JAMMO ISSN 2146-3328

Prof. Dr. Hasip Pektaş acknowledges that typography is in some respect the most important element in an online newspaper's graphic design as it is the art of situating typefaces on a two-dimensional surface. Typography thus ensures that writing pushes the limits of logic, keeps attention alive, caresses human spirit, infuriates, and excites. Therefore, the typography of an online newspaper should be “simple, effective and deep”.

Professor Rogerson, an education leader in the Yorkshire region, having being actively involved in the implementation vis-à-vis the development of regional education policies within the various national education models and paradigms of England and Wales in the last 50 years analyses the 1944 Education Act seen as pivotal in defining the relationship between the centre and the regions after the 2^nd World War. He argues with breadth and depth that “subsequent developments have been in accord with the Act or have been enabled by the add-on legislation of succeeding governments because the educational themes, which developed later, have their origin in the intentions; the spirit, the mandatory or permissive mix of the 1944 Act; and in reactions to it.”

Based on inter-disciplinary approaches, Asst. Prof. Dr. Yalçın Kırdar explores the different methods and techniques of subliminal advertising and its pervasive use of the word "sex" and sexual images, even in advertisements targeting children and in cartoons. This is worrisome, to say the least!

Asst. Prof. Dr. Tülay Çelik provides a balanced and well-reasoned criticism of the new director-cinema in Turkey against the background of globalised marketing through the International Film Festivals and networks of distribution outlets. Dr. Çelik argues for the preservation of the art in the films and the individual dynamism of the director-producer phenomenon. She cautions against festival directors, distribution managers and the international co-producers determining the production process exclusively and from reducing the ethos of the new film dynamism to sheer consumption.

Asst. Prof. Dr. Erkan Konyar of the Department of Ancient History, Istanbul University provides the results from one of his archaeological excavations in Van. The work at the Mound of Van Fortress is supported by the Scientific Research Projects Unit of Istanbul University

Ahsen Yalin explores the unknowns of nature in view of science, mystical factors and philosophy. She contends that mysticism is a good product for marketing to trade in its secrets and promises; she cautions all to be vigilant and ensure the rules of ethics are always maintained in the collaboration between mysticism and marketing.

Ayberk examines mysticism closely from psychological and sociological perspectives combining Middle Eastern and Western framework from Güleç; Tarhan; Doğan to Maslow; Stace and Jung to name a few. His approach is thorough and honest.

The article redefines myth away from falsehood, advances literary, archaeological evidence, valid technological proofs and offers insights into spiritual realities to re-present Lord Krishna as an historical personage making it unnecessary to over argue this reality by consigning erstwhile widely-held oriental outdated myth postulation of the West, which incidentally had also influenced some Eastern indologists to arbitrariness, political motivation and missionary disposition. Professor Horacio Francisco Arganis-Juárez provides a detailed deconstruction of Benjamin Preciado Solis’ the First Historical Evidences of Krishna.

Drawing on psychology, theology, sociology and especially the practice of marketing, Saba G. Oral analyzes New Age trends in the media focusing on “Tibet”, a TV commercial; to provide means to understanding the consequential significance of language and words.

In Hilal Kiliç’s article, the readers are faced with the commercial forces of astrology tending to a future sold as a given and with the contemplation of mystical experiences outgrowing religion almost as a necessity in the twenty-first century to replace the fracturing of community and family life of the twentieth century.

Dilge Kodak frames the twenty-first century within the unique currents of postmodernism embracing individualized attitude to consumerism.