Relevant bibliographies by topics / Art, Yoruba

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, Yoruba'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 March 2023

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Journal articles on the topic "Art, Yoruba"

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Adepoju, Oluwatoyin Vincent. "Adapting Yorùbá Epistemology in Educational Theory and Practice in Nigeria." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v3i1.129918.

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What is the value of Yoruba epistemology, theory of knowledge, particularly its philosophy of perception, to humanity in general, and to contemporary Nigeria, in particular? How does Yorùbá epistemology connect with educational theory and practice in Nigeria? This essay recognizes but goes beyond the more general overviews on classical Yoruba education and its contemporary significance represented in works of Yorùbá and Africanist scholars. I demonstrate the significance of Yoruba philosophy of education beyond its cultural context, by projecting its universal and timeless value, foregrounding its distinctive concepts in dialogue with ideas from other cultures. In its engagement with Nigerian educational dynamics, the essay concentrates, first, on Yoruba epistemology in its intersection with ethical and metaphysical perspectives from Yoruba thought. Second, the essay deploys the African art-centered investigations of the role of the senses in relating with art, understood as paradigmatic of navigating the world.
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Olaleye-Otunla, Olufemi Joseph, Eyitayo Tolulope Ijisakin, Babasehinde Augustine Ademuleya, and Mosobalaje Oyebamiji Adeoye. "Beyond Frank Willett: The Need for Compositional Analysis of Yoruba Art Objects." Mediterranean Journal of Social Sciences 13, no. 2 (March 5, 2022): 76. http://dx.doi.org/10.36941/mjss-2022-0018.

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Since the pioneering efforts of Frank Willett that examine the Yoruba arts, there remains a yearning gap to holistically investigate the material contents and classification of Yoruba art objects. For proper documentation, information and placement of Yoruba arts, the need for a scientific material compositional analysis of Yoruba arts cannot be overemphasised. This discourse employs a qualitative and evaluative mode of research to emphasize the need, importance and prospects of proper scientific material investigation of Yoruba arts. The study provides information on Frank Willett, the Yoruba people, and relevant studies on the Yoruba arts. It further discusses compositional analysis through the lens of literature, art authentication, and makes a case for authenticating Yoruba art collections. Considering the elegance and importance of African arts and antiquities, the findings of this study show that the provenance of Yoruba art objects has not received adequate attention; this has consequently resulted into illegal excavation, manipulations, and trade of Yoruba art collections. The study concludes that there is utmost importance and necessity for scientific material probing of Yoruba art, if it must go beyond the point where Frank Willett stopped. Hence, the need for all African art historical scholars to prospect for scientific probing of the material contents of Yoruba arts objects. Received: 13 January 2022 / Accepted: 28 February 2022 / Published: 5 March 2022
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Okediji, Moyo. "Art of the Yoruba." Art Institute of Chicago Museum Studies 23, no. 2 (1997): 164. http://dx.doi.org/10.2307/4104382.

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Stokes, Deborah. "Authorship in Yoruba Art." African Arts 32, no. 4 (1999): 10. http://dx.doi.org/10.2307/3337661.

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Abiodun, Rowland. "On the Imperative of Language for Understanding African Art." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v2i2.130129.

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I was deeply touched and honored by the roundtable organized at the 2016 African Studies Association Conference to focus on my book, Yoruba Art and Language: Seeking the African in African Art (2014). I want to thank Professor Funṣọ Afọlayan for contacting and bringing together a formidable group of scholars of Yorùbá art and culture to that end. I was gratified that, by and large, all the panelists endorsed my premise on the fundamental importance of language in Yorùbá art studies. The first paper by Moyọ Okediji was a pleasant surprise. Even though this possibility has always existed, as I had taught a course in Yorùbá art entirely in Yorùbá language at the University of Ifẹ (renamed Ọba ̀ ́fẹmi Awo ́ ́lọẃ ọ University) in ̀ the 1980s1 , no one was expecting that his entire contribution to the roundtable discussion would be presented in Yorùbá language. Why not? I realized. The language is as fully developed as any other language in the world and it can, and should be spoken as well as written -- especially when we discuss Yorùbá art. For the benefit of those not literate in Yorùba language, Michael Af ́ ọlayan gave an elegant translation of Okediji’s paper in English. The excellent contents and presentation by Okediji touched on issues that lay at the heart of my book, namely its methodology and its insistence on the need for a Yorùbá voice to be heard literally and metaphorically in art historical discourse.
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Duran, Jane. "Yoruba Work and Art Categorization." Philosophia Africana 9, no. 1 (2006): 35–40. http://dx.doi.org/10.5840/philafricana2006919.

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Perani, Judith, and Mark Fleming. "Yoruba Art of West Africa." African Arts 21, no. 2 (February 1988): 93. http://dx.doi.org/10.2307/3336548.

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Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
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Cowcher, Kate. "Trash Talking: Yoruba Art beyond Beauty." Art History 35, no. 4 (August 9, 2012): 860–62. http://dx.doi.org/10.1111/j.1467-8365.2012.00925.x.

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Picton, John. "Yoruba: A Celebration of African Art." African Arts 25, no. 1 (January 1992): 82. http://dx.doi.org/10.2307/3337025.

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Dissertations / Theses on the topic "Art, Yoruba"

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Ijagbemi, Bayo 1963. "O-okun Yoruba in Yoruba art historiography: History, problems and prospects." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278548.

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One of the most obtrusive features of Yoruba studies has been its clear pattern of regional preferences and biases in its scholarship. This pattern is reflected in the present concentration of studies on the southwest, the northwest, the central subgroups of Ife, Owo, Ijesha, Egba, Ijebu, Oyo, and Ilorin on one hand, and the paucity of works on the northeast and southeast subgroups of the O-okun Yoruba, the Igbomina, the Ikale and the Ilaje on the other. There is no other subgroup where this particularistic trend in Yoruba studies and especially, art historiography can better be observed than with the scholarly neglect of the O-okun peoples, the most northeasterly of the Yoruba subgroups. An important goal of this thesis is to foreground the multi-culturalistic tendencies among the Yoruba and underscore the necessity to provide comparable scholarly attention to neglected subgroups, the O-okun peoples in particular.
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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.

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Famule, Olawole Francis. "Art and Spirituality: The Ijumu Northeastern-Yoruba Egungun." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.

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Diebold, Paige. "Yoruba Applique Lappets." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1308073741.

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Thapalyal, Hyland Ranjana. "Education as mutual translation : a Yoruba and Vedantic interface for art school pedagogy." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19357/.

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This thesis proposes that concepts of self and mutuality with others, found in ancient Indian (Hindu Vedantist) and Yoruba (West African) philosophies can be applied to art school pedagogy and potentially beyond. Mind, self, identity and agency in these traditions echo recent thinking on the student being by Ronald Barnett, and critical consciousness as defined by Paulo Freire. Situating oneself as part of, yet distinct from others, leads naturally to reflection on the nature of self and identity; the thesis urges that art education engage with more awareness of students as cultural, political, and ontological entities, and with learning and teaching as an act of mutual exchange. In support, case studies are presented, gathered through dialogic interviews in a project called 4 Minds. These capture students’ experience of art school pedagogy, Yoruba and Vedantic ideas of the self in relation to society, and their views on the constitution of the self and its role in education. Research methodology and methods employed are reflexive and phenomenological; their impetus has come from responses to a course on Yoruba, Hindu and postcolonial theory, leading to an in-depth examination of its contents, pedagogic tools, and implications for creative education. From this has emerged a theoretical framework for extracting key elements of the originating course and its pedagogic strategies, underscored by specific Yoruba and Vedantic concepts in dialogue with Barnett and Freire.
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Waite, Renée B. "African Concepts of Energy and Their Manifestations Through Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469715071.

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January, LaTricia M. "Beyond the Threshold: Allusions to the Òrìsà in Ana Mendieta's Silueta Series." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1391.

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The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.
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Junior, Ademir Ribeiro. "Parafernália das mães-ancestrais: as máscaras gueledé, os edan ogboni e a construção do imaginário sobre as \"sociedades secretas\" africanas no Recôncavo Baiano." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-22092008-150603/.

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Esta dissertação constitui-se de um estudo da cultura material de origem africana em que se investiga a produção, circulação, utilização e descarte de objetos africanos e afro-inspirados, aos quais eventualmente no Brasil agregam-se novos significados. Tratamos particularmente de duas produções características dos iorubás: as máscaras gueledé e os edan ogboni. Alguns desses objetos constam em coleções no Brasil, e seu uso em cultos religiosos afro-brasileiros do Recôncavo Baiano, no passado, é mencionado na literatura especializada. Na Nigéria e no Benim as máscaras de madeira denominadas gueledé e as estatuetas de liga de cobre edan são insígnias de duas importantes instituições tradicionais dos iorubás: a associação Gueledé e a associação Ogboni, respectivamente. Esses objetos estão associados a entidades espirituais (Iyami e Onilé) que segundo a cosmogonia desse povo são as grandes mães ancestrais da humanidade. Alguns pesquisadores se valem da presença desses artefatos no Brasil para fundamentar a hipótese da reestruturação dessas instituições iorubás no Recôncavo Baiano, no final do período colonial. Outros autores, indo além, associam a suposta \"sociedade Ogboni brasileira\" com episódios das revoltas dos malês. Tomando-se a análise do ciclo de vida desses artefatos como instrumental metodológico, verificamos, no entanto, que o aparecimento dessas peças aqui no Brasil pode ter se dado não por causa da transplantação dessas instituições tradicionais africanas, mas por questões ligadas à permanência dos aspectos mais profundos da cosmologia iorubá dentro dos próprios terreiros de candomblé, e também pela disputa por reconhecimento e poder entre os mais antigos deles, evidenciando a potencialidade que esses artefatos têm de transmissão e preservação da memória coletiva de um terreiro. Neste estudo, além do ciclo de vida das peças, levam-se em consideração aspectos morfológico e tecnológicos da produção desses artefatos, em que se incluem os espaços que lhes são associados, bem como aspectos do universo simbólico que deu sentido a essas peças e animou seu ciclo de vida.
This dissertation results from a study of the material culture of African origin, in which the manufacture, circulation, use and discard of African and African-inspired objects are investigated. Two kinds of characteristic yoruba production are focused: the geledé masks and the edan ogboni statuettes. Some of these objects are found in Brazilian collections, and their use in Afro-Brazilian religious cults in Recôncavo Baiano in the past is mentioned in the experts\' writings. In Nigeria and Benin the wooden masks called geledé and the cooper alloy statuettes edan are insignia of important traditional yoruba institutions: the Geledé Association and the Ogboni Association, respectively. These objects are associated to spiritual entities (Iyami and Onile) who, according to the cosmology of this people, are the great ancestor mothers of the humankind. Some researchers allege the presence of these artefacts in Brazil in order to prove the hypothesis of reestructuring of those yoruba institutions in Recôncavo Baiano at the end of the colonial period. Other authors go even further, associating this supposed Brazilian Ogboni Association to the Malê rebellion (1809). Using the analisys of the life cycle of those artefacts as a methodological tool, we found that the apparition of those objects here in Brazil may be due not to the transplantation of those traditional African institutions, but to issues linked to the permanence of the most profound aspects of yoruba cosmology inside the own terreiros de candomblé, and also to the dispute for recognizement and power among the oldest of them, so showing the potential these artefacts have to transmit and preserve the collective memory of a terreiro. In this study, in addition to the life cycle of those pieces, morphological and technological aspects of their production are considered, including also the spaces which are associated to them, as well as aspects of the symbolic universe which provide meaning to these objects and animated their life cycles.
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Nour, A. I. "Developing African art : innovation and tradition seen through the work of two artists; Lamidi Fakeye and Ahmed Shibrain." Thesis, University of St Andrews, 2006. http://hdl.handle.net/10023/2620.

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The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.
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Watson, Ruth. ""Civil disorder is the disease of Ibadan" : chieftaincy & civic culture in a Yoruba city /." Athens : Oxford : Ibadan : Ohio University Press ; James Currey ; Heinemann Educational Books, 2003. http://catalogue.bnf.fr/ark:/12148/cb388554486.

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Books on the topic "Art, Yoruba"

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John, Drewal Henry, Pemberton John 1928-, Homberger Lorenz, and Museum Rietberg, eds. Yoruba, art and aesthetics. [New York]: Center for African Art, 1991.

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Philippe, Dagen, Musées du Château de Nantes, and Expression(s) décoloniale(s) (2nd : 2021 : Nantes, France), eds. Romuald Hazoumè: Yoruba universel. Nantes]: Les éditions Château des ducs de Bretagne, 2021.

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Patton, Pedro Pablo Aguilera. Religión y arte yorubas. La Habana: Editorial de Ciencias Sociales, 1994.

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Patton, Pedro Pablo Aguilera. Religión y arte yorubas. La Habana: Ciencias Sociales, 1996.

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Beier, Ulli. Thirty years of Oshogbo art. [Bayreuth, West Germany]: IWALEWA, 1991.

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Beier, Ulli. A sea of indigo: Yoruba textile art. Enugu, Nigeria: Fourth Dimension Publishing, 1997.

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Babatunde, Lawal. Oyibo: Representations of the colonialist other in Yoruba art, 1826-1960. Boston: African Studies Center, Boston University, 1993.

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Drewal, Henry John. Gẹlẹdẹ: Art and female power among the Yoruba. Bloomington: Indiana University Press, 1990.

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Rowland, Abiodun, Drewal Henry John, Pemberton John 1928-, and Museum Rietberg, eds. The Yoruba artist: New theoretical perspectives on African arts. Washington: Smithsonian Institution Press, 1994.

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MacGougan, Sharon. Nok & juju: Nigerian art and music. Richmond, B.C: Briarwood Pub., 1992.

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Book chapters on the topic "Art, Yoruba"

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Ogunyemi, Kemi. "The Art and Ethics of Business: Through African (Yoruba) Lenses." In Another State of Mind, 230–45. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137425829_18.

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Huylebrouck, Dirk. "Multiplication in the Yoruba and “Ethiopian” Way." In Mathematics, Culture, and the Arts, 107–23. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04037-6_6.

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Oyĕwùmí, Oyèrónkẹ́. "Beyond Gendercentric Models: Restoring Motherhood to Yorùbá Discourses of Art and Aesthetics." In Gender Epistemologies in Africa, 223–38. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230116276_11.

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Ademosu, Temitope, Tutiette Thomas, and Sola Adebiyi. "Madness, Mythopoetry and Medicine." In International Perspectives in Values-Based Mental Health Practice, 95–102. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47852-0_11.

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AbstractThis chapter draws on a detailed transgenerational case study, the story of ‘Masimbo’, which involves migration, to highlight the conceptualisation and journey of mental illness within an African cultural perspective. In Masimbo’s story, African understandings of mental disorder are side-lined by Western approaches with untoward consequences for him and his family. The implication that is drawn from this, however, is not that African perspectives should replace Western approaches but rather that they should be used together. Thus, Masimbo’s story is illuminated with comments woven in from both an African (Yoruba traditional conceptualisation) and a systemic psychotherapy perspective. This shows how respecting both perspectives is possible and preferable from a person-centred point of view as different narratives/understandings are foregrounded and backgrounded like a tapestry, promoting an approach in which mental illness and the nuances that culture brings, is appreciated and worked with. We conclude with a reflection on the nature of storytelling as mythopoetry within African culture and its role in bridging between perspectives in mental health.
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"The Fashionable World of the Yoruba." In Cloth, Dress and Art Patronage in Africa. Berg, 1999. http://dx.doi.org/10.2752/9781847888662/cdart0013.

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"Body Art: Yoruba Women’s Tattoo Fashion and Memories." In Fashion: Exploring Critical Issues, 75–88. BRILL, 2012. http://dx.doi.org/10.1163/9781848881488_008.

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Asubiaro, Toluwase Victor, and Ebelechukwu Gloria Igwe. "A State-of-the-Art Review of Nigerian Languages Natural Language Processing Research." In Advances in IT Standards and Standardization Research, 147–67. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-3468-7.ch008.

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African languages, including those that are natives to Nigeria, are low-resource languages because they lack basic computing resources such as language-dependent hardware keyboard. Speakers of these low-resource languages are therefore unfairly deprived of information access on the internet. There is no information about the level of progress that has been made on the computation of Nigerian languages. Hence, this chapter presents a state-of-the-art review of Nigerian languages natural language processing. The review reveals that only four Nigerian languages; Hausa, Ibibio, Igbo, and Yoruba have been significantly studied in published NLP papers. Creating alternatives to hardware keyboard is one of the most popular research areas, and means such as automatic diacritics restoration, virtual keyboard, and optical character recognition have been explored. There was also an inclination towards speech and computational morphological analysis. Resource development and knowledge representation modeling of the languages using rapid resource development and cross-lingual methods are recommended.
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Iguisi, Osarumwense. "Culture Dimensions Supporting Subgroup Entrepreneurs in Nigerian Business Environment." In Global Entrepreneurship and New Venture Creation in the Sharing Economy, 130–48. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2835-7.ch008.

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This study examined the effect of cultural value perspectives of entrepreneurs from three subgroups of Ibo, Hausa and Yoruba in Nigeria. The results of this study are interpreted within the cultural context of the study. A major research question was whether the results of this study can help illicit information on cultural differences and similarities among the subgroups. The results show Ibos displaying more power orientation, Yorubas displaying high uncertainty, the Hausas at ease with uncertainty. On starting one's own business, experience and lack of alternatives do have a great influence on the subgroup respondents, while desire for creativity, independence and power were factors that motivated the subgroup entrepreneurs involved in the study. Lack of training, cash flows and bad planning were identified as the top three factors contributing to business failures. Family was found to be the most important life-related value factor highly shared by the respondents.
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Harold, James. "From Relativism to Expressivism." In Dangerous Art, 100–121. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197519769.003.0007.

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This chapter begins with a relativist challenge: it is not clear that every philosophical tradition recognizes a clear distinction between aesthetics and morality. The chapter includes a discussion of ancient Greek, classical Chinese, and Yoruban conceptions of the relationship between moral and aesthetic judgment, as well as some familiar relativist arguments. Then it develops Alain Locke’s response to the relativist challenge: an expressivist account of different modes of valuing. Finally, the chapter draws on Wang Yangming to make an argument about the link between feeling and value. The chapter concludes that expressivism explains the variation in value at least as well as relativism does.
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"“White Man Say They Are African”." In Mapping Yorùbá Networks, 107–53. Duke University Press, 2004. http://dx.doi.org/10.1215/9780822385417-003.

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Conference papers on the topic "Art, Yoruba"

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Aremu, P. S. O., O. J. Ajiboye, and B. Abiodun. "Art and culture as a viable currency in Yoruba traditional architecture." In The Sustainable World. Southampton, UK: WIT Press, 2010. http://dx.doi.org/10.2495/sw100661.

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Odebode, Idowu. "Multicultural aspects of name and naming in Nigeria: a sociolinguistic study." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/63.

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Nigeria is a heterogeneous country that comprises about 450 ethnolinguistic speech communities. These are divided into thirty-six states and three major linguistic groups: Hausa in the North, Yoruba in the West and Igbo in the East. Due to its ethnic diversity, cross-cultural contacts with the Trans-Saharan trade of the 8th century as well as colonization, the Nigerian naming system received an impetus of assimilating lots of foreign words into its lexicon. This study considers such multicultural names with the aim of unearthing their sociolinguistic imports.
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Oyebade, F. O., F. O. Aranuwa, and J. A. Adéjùmò. "Development of a System Prototype for an Enhanced Version of Yorùbá Language Option of the Automated Teller Machine (ATM)." In 27th iSTEAMS-ACity-IEEE International Conference. Society for Multidisciplinary and Advanced Research Techniques - Creative Research Publishers, 2021. http://dx.doi.org/10.22624/aims/isteams-2021/v27p12.

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The research work is focused at developing a system prototype for an enhanced version of the Yorùbá language menu option of the ATM, introducing Yorùbá tone mark built on an enhanced translation equivalence model in order to assist users who are monolingual only in Yorùbá language to effectively interact with the system. To achieve the objective of the work, the researcher employed the equivalence translation model designed for the work and adopted traditional structured systems analysis and design methodology (SSADM) to build the system prototype. Java packages such as Java Swing, Classes and Java AWTwas incorporated in the system development. Netbean IDE was used in designing the simulation software due to its effectiveness in designing state-of-the-art GUI. The software testing and investigation was conducted engaging specialists to provide stakeholders with information about the quality and function of the system model. The performance of the system prototype showed that the new translation model is not only an improvement over the existing paradigm, but also will vastly stimulate user’s response and expansion of the ATM usage in the interior parts of the country. Keywords: Translation Model, SSADM, Java Packages, ATM Network, Host Processor
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4

Özalp, Harun, and Akın Yıldırım. "İLK VAKADAN İLK AŞIYA TÜRKİYE’DE PANDEMİ SÜRECİ: SAĞLIK BAKANI DR. FAHRETTİN KOCA’NIN TWEETLERİ ÜZERİNE NETNOGRAFİK BİR İNCELEME." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.040.

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Yeni medya geleneksel medyadan farklı olarak bireylere etkileşim imkânı tanımıştır. Kullanıcılar web 2.0 teknolojisinin gelişim ile birlikte, mesajın sadece alıcısı değil aynı zamanda üreticisi haline gelmiştir. Bu çoklu ortam sayesinde kullanıcılar bir yandan veriye erişimde özgürleşirken, diğer yandan da; dijital tabanlı bu yeni etki- leşimli iletişim modeli ile veriyi yorumlayıp, yayabilir hale gelmiştir. Söz konusu ortamların bu denli hızlı yaygın- laşması ve benimsenmesi de, önemli ölçüde kullanıcılara tanıdığı etkileşim olanağının yarattığı cazibe sayesinde mümkün olmuştur. Etkileşim olanaklarının sağladığı cazibe ile ön plana çıkan sosyal medya platformlarından birinin de Twitter olduğu görülmektedir. We Are Social 2020 raporuna göre Twitter, Türkiye’de en çok kullanılan ilk beş sosyal medya ortamından biridir. Twitter, yoğun yazılı ve görsel içerikleriyle, kullanıcıların devamlı olarak gündem oluşturduğu ve mevcut gündemi takip ettiği bir platforma dönüşmüştür. Twitter’a yönelik kitlesel ilgi, çoğu resmi kurumun da tıpkı bireyler gibi bu ortamda var olmasını zorunlu kılmıştır. Özellikle kriz durumlarında, kurumların topluma ulaşması noktasında sunduğu hızlı, etkili ve etkileşimli iletişim imkanı, Twitter’ı kurumlar nazarında daha da önemli hale getirmiştir. Nitekim bütün dünya gibi ülkemizi de etkisi altına almış olan Corona- virüs pandemisi sürecinde de, sağlık alanındaki en yetkili kişi olarak Sağlık Bakanı Dr. Fahrettin Koca’nın, kriz sürecinin iletişimsel boyutunu önemli ölçüde Twitter hesabı üzerinden yönettiği görülmektedir. Bu süreçte, bir yandan yapılan bilgilendirme ve uyarılarla pandeminin yönetilmesine çalışılırken, bir yandan da Koca’nın temsil ettiği Sağlık Bakanlığı kurumunun imajı yönetilmektedir. Bu çalışmanın amacı, pandemi sürecinde Sağlık Bakanı Koca’nın Twitter’dan paylaşmış olduğu özgün (retweet olmayan) tweetleriyle, takipçileriyle nasıl bir etkileşim içerisine girdiğine dair bir bakış açısı sunmaktır. Bu amaç doğrultusunda Türkiye’de ilk vakanın duyurulduğu 11 Mart 2020 tarihi ile, ilk aşının yapıldığı 13 Ocak 2021 tarihleri arasında Koca’nın attığı tweetlere bakılmıştır. Kullanıcıların, atılan tweetlerle etkileşim düzeyini ortaya koymak için, söz konusu tarihler arasındaki tweetlerin; retweet, yorum ve beğeni sayıları esas alınarak, en çok etkileşim alan tweetler saptanmıştır. Pandemi sürecinde atılan tweetlerin sıklığı düşünüldüğünde, Bakan Koca’nın pandemiye dair özgün tweetleri arasından her ay en çok etkileşim alan 3 tweeti çalışmaya dahil edilmiştir. Çalışmaya dahil edilen bu tweetlere takipçilerin yapmış olduğu “alıntılı retweetler”; takipçilerin tepki ve yaklaşımları bakımından kategorize edilerek, sosyal medyanın kriz ileti- şimindeki rolü ve mesajın yeniden dönüşümü bağlamında konu tartışılmıştır. Çalışma kriz döneminde Twitter üze- rinden yapılan paylaşımların takipçilerle sıkı bir etkileşimin temelini oluşturduğunu, kitlelerin pandemi sürecini Twetter üzerinden katılımcı bir şekilde takip ettiğini, pandemi sürecine dair düşünce ve duygularını (kaygı, güven, eleştiri vb.) sosyal medya üzerinden yoğunlukla ifade etme eğiliminde olduklarını ortaya koymaktadır.
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