{"id":9878,"date":"2022-05-25T15:20:23","date_gmt":"2022-05-25T12:20:23","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9878"},"modified":"2022-05-25T15:20:23","modified_gmt":"2022-05-25T12:20:23","slug":"populer-kultur-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/populer-kultur-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"POP\u00dcLER K\u00dcLT\u00dcR \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

K\u00dcLT\u00dcR VE POP\u00dcLER K\u00dcLT\u00dcR<\/span><\/strong><\/h3>\n

Bu \u00e7al\u0131\u015fma b\u00fcy\u00fck \u00f6l\u00e7\u00fcde grafiksel konularla ilgilidir; alfabetik olarak bas\u0131lm\u0131\u015f edebi yaz\u0131n\u0131n alan\u0131. Ancak, bunun yerine vizyon kavram\u0131yla ba\u015fl\u0131yorum. G\u00f6rme, g\u00f6rme yetisi uzun zamand\u0131r kar\u015f\u0131t\u0131, burada olmayan\u0131 g\u00f6rmek i\u00e7in bir metafor olarak kullan\u0131lm\u0131\u015ft\u0131r.<\/span><\/p>\n

G\u00f6ren, vizyon sahibi, ger\u00e7eklerin geleneksel ta\u015f\u0131y\u0131c\u0131s\u0131d\u0131r veya en az\u0131ndan maddi d\u00fcnyan\u0131n ger\u00e7eklerini ve bilgilerini esinlemeye, disipline etmeye ve hatta kar\u015f\u0131 koymaya hizmet eden bilgilerdir. Yirminci y\u00fczy\u0131lda bu t\u00fcr bir vizyon salt metaforun s\u0131n\u0131rlar\u0131ndan kurtulmu\u015ftur; burada olmayan\u0131 g\u00f6rme teknolojisine sahibiz. Televizyon ve video ve onlar\u0131n pop\u00fcler atalar\u0131 sinema, maddenin al\u0131n\u0131p bir g\u00f6r\u00fcnt\u00fcye d\u00f6n\u00fc\u015ft\u00fcr\u00fclebildi\u011fi ara\u00e7lard\u0131r.<\/span><\/p>\n

Televizyon (=’uzak g\u00f6r\u00fc\u015f’), video (=’g\u00f6r\u00fcyorum’), sinema (=’hareket’) hayal g\u00fcc\u00fcn\u00fcn yap\u0131lmas\u0131 ya da yarat\u0131lmas\u0131d\u0131r (Yunanca’da ‘\u015fiir’). Ald\u0131klar\u0131 konu elbette \u0131\u015f\u0131kt\u0131r.<\/span><\/p>\n

Bu \u015feyler hafif yaz\u0131, vizyon, \u015fiir, hayal g\u00fcc\u00fc, imaj neyin malzemesidir? Her ne kadar bu kavramlar \u0130ngilizce’ye klasik dillerden s\u0131ras\u0131yla “edebiyat” ve “ele\u015ftiri” (bu \u00e7al\u0131\u015fman\u0131n malzemesi) olarak gelseler de, zorunlu olarak “\u00f6\u011frenme” veya “yarg\u0131, kararl\u0131l\u0131k” anlam\u0131na gelmez.<\/span><\/p>\n

\u00c7a\u011fda\u015f g\u00f6rsel medya, kelimenin tam anlam\u0131yla “uzak-g\u00f6r\u00fcyorum” hareketidir ve benim “foto-\u015fiir” (\u0131\u015f\u0131kla yaratma, yaratma) diyece\u011fim \u015feyi \u00fcretirler. Vizyoner uzak hareketin yarat\u0131c\u0131 poetikas\u0131, pop\u00fcler k\u00fclt\u00fcr\u00fcn alan\u0131d\u0131r.<\/span><\/p>\n

\u00dcRET\u0130M ARA\u00c7LARI, G\u00d6R\u00dc\u015e ARA\u00c7LARI<\/span><\/strong><\/h3>\n

Humphrey Jennings’in Pandaemonium’da “\u00dcretim Ara\u00e7lar\u0131” ve “G\u00f6r\u00fc\u015f Ara\u00e7lar\u0131” aras\u0131nda yapt\u0131\u011f\u0131 bir ayr\u0131mla y\u00fczy\u0131l\u0131n ortalar\u0131nda ba\u015flamak istiyorum.<\/span><\/p>\n

Pandaemonium adl\u0131 kitab\u0131, “Sanayi Devriminin yarat\u0131c\u0131 tarihi”dir. 1660 ve 1886 y\u0131llar\u0131 aras\u0131nda John Milton’dan William Morris’e makinenin geli\u015fiyle ilgili yaz\u0131lardan birka\u00e7 y\u00fcz k\u0131sa al\u0131nt\u0131dan (“g\u00f6r\u00fcnt\u00fcler”) olu\u015fur.<\/span><\/p>\n

Jennings giri\u015finde, \u015fairin i\u015flevinin tarihsel olarak bir i\u015fb\u00f6l\u00fcm\u00fcne tabi oldu\u011funu, \u00f6yle ki \u015fiirin daha uzmanla\u015fm\u0131\u015f hale geldi\u011fini ve sonunda kendisinden ba\u015fka bir \u00f6znesi olmad\u0131\u011f\u0131n\u0131 iddia eder.<\/span><\/p>\n

Bu arada, Homeros, Hesiod, Musa, Lao-Tze gibi \u015fair-bilgeler taraf\u0131ndan ba\u015flang\u0131\u00e7ta yerine getirilen i\u015flev, yani “dini, bilimsel, toplumsal ve ki\u015fisel hayat\u0131n t\u00fcm sorunlar\u0131yla” ilgilenme i\u015flevi, \u015fiirin d\u0131\u015f\u0131nda varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc.<\/span><\/p>\n

Ayr\u0131ca sanayi devrimi, \u00dcretim Ara\u00e7lar\u0131n\u0131 ve G\u00f6r\u00fc\u015f Ara\u00e7lar\u0131n\u0131 birbirinden ay\u0131rd\u0131. Jennings, “B\u00fcy\u00fcl\u00fc sistemler” alt\u0131nda, \u00e7ift\u00e7ilik ile dua etmek, yemek yemek ile kutsama, avc\u0131l\u0131k ile sihir, bina ile \u015fan aras\u0131nda bir fark olmad\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor.<\/span><\/p>\n

\n

pop\u00fcler k\u00fclt\u00fcr<\/a> nedir<\/span>
\npop\u00fcler k\u00fclt\u00fcr kitaplar\u0131<\/span>
\nPop\u00fcler k\u00fclt\u00fcr \u00dczerine makaleler<\/span>
\npop\u00fcler k\u00fclt\u00fcr k\u00f6lesi ne demek<\/span>
\npop\u00fcler k\u00fclt\u00fcr \u00f6rnekleri<\/span>
\nKitle k\u00fclt\u00fcr\u00fc ve pop\u00fcler k\u00fclt\u00fcr kar\u015f\u0131la\u015ft\u0131rmas\u0131<\/span>
\nPop\u00fcler k\u00fclt\u00fcr sosyoloji<\/span>
\nPop\u00fcler k\u00fclt\u00fcr anonim midir<\/span><\/p>\n

\n

Jennings’in \u00fcretim ara\u00e7lar\u0131 ile g\u00f6rme ara\u00e7lar\u0131 aras\u0131nda yapt\u0131\u011f\u0131 ayr\u0131m, yaln\u0131zca sanayile\u015fmi\u015f \u00fclkelerdeki (ki \u00f6yledir) hayal g\u00fcc\u00fcn\u00fcn ya\u015fam\u0131n\u0131 anlamak i\u00e7in \u00e7ok \u00f6nemli oldu\u011fu i\u00e7in de\u011fil, ayn\u0131 zamanda Jennings’in taraf tutmad\u0131\u011f\u0131 i\u00e7in de ilgin\u00e7tir; birinin di\u011ferine \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc de\u011fil, hayal g\u00fcc\u00fcn\u00fc ve end\u00fcstriyi savunuyor. Bir film yap\u0131mc\u0131s\u0131 olarak kendi i\u015fi, hem \u00fcretim ara\u00e7lar\u0131 hem de yarat\u0131c\u0131 vizyonuyla foto\u015fiirdir; \u0130nsan olarak do\u011fam\u0131z, isterseniz end\u00fcstriyel k\u00fclt\u00fcr\u00fcn s\u00fcr\u00fcklenmelerinde, kemerlerinde ve demirlemelerinde.<\/span><\/p>\n

Yazarken bile Bond Street, Mayfair, Bloomsbury ve Hampstead’de hegemonyas\u0131 kurulmakta olan k\u00fclt\u00fcrel ele\u015ftirinin aksine, Jennings k\u00fclt\u00fcr ad\u0131na medeniyeti \u00e7\u00f6pe atmaya \u00e7al\u0131\u015fm\u0131yor.<\/span><\/p>\n

\u015eairin vizyonunun var oldu\u011funu, hayal g\u00fcc\u00fcn\u00fcn hayat\u0131n bir par\u00e7as\u0131 oldu\u011funu, hayal g\u00fcc\u00fcn\u00fcn egzersizinin insanl\u0131\u011f\u0131n vazge\u00e7ilmez bir i\u015flevi oldu\u011funu, \u00e7al\u0131\u015fmak, yemek yemek, uyumak, sevmek gibi\u201d varsayar. Y\u00fczy\u0131l ortas\u0131 \u0130ngiltere’sinin entelekt\u00fcel ikliminde, bu b\u00fct\u00fcnle\u015fik \u015fiir ve end\u00fcstri teorisi kar\u015f\u0131 hegemonyac\u0131d\u0131r.<\/span><\/p>\n

MELANEZYANLAR (VE PUNKS) \u00dcZER\u0130NE<\/span><\/p>\n

T.S.Eliot, Jennings’in neyle kar\u015f\u0131 kar\u015f\u0131ya oldu\u011funu g\u00f6stermeye hizmet edecek. “Alt s\u0131n\u0131flar\u0131n d\u0131\u015favurumcu fig\u00fcr\u00fc” olan pop\u00fcler m\u00fczikhol sanat\u00e7\u0131s\u0131 Marie Lloyd’un 1923’teki \u00f6l\u00fcm\u00fcne \u00fcz\u00fclen Eliot, m\u00fczikhol\u00fcn teknolojik halefi ve end\u00fcstriyel \u00fcretim ara\u00e7lar\u0131n\u0131n vaat etti\u011fi gelecek i\u00e7in de pi\u015fmanl\u0131k duymaya devam ediyor.<\/span><\/p>\n

“Ucuz ve h\u0131zla geli\u015fen sineman\u0131n tecav\u00fcz\u00fcyle”, diye yaz\u0131yor, “alt s\u0131n\u0131flar, burjuvazi ile ayn\u0131 protoplazma durumuna d\u00fc\u015fme e\u011filiminde olacaklar.” Ve bu e\u011filim, Eliot i\u00e7in \u00f6ld\u00fcr\u00fcc\u00fcd\u00fcr. \u201cYerlileri… esas olarak onlara dayat\u0131lan \u201cUygarl\u0131k\u201d\u0131n onlar\u0131 hayata olan t\u00fcm ilgilerinden yoksun b\u0131rakmas\u0131 nedeniyle \u00f6lmekte olan Melanezyal\u0131lara ba\u015fvurur. Saf can s\u0131k\u0131nt\u0131s\u0131ndan \u00f6l\u00fcyorlar.<\/span><\/p>\n

San\u0131r\u0131m bu, ‘Gelece\u011fi Yok’un 1923’teki kar\u015f\u0131l\u0131\u011f\u0131 olmal\u0131. T\u0131pk\u0131 Matthew Arnold’un Viktorya d\u00f6nemi k\u00fclt\u00fcr vizyonunun “Birle\u015fik Krall\u0131k’ta Anar\u015fi”nin erken bir versiyonu olarak okunabilmesi gibi, Eliot’\u0131n retori\u011fini punk graffitinin titiz bir versiyonu olarak yeniden okumak cazip geliyor.<\/span><\/p>\n

Eliot’un kendi \u00c7orak \u00dclkesinde \u00f6fkeyle pohpohlayan ve kendi izleyicisini k\u00fc\u00e7\u00fcmseyerek yutan k\u00fclt\u00fcr-punk imaj\u0131na direnmek zor.<\/span><\/p>\n

Tiyatrolar\u0131, m\u00fczik aletlerini, at ve yatma vakti hikayelerini (muhtemelen at da dahil olmak \u00fczere hepsi “canl\u0131” olduklar\u0131 i\u00e7in) “t\u00fcm uygar d\u00fcnyaya” kar\u015f\u0131 s\u0131ralayan d\u00fc\u015fmanca bir ideolojiyle dalga ge\u00e7mek cezbedicidir. Ancak bundan ka\u00e7\u0131n\u0131yorum, \u00e7\u00fcnk\u00fc Eliot ve bu tart\u0131\u015fma i\u00e7in \u00f6nemli olan ideolojinin i\u00e7eri\u011fi de\u011fil, onun muhalif yap\u0131s\u0131d\u0131r.<\/span><\/p>\n

Eliot, Arnold ve onlar\u0131n sad\u0131k hayranlar\u0131 i\u00e7in \u015fiirin umudu, onu medeniyetle kar\u015f\u0131 kar\u015f\u0131ya getirmekte yatar; g\u00f6rme ara\u00e7lar\u0131n\u0131 \u00fcretim ara\u00e7lar\u0131ndan daha da uzakla\u015ft\u0131rmak. K\u00fclt\u00fcr anti-teknolojik, anti-modern, anti-pop\u00fcler. Dolay\u0131s\u0131yla pop\u00fcler k\u00fclt\u00fcr, yap\u0131sal olarak “canl\u0131” k\u00fclt\u00fcr\u00fcn, yani \u00f6l\u00fcm\u00fcn kar\u015f\u0131t\u0131d\u0131r. \u0130\u00e7eri\u011fi \u00f6nemli de\u011fildir.<\/span><\/p>\n

Jennings’e g\u00f6re ise \u015fiirin umudu “do\u011fam\u0131z\u0131n duygusal taraf\u0131nda” (Darwin’in ifadesi) yatar. Ancak Pandaemonium’un sonlar\u0131na do\u011fru Darwin’in s\u00f6zlerine bak\u0131ld\u0131\u011f\u0131nda, \u015fiir olarak \u015fiir umudunun eskisi gibi olmad\u0131\u011f\u0131 a\u00e7\u0131kt\u0131r. Charles Darwin’in asl\u0131nda hi\u00e7bir teselli bulamad\u0131\u011f\u0131 aktar\u0131l\u0131r.<\/span><\/p>\n

\u015eiirin umudu, \u00f6yle g\u00f6r\u00fcn\u00fcyor ki, \u015fiirin d\u0131\u015f\u0131ndad\u0131r; Shakespeare bile yetersiz. Darwin, \u015fiir d\u0131\u015f\u0131ndaki herhangi bir yaz\u0131ya olan ilgisinin \u00e7o\u011funu kendisi yapar: tarih, biyografi, seyahat, denemeler ve romanlar vb.<\/span><\/p>\n

\u00c7ok y\u00fcksek d\u00fczeyde olmasa da hayal \u00fcr\u00fcn\u00fc olan romanlar, y\u0131llard\u0131r benim i\u00e7in harika bir rahatlama ve zevk olmu\u015ftur ve \u00e7o\u011fu zaman t\u00fcm romanc\u0131lar\u0131 kutlar\u0131m. Orta derecede iyiyse ve aleyhinde bir yasan\u0131n \u00e7\u0131kar\u0131lmas\u0131n\u0131 gerektiren mutsuz bir sonla bitmiyorsa hepsini severim. Benim zevkime g\u00f6re bir roman, i\u00e7inde tamamen sevilebilecek bir insan ve e\u011fer g\u00fczel bir kad\u0131nsa daha da iyi olmad\u0131k\u00e7a birinci s\u0131n\u0131fa giremez.<\/span><\/p>\n

Pop\u00fcler k\u00fclt\u00fcr\u00fcn tesellisi her zaman b\u00f6yledir, ancak burada aldat\u0131c\u0131l\u0131\u011f\u0131n k\u00f6keninden daha fazlas\u0131 s\u00f6z konusudur. Pandaemonium arac\u0131l\u0131\u011f\u0131yla izledi\u011fim tart\u0131\u015fma, k\u00fclt\u00fcr politikas\u0131n\u0131n evrimi \u00fczerinedir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

K\u00dcLT\u00dcR VE POP\u00dcLER K\u00dcLT\u00dcR Bu \u00e7al\u0131\u015fma b\u00fcy\u00fck \u00f6l\u00e7\u00fcde grafiksel konularla ilgilidir; alfabetik olarak bas\u0131lm\u0131\u015f edebi yaz\u0131n\u0131n alan\u0131. Ancak, bunun yerine vizyon kavram\u0131yla ba\u015fl\u0131yorum. G\u00f6rme, g\u00f6rme yetisi uzun zamand\u0131r kar\u015f\u0131t\u0131, burada olmayan\u0131 g\u00f6rmek i\u00e7in bir metafor olarak kullan\u0131lm\u0131\u015ft\u0131r. G\u00f6ren, vizyon sahibi, ger\u00e7eklerin geleneksel ta\u015f\u0131y\u0131c\u0131s\u0131d\u0131r veya en az\u0131ndan maddi d\u00fcnyan\u0131n ger\u00e7eklerini ve bilgilerini esinlemeye, disipline etmeye ve…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8367,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[22459,22458,22460],"tags":[22465,22467,22462,22464,22461,9322,22466,22463],"class_list":["post-9878","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-populer-kultur-kitaplari","category-populer-kultur-nedir","category-populer-kultur-uzerine-makaleler","tag-kitle-kulturu-ve-populer-kultur-karsilastirmasi","tag-populer-kultur-anonim-midir","tag-populer-kultur-kitaplari","tag-populer-kultur-kolesi-ne-demek","tag-populer-kultur-nedir","tag-populer-kultur-ornekleri","tag-populer-kultur-sosyoloji","tag-populer-kultur-uzerine-makaleler"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9878","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/comments?post=9878"}],"version-history":[{"count":0,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9878\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media\/8367"}],"wp:attachment":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media?parent=9878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/categories?post=9878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/tags?post=9878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}