{"id":9882,"date":"2022-05-25T15:39:56","date_gmt":"2022-05-25T12:39:56","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9882"},"modified":"2022-05-25T15:39:56","modified_gmt":"2022-05-25T12:39:56","slug":"egitim-icerigi-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/egitim-icerigi-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"E\u011fitim \u0130\u00e7eri\u011fi\u00a0 \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

E\u011fitim \u0130\u00e7eri\u011fi\u00a0<\/span><\/strong><\/h3>\n

Ger\u00e7ekten de y\u00fcksek ve pop\u00fcler k\u00fclt\u00fcr aras\u0131nda ortak bir \u015fey var. Y\u00fcksek k\u00fclt\u00fcr, pop\u00fcler k\u00fclt\u00fcr\u00fcn bir \u00fcr\u00fcn\u00fcd\u00fcr. Bir kavram, bir s\u00f6ylem ve bir metinler b\u00fct\u00fcn\u00fc olarak y\u00fcksek k\u00fclt\u00fcr, iki toplumsal kurumun (haf\u0131za kurumlar\u0131n\u0131n) bir \u00fcr\u00fcn\u00fcd\u00fcr: e\u011fitim ve medya. Varsa, halk \u00fczerindeki yarat\u0131c\u0131 etkisi, \u00f6\u011fretme ve s\u00fcrekli hat\u0131rlatma ile yarat\u0131l\u0131r ve s\u00fcrd\u00fcr\u00fcl\u00fcr.<\/span><\/p>\n

E\u011fitim, on dokuzuncu y\u00fczy\u0131lda evrensel ve \u00f6zg\u00fcr, yani kitle ileti\u015fimli ve zorunlu olarak kuruldu, ancak bu demokratik oldu\u011fu anlam\u0131na gelmez.<\/span><\/p>\n

Aksine, as\u0131l ama\u00e7lar\u0131ndan biri, insanlar\u0131 kendi sa\u011fl\u0131ks\u0131z e\u011filimlerine kar\u015f\u0131 a\u015f\u0131lamakt\u0131; Ahlaki \u00e7\u00f6k\u00fc\u015f ve sivil karga\u015fa gibi daha tehlikeli bula\u015fmalar\u0131n patlak vermesini \u00f6nlemek i\u00e7in onlara kontroll\u00fc bir k\u00fclt\u00fcr dozu bula\u015ft\u0131rmak: anar\u015fiye kar\u015f\u0131 k\u00fclt\u00fcr.<\/span><\/p>\n

Yirminci y\u00fczy\u0131lda sanat, propagandac\u0131lar\u0131 taraf\u0131ndan h\u00e2l\u00e2 bir silah olarak g\u00f6r\u00fcl\u00fcyor; genel olarak insanlar i\u00e7in m\u00fcfredata k\u00fclt\u00fcr enjeksiyonu, yaln\u0131zca reddetme ve diren\u00e7 geli\u015ftirmenin do\u011fal tepkileri olan antikorlar \u00fcretir.<\/span><\/p>\n

Shakespeare’in skolastikle\u015fmesi, di\u011fer \u015feylerin yan\u0131 s\u0131ra, sanat\u0131n\u0131 icra eden pedagojik profesyoneller ile Shakespeare’in okul zorlamas\u0131, can s\u0131k\u0131nt\u0131s\u0131, keyfi g\u00fc\u00e7, kaprisli ahlak ve kolektif bir toplumdan ba\u015fka bir \u015fey ifade etmedi\u011fi genel olarak halk aras\u0131nda bir i\u015fb\u00f6l\u00fcm\u00fc meydana geldi\u011fi anlam\u0131na gelir. aptal\u0131n \u015fapkas\u0131n\u0131 takmak. Shakespeare’in sanat\u0131, iyi savrulan kum dolu bir \u00e7orap kadar evrensel ve \u00f6zg\u00fcrle\u015ftirici oldu\u011funu d\u00fc\u015f\u00fcnen, inleyen \u00f6\u011frencilerin (Darwin dahil) nesiller boyu kaybolmu\u015ftur.<\/span><\/p>\n

Medya, \u00e7a\u011fda\u015f k\u00fclt\u00fcrde bellek sanat\u0131n\u0131n toplumsal kurumlar\u0131ndan ikincisini olu\u015fturmaktad\u0131r. K\u00fclt\u00fcrel kahramanlar\u0131n ve k\u00f6t\u00fc adamlar\u0131n yapt\u0131klar\u0131n\u0131 ve s\u00f6zlerini anlat\u0131ya ve muhte\u015fem hikayelere d\u00f6n\u00fc\u015ft\u00fcren ‘bardik’ an\u0131msat\u0131c\u0131lard\u0131r.<\/span><\/p>\n

On bin mil \u00f6tede, yerdeki bir delikte a\u011flayan, 400 y\u0131ll\u0131k f\u0131nd\u0131k kabuklar\u0131n\u0131 ve l\u00fcks k\u00f6pek u\u00e7lar\u0131n\u0131 \u00e7i\u011fneyen, y\u0131k\u0131lm\u0131\u015f duvarlar ve \u015fantiyelerle \u00e7evrili, sesi g\u00fcrleyen trafik taraf\u0131ndan bo\u011fuk, bir akt\u00f6r\u00fcn g\u00f6r\u00fcnt\u00fcs\u00fc. Londra’n\u0131n “ilk ticari tiyatrosuna” hayret etmek i\u00e7in tesad\u00fcfen yoldan ge\u00e7en halk\u0131n bo\u015f bak\u0131\u015flar\u0131n\u0131 \u00e7eken gazetecilerin izleyici kitlesi, belki de yirminci y\u00fczy\u0131lda y\u00fcksek k\u00fclt\u00fcr ile pop\u00fcler k\u00fclt\u00fcr aras\u0131ndaki ili\u015fkiler i\u00e7in uygun bir \u015fekilde karma\u015f\u0131k ve kafa kar\u0131\u015ft\u0131r\u0131c\u0131 bir metafordur.<\/span><\/p>\n

Gezegenin di\u011fer taraf\u0131nda birileri bunun haber de\u011feri oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyor, ancak yaln\u0131zca 52. sayfada, ba\u015fka bir t\u00fcr k\u00fclt\u00fcre y\u00f6nelik bir te\u015fhir reklam\u0131yla kar\u015f\u0131 kar\u015f\u0131ya kal\u0131yor, zeminde kurulmaya haz\u0131r prefabrik y\u00fczme havuzlar\u0131 i\u00e7in ba\u015fka bir t\u00fcr \u00e7amurlu delik gerektiriyor. K\u00fclt\u00fcr\u00fcn s\u0131n\u0131rlar\u0131 bu olas\u0131 olmayan ba\u011flamda \u00e7izilir.<\/span><\/p>\n

Hikaye, k\u00fclt\u00fcrle birle\u015fen \u00fcnl\u00fclerden biridir. Baz\u0131 \u00e7a\u011fda\u015f kar\u015f\u0131tl\u0131klar\u0131 anlat\u0131yor: mirasa kar\u015f\u0131 kalk\u0131nma, sanata kar\u015f\u0131 ticaret, sanat\u00e7\u0131lara kar\u015f\u0131 seyirci, hatta yank\u0131lara kar\u015f\u0131 f\u0131nd\u0131k. Bu arada hikaye, G\u00fcl’\u00fcn kal\u0131nt\u0131lar\u0131n\u0131 koruyarak \u00f6l\u00fcm ve \u00f6l\u00fcms\u00fczl\u00fck \u00fczerine meditasyon yapar.<\/span><\/p>\n

Bunlar \u00f6nemsiz meseleler de\u011fil ama masum da de\u011filler. Gazetecilik s\u00f6yleminin karakteristik Maniheist kar\u015f\u0131tl\u0131klar\u0131, \u00dcretim Ara\u00e7lar\u0131n\u0131 (kalk\u0131nma, ticaret, seyirciler, f\u0131nd\u0131klar) G\u00f6rme Ara\u00e7lar\u0131ndan (miras, sanat, sanat\u00e7\u0131lar, yank\u0131lar) veya K\u00fclt\u00fcrden Uygarl\u0131\u011f\u0131 ay\u0131rmaya ve kar\u015f\u0131 koymaya hizmet eder.<\/span><\/p>\n

Bu versiyonda, muhalefet Shakespeare’den kahramanlar yarat\u0131r, bu nedenle hem haber medyas\u0131n\u0131n hem de izleyicilerinin ger\u00e7ekte ya\u015fad\u0131\u011f\u0131 d\u00fcnyay\u0131 i\u00e7eren geri kalanlardan k\u00f6t\u00fc adamlar yaratma e\u011filimindedir.<\/span><\/p>\n

Shakespeare, \u00e7a\u011fda\u015f d\u00fcnyaya sitem eden de\u011ferleri temsil etmesi i\u00e7in \u00e7a\u011fr\u0131l\u0131r. Bug\u00fcnlerde ona kalan tek rol bu. Ad\u0131, son zamanlar\u0131n ozanlar\u0131n\u0131n, kendilerine ve okuyucular\u0131na g\u00f6sterdikleri a\u015fa\u011f\u0131laman\u0131n zar zor fark\u0131nda olarak, anamnez kurgular \u00f6rebilecekleri gerekli \u00e7at\u0131\u015fma unsurunu sa\u011fl\u0131yor.<\/span><\/p>\n

\n

E\u011fitim<\/a> i\u00e7eri\u011fi Nedir<\/span>
\nE\u011fitim i\u00e7eri\u011fi nas\u0131l haz\u0131rlan\u0131r<\/span>
\nE\u011fitim \u0130\u00e7eri\u011fi haz\u0131rlama programlar\u0131<\/span>
\nE\u011fitimin i\u00e7eri\u011fi ne olmal\u0131d\u0131r<\/span><\/p>\n

\n

DRAMA\u00a0<\/span><\/strong>ARA\u015eTIRMA\u00a0<\/span><\/strong><\/h3>\n

Troy Kennedy Martin’in televizyondaki ilk ba\u015far\u0131s\u0131, uzun s\u00fcredir devam eden BBC-TV polis dizisi Z Cars oldu. Zaman\u0131nda ger\u00e7ek\u00e7ili\u011fi, polis \u00e7al\u0131\u015fmas\u0131n\u0131n b\u00fcrokratik ve rutin yan\u0131n\u0131 a\u00e7\u0131k\u00e7a d\u00fcr\u00fcst bir \u015fekilde tasvir etmesiyle \u00f6v\u00fclen bu kitap, yine de birinci s\u0131n\u0131f i\u00e7in yaz\u0131lm\u0131\u015f \u00f6yk\u00fclerde g\u00fc\u00e7l\u00fc bir \u015fekilde tan\u0131mlanabilir karakterler, eylem, konum ve t\u00fcr ile polislik hakk\u0131nda oldu\u011fu kadar televizyonla da ilgiliydi.\u00a0<\/span><\/p>\n

Z Cars, polis dizilerini kendi zamanlar\u0131n\u0131n ve k\u00fclt\u00fcr\u00fcn\u00fcn sembolik yan sokaklar\u0131nda ara\u015ft\u0131rma dramas\u0131 izlemek i\u00e7in bir ara\u00e7 olarak kullanarak iyi televizyonun yapabilece\u011fini yapt\u0131. Pop\u00fcler izleyiciye yeni de\u011fil, tan\u0131nma \u015foku ya\u015fatt\u0131.<\/span><\/p>\n

Troy Kennedy Martin, kariyerinde \u00e7ok daha sonra televizyon i\u00e7in yap\u0131lm\u0131\u015f en iyi polisiye drama dizisini yazd\u0131. Edge of Darkness, t\u00fcr\u00fcn\u00fc y\u0131k\u0131ma kar\u015f\u0131 test ediyor. Fotopoetik vizyonu, genel ve sosyal manzaran\u0131n tan\u0131d\u0131k simgelerine \u0131\u015f\u0131k de\u011fil, karanl\u0131k sa\u00e7ar.<\/span><\/p>\n

Yap\u0131s\u0131, yasan\u0131n k\u0131y\u0131s\u0131nda \u00e7al\u0131\u015fan bir polis taraf\u0131ndan bir cinayetin soru\u015fturulmas\u0131 tan\u0131d\u0131k. \u0130lk varsay\u0131mlar\u0131n\u0131n ne kadar yanl\u0131\u015f oldu\u011funu ke\u015ffederken, M\u00fcfetti\u015f Craven’in soru\u015fturmas\u0131, geleneklerini bozar ve a\u015far.<\/span><\/p>\n

Genel olarak drama, pop\u00fcler bir e\u011flence bi\u00e7iminin merkezinden deneysel yenili\u011fin kenarlar\u0131na do\u011fru hareket eder. Diegetik olarak, s\u0131radan bir insan\u0131n endi\u015felerinden karanl\u0131\u011f\u0131n kalbine ge\u00e7er. Evin a\u015final\u0131\u011f\u0131ndan, anlay\u0131\u015f ve \u00f6l\u00fcm\u00fcn kesi\u015fti\u011fi ke\u015ffedilmemi\u015f bir \u00fclkeye, k\u00fcresel g\u00fc\u00e7 oyunlar\u0131n\u0131n \u00e7\u00fcr\u00fcm\u00fc\u015f \u00e7ekirde\u011fine tehlikeli bir yolculuktur.<\/span><\/p>\n

B\u00dcY\u00dcK \u015eA\u0130RLERE SAH\u0130P OLMAK<\/span><\/strong><\/h3>\n

Edge of Darkness’\u0131 farkl\u0131 k\u0131lan \u015fey, metin, yap\u0131mc\u0131lar\u0131 ve izleyicileri aras\u0131ndaki ili\u015fkidir; hem metinsel hem de sosyal bir g\u00fcven ili\u015fkisi.<\/span><\/p>\n

Metinsel olarak, izleyicinin, s\u00fcrekli olarak yer i\u015faretlerini etiketlemeden, izleyici ad\u0131na anlama i\u015fi yapmadan, kendi yarat\u0131c\u0131 alan\u0131na girmesine g\u00fcvenir; her iki taraf da karanl\u0131\u011f\u0131n e\u015fi\u011finde. Sosyal olarak, izleyicisinin anlay\u0131\u015f\u0131 arzu edece\u011fine g\u00fcvenir; yabanc\u0131la\u015ft\u0131rma ayg\u0131t\u0131n\u0131n tetikledi\u011fi tan\u0131nma \u015fokudur.<\/span><\/p>\n

\u00d6d\u00fcller somuttur; Edge of Darkness, di\u011fer ko\u015fullar alt\u0131nda (\u00f6rne\u011fin belgesel veya g\u00fcncel olaylar) ekrana gelmeyecek vizyonlarla kurtulabilir ve ara\u015ft\u0131rmac\u0131 drama y\u00f6ntemi, kamusal ya\u015fam\u0131n baz\u0131 karma\u015f\u0131kl\u0131klar\u0131n\u0131 ara\u015ft\u0131rmac\u0131 gazetecilikten daha ger\u00e7ek\u00e7i bir \u015fekilde \u00e7\u00f6zebilir.<\/span><\/p>\n

Humphrey Jennings’in aksine, Troy Kennedy Martin bu \u00e7al\u0131\u015fmada dramatik bir vizyondan ba\u015fka bir \u015fey sergilemez; onun foto\u015fiiri a\u00e7\u0131k bir ideoloji teorisine dayanmaz, ancak Jennings’in filmleri gibi tan\u0131d\u0131\u011f\u0131 ve g\u00fcvendi\u011fi pop\u00fcler bir izleyici kitlesiyle ittifaklar kurar.<\/span><\/p>\n

Vizyon Ara\u00e7lar\u0131, \u00dcretim Ara\u00e7lar\u0131na ayak uydurur; Edge of Darkness, \u00e7a\u011fda\u015f izleyiciye, n\u00fckleer g\u00fc\u00e7 ve \u00e7evresel y\u0131k\u0131m \u00e7a\u011f\u0131nda \u0130nsan Varl\u0131klar\u0131 (Jennings’in tabiriyle) olarak do\u011fam\u0131z i\u00e7in bir imaj ve ki\u015fisel sorumluluk duygusu sunar.<\/span><\/p>\n

Sonu\u00e7 sadece iyi bir drama de\u011fil, ayn\u0131 zamanda iyi bir politikad\u0131r. Todd Gitlin, Amerikan televizyonu hakk\u0131ndaki kesin ara\u015ft\u0131rmas\u0131n\u0131, Inside Prime Time’\u0131 Walt Whitman’\u0131n \u015fu s\u00f6zleriyle kapat\u0131yor: “B\u00fcy\u00fck \u015fairlere sahip olmak i\u00e7in b\u00fcy\u00fck izleyiciler de olmal\u0131. Shakespeare ve Humphrey Jennings gibi, Troy Kennedy Martin de b\u00fcy\u00fck bir \u015fairdir ve b\u00fcy\u00fckl\u00fc\u011f\u00fc, izleyicilerinin pop k\u00fclt\u00fcr\u00fc k\u00fclt\u00fcr\u00fc \u00fczerine kuruludur.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

E\u011fitim \u0130\u00e7eri\u011fi\u00a0 Ger\u00e7ekten de y\u00fcksek ve pop\u00fcler k\u00fclt\u00fcr aras\u0131nda ortak bir \u015fey var. Y\u00fcksek k\u00fclt\u00fcr, pop\u00fcler k\u00fclt\u00fcr\u00fcn bir \u00fcr\u00fcn\u00fcd\u00fcr. Bir kavram, bir s\u00f6ylem ve bir metinler b\u00fct\u00fcn\u00fc olarak y\u00fcksek k\u00fclt\u00fcr, iki toplumsal kurumun (haf\u0131za kurumlar\u0131n\u0131n) bir \u00fcr\u00fcn\u00fcd\u00fcr: e\u011fitim ve medya. Varsa, halk \u00fczerindeki yarat\u0131c\u0131 etkisi, \u00f6\u011fretme ve s\u00fcrekli hat\u0131rlatma ile yarat\u0131l\u0131r ve s\u00fcrd\u00fcr\u00fcl\u00fcr. E\u011fitim, on…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8382,"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":[22480,22479,22478],"tags":[22483,22482,22481,22484],"class_list":["post-9882","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-egitim-icerigi-hazirlama-programlari","category-egitim-icerigi-nasil-hazirlanir","category-egitim-icerigi-nedir","tag-egitim-icerigi-hazirlama-programlari","tag-egitim-icerigi-nasil-hazirlanir","tag-egitim-icerigi-nedir","tag-egitimin-icerigi-ne-olmalidir"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9882","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=9882"}],"version-history":[{"count":0,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9882\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media\/8382"}],"wp:attachment":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media?parent=9882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/categories?post=9882"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/tags?post=9882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}