Siyaset Bilimi ve Uluslararası İlişkiler Bölümü Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.11779/1939

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Browsing Siyaset Bilimi ve Uluslararası İlişkiler Bölümü Koleksiyonu by Institution Author "Keki, Başak"

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    Heidegger's Conception of Poetic Dwelling Through Appropriation of History
    (Beytülhikme Felsefe Çerçevesi, 2021) Keki, Başak
    This paper explores the significance of poetic dwelling in Martin Heidegger's later thought in terms of its relevance to the essence of truth and his notion of the fourfold as world's disclosure. Heidegger emphasizes that the poetic provides us with a better understanding of our modern era, which is notable by the oblivion of Being. He regards history as a homecoming, which manifests itself when we remember that we are in a dialogue with the destining of Being. After clarifying the relationship between poetic dwelling and appropriation of history whilst referring to Friedrich Holderlin's hymn, "The Ister" ("Der Ister"), this paper argues that according to Heidegger, the precondition of participating in history is learning to listen and respond to the address of Being; which is only possible via the poetic which enables us to feel home and genuinely dwell on this earth.
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    Jasper Johns' Flag: Beyond Realism and Abstraction
    (Dokuz Eylül Üniversitesi, 2020) Keki, Başak
    Jasper Johns is one of the most provocative American artists of the twentieth century who has shaped the perception of art and has influenced generations of artists. This paper examines one of his most important works, Flag (1955), regarding it as a work defying easy categorizations as either a realist or an abstract work. Without being identified as either kind, it nevertheless displays certain traits of both. As for its suggestion of realism, the work comes up as a response to its political, cultural and artistic context, challenging Cold War aesthetics; albeit in a mocking manner. Its ridicule is evident in its allusion to the concept of ideology via its ‘kitschy’ subject matter whilst its delicately painted surface exhibits brushstrokes reminiscent of abstract expressionism. Yet the work also confronts presumptions of abstract expressionists by drawing attention to their implicit conventionalism despite their claims for authenticity and uniqueness. It will be argued that by calling the notion of identity in question, the work suspends and surpasses neat categories and sparks even further controversy by hinting at postmodern art and evoking ready-mades simultaneously.
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    The Provocation of Jasper Johns: Pushing the Representational Limits of Pictorial Expression
    (2020) Keki, Başak
    Bu çalışma Jasper Johns’un kabaca 1955-1965 yılları arasındaki çalışmalarındaki görsellik ve sözel dil arasındaki ilişkiyi inceler. Sanatçının Numbers in Colors / Renkli Numaralar (1958-59), Gray Alphabets / Gri Alfabeler (1956), False Start / Hatalı Çıkış (1959), Jubilee / Jübile (1959), By the Sea / Deniz Kenarı (1961), Fool’s House / Ahmağın Evi (1962), Map / Harita (1961), The Critic Sees / Eleştirmen Görüyor (1961), Voice / Ses (1964-67), Voice 2 / Ses 2 (1982), Light Bulb / Ampul (1958) ve Watchman / Gözcü (1964) gibi işleri görsel ve sözel dillerin birbirleriyle ne kadar yakın ilişki içerinde olduğunu açığa çıkararak bize resimsel ifadenin sınırlarına ilişkin meseleleri araştırma alanı sağlar. Ancak bu alanlar arasındaki ilişki içerisinde yoğun olarak kesinti, karmaşa ve gerilim de barındırır. Herhangi bir görsel sanat eserini doğru bir şekilde değerlendirebilmek için eninde sonunda bakma alışkanlıklarımızı askıya alıp bakma eyleminin kendisine has karmaşıklığını fark etmek durumunda kalırız. Johns’un eserleri de bakma deneyiminin çeşitliliğine (görmek, seyretmek, selamlamak, okumak, saymak, incelemek, ezberlemek, casusluk yapmak, röntgenlemek, gözünü dikmek vs.) dikkat çekerek bize görme alışkanlıklarımızı sorgulatır. Bu çalışma, Johns’un eserlerini bu denli kışkırtıcı kılan özelliğin görsel alemin kendi içinde saf bir alan olmaktan ziyade sürekli olarak sözel dil ve diğer duyuların etkisine maruziyetinin vurgulanması olduğunu iddia eder.