In many languages of the world, the verb is considered the most morphologically rich part of speech. The diversity of lexical meanings and paradigms of figurative meanings of verbs in Turkish and Russian, as well as the diversity of grammatical categories, are features that distinguish verbs from other parts of speech in both languages. In the languages being compared, verbs play a major role in the organisation of sentences and reflect the relationship between the subject and the predicate. In addition, the grammatical categories of verbs indicate the time of the action, its connection with the person, and the reality or unreality of the statement. Formal grammatical indicators in Turkish verbs have great descriptive potential, so in addition to their basic functions, they also perform stylistic functions. Since the languages being compared are typologically different and usually differ from a formal point of view, complete equivalence of verb tenses in Turkish and Russian is impossible. Comparative grammatical studies allow us not only to identify universal features observed in Turkish and Russian, but also to reveal the structural and semantic features of the languages to a greater extent, as well as to determine their morphological and stylistic differences. The main objective of the study was to attempt to determine the primary and secondary meanings of Turkish verbs, as indicated by morphological markers of the past tense relating to the paradigm of ‘absolute time’ in the Turkish language, as well as to identify morphological elements in the Russian language that reflect the corresponding meanings. The study used such scientific research methods as component analysis, data collection and evaluation, distributive analysis, and the comparative method. The study found that verbs that function as predicates in Turkish and contain grammatical indicators of the past tense are largely identical to their equivalents in Russian in terms of lexical meaning and syntactic functions. However, their meanings can be expressed in Russian not only with the help of different verb forms.

This study provides a comprehensive examination of the radical criticism developed by modern avant-garde movements against the established institution of art in bourgeois society and their demands for the transformation of art's social functions. The process that began with modernism’s break from the concept of mimesis led art to focus on its own internal principles, bringing the debates on aesthetic autonomy to the forefront. However, the avant-garde movements objected to art remaining an elitist sphere that only questioned its own media. Instead, they sought to make art an active and transformative part of social life. In this context, movements such as Futurism, Dadaism, Constructivism, and Bauhaus took a stand against the aestheticist attitude that fostered art's isolation from life, advocating that art should move beyond the boundaries of museums and galleries to assume an "avant-garde" role in the reconstruction of everyday existence. Within the scope of the research, this revolutionary character of the avant-garde is analyzed through the lens of Peter Bürger’s Theory of the Avant-Garde and Theodor W. Adorno’s dialectical reflections on aesthetic autonomy. The relationship between Bürger’s ideal of "reintegrating art into life praxis" and Adorno’s critical distance provided by art’s detachment from social reality forms the theoretical backbone of the study. The paper evaluates the avant-garde's attempt to transform art from a "commodity" into a "mode of thought and action," specifically through the historical traumas created by war, alienation, and technological revolutions. The study reveals that the ultimate goal of avant-garde art was to create a change in its ontological status. The avant-gard artists and supporters aimed to dissolve the autonomous structure of art and reposition it as a tool through which life is aesthetically reconstituted. In this sense, the modern avant-garde can be defined not merely as a formal innovation but as a holistic cultural philosophy that simultaneously unites art with politics and art with life within a synchronized consciousness.

<p>When discussing the classification of words into parts of speech, some scholars identify certain lexical-grammatical classes that occupy an intermediate position. One of these is the category of verbal nouns (non-finite forms of a verb), to which the infinitive belongs. The aim of this article is to demonstrate the verbal and nominal morphological and syntactic features of the infinitive that justify its classification as a verbal noun (non-finite form of a verb). Based on this objective, both the verbal and nominal features of the infinitive have been examined. The analysis shows that from a morphological perspective, only verbal categories&mdash;aspect, voice, and tense (relative tense) &mdash;are expressed, while it lacks of nominal morphological categories in English. This leads to the question why the infinitive is considered as a verbal noun (non-finite form of a verb) if it lacks nominal morphological features. The answer lies in its syntactic functions in a sentence. Depending on its function in a sentence, the infinitive may be used as a subject, attribute, object, simple or compound predicate, predicative complement, adverbial modifier of purpose and as part of a complex object construction. Theoretical and practical values: The article has both theoretical and practical value. It will contribute to further research on the non-finite forms of the verb. From a practical point of view, the article can be used as supplementary material and as one of the theoretical sources. At the same time, it will help in overcoming challenges related to the use of the infinitive in its various syntactic functions within a sentence. Research methodology: The research is mainly based on some linguistic research methods: comparative-historical, descriptive and qualitative The sentences from the works of Harper L. and Wilde O. are used for analysis. Key words: morphological and syntactic features, non-finite form of a verb, a full infinitive, a bare infinitive.</p>

The aim of this research is to determine the training needs of master instructors working in adult education centers regarding their teaching skills. To this end, the study aims to reveal the competency levels of master instructors in areas such as adult education (andragogy), teaching methods and techniques, measurement and evaluation, communication, classroom management, and the use of technology in education. The research includes master instructors working in adult education centers affiliated with the Ministry of National Education in Turkey and providing training in courses for adults. A qualitative research method was adopted, and a phenomenological design was used. The study group was determined using the criterion sampling technique, a type of purposeful sampling; 22 master instructors with at least three years of experience were included in the research. Data were collected through interviews with the participants and analyzed using content analysis. The findings show that master instructors largely conduct their teaching processes based on their experience, but experience various deficiencies in terms of theoretical knowledge and systematic application. In particular, significant training needs were identified in the areas of student-centered teaching approaches, alternative measurement and evaluation methods, consideration of adult learning characteristics, communication, classroom management, and technology integration. Based on these findings, it is evident that instructional designs developed to support the professional development of master instructors need to be structured to encompass these areas. Such instructional designs will contribute to the improvement of master instructors' teaching skills and the more effective and systematic conduct of teaching processes.

In the short stories of Zeyyat Selimoğlu and İlhan Tarus, animal figures transcend their traditional symbolic meanings to become constitutive elements that push or render visible the existential boundaries of the human experience. This article demonstrates that in Zeyyat Selimoğlu's story “Ayı” (“The Bear”) and İlhan Tarus's “Karabaş ile Mahmud” (“Karabaş and Mahmud”), the concepts of “becoming-animal” (assuming an animal identity) and “animalization” (exhibiting animal qualities within human form) function as foundational narrative devices. These processes reveal the individual's suppressed impulses, search for belonging and identity, internal ruptures, and modes of survival through identification with animals. In Selimoğlu's story, this process of becoming-animal is shaped around the axes of the sea, the ship, and the act of naming, within the context of adaptation to natural conditions, securing belonging, gaining resilience, and forms of bodily and spiritual defense. In Tarus’s work, the qualities manifesting as animalization through hunger, deprivation, loss of identity, scent and conscience serve a fictional function that expresses the dissolution caused by social exclusion. In “Ayı”, the animal character transforms into an armor that conceals the individual's suppressed power, capacity for resistance, and fragility, whereas in Karabaş ile Mahmud, it becomes an indicator of the desperation in which the individual is imprisoned and a sphere of emotional representation for the communication the individual fails to establish or has lost. This article attempts to illustrate how the boundaries between human and animal become blurred and transform into a permeable structure, reshaped according to social, spatial, and psychological conditions.