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The poetry of the First World War bears poignant testimony to the unprecedented tragedies of human destructiveness. It has been the subject of numerous studies that looked at it from diverse perspectives, drawing from various contemporary psychological, historical, and literary theories. The present study can be regarded as yet another contribution to the existing picture of this rich and enduring field where literature and history are explored alongside. Informed by the emerging field of digital literary studies, this article aims to revisit the war experience through a computational analysis of the poetry of the Great War and explore how soldier-poets conveyed their emotions in the face of traumatic war experience. We adopted a top-down corpus-driven approach that moved from key semantic domains to lexical items and then to their collocates. First, we detected the key semantic domains of the genre through a corpus tool, Wmatrix. ‘Anatomy and physiology’, ‘religion and the supernatural’, and ‘senses’ were identified as the key semantic domains in our corpus. The unusual abundance of binaries led us to group and treat these lexical items as a separate category: ‘binary oppositions’. In the second phase of the research, we analysed these key semantic domains to foreground the frequent lexical items under each domain and explored the surrounding context of those items through their collocational networks exploiting another corpus tool, Lancsbox. Finally, we further investigated the frequent items and corresponding concordance lines to identify the common stylistic features in the Great War Poetry.

The research was conducted to determine the needs of teachers for their continuous professional development and to create an individual professional development plan for this aim. For this purpose, descriptive survey model was used as a method. There are both qualitative and quantitative data in the research. The collection of research data was done in three stages. A survey was conducted in the first stage. At this stage, the population of the research consists of teachers from social networking networks facebook, instangram and whatsApp, which are included in the teacher groups of 529.412 individuals. The sample is composed of 507 teachers who voluntarily respond to the sharing in these groups. In the second phase of the study, focus group interviews were conducted with experts, teachers' professional development needs were determined, and solutions were reported. In the third phase of the research method, relevant literature regarding the teachers’ professional development activities in the world and how these activities were carried out were collected through literature review. As a result of the research, the data gathered by the methods mentioned in the study were combined and an individual professional development plan proposal was prepared. The importance of individual professional development is emphasized for the professional development of teachers

is one of the living legends of British theatre. He has spent most of his adult life on stage. He has written, directed and acted in numerous plays. He has also appeared in many well-known movies, such as A Clockwork Orange (1971), Rambo (1985 and Underworld (1985). In spite of his multifaceted international career, little scholarly research has been conducted on Steven Berkoff's art. The aim of this paper is to outline the key characteristics of Berkoff's conception of theatre, usually referred to as Berkovian aesthetic, and present a political reading of his celebrated play, Sink the Belgrano! (1986). The play deals with the Falklands War between England and Argentina, particularly focusing on the events that led to the sinking of the Argentinian Navy light cruiser The General Belgrano by the British nuclear submarine HMS Conqueror. The play also reflects Berkoff's tendency to bring together various experimental dramatic techniques. The present paper firstly highlights the key characteristics of Bekovian aesthetic and then presents a comprehensive analysis of Sink the Belgrano! as one of Berkoff's quintessential plays.

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