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Görsel Yapılanmada 'Diyalektik İmge'
No full textABSTRACT
ASLAN, Engin. The Dialectical Image In Visual Structuring, Doctor Of Fine Arts in Thesis,
Ankara, 2017.
Throughout the concept of dialectical image, Benjamin opens up a wide range of different ways
of thinking by relating incorrect history readings to visual culture objects. This situation is
noteworthy in terms of presenting a certain point of view in the context of artists who
understand both art and art as a kind of producer activity space.
In the work of Benjamin Passages, the concept is explained through objects that are open to
circulation in antiquities in the passages of cities like Paris, Naples and Berlin, which are
important centers of the period. What Benjamin calls the dialectical image from the point of
view; It is a cluster of objects from different centuries. Indeed, it argued that such images can
be dialectical images and that they can read a visual history through them. Therefore, as a
phenomenon that enters the visual field, the contribution to the dialectic structuring in plastic
arts is perceived as a problematic matter which must be absolutely revealed, since art directly
enters the field of study.
Concepts such as history, myth, allegory, realism, modernism and postmodern in the thesis
work are evaluated from the same point of view in terms of dialectical image as Benjamin
stated. Therefore, from the creation of the work of art to the perception of dialectical imitation,
it has been seen that it restricts a certain point of view in the understanding of all the components
of this phenomenon. As a result of the application studies made in the context of the subject,
the possibilities of art have been researched extensively and it has been seen that the visual
structure brings different approaches. Some of the problems arising from the creation of
comprehensive discussion possibilities within the context of the artist-work context have gained
a comprehensive insight.
Key Words: Benjamin, The Dialectic Image, Art, Visual Culture, History.İÇİNDEKİLER
TEŞEKKÜR…………………………………………………………………………………...i
ÖZET …………………………………………………………………...…….……......….….ii
ABSTRACT ………………………………………..…………….………….....……….……iii
İÇİNDEKİLER …………….…………………………..………….………….….……...…..iv
RESİMLER DİZİNİ …………………………………..…………….…...….…………….…v
GİRİŞ………………………………………………...…………………………………..….... 1
I. BÖLÜM: DİYALEKTİK İMGE
1. 1. Diyalektik İmge Kavramının Kökeni Ve Tanımı………….…......…................................. 3
1. 2. Diyalektiğin Tarihine Kısa Bir Bakış……………………………………...…………..… 4
1. 3. Benjamin Ve Diyalektik İmge Kavramı…………………………………………………. 6
II. BÖLÜM: SANATTA DİYALEKTİK İMGE………………………………………..….11
2. 1. Resimde İmge Ve Diyalektik Yöntem Arasındaki İlişkiler……...…………………........ 16
III. BÖLÜM: UYGULAMA ÇALIŞMALARINA İLİŞKİN AÇIKLAMALAR……….. 54
SONUÇ …………………………………………………………………………………….. 83
KAYNAKÇA ……………………………………………………………………….………. 86
ÖZGEÇMİŞ ……………………………………………………………………………….90ÖZET
ASLAN, Engin. Görsel Yapılanmada Diyalektik İmge, Sanatta Yeterlik Tezi, Ankara, 2017.
Benjamin, diyalektik imge kavramı üzerinden giriştiği tarih okumalarını, görsel kültür
nesneleriyle ilişkilendirerek farklı düşünüş biçimlerine oldukça geniş bir alan açmaktadır. Bu
durum, hem sanat yapıtına hem de sanatı bir tür üretici etkinlik alanı olarak kavrayan sanatçılar
bağlamında belli bir bakış açısı sunması bakımından dikkate değerdir.
Benjamin Pasajlar yapıtında, söz konusu kavramı, dönemin önemli merkezlerinden olan Paris,
Napoli ve Berlin gibi kentlerin pasajlarındaki antikacılarda dolaşıma açık olan nesneler (eşya)
üzerinden giderek açıklamıştır. Benjamin’in bakış açısına göre diyalektik imge diye
adlandırdığı şey; farklı yüzyıllara ait nesnelerin bir arada kümelenmesi durumudur. Nitekim bu
türden imgelerin diyalektik imge olabileceğini ve bunlar üzerinden görsel bir tarih okumasının
mümkün olduğunu öne sürmüştür. Dolayısıyla görsel alana giren bir olgu, sanatın çalışma
alanına doğrudan girdiği için, plastik sanatlardaki diyalektik yapılanmaya olan katkısı mutlak
olarak ortaya konması gereken bir sorunsal olarak algılanmıştır.
Tez çalışmasında, diyalektik imge kavramı Benjamin’in işaret ettiği anlamda değerlendirilerek,
sanat tarihindeki kimi örnekler üzerinden, görsel yapılanma olanaklarının yanı sıra tarih, mit,
alegori, gerçekçilik, Modern ve Postmodern gibi kavramlar aynı bakış açısıyla ele alınmıştır.
Dolayısıyla diyalektik imgenin, sanat yapıtının yaratımından algılanmasına kadar, bu olgu ile
bağlantılı bütün bileşenlerin kavranmasında belli bir bakış açısını koşulladığı görülmüştür.
Konu bağlamında yapılan uygulama çalışmaları sonucunda ise sanat alanındaki olanaklar
kapsamlı bir şekilde araştırılmış, konunun görsel yapılanmaya ilişkin farklı yaklaşımları olası
kıldığı görülmüştür. Sanatçı- yapıt bağlamı çerçevesinde geniş tartışma olanakları
yaratılmasıyla ortaya çıkan kimi sorunsallar üzerinden bütünlüklü bir kavrayış elde edilmiştir
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only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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