activities of professional development than their counterparts in Turkey. Moreover, it is seen that science scores and teachers’ activity participation rate of low socio-economic-level schools are lower than the ones in the high-level group. Both participation rate of teachers and average science scores of schools from all socio-economic-levels of top five countries in PISA-2015 and TIMSS-2015 are higher than those in Turkey. Besides; the low rate of participation in activities in Turkey is an indicator of divergency in vision of the European Commission about teachers’ development in Education and Training Strategic Framework. This research states that it is possible to raise student success in science, that Turkey can rank higher in international evaluations and can catch up with Europe Union’s focus about professional developments; by raising the rate of participation in activities to the average rate of successful countries. According to the researches; improving policies and strategies, conducting comprehensive long-term researches to expose relation between participating in activities and success in science, are advised to policy makers and education managers to increase activity participation and advancing opportunities for science teachers.
Keywords: PISA, TIMSS, Scince Achievement, Professional
Giriş
2015 yılında iki büyük uluslararası öğrenci değerlendirme çalışması paralel olarak yürütülmüştür. Bunlar; Ekonomik İşbirliği ve Kalkınma Örgütü (OECD)'nün Uluslararası Öğrenci Değerlendirme Programı (PISA) (OECD, 2017) ve Uluslararası Eğitim Başarılarını Değerlendirme Kuruluşu (IEA) 'nun Uluslararası Matematik ve Fen Eğilimleri Araştırması (TIMSS) (Foy, 2017)’dır. 2000 yılından itibaren başlatılan PISA çalışmalarına Türkiye 2003 yılından itibaren düzenli olarak katılmaktadır (T.C. Milli Eğitim Bakanlığı [MEB], 2013:6). PISA’da 15 yaş grubu öğrencilerinin okuma becerileri, matematik okuryazarlığı ve fen okuryazarlığı alanlarındaki temel beceriler üzerinde durulmaktadır (MEB, 2010:1). PISA gibi uluslararası ölçme-değerlendirme çalışmalarından biri olan TIMSS, ülkelerin kendi eğitim sistemlerini inceleme fırsatı veren ve öğrencilerin fen ve matematik alanlarındaki başarı durumlarının yıllara göre izlenebildiği bir çalışmadır (MEB, 2003). Dört yılda bir uygulanan TIMSS’e Türkiye 1999, 2007, 2011, 2015 yıllarında katılmış olup bir sonraki değerlendirmenin 2019 yılında yapılması planlanmaktadır. Buna göre, hem PISA’da hem de TIMSS’de öğrencilerin fen bilgisi alanındaki başarı düzeyleri değerlendirilmektedir.
Oral ve McGivney (2013:2)’e göre uluslararası değerlendirmeler, ülkelerin eğitim faaliyetlerinde başarılı ve başarısız oldukları alanların belirlenmesinde önemli olanaklar sunmaktadır. Politika yapıcılar ve kamuoyu, PISA gibi uluslararası değerlendirmeleri eğitim sistemi performansı için güçlü ve meşru bir vekil olarak kabul etmektedir (Breakspear, 2014:6). Genel olarak, TIMSS ve PISA gibi uluslararası öğrenci başarısı ölçütleri, ulusal ve uluslararası eğitim politikalarının geliştirilmesinde giderek daha kritik hale gelmektedir (Horsley & Sikorová, 2014:43). Aynı zamanda, yapılan bu uluslararası değerlendirmelerin, Türkiye’nin dünya eğitim liginde kendini kıyaslayabileceği bir platform olduğu da söylenebilir (Siyaset, Ekonomi ve Toplum Araştırmaları Vakfı [SETA], 2016:1).
PISA ve TIMSS değerlendirmelerinde başarı testlerinin yanında öğrencilere, öğretmenlere, velilere ve okul yöneticilerine sosyoekonomik ve kültürel arka planlarını tespit etmeye yönelik anketler uygulanmaktadır. Söz konusu anketler kullanılarak öğrencilerin akademik başarılarında etkisi olan eğitimsel ve toplumsal faktörlere dair bilgiler toplanmaktadır (Oral ve McGivney, 2013:3). Bu anketlerden birisi, öğretmenlerin mesleki gelişim faaliyetlerine katılım durumunu belirlemeye yönelik ankettir. PISA 2015’de okul yöneticilerinden, son üç ayda herhangi bir mesleki gelişim programına katılan tüm öğretmenlerin ve fen bilgisi öğretmenlerinin yüzdesini bildirmeleri istenmiştir (Taş,
Arıcı, Ozarkan, & Özgürlük, 2016:47). TIMSS 2015’de ise uygulamaya katılan 8. sınıf fen bilgisi öğretmenlerine son iki yıl içerisinde mesleki gelişim etkinliklerine katılıp katılmadıkları sorulmuştur (Yıldırım, Özgürlük, Parlak, Gönen & Polat, 2016:39,87). Bu anket sorularından elde edilen verilerle değerlendirmeye katılan ülkelerdeki fen öğretmenlerinin mesleki gelişim etkinliklerine katılım durumları belirlenmiştir.
Mesleki gelişim terimi, okullarda yapılan mesleki gelişim faaliyetleri için sık sık kullanılıyor olsa da mesleki gelişim; öğretmen yetiştirme eğitimi, göreve başlama kursları, hizmet içi eğitim ve okul ortamlarında sürekli mesleki gelişim de dahil olmak üzere öğretmenleri işlerine hazırlamak için sistematik faaliyetler bütünü olarak görülmektedir (Hendriks, Luyten, Scheerens, Sleegers, & Steen, 2010:19). Mesleki gelişim, öğrencilerde bariz eğitimsel çıktılar meydana getirmek için gerekli olan personel becerilerini ve yetkinliklerini geliştirme süreci olarak tanımlanabilir (Hassel, 1999:1). Bu süreçte, eğitimcilerin mesleki bilgi, beceri ve tutumlarını geliştirmek için bir takım ameliyeler ve faaliyetler tasarlanmaktadır (Guskey, 2000:16). Bu tür etkinlikler, öğretmenlerin alan bilgisi ve pedagojik uygulamalar konusunda kendilerini güncellemelerine yardımcı olmaktadır (Mostafa & Pál, 2018:29). Mesleki gelişim; öğretmenlerin çalıştığı okullarda ya da okullar veya okulların öğretmenleri arasındaki işbirliği sayesinde (diğer okullara veya öğretmen örgütlerine gözlemsel ziyaretler gibi), kurslar, çalıştaylar veya resmi yeterlilik programları biçimindeki harici uzmanlık yoluyla sağlanabilmektedir (OECD, 2009:49). Öğretmenlerin mesleki gelişim programlarına katılımı, kendi deneyimlerinin ve katıldıkları mesleki gelişim programının sunduğu gelişim olanaklarının bir karışımı ile oluşmaktadır (Daugbjerg, & Sillasen, 2016:100).
Eğitim kadrosunun mesleki gelişimi, öğrenci başarısını artırmada neredeyse her eğitimsel çabanın merkezinde yer almaktadır (Supovitz, & Turner, 2000:963). Alanyazındaki çalışmalar, öğretmenlerin mesleki gelişim faaliyetlerine katılımının öğrenci çıktılarını olumlu yönde etkilediğini göstermektedir (Darling-Hammond & Rothman, 2011; Hattie, 2009; Petrie & McGee, 2012; Supovitz & Turner, 2000; Timperley, Wilson, Barrar, & Fung, 2007; Villegas-Reimers, 2003). Darling-Hammond & Rothman (2011:1)’a göre öğretmenler, öğrenci başarısında okulla ilgili en önemli faktörlerden biridir ve öğretmen etkinliğini geliştirmenin genel öğrenci başarı düzeylerini artırabileceğini açıkça gösteren kanıtlar vardır. Öğretmenlerin mesleki gelişimi, öğretimin iyileştirilmesi ve sonuçta öğrenci başarısının geliştirilmesi için önemli bir araç olarak kabul edilmektedir (Petrie, & McGee, 2012:59). Villegas-Reimers (2003:141), öğretmenlerin mesleki gelişiminin, eğitim reformlarının başarısı ve öğrencilerin öğrenmesi üzerinde önemli bir
