Pub Date : 2019-04-30DOI: 10.7816/ulakbilge-08-35-03
This study explains the life-death contrast and other virtual reality concepts through art works in two fundamental problems. In the first stage, a descriptive analysis of the arts of Baroque, Performance and Media, expression of the works included in the study, as well as the life – death contrast was made and interpreted. In the second stage, the other virtual reality approach has been described as an artistic expression of the feminist art, place of women in the history of art and women artists who want to bring down the male-dominant sense of art. Within the context of this description, the subject-body relationship has been interpreted with tendencies that build the reality on illusions with the feminist approach of virtual reality. In the limited sample, Pierre Le Gros’ “the Younger, Stanislas Kostka on His Deathbed”, Marina Abramovic’s “Balkan Baroque” Performance, and Bill Viola’s “Nantes Triptych” video work have been analyzed in terms of life-death contrast in fictional body-subject approach, and Tracey Emin’s “My Bed” installation were analyzed in terms of other virtual reality subject dependent conscious and fictional body. Keywords: Baroque, performance, New Media, installation, simulation, fictional body
本研究通过艺术作品阐释了生-死对比等虚拟现实概念的两个基本问题。在第一阶段，对巴洛克艺术、表演艺术和媒介艺术进行了描述性分析，并对所研究的作品的表达以及生与死的对比进行了阐释。在第二阶段，另一种虚拟现实方法被描述为女权主义艺术的艺术表达，女性在艺术史上的地位和女性艺术家想要打倒男性主导的艺术意识。在这种描述的背景下，主体与主体之间的关系被用虚拟现实的女权主义方法解释为将现实建立在幻想之上。在有限样本中，对Pierre Le Gros的“the Younger, Stanislas Kostka on His dying Bed”、Marina Abramovic的“巴尔干巴洛克”表演、Bill Viola的“Nantes tritych”录像作品进行了基于虚构身体-主体方法的生-死对比分析，对Tracey Emin的“My Bed”装置作品进行了基于其他虚拟现实主体依赖意识和虚构身体的分析。关键词:巴洛克，表演，新媒体，装置，模拟，虚构的身体
{"title":"LIFE - DEATH CONTRAST IN FICTIONAL \"BODY-SUBJECT APPROACH\" AND OTHER VIRTUAL REALITY","authors":"","doi":"10.7816/ulakbilge-08-35-03","DOIUrl":"https://doi.org/10.7816/ulakbilge-08-35-03","url":null,"abstract":"This study explains the life-death contrast and other virtual reality concepts through art works in two fundamental problems. In the first stage, a descriptive analysis of the arts of Baroque, Performance and Media, expression of the works included in the study, as well as the life – death contrast was made and interpreted. In the second stage, the other virtual reality approach has been described as an artistic expression of the feminist art, place of women in the history of art and women artists who want to bring down the male-dominant sense of art. Within the context of this description, the subject-body relationship has been interpreted with tendencies that build the reality on illusions with the feminist approach of virtual reality. In the limited sample, Pierre Le Gros’ “the Younger, Stanislas Kostka on His Deathbed”, Marina Abramovic’s “Balkan Baroque” Performance, and Bill Viola’s “Nantes Triptych” video work have been analyzed in terms of life-death contrast in fictional body-subject approach, and Tracey Emin’s “My Bed” installation were analyzed in terms of other virtual reality subject dependent conscious and fictional body. Keywords: Baroque, performance, New Media, installation, simulation, fictional body","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"19 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":"115844329","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 : 2019-02-28DOI: 10.7816/ulakbilge-07-33-04
Necmettin Yağci
In the new urban conception of the Republican era, parks and squares emerge as important centers of public life. In addition, monuments and sculptures were also included. These areas where was a sign of The War of Independence, the Republic, modernity and secularism. Most of the monuments are figurative, but religious and political. One of these monuments including political leaders, culture and scientists is the Monument of Güven. The Monument of Güven is a composition describing the trust of the Turkish Nation in the police and the gendarmerie. The monument of Güven is at Kizilay Square in the center of Ankara. This place where the monument is located brings people together, collects and exchanges culture. They form social images related to the space and the environment in the activities carried out in this area. The most important feature of the capital of the Republic of Ankara is the monumental sculpture. The Republican architecture and art, envisioned as an ideological tool by the power, undertook the task of representing the regime. The most important function of the monuments within the understanding of the new city created in the early Republican years; Nation State understanding, modernity and the Republic has become an indicator of the values. The most important indicator in these monuments; was designed and put into place in accordance with a set of principles with physical properties. It should be in accordance with the universal art conception. These principles include; Unity is ratio, scale, harmony, balance, symmetry, rhythm and contrast. other functions should be considered. The monument of Güven creates a spatial image like an artistic expression by changing the physical environment, feelings and thoughts with a human and social perspective and making a unifying effect.
{"title":"THE RELATIONSHIP BETWEEN THE MONUMENT OF GÜVEN AND ENVIRONMENT FROM SOCIAL AND PHYSICAL ASPECTS","authors":"Necmettin Yağci","doi":"10.7816/ulakbilge-07-33-04","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-33-04","url":null,"abstract":"In the new urban conception of the Republican era, parks and squares emerge as important centers of public life. In addition, monuments and sculptures were also included. These areas where was a sign of The War of Independence, the Republic, modernity and secularism. Most of the monuments are figurative, but religious and political. One of these monuments including political leaders, culture and scientists is the Monument of Güven. The Monument of Güven is a composition describing the trust of the Turkish Nation in the police and the gendarmerie. The monument of Güven is at Kizilay Square in the center of Ankara. This place where the monument is located brings people together, collects and exchanges culture. They form social images related to the space and the environment in the activities carried out in this area. The most important feature of the capital of the Republic of Ankara is the monumental sculpture. The Republican architecture and art, envisioned as an ideological tool by the power, undertook the task of representing the regime. The most important function of the monuments within the understanding of the new city created in the early Republican years; Nation State understanding, modernity and the Republic has become an indicator of the values. The most important indicator in these monuments; was designed and put into place in accordance with a set of principles with physical properties. It should be in accordance with the universal art conception. These principles include; Unity is ratio, scale, harmony, balance, symmetry, rhythm and contrast. other functions should be considered. The monument of Güven creates a spatial image like an artistic expression by changing the physical environment, feelings and thoughts with a human and social perspective and making a unifying effect.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131174743","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 : 2019-02-28DOI: 10.7816/ulakbilge-07-33-02
Ibrahim Gorucu
In this study, the following findings were obtained as a result of the research and evaluations on the statistics of the implementation of the on-the-job training program carried out by ISKUR. Rather than enabling the individuals with theoretical education but not enough practical skills or unqualified individuals to participate in employment by qualifying them, the on-the-job training practice has been broadened to be able to cover the professions that do not need the on-the-job training. Instead of meeting the requests of the employers who report the need for on-the-job training from the labor force available in the ISKUR records, going to the implementation of on-the-job training has become a means of providing free labor force to the employers in a sense. In order to obtain the expected benefits from the on-the-job training practice, it is necessary to choose the individuals or groups to be included in the practice from the individuals who are not really qualified or to be composed of individuals who do not have a valid profession. It should be prevented that the on-thejob training practice is seen as a free labor source by the employers. It is clear that the realization of the on-the-job training in accordance with its purpose will prevent the being idle of manpower resources, and it will make it easier for the individuals whose lacking is felt in the areas the economy needs or the individuals whose unemployed process is taking long because of the lack of qualifications to join the employment
{"title":"AN ASSESSMENT OF THE ON-THE-JOB TRAINING POLICIES CARRIED OUT BY ISKUR","authors":"Ibrahim Gorucu","doi":"10.7816/ulakbilge-07-33-02","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-33-02","url":null,"abstract":"In this study, the following findings were obtained as a result of the research and evaluations on the statistics of the implementation of the on-the-job training program carried out by ISKUR. Rather than enabling the individuals with theoretical education but not enough practical skills or unqualified individuals to participate in employment by qualifying them, the on-the-job training practice has been broadened to be able to cover the professions that do not need the on-the-job training. Instead of meeting the requests of the employers who report the need for on-the-job training from the labor force available in the ISKUR records, going to the implementation of on-the-job training has become a means of providing free labor force to the employers in a sense. In order to obtain the expected benefits from the on-the-job training practice, it is necessary to choose the individuals or groups to be included in the practice from the individuals who are not really qualified or to be composed of individuals who do not have a valid profession. It should be prevented that the on-thejob training practice is seen as a free labor source by the employers. It is clear that the realization of the on-the-job training in accordance with its purpose will prevent the being idle of manpower resources, and it will make it easier for the individuals whose lacking is felt in the areas the economy needs or the individuals whose unemployed process is taking long because of the lack of qualifications to join the employment","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116269829","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 : 2019-02-28DOI: 10.7816/ulakbilge-07-33-05
Egemen Nadasbas, Seher Onemli
{"title":"USE OF DIRECTIVE ANALYSIS METHOD AND ALTERNATIVE EXAMPLES IN THE FASHION DESIGN PROCESS","authors":"Egemen Nadasbas, Seher Onemli","doi":"10.7816/ulakbilge-07-33-05","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-33-05","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123835335","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 : 2019-02-28DOI: 10.7816/ULAKBILGE-07-33-03
Osman Agir, Gul Demir
Russian Federation is an exclusive country and civilization thanks to its ethnic diversity, statea dministration, huge geographical features and many more. One of the most characteristic features of the Russian Federation is that it has a unique federative structure. Russian federalism, an asymmetric and hierarchical regime, does not have equal autonomy rights to all federal units. For example, the Republic of Tatarstan, which constitutes the subject of work, has a high level of autonomy, which is different from other federated republics. Inthisstudy, the federal structure in Russia was examined in general, the different autonomy situations of federations, the causes and the asymmetric structure in Russian federalism as a result of these reasons. This study aims to reveal the events and phenomena that support the autonomy and authenticity of the Republic of Tatarstan, which has emerged as a unique management among the federated republics thanks to its Muslim-Tatar identity, strong economy and good relations with the central government.
{"title":"THE POLITICAL STRUCTURE OF THE AUTONOMIC REPUBLICS OF RUSSIAN FEDERATION: AUTONOMOUS REPUBLIC OF TATARSTAN","authors":"Osman Agir, Gul Demir","doi":"10.7816/ULAKBILGE-07-33-03","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-07-33-03","url":null,"abstract":"Russian Federation is an exclusive country and civilization thanks to its ethnic diversity, statea dministration, huge geographical features and many more. One of the most characteristic features of the Russian Federation is that it has a unique federative structure. Russian federalism, an asymmetric and hierarchical regime, does not have equal autonomy rights to all federal units. For example, the Republic of Tatarstan, which constitutes the subject of work, has a high level of autonomy, which is different from other federated republics. Inthisstudy, the federal structure in Russia was examined in general, the different autonomy situations of federations, the causes and the asymmetric structure in Russian federalism as a result of these reasons. This study aims to reveal the events and phenomena that support the autonomy and authenticity of the Republic of Tatarstan, which has emerged as a unique management among the federated republics thanks to its Muslim-Tatar identity, strong economy and good relations with the central government.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117027105","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 : 2019-02-28DOI: 10.7816/ULAKBILGE-07-33-01
Huseyin Oznuluer
{"title":"THE EFFECTS OF TECHNOLOGY IN THE DEVELOPMENT OF PERFORMANCE ART","authors":"Huseyin Oznuluer","doi":"10.7816/ULAKBILGE-07-33-01","DOIUrl":"https://doi.org/10.7816/ULAKBILGE-07-33-01","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123885382","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 : 2019-01-30DOI: 10.7816/ulakbilge-07-32-03
Nazik Celik Yilmaz
{"title":"OPTICAL REFLECTIONS ON THE STREETS OF 21ST CENTURY","authors":"Nazik Celik Yilmaz","doi":"10.7816/ulakbilge-07-32-03","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-32-03","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123496334","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 : 2019-01-30DOI: 10.7816/ulakbilge-07-32-06
Umut Germeç
{"title":"NATURE IN EARLY 20TH CENTURY WESTERN PAINTING","authors":"Umut Germeç","doi":"10.7816/ulakbilge-07-32-06","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-32-06","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126554964","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 : 2019-01-30DOI: 10.7816/ulakbilge-07-32-07
Semra Kilic Karatay
From the past to the present, Aksaray has remained in the Hittite, Persian, Hellenistic (Alexander the Great), Roman, Byzantine, Seljuk and Ottoman sovereignty. Aksaray, which was a province of Konya until the Republican period, became a province in 1920 and its province was abolished in 1933 and connected to Niğde as a district. On June 15, 1989, it became a province again. Aksaray, BC The history dating back to 8,000 years has never lost its significance in any period due to its cultural assets, natural beauties and a commercial center. Handicrafts have emerged due to natural conditions since human beings have existed. He gave his first examples to cover the needs of people, to cover them and to protect them. The handicrafts, which later developed and showed changes according to the environmental conditions, became a ler traditional göre character by reflecting the feelings, artistic tastes and cultural characteristics of the society in which they emerged. Traditional Turkish Handcrafts have formed a rich mosaic by combining the cultural heritage of various civilizations from the thousands of years of Anatolia with their own values. Handicrafts are the most lively and meaningful documents of a country's cultural identity. The culture of many civilizations that lived in Anatolia continued to exist in a new synthesis after the settlement of the Turks. For this reason, the roots of Turkish handicrafts are very old and have a socio-cultural importance. Formal and non-formal education institutions, official and private institutions and people have reached the present day with the support of people. Traditional Turkish Handcrafts have formed a rich mosaic by combining the cultural heritage of various civilizations from the thousands of years of Anatolia with their own values. Aksaray, which is a cultural basin throughout its history and maintains this feature today, draws attention with the diversity of traditional handicrafts.
{"title":"WEAVING AND FEATURES IN AKSARAY MUSEUM","authors":"Semra Kilic Karatay","doi":"10.7816/ulakbilge-07-32-07","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-32-07","url":null,"abstract":"From the past to the present, Aksaray has remained in the Hittite, Persian, Hellenistic (Alexander the Great), Roman, Byzantine, Seljuk and Ottoman sovereignty. Aksaray, which was a province of Konya until the Republican period, became a province in 1920 and its province was abolished in 1933 and connected to Niğde as a district. On June 15, 1989, it became a province again. Aksaray, BC The history dating back to 8,000 years has never lost its significance in any period due to its cultural assets, natural beauties and a commercial center. Handicrafts have emerged due to natural conditions since human beings have existed. He gave his first examples to cover the needs of people, to cover them and to protect them. The handicrafts, which later developed and showed changes according to the environmental conditions, became a ler traditional göre character by reflecting the feelings, artistic tastes and cultural characteristics of the society in which they emerged. Traditional Turkish Handcrafts have formed a rich mosaic by combining the cultural heritage of various civilizations from the thousands of years of Anatolia with their own values. Handicrafts are the most lively and meaningful documents of a country's cultural identity. The culture of many civilizations that lived in Anatolia continued to exist in a new synthesis after the settlement of the Turks. For this reason, the roots of Turkish handicrafts are very old and have a socio-cultural importance. Formal and non-formal education institutions, official and private institutions and people have reached the present day with the support of people. Traditional Turkish Handcrafts have formed a rich mosaic by combining the cultural heritage of various civilizations from the thousands of years of Anatolia with their own values. Aksaray, which is a cultural basin throughout its history and maintains this feature today, draws attention with the diversity of traditional handicrafts.","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114312645","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 : 2019-01-30DOI: 10.7816/ulakbilge-07-32-01
Ayse Kursuncu
{"title":"A SUPPORTIVE COURSE MODEL FOR ART STUDIO IN CERAMIC EDUCATION: EXHIBITION AND SPACE","authors":"Ayse Kursuncu","doi":"10.7816/ulakbilge-07-32-01","DOIUrl":"https://doi.org/10.7816/ulakbilge-07-32-01","url":null,"abstract":"","PeriodicalId":187770,"journal":{"name":"Ulakbilge Dergisi","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125413091","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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