Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-04
Melihat Tuzun
{"title":"STANLEY WILLIAM HAYTER AND WORKSHOP 17 IN 20TH CENTURY PRINT MAKING","authors":"Melihat Tuzun","doi":"10.7816/ulakbilge-07-41-04","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-04","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115229615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-03
F. Sen
{"title":"THE REFLECTION OF SOCIAL STRUCTURE CHANGING FROM 1970'S TO TODAY A TURKISH COMEDY FILM CHARACTER","authors":"F. Sen","doi":"10.7816/ulakbilge-07-41-03","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-03","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126213029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-01
Tuba Gultekin, Aşkın Bahadir
{"title":"RELATIONAL DISCOURSE IN THE WORKS OF JENNY HOLZER AND CINDY SHERMAN IN THE APPROACH OF SIMULATION PERCEPTION AND METAPHOR OF CULT FIGURES","authors":"Tuba Gultekin, Aşkın Bahadir","doi":"10.7816/ulakbilge-07-41-01","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-01","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"243 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116441530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-05
M. Atalay, E. Sule
{"title":"PALEOLITHIC AGE AND AN EXAMINATION ON AESTHETICAL CHARACTER OF LION PANEL IN THE LAST ROOM OF CHAUVET CAVE","authors":"M. Atalay, E. Sule","doi":"10.7816/ulakbilge-07-41-05","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-05","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125910282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-06
Muzeyyen Yesim Yorulmaz
{"title":"ART PRACTICES IN PUBLIC SPACE, “KUZGUNCUK’LA İÇ İÇE” AKTIVITY","authors":"Muzeyyen Yesim Yorulmaz","doi":"10.7816/ulakbilge-07-41-06","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-06","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124398833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-10-31DOI: 10.7816/ulakbilge-07-41-02
Dilek Cebeci
This work mainly deals with the relation between sustainability and (sustainable) textile product design. The particular interest is on the product life cycles such that a comprehensive investigation is made for ecologically viable textile products. The discussion of processes associated with the product life cycles is made from the ecological point of view. A particular investigation is made to exhibit the advantages of the use of bamboo as an eco-fiber. Specifically, the work focuses on some bamboo-made textile products in baby clothing. Finally, lifecycle processes for a bamboo-made baby clothing are illustrated.
{"title":"THE USE OF BAMBOO FIBER IN BABY CLOTHING FROM THE POINT OF SUSTAINABILITY AND LIFE-CYCLE PROCESSES","authors":"Dilek Cebeci","doi":"10.7816/ulakbilge-07-41-02","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-41-02","url":null,"abstract":"This work mainly deals with the relation between sustainability and (sustainable) textile product design. The particular interest is on the product life cycles such that a comprehensive investigation is made for ecologically viable textile products. The discussion of processes associated with the product life cycles is made from the ecological point of view. A particular investigation is made to exhibit the advantages of the use of bamboo as an eco-fiber. Specifically, the work focuses on some bamboo-made textile products in baby clothing. Finally, lifecycle processes for a bamboo-made baby clothing are illustrated.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122178022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-04-30DOI: 10.7816/ulakbilge-08-35-01
The center-periphery theory, which analyzes the post-19th century modernization process of Turkey, has two main distinguishing features. The first is that the historical process in question is explained using the concepts of “contradiction” and “conflict.” This attitude allows us to see the center-periphery theory in a dialectical method approach. The explanation of Turkish modernization through a dialectical method approach is an original attempt. However, the Mardin’s dialectic is not a Marxist but a Hegelian dialectic. He discusses the contradictions between the low classes and the high bureaucracy in Turkey in terms of culture and tradition. When the social change process in Turkey is evaluated in terms of the center-periphery theory, the cultural-traditional values of the periphery established superiority over the secular politics of the center and made it regress. Although Mardin, in his own theory, makes mention of the triumph of the periphery over the center, this does not necessarily mean that the periphery, which is composed of large segments of the society, establish an economic and class power over the center. Although the low classes made the bureaucracy accept the tradition, they still remained as the low classes. This situation necessitates the center-periphery theory to be discussed through a comparison with Marxist dialectic. The purpose of this study is to discuss the center-periphery theory through a Marxist critique. Keywords: Turkish modernization, Turkish sociologists, Historical Materialism, Social Change, Culture
{"title":"EVALUATION OF THE “CENTER-PERIPHERY” THEORY OF SERIF MARDIN WITHIN THE SCOPE OF HEGELIAN AND MARXIST DIALECTIC","authors":"","doi":"10.7816/ulakbilge-08-35-01","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-35-01","url":null,"abstract":"The center-periphery theory, which analyzes the post-19th century modernization process of Turkey, has two main distinguishing features. The first is that the historical process in question is explained using the concepts of “contradiction” and “conflict.” This attitude allows us to see the center-periphery theory in a dialectical method approach. The explanation of Turkish modernization through a dialectical method approach is an original attempt. However, the Mardin’s dialectic is not a Marxist but a Hegelian dialectic. He discusses the contradictions between the low classes and the high bureaucracy in Turkey in terms of culture and tradition. When the social change process in Turkey is evaluated in terms of the center-periphery theory, the cultural-traditional values of the periphery established superiority over the secular politics of the center and made it regress. Although Mardin, in his own theory, makes mention of the triumph of the periphery over the center, this does not necessarily mean that the periphery, which is composed of large segments of the society, establish an economic and class power over the center. Although the low classes made the bureaucracy accept the tradition, they still remained as the low classes. This situation necessitates the center-periphery theory to be discussed through a comparison with Marxist dialectic. The purpose of this study is to discuss the center-periphery theory through a Marxist critique. Keywords: Turkish modernization, Turkish sociologists, Historical Materialism, Social Change, Culture","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124610876","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-04-30DOI: 10.7816/ulakbilge-08-35-05
As life is an abstract concept, it can be explained only by the traces and appearances of time, which contain concepts. Because life has memory. Many events in the past are remembered in life. In this study, it is seen that the richness of the changing effect and appearance in life is represented by the same richness in the cultural assets with different structures, compositions, patterns and motifs. It is possible to see the sky, eternity and life awareness in Turkish religious architectural plans and structures, dome designs, dome patterns, door windows, other interior decorations and furniture. People who are away from research, observation, knowledge and thinking development efforts in society cannot carry culture and art to the future. But nature; Even with a leaf that opened in spring and fall in autumn, it tells life and brings this expression to the future with rich looks. In this study, the conditions affecting the shaping of life in Turkish cultural assets were observed and examined. Keywords: culture, art, life, architecture, carpet, pattern, motif, headstone
{"title":"SHAPING OF LIFE IN TURKISH CULTURAL ASSETS","authors":"","doi":"10.7816/ulakbilge-08-35-05","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-35-05","url":null,"abstract":"As life is an abstract concept, it can be explained only by the traces and appearances of time, which contain concepts. Because life has memory. Many events in the past are remembered in life. In this study, it is seen that the richness of the changing effect and appearance in life is represented by the same richness in the cultural assets with different structures, compositions, patterns and motifs. It is possible to see the sky, eternity and life awareness in Turkish religious architectural plans and structures, dome designs, dome patterns, door windows, other interior decorations and furniture. People who are away from research, observation, knowledge and thinking development efforts in society cannot carry culture and art to the future. But nature; Even with a leaf that opened in spring and fall in autumn, it tells life and brings this expression to the future with rich looks. In this study, the conditions affecting the shaping of life in Turkish cultural assets were observed and examined. Keywords: culture, art, life, architecture, carpet, pattern, motif, headstone","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130272027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-04-30DOI: 10.7816/ulakbilge-08-35-02
The objective of this study is to present intersections between biopolitics that intends to benefit from biological potential and capabilities of the individual in favor of the state by keeping population under surveillance and politics of death (thanatopolitics) in Soviet corrective labor camps. It discusses the process from constructing persona-grata to destructing persona-non-grata as “enemies of the people” through contemporary Italian philosopher Georgio Agamben’s conceptualisations “bare life” and “state of exception”; and contemporary French historian Annette Becker’s “animalization” and “reification”. The relevant concepts are evaluated within the testimonies of Gulag survivors -Yevgeniya Ginzburg's “Journey into the Whirlwind” and Varlam Shalamov's “Kolyma Stories”. It has been concluded that the phenomenon of camp was not left behind as an anomaly of the past; it has correspondence in theory and practice as the matris and the nomos of current political life as Agamben prescribed. Keywords: Zoē and bios, politics of the body, inhuman condition (conditio inhumana), Ginzburg, Shalamov
{"title":"Biopolitics of Camp: The Body in Eugenia Ginzburg’s and Varlam Shalamov’s Gulag Testimonies","authors":"","doi":"10.7816/ulakbilge-08-35-02","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-35-02","url":null,"abstract":"The objective of this study is to present intersections between biopolitics that intends to benefit from biological potential and capabilities of the individual in favor of the state by keeping population under surveillance and politics of death (thanatopolitics) in Soviet corrective labor camps. It discusses the process from constructing persona-grata to destructing persona-non-grata as “enemies of the people” through contemporary Italian philosopher Georgio Agamben’s conceptualisations “bare life” and “state of exception”; and contemporary French historian Annette Becker’s “animalization” and “reification”. The relevant concepts are evaluated within the testimonies of Gulag survivors -Yevgeniya Ginzburg's “Journey into the Whirlwind” and Varlam Shalamov's “Kolyma Stories”. It has been concluded that the phenomenon of camp was not left behind as an anomaly of the past; it has correspondence in theory and practice as the matris and the nomos of current political life as Agamben prescribed. Keywords: Zoē and bios, politics of the body, inhuman condition (conditio inhumana), Ginzburg, Shalamov","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117032854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-04-30DOI: 10.7816/ulakbilge-08-35-04
The term consumption society has started to be talked about during the 1980s. But we see that industrial revolutions played a fundamental role in it when we look at the development process of consumption society. Consumption has been a case to become a necessity as a result of the increase of production with the developing technology and the proliferation of manufactured products. Thus, the emergence of consumption society has begun as a consequence of the interdependent increase of production and consumption. Today, the term consumption society is socially expanded into every area. One of the most valid reasons for that is the brand-new mass media used during the globalization. The access to the Internet that has reached more than the half of the global population is provided by newly-developed and increasingly high-speed communication devices. Furthermore, the number of people accessing to the Internet is increasing every day. The consumption phenomenon, today, has shown so violent leap along with the consuming society that the new steps has started to be taken in terms of industrialization. Among the most important steps is Industry 4.0 with which factories become completely autonomous and AI-driven. Thus, it is aimed that production will become faster and the transferring products to customers quicker. The term consumption society has succeeded to influence art as it has taken control over everything as well. Art, now, has been under the influences of consumption society and started to lose its own essence rather than producing its own unique ideas. Works of art are being branded just as products for consuming and placed into a consumption cycle. Despite of all the limitations and forces imposed by consumption society, it should not be considered art and artist to ignore emerging social defects. During this process of the universal change throughout the world, artist should exert effort to fulfil the criticizing and liberating task of which he is responsible. This is an inherent nature of art. Keywords: Consumption society, Art, Art of painting, Digitalization
{"title":"CONSUMPTION SOCIETY AND THE ART OF PAINTING IN THE DIGITALIZED WORLD","authors":"","doi":"10.7816/ulakbilge-08-35-04","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-35-04","url":null,"abstract":"The term consumption society has started to be talked about during the 1980s. But we see that industrial revolutions played a fundamental role in it when we look at the development process of consumption society. Consumption has been a case to become a necessity as a result of the increase of production with the developing technology and the proliferation of manufactured products. Thus, the emergence of consumption society has begun as a consequence of the interdependent increase of production and consumption. Today, the term consumption society is socially expanded into every area. One of the most valid reasons for that is the brand-new mass media used during the globalization. The access to the Internet that has reached more than the half of the global population is provided by newly-developed and increasingly high-speed communication devices. Furthermore, the number of people accessing to the Internet is increasing every day. The consumption phenomenon, today, has shown so violent leap along with the consuming society that the new steps has started to be taken in terms of industrialization. Among the most important steps is Industry 4.0 with which factories become completely autonomous and AI-driven. Thus, it is aimed that production will become faster and the transferring products to customers quicker. The term consumption society has succeeded to influence art as it has taken control over everything as well. Art, now, has been under the influences of consumption society and started to lose its own essence rather than producing its own unique ideas. Works of art are being branded just as products for consuming and placed into a consumption cycle. Despite of all the limitations and forces imposed by consumption society, it should not be considered art and artist to ignore emerging social defects. During this process of the universal change throughout the world, artist should exert effort to fulfil the criticizing and liberating task of which he is responsible. This is an inherent nature of art. Keywords: Consumption society, Art, Art of painting, Digitalization","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116698839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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