Sanat Tarihinde Direniş Eylemi ve Kadın
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Dosyalar
Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tarihin her döneminde farklı şekillerde ele alınan kadın eşiti erkekle çağlar
boyu çekişmesi ona özgü bir geçmişe sahip olmasını sağlamıştır. Biyolojik farklılığın
yanı sıra toplum tarafından atfedilen roller kimliklerin oluşumunda etkili olmuş ve
iki cins arasında uçurumları meydana getirmiştir. Kültürel, dinsel, geleneksel ve
toplumsal yaklaşımların kadına yüklediği anlam değişiklik göstermiş, tüm
kötülüklerin anası, cadı olarak da görülmüş toprakla özdeşleştirilerek tanrıça
konumunda yüceltildiği de olmuştur. Buradan yola çıkarak kadın toplumsal bir olgu
olmuştur. Tarihsel süreçte kadın hep erkek tarafından tanımlanmış, erkek bakışıyla,
yine erkek olduğu varsayılan izleyici için seyredilen kadınlar olarak sanatta yerini
almıştır. Teknolojik gelişmeler, devrimler, dünya savaşları, makineleşme bireyin
bedenen ve zihnen tükenmesini, yabancılaşmayı da beraberinde getirmiş, sanatçı
sanat hareketleriyle başkaldırısında sanatı propaganda aracı olarak kullanmıştır.
Kadının varoluş mücadelesi eşitlik, hak, özgürlük arayışı, var olma mücadelesi reel
yaşamda da sanatta da halen devam etmektedir. Kadın gelişen zaman içerisinde tuval
veya heykel olarak temsilinden sıyrılıp performans sanatında örnekleri
görülmektedir. Sanatçı hem özne hem de nesne olma durumunu aynı anda gerçekleştirmiştir. Kadının sosyo-kültürel direnişi sanatsal hareketlerle hayat
bulmuştur. Sosyal, kültürel, ekonomik, politik, toplumsal yapıdaki radikal
değişimlerin yaşandığı bu serüven kuşkusuz sanatıda sanatçıyıda doğrudan
etkilemiştir.
Araştırmada tarihte tartışmalı kavramlardan biri olan kadın’a değinilmiştir.
Tarihin çeşitli dönemlerinde farklı şekillerde ele alınan kadın, çağını yansıtan
karakter olarak varoluş mücadelesi, direnişi çalışmanın belirleyicisi olmuştur.
Böylece imge olarak kadın’a, kadının kültürel bir özne olarak tarihsel süreçte
geçirdiği evrelere değinilmiştir. Sosyal, politik, ekonomik yapıda yaşanan gelişmeler,
dönüşüm süreci ve radikal kırılmalar konumuzu ilgilendirdiği ölçüde çalışmaya dâhil
edilmiştir. İmge olarak kadın’ı eserlerinde, sanatsal uygulamalarında yer veren
sanatçılar, sanat anlayışları, üretim süreçlerini etkileyen olgularla ilişiği, kadın’ı ele
alma biçimleri, eser ve uygulama hakkında genel bir inceleme yapılmıştır. Son olarak
da uygulama çalışmaları kısmında Elif Türker’in sanat anlayışına ve direnişçi kadın
temsilleri olarak ele aldığı on eserinin analizine yer verilmiştir.
The conflict of the woman, who has been discussed in different ways in every period of history, with the man who is equal to her, has ensured her to have a specific past. In addition to the biological difference, the roles attributed by society have also been influential in the formation of identities, and they created gaps between the two genders. The meaning attributed to women by cultural, religious, traditional, and social approaches has changed. She has either been seen as the mother of all evils and witches or identified with the earth and glorified as a goddess. Starting from this point of view, the woman has become a social phenomenon. In the historical process, women have always been defined by men, and they have taken their place in art as women watched with a man's eye view and again with the supposedly male audience. Technological developments, revolutions, world wars, mechanization brought about the physical and mental exhaustion of the individual and alienation, and the artist used art as a propaganda tool in the revolt of women with art movements. The struggle for the existence of women, the search for equality, rights, and freedom continues both in real life and in art. In time, the woman got rid of her representation as a canvas or sculpture. Its examples can be seen in performance art. The artist has realized the state of being both a subject and an object concurrently. The socio-cultural resistance of women came to life with artistic movements. This adventure, in which radical changes in social, cultural, economic, political, and social structure were experienced, undoubtedly directly affected both the artist and the art. In the study, woman, one of the controversial concepts in history, is discussed. The woman, who has been discussed in different ways in many periods of history, has been the struggle for existence as a character reflecting her age, and her resistance has been the determinant of the study. Thus, the woman as an image and her phases as a cultural subject in the historical process is mentioned. The developments in the social, political, and economic structure, the transformation process, and radical refractions are included in the study to the extent that they are relevant to our subject. An overall study has been conducted about the artists who include women as images in their works and their artistic practices, their understanding of art, their relationship with the phenomena affecting their production processes, their handling ways of women, the study, and the practice. In conclusion, Elif Türker's sense of art and the analysis of her ten works as representations of women of resistance are included.
The conflict of the woman, who has been discussed in different ways in every period of history, with the man who is equal to her, has ensured her to have a specific past. In addition to the biological difference, the roles attributed by society have also been influential in the formation of identities, and they created gaps between the two genders. The meaning attributed to women by cultural, religious, traditional, and social approaches has changed. She has either been seen as the mother of all evils and witches or identified with the earth and glorified as a goddess. Starting from this point of view, the woman has become a social phenomenon. In the historical process, women have always been defined by men, and they have taken their place in art as women watched with a man's eye view and again with the supposedly male audience. Technological developments, revolutions, world wars, mechanization brought about the physical and mental exhaustion of the individual and alienation, and the artist used art as a propaganda tool in the revolt of women with art movements. The struggle for the existence of women, the search for equality, rights, and freedom continues both in real life and in art. In time, the woman got rid of her representation as a canvas or sculpture. Its examples can be seen in performance art. The artist has realized the state of being both a subject and an object concurrently. The socio-cultural resistance of women came to life with artistic movements. This adventure, in which radical changes in social, cultural, economic, political, and social structure were experienced, undoubtedly directly affected both the artist and the art. In the study, woman, one of the controversial concepts in history, is discussed. The woman, who has been discussed in different ways in many periods of history, has been the struggle for existence as a character reflecting her age, and her resistance has been the determinant of the study. Thus, the woman as an image and her phases as a cultural subject in the historical process is mentioned. The developments in the social, political, and economic structure, the transformation process, and radical refractions are included in the study to the extent that they are relevant to our subject. An overall study has been conducted about the artists who include women as images in their works and their artistic practices, their understanding of art, their relationship with the phenomena affecting their production processes, their handling ways of women, the study, and the practice. In conclusion, Elif Türker's sense of art and the analysis of her ten works as representations of women of resistance are included.
Açıklama
Anahtar Kelimeler
Sanat Tarihi, Direniş, Art History, Resistance, Kadın, Woman
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Türker, E., (2022). Sanat Tarihinde Direniş Eylemi ve Kadın. (Yüksek Lisans Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
