Theses supervised by Prof. Dr. Ali Ergur
11 theses · Galatasaray University
Kimlik stratejileri olarak gençlerin müzik dinleme pratikleri: İstanbul'da sosyolojik bir çözümleme
Since 1980, we are moving from an industrial society towards a post-industrial society by the process of globalization. In this fragmented post-industrial society, measured by speed, which is at the same time overrun by the culture of consumerism, identity crises have emerged. This thesis has the aim of analyzing the social function of music, departing from the manner in which young people listen to music and the meaning they attribute to music. Starting with the functions of music in the matter of time and space, musical experience of people and how they can create a micro space are observed. Then, the significations and interactions about music and the functions of music in the lives of our interviewees as a way of building a social bond, or a way of self-distinction and also modes of sharing music are analyzed. At the end, musical consumption, identity strategies and also self-expression through listening to music have been interrogated.
Dı̇gı̇tal çağda okuma pratı̇klerı̇nı̇n ve kağıt kı̇tabın güncel durumunun değerlendı̇rı̇lmesı̇ : İstanbul'da yaşayan okurlar üzerı̇ne bı̇r çalışma
As a hegemonic term, the information society establishing the framework of our research is defined by the emergence of a new « intellectual technology » founded on digitized information. This contemporary society, based on information technology, telecommunications and audio-visual elements, has been progressing according to particular social historical and technological aspects within which artificial intelligence and new information and communication technologies have generated new modes of reading by creating new approaches to it, especially during the last decade. In this respect, this master's thesis, conducted in Istanbul, introduces the transformation of reading practices in the context of the information society in the 21st century, as well as the reconsideration of the current position of the paper book by stressing the digital revolution in the cultural and intellectual fields.
Postyapısalcı ve feminist teori ışığında Türkiye'de performans sanatı
The goal of this master thesis is to analyze the performative works of Nil Yalter, Şükran Moral and Nezaket Ekici, three artist who were pioneers in the performance art field in Turkey, in the light of post-structuralist and feminist theories. In our thesis, the focus is on three artists, who are the first representatives of performance art, which started to appear in Turkey, only in the 90s, but which was a conceptual form of art, whose first examples were based on action painting (the start of 20th century). Our research, in order to follow the trail of the performance art in Turkey, focused on the video performances performed by Nil Yalter in 1970s in France, and the works of Şükran Moral and NezaketEkici performed in Turkey in the 90s. The study was designed in order to gather the clues of post structuralist and feminist criticism of postmodern period and thought, in the performances of these three artists, and their works are analyzed with this ideological background. If we would briefly mention performance art and feminist criticism subjects: Performance art, in its first forms, is sprouted from the societal opposition in the 60s. In the performances focusing on body, generally, the body, against hierarchic superiority attributed to culture in the duality of culture and nature (mind and body), and the experience of overcoming societal norms with the unlimited possibility of body were prioritized.The artists, who follow this theme, in order to live a real experience, and to destroy the limits between the artist and the spectator, realized many performances that are highly forcible on the body. However, the body cannot become the subject of these limit experiences in order to question these dualities.In the performances realized after 1960, the problematization of body was studied under various titles. The fact that feminist artists used performance art as their primary tool of expression since the 60s, forms the development vessels of the performance art.Feminist art, which was born as an opposite attitude against the male dominant art perspective, starting from its opinions that women were not represented sufficiently and correctly in art, art history, art institutions and museums, that women were excluded, marginalized and ignored, in addition to being an aesthetic approach,also included a reformative political attitude which consisted activism.Therefore, most performance art practices which were developed with strong ties with feminist art, included criticism of art history, and the criticisms against the masculine identity of societal history as the source of marginalization.There are a few reasons that we focused on the three artists mentioned in our research thesis. First of all, it is possible to see that post structuralist feminist perspective mostly forms the conceptual background of the performative works of all three artists.On the other hand, they are the pioneers of this field which has limited examples in Turkey. Also, In Europe, the effects of post-modernism which was grew more powerful after 1968, greatly influenced these three artists, who got their art educations in Germany, France and Italy. So, the performative works of these artists were examined with the content analysis method, by forming a connection between the effects of post-modern era and the post-structuralist theories. Within the context of the study, basically with the content analysis method, visual elements are analyzed. The artist's performative works are accessed in video formats that were used to present them again, or as in Nil Yalter's works, in their original forms which include various disciplines such as video art and installation. Retrospective exhibitions about the artists, and the books on these exhibitions are the other resources we used about the works of art. In the establishment of the sociological frame of the study, in the first chapter, we focused on studies which refer to the transition from modern world to the post modern era in the societal ideology, and the studies where we can find the traces of ideological change. In the second chapter, the post structuralist ideology which will form the theoretical frame is examined. We focused more on the relations between body and power, the subject theory which puts the societal establishment of body with tools of power, and post structuralist feminist ideology to form the theoretical frame. In this context, Faucaldian ideology and post structuralist feminist ideology are examined. In the third chapter, in the light of post structuralist criticism, Nil Yalter, Şükran Moral and Nezaket Ekici's performative works are studied under various topics. On a more detailed look; in the first chapter, we followed the traces of cultural change around the "society of spectacle" concept of Guy Debord, which suggests that the societal life turned into a spectacle and a sum of images, and "simulacra" concept of Baudrillard, which he used to explain the system of images which replaced social reality, and which means that original reality no longer exists, that it is a copy of a copy. Hence, performance turned to a pile of images, and was born as a criticism to the stagnation of modern art where reproductions, not new products, were dominant. With performance art, the two dimensional, constant works of art were replaced by a new kind, which body is used as a material, and focuses on action. Performance art, which was born as a criticism against the pile of works of art which became spatial, constant, and with its other aspect, which became high commercialized, was born as a criticism from inside the art, in the cultural and ideological setting which we mentioned above. In the second part of this section, we put emphasis on post structuralist theories which largely appeared in 1960s, and focused on the subject of the body, to societal gender and the socio political establishment of body. In this chapter, Foucault's disciplinary society, we focused on the relation between subject and power, the taming of body with techniques of power, to policies based on body, to the bio politics concept, and the transformation of subjectivization practices. The transition from the disciplinary society, which focus power mechanic is made up of close systems (prison, military camp, school, factory, etc). As we will examine the works of the artists who focus on areas of confinement such as prison, brothel and harem, in this chapter, Foucault's "disciplinary society" theory, the taming of bodies and bio politics concepts found place. In the third part of this section, we focused on second wave feminism, which appeared after 1960s, and which added the complete rejection of linear time and "the study of giving voice to intersubjective or bodily experiences which were rendered mute in the past by the culture" to the societal and political identity demands of the first wave. Post structuralist feminist writers, H. Cixous, L. Irigaray and J. Kristeva criticizes psychoanalysis, and the problematic or deficient existence of women in the symbolic order. They do not just criticize structuralism, but the whole phallocentric and logocentric Western ideology, and they put an emphasis on body. While Cixous rejects psychoanalysis as it relates the gender difference to anatomy, L. Irigaray put forth important criticisms for Freudian psychoanalysis. Kristeva emphasizes, in Freud and Lacan's theories, the problematic existence of the woman role, and that women were marginalized from the symbolic order. These three writers' claims, which they put forth to save women from their historical imprisonment, and from the phallus and logos centered culture, and their women's writing theory which is originated from body, and which expresses a bodily uprising, were studied in detail. In the second chapter, under the titles, "masculine domination at art history: performative criticism of art history", « women's writing or bodily literature, "activist body as resistance against the closing or passification of body", Nil Yalter, Şükran Moral and Nezaket Ekici's performative works which were positioned around these themes are analyzed. These artists generally used their own bodies during their performances, here, body is the agent of action or performance. So, a unique, esthetic resistance of body, which was passified by societal processes and mechanisms of power, is realized. Therefore, if we would quote Foucault, in this study, the "oppression" concept should always be considered along with the "resistance" concept. Performance art is included in this study, with its examples against the masculine dominance which was established in societal relations and art history (and generally to history), which developed after 1970s, under the influence of feminist and post structuralist theory. In the whole chapter, by using the theoretical frame formed in the first two chapters, the artists' works are analyzed in detail. In the section titled "masculine domination at art history: performative criticism of art history", the works of art which focused on the subjects that became basic problems of modern art with the influence of feminist art, such as the masculine establishment of art history, the myth of Great Artists, the problem that Great Artists are always men, and the degradation of women to a passive object of regard for art spectators were examined. In this section, the parts from various chapters of Nil Yalter's approximately one hour long video performance, Harem, performed in 1980, which could be discussed under this title, were evaluated. Then, Şükran Moral's works, Artist (1994), Sanat Tarihine Güvenmeyiniz (1995) and Speculum (1997), where she criticizes the Great Artist myth, and the passified position of women in front of the spectator are analyzed. Lastly, in Nezaket Ekici's works, Form It Able (2010), Fontaine (2003), Blind (2007) and Upside Down (2009), the elements of criticism against the masculine establishment of art history are studied. In the "women's writing or bodily literature" section, within the Ecriture féminine theory, three works of art are examined. Firstly, Nil Yalter's La femme sans tête ou la dance du ventre (1974), where she writes a text around her navel, accompanied by oriental music, she quoted from René Nelli's, Erotique et Civilisation, an ethnographic work on female circumcision, is analyzed. In addition, Nezaket Ekici's works, Lifting a Secret (2007) and Emotion in Motion (2000) are examined. In these performances, we focused on the use of body in relation with writing, performative interruption of the masculine dominance on body and writing, and therefore, the relation of women's writing theory with artistic criticism. In the section titled "activist body as resistance against the closing or pacification of body", the performative works which create a field of resistance against confinement, pacification and marginalization, which could be evaluated in regards to Discipline and Supervision Society analyses, and in the frame of bio politics concept and subject theory are analyzed. Firstly, Nil Yalter's Harem (1980), where she approaches metaphorically, the harem, which was the section where women were confined in Ottoman palaces, where she establishes it as a disciplinary confinement area by focusing on the "organization of the area", and turns this area in to a field of resistance is analyzed. Then, the artist's video performance, La Roquette, prison de femmes (1974), which is about the first women's prison, La Roquette, that was built in 1830 with a panoptical architecture, and which focused on the experiences of prisoners is examined. Lastly, Nezaket Ekici's Atropos (2006) performance, where she experienced both imprisonment and freedom, which focused on bodily pain, where she performed in Sinop Prison, was examined in this context. As a result, this study attempted to understand performance art as a sum of historical societal relations where body is central, and to set forth that we are facing an art discipline which is much more socialized than ever because of the impossibility of an art discipline independent of the spirit of the era, and even so, because of the transformation of art. In this context, we emphasized also the function of performance are to create an area of societal uprising. Finally, in regards to analyzing the centralization in performance art of the "body" concept, which was focused on with the societal and ideological change after 1960, and its transformation to an artistic societal field of action, this study attempted to form a methodical and sociological basis for artistic and sociological researches which focus on the body. Keywords : Performance art, post-modernism, post-structuralism, feminism, gender, feminist critique of art history, artistic deconstruction, women's writing, taming of body, bodily resistance.
Ayrışma güzergâhları ve üstünlük söylemleri: Türkiye'de sanat eğitiminin yapılandırıcı karakteri üzerine karşılaştırmalı bir çalışma
Within the framework of this research, we aimed to elaborate on the concept of artistic identity as a professional identity in contraction with the common opinion that understands artistic identity as a personnel and existential identity. To put in other words, artists are believed to be exceptional, creative, marginal and talented in essence. However, these properties attributed to artists are nothing more than a socio-historical construction. As a result, these properties should be considered as an artistic myth which is reproduced both by institutions such as museums, universities, art markets and society in general. In the light of this idea, within this research, we focused on the fine-arts faculties as the essential institutions, where the artistic identity that based on the artistic myth, has been formed. The aim of this research was to understand the different possible effects of fine arts faculties on the identity formation of students. In this regard, we define fine arts faculties as institutions that have a dominant ideology, which, in return, spread certain values, norms, and ideas of a profession through their curriculum. Furthermore, we also define fine arts faculties as enclosed places where all sorts of interactions, i.e., studentstudent and student-professor, can be observed. Thus, fine art faculties must be considered as one of the most important institutions, where artistic myth is reproduced, and artistic identities are shaped. In this respect, we formed our research guide into three parts. First, we aimed to understand the academic courses, more precisely, the content and the progress of the courses, as well as the relations of students with their peers and their professors. Secondly, we aimed to understand the day-to-day routines, meeting places and socialization practices of the students in order to define their lifestyles. Lastly, we intended to define the concept of art and the artist according to students. In that case, we conducted a qualitative research with fine arts students from both Istanbul (Mimar Sinan University and Marmara University) and Antalya (Akdeniz University) in order to understand the effects of fine arts faculties on the professional identity formation. We interviewed with 23 students from different design programs such as graphic design, interior architecture, industrial design, costume and scene design; along with artistic programs such as painting, sculpture, and ceramic. In addition, we participated one ceramic studio class, one sculpture studio class, and one painting studio class to be able to closely observe the courses. Within the framework of our research, in order to define art and artists, we have referred to two antagonistic approaches. As a matter of fact, in our research, we have aimed to demystify an artistic point of view with the comprehension of sociological point of view. On this basis, student's ideas and understandings of art and artists are here represented by the artistic point of view; in contrast, our comprehension is stated with the sociological point of view, which defines art and artistes in relation to social, historical, economic and political determinations. We observed an important distinction regarding the comprehension of the art and design of students. According to students, the image of the designer differs from the image of the artist, as the latter is associated with a lifestyle, a way of being than a profession. Thus, for an artistic point of view, artistes are not only exceptionally and naturally talented persons, but they are also considered to be geniuses adorned with creative drives. The exceptionalism of artistes alters them from other professional identities such as designers; although, the latter have common qualities with artistes such as creativity. On the basis of our interviews with students, we identified six distinctive features of artistes. Innate talent, creativity, authenticity, intellectual posture, emotional marginality and denial of economic rewards and gains are considered to be the six distinctive features of artistes. Although these features are taken for granted by the artistic point of view, it is possible to trace their roots within western history. In fact, our comprehension of the contemporary, creative artist is based on three different historical images of the artist. Artisan, académicien (as a member of the French Academy) and creative artist are the three historical artist profiles that can be found in western history. Therefore, to explain the identity formation of students, myth can be used as an essential concept. Myth is described as structures of beliefs, which guide our values, attitudes, and ideas. Despite having rational historical explanations, myths directly yet unconsciously affect beliefs, shaping values, norms, and ideas of individuals. In short, myth provides route to follow. In our analyses, we can conclude that students are unconsciously guided by the artistic myth that contributes to the formation of artistic identity. In the second chapter, we are focusing on the ways that the artistic myth is reproduced within the faculties of fine arts. Universities as educational institutes contribute to the reproduction of the artistic myth and formation of artistic identity through their formal and hidden curriculums. Formal curriculum or different course contents such as basics of drawings, studio classes/projects and history of art are the main subjects that students learn the basics of their program and gain technical but also normative and conventional aspects concerning their professions. History of art, on the other hand, contributes to the affirmation of the artistic myth by telling the glorifying stories of great artists and their works of art. Even though the agenda of the class is to give knowledge on the basis of art history, it also introduces an exceptional life of genius artistes to students. The hidden curriculum, on the other hand, contributes to the formation of values and beliefs of the artistic myth. By enhancing certain practices, attitudes, and preferences, professors help to the reproduction of the artistic norms based on the artistic myth. Amongst these criteria, technical perfectionism according to the norms of the academy and accentuation of ideas and theories of works can be given. The importance of ideas and theories reinforces students to obtain a researcher's posture, but also it implies the fact that ideas and theories should be innovative. Thus, for example, the convention of innovation of the contemporary marked is secretly imposed by the hidden curriculum. Apart from the institutional determinations, fine arts faculties also provide the necessary environments for peer socialization, which, in return, enforces the diffusion of artistic myth and reproduction of identity formation. We found that students' lifestyle was highly influenced by the bohemian lifestyle; ideas, beliefs, desires and values of the latter have been diffused among peers as a consequence of social imitation. As the manifestation of artistic lifestyle, we found that the students are gathered in three different fundamental places: the campus, the flats of peers and cultural centers such as Kadıköy and Kaleiçi. Finally, in our last chapter, we are focusing on the consequences of social class, cultural heritage, residence, and institutional region, on the professional integration of students. First, we found that reputation and symbolic capital are two essential criteria. On the one hand, thanks to the reputation of the institution, graduates of the prestigious universities, such as Marmara University and Mimar University are significantly advantageous. On the other hand, high levels of the symbolic capital of universities and professors help their students enter to the creative sector. That is to say, graduates form highly reputational institutions, such as Mimar Sinan University and Marmara University, have much more chance to have better employments especially in the contemporary art and creative markets, comparing with the graduates of Akdeniz University. Similarly, the city where the university is located can be considered as another determinant factor. Being in the cultural capital city of Turkey, in Istanbul, must have taken as an important determinant factor. In that respect, Mimar Sinan University and Marmara University are remarkably advantageous to students, as being in Istanbul not only increases the social capital of students but also it makes network sociality possible. Although, according to the evidence, being close to Istanbul is much more advantageous for professional integration; our research showed that usage and self-presentation in social media must also be considered as a determinant factor. Furthermore, we found that the cultural capital of parents is another determinant factor in the career paths of students. Most of the parents of our subjects showed a higher level of education. Furthermore, according to the evidence, parents of prestigious university students showed a higher educational level than parents of Akdeniz University students. Lastly, the career pathways of art and design students showed an essential differentiation. Unlike design students, who have established professional relations and experiences starting from their junior years, art students tend towards secondary occupations to earn money, only after their graduation. First of all, art students, who develop an artistic identity based on the artistic myth, refuse to earn money by virtue of their arts, for their identity requires only personal fulfillment. According to them, earning money not only damages the creative and authentic quality of their works, but it also moves them away from being real artists. Nevertheless, this attitude perfectly conforms to the instability, unpredictability and unbalance of the contemporary art market, which only permits a few individuals to become successful. In other words, art students rationalize their situation vis-à-vis the contemporary art market by refusing to earn money. Être artiste est associé à la fois par la société générale et par le monde de l'art avec une identité personnelle. Autrement dit, les artistes sont compris comme des personnages exceptionnels, créatives, doués, vivant aux marges de la société. Pourtant, les caractéristiques exceptionnelles des artistes ne qu'une construction socio-historique. D'après nous, ces caractéristiques qui sont en accordance avec les nécessités de marché de l'art, sont reproduites par des institutions et par la société générale par le mythe d'artiste. Ce pour cela que, nous prenons l'artiste comme une identité professionnelle En partant de cette idée nous avons se focalisé sur les facultés des beaux-arts puisque les universités sont des institutions primordiales pour examiner la formation d'une identité professionnelle. Nous avons construit notre problématique autour des facultés des beaux-arts pour comprendre les diverses répercussions possibles des facultés sur la formation identitaire des étudiants. Nous avons d'abord élaboré la faculté de beaux-arts comme une institution ayant une idéologie dominante et qui essaye de transmettre les valeurs les caractéristiques et normes concernant d'une profession à travers le curriculum. Deuxièmement nous avons élaboré la faculté comme un espace fermé qui fournissent toutes sortes d'interaction, à savoir, étudiant- étudiant, étudiant- professeurs, possible. Finalement, nous avons conceptualisé les facultés des beaux-arts comme des institutions contribuant à la formation du mythe d'artiste. Nous avons construit notre guide autour trois axes principaux. D'abord nous avons objectivé de comprendre le parcours académique des étudiants, à savoir les contenus et les déroulements des cours, leur relation avec leurs professeurs et leurs paires. Deuxièmement nous avons visé à comprendre le style de vie des étudiants, y compris leurs lieux de fréquentation et socialisation ainsi que leurs pratiques quotidiennes. Et finalement nous avons objectivé à saisir leurs compréhensions de l'art et des artistes. À ce titre, nous avons mené une recherche qualitative sur les étudiants des facultés des beaux-arts à Istanbul (l'Université Marmara et Mimar Sinan) et à Antalya (l'Université Akdeniz) pour que nous puissions déterminer les influences des programmes sur la formation identitaire des étudiants. Nous avons interviewé 23 étudiants des programmes différents afin de comparer les influences des programmes de conception tel que la graphique, l'architecture intérieure, la conception industrielle, la conception de la scène et des costumes ; avec les programmes artistiques comme la peinture, la céramique, la sculpture et la photographie sur la formation identitaire des étudiants. Nous avons également participé un atelier de céramique, un atelier de sculpture et un atelier de peinture afin d'observer de près le déroulement des cours. Dans notre recherche, pour identifier l'art et l'artiste, nous nous referons deux approches antagonistes. D'une part, nous profitons le point de vue interne qui s'explique l'artiste comme un personnage exceptionnelle et qui se réfère aux explications des étudiants ; d'autre part nous nous referons au point de vue sociologique qui essaye de démystifier l'art en le donnant une explication occupationnelle en relation avec les déterminations tel que l'économie, la société et l'histoire. Nous avons observé une différenciation parmi les étudiants en ce qui concerne l'art et la conception. D'après les étudiants, l'image de l'artiste se distingue du l'image de concepteur, car l'artiste es plutôt considère à la fois comme un style de vie, une manière d'être et une profession. Ensuite, pour le point de vue interne, l'art est défini comme des pratiques ayant un sens, une idée ou une théorie, réalisées esthétiquement par les artistes qui sont par essence talentueux. Ce point de vue place l'artiste, comme une figure non pas seulement douée de la capacité de créer les œuvres esthétiquement exceptionnelles, mais aussi comme un génie. En partant de notre enquête, nous avons déterminé 6 caractéristiques qui aident à la différenciation de l'artiste de toutes les autres occupations. Le talent inné, la créativité, l'authenticité, la posture intellectuelle, la marginalité affective et la dénégation de l'économie peuvent être compté parmi les traits distinctifs de l'artiste que nous avons tiré de nos interviews. En effet, ces caractéristiques prennent racine dans l'histoire de l'artiste en occident et forment l'image de l'artiste contemporaine. L'artisan, l'académicien et l'artiste créateur sont les trois images de l'artiste dans l'histoire occidentale qui fournissent les fondements de compréhension de l'artiste contemporaine. En ce sens, pour expliquer la formation de l'identité artistique nous profitons le concept du mythe. Or, les mythes sont des structures de pensée et des croyances qui guide les valeurs, les idées, les attitudes, bref le mythe donne une voie à suivre. Pour notre cas, les étudiants sont inconsciemment guidés par le mythe d'artiste. Les traits distinctifs de l'artiste sont les composants du mythe d'artiste qui contribuent à la formation de l'identité artistique. Dans la deuxième partie, nous élaborons les manières de reproduction de mythe d'artiste au sein des facultés des beaux-arts. Dans ce sens, les milieux universitaires contribuent à la reproduction du mythe romantique et donc à la formation de l'identité artistique à travers leur curriculum formel et caché. Le premier s'agit au contenu et déroulement des cours académiques. Les fondements de l'art et les ateliers/projets sont des deux cours primordiaux dont les étudiants acquièrent les techniques, les normes et les conventions en ce qui concerne leur programme académique. Si l'objectif de ces cours est de donner le savoir nécessaire pour connaitre les grands artistes et leurs œuvres, nous pouvons assumer que les cours de l'histoire de l'art aident à l'affirmation de l'idée « de grands artistes doués ». L'histoire de l'art en occident se focalise essentiellement sur les vies des grandes artistes et les courants artistiques et fonctionne comme une vérification du mythe romantique. Deuxièmement, les professeurs contribuent à la formation des valeurs et des croyances associées à des identités artistiques en valorisant certaines pratiques, compétences, et attitudes sur les autres. Parmi ces critères, nous avons dégagé deux notions fondamentales. Premièrement, les professeurs valorisent la nécessité de perfectionnement de la technique d'abord pour les fondements de dessin et ensuit pour le programme concernant. En suit, les professeurs accentuent surtout l'idée ou la théorie d'une œuvre ou projet, à côté de la nécessité de faire une recherche afin de construire cette idée qui va conceptualiser l'ouvre ou le projet. Celui-ci à la fois accentue les qualités comme la créativité et l'authenticité en favorisant la nouveauté de la proposition dans l'œuvre. À côté des influences institutionnelles, les écoles des beaux-arts procurent également l'environnement nécessaire pour la socialisation des pairs qui a également une influence indéniable sur la diffusion du mythe et par conséquent sur la formation de l'identité artistique. Nous avons trouvé que le mode de vie bohème est approprié par les étudiants comme le style de vie artistique. Grâce à l'imitation sociale, qui doit être prise comme une conséquence de la socialisation des pairs, les idées, les croyances, les désirs et les valeurs se sont diffusés parmi les étudiants qui, à leur tour, définissent et guident le style de vie artistique des étudiants. Nous avons déterminé trois lieux principaux où les étudiants se réunissent : le campus, les appartements des étudiants et les centres culturelles comme Kadıköy et Kaleiçi. Finalement dans le dernier chapitre, nous avons montré les conséquences de classe sociale, d'héritage culturel, de lieux de résidence et des villes des institutions où les étudiants ont étudié sur leurs intégrations professionnelles. Nous avons trouvé que la réputation et le capital symbolique de l'institution et des professeurs sont des facteurs déterminants importants pour l'intégration professionnelle. À ce titre, les diplômés des institutions les plus prestigieuses, y compris l'Université Mimar Sinan et l'Université Marmara, sont plus de chance de trouver d'emploi surtout dans le secteur de l'art contemporaine et dans le secteur créatif que les diplômés de l'Université Akdeniz. Également, le lieu de l'institution est un autre facteur déterminant pour l'intégration professionnelle. En étant le capital culturel de la Turquie, être à la proximité d'Istanbul doit être compté comme un avantage important pour les étudiants de l'Université Marmara et Mimar Sinan. Or, l'un des facteurs importants pour intégrer au secteur créatif dépende du capital social et les liens de réseautages faits face-à-face. Pourtant, nous avons trouvé que l'usage de réseaux sociaux peut également être un facteur déterminant pour se présenter dans le secteur créatif. Néanmoins, le capital social et les liens de réseautage face-à-face sont beaucoup plus déterminants. Nous avons trouvé que le capital culturel des parents a une influence sur les trajectoires des étudiants. La plupart de parents des étudiants que nous avons rencontrés ont un niveau de scolarité élevé. En plus, nous avons trouvé que les niveaux de scolarité des parents des étudiants des institutions prestigieuses sont plus élevés que ceux de l'Université Akdeniz. Dernièrement, les trajectoires professionnelles des étudiants en arts et en conception montrent une différentiation importante. Les étudiants en conception orient vers le secteur créatif dès le début de leur vie d'étudiant. Alors que les étudiants en arts tendent à orienter vers les occupations secondaires à cause de raisons différentes. D'abord, parce que les étudiants en arts prennent leurs identités professionnelles comme une identité personnelle et le mythe d'artiste leur imposent les qualités comme la dénégation de l'économie et de la marginalité, les étudiants refusent produire des œuvres pour des raisons économiques. Or, en tant qu'un marché instable, imprévisible et déséquilibre, le marché de l'art ne permet que quelques individus d'avoir le succès. Donc, les étudiants en effet rationalisent leur impossibilité de gagner leurs vies avec cette posture refusant des gains économiques.
Kurban ritüellerinin Antik Dönemden günümüze gelişimi
Our main goal in this study is to make an effort to understand human beings by focusing on such a complex and multifaceted topic as sacrificial rituals. Based on the possibility that people's behavior is dominated by their beliefs, thoughts, cultures, and many other factors, it seems interesting to examine a phenomenon such as the ritual of sacrifice that has existed in different cultures for centuries. The fact that the topic of sacrifice is related to many social sciences necessitates the need to refer to different fields. We use many sources from fields such as philosophy, history of religions, sociology, psychology, history, anthropology, and literature as references. The multifaceted nature of the subject necessitates such a study, which in a sense enriches the thesis. The study consists of three interconnected parts: 1) To get an idea about the origin of sacrificial rituals, to present examples of different sacrificial rituals such as the use of sacrifice as a means of purification or the use of sacrifice for the construction of a building. 2) The view of monotheistic religions on the phenomenon of sacrifice. In this context, to analyze meanings attributed to sacrifice in Judaism, Christianity, and Islam, and the continuity between these religions through this phenomenon. 3) Sacrificial rituals and music; to reveal the complementary role of music in sacrificial rituals.
Yazılım sektörü çalışanlarının beslenme tercihleri: İstanbul örneği
Bu recherche se concentre sur les préférences alimentaires quotidiennes et les habitudes alimentaires des employés du secteur du logiciel à Kadıköy, Istanbul, dans le but de comprendre l'impact de ces choix sur la quête de statut social et la construction de l'identité individuelle. L'objectif de l'étude est de mettre en évidence la tendance des individus à souligner leur statut social à travers leurs habitudes de consommation, et de comprendre comment ces préférences se façonnent en fonction de l'environnement social et des expériences personnelles. Au cours de recherches semi-structurées, les participants ont été interrogés sur leurs choix alimentaires, leurs habitudes de restauration et leurs aspirations en termes de statut social, et ces entretiens ont été utilisés pour comprendre les pensées et expériences des participants. Les résultats montrent que la préférence pour des aliments plus chers et luxueux reflète la quête d'un statut élevé. De plus, il a été constaté que les habitudes de consommation des participants étaient liées aux interactions sociales et à l'environnement, les restaurants étant perçus comme des lieux importants pour établir et maintenir des relations sociales. En mettant en lumière le rôle des préférences alimentaires dans les processus de statut social et de construction identitaire, cette étude vise à contribuer à accroître la sensibilisation sur ce sujet.
Bir Türk köyünde teknolojik bir yanılsama: "Akıllı Köy" projesinde söylemin ve teknolojik düzeneklerin aldatıcı niteliği
The Smart Village concept is a rural life model where traditional village life is equipped with applications using information and communication technologies. Smart Villages aim to improve existing living standards in rural areas and ensure sustainability by reorganizing agriculture and animal husbandry with smart systems. Improving living standards means changing existing living standards. This change is also a precursor to changes in social relations. Indeed, the success of the applied technique is directly related to social acceptance, and technology should be considered not only in the technical sense, which includes the physical functioning of machines and systems, but also in the social context. This study aims to examine how technological applications, beyond being purely technical applications, can be reflected in the socio-cultural dimension through the first Smart Village Project implemented in Turkey.
Çağdaş Türk roman yazarlarının edebi motivasyonlarını koşullandıran sosyal süreçlerin incelemesi
This study examines the social origins of the literary motivations of contemporary Turkish novelists, their strategies for integration into the literary field, and their processes of literary production. It has been determined that novelists' motivations are shaped by socialization processes and that economic, social, and cultural capital plays a significant role in determining their place in the literary world. The research classifies the individual and social consciousness of novelists into four ideal types: "Hopeful," "Reserved," "Melancholic," and "Ambiguous." Hopeful novelists express a desire for social change by reflecting societal issues in their works, while reserved novelists primarily seek individual escape and creative play. Melancholics focus on the darker aspects of society, whereas ambiguous novelists occupy a more uncertain position. This study considers the act of writing by contemporary Turkish novelists as a valuable form of resistance amidst political, economic, and social crises. Highlighting the importance of social and cultural contexts alongside individual agency, this research presents literary creativity as a phenomenon conditioned by social processes.
Türk yazılı basınında üç gazetenin haftasonu eklerinin yaşam tarzı haberleri bağlamında karşılaştırılması
Ce mémoire à pour but de remettre en cause le mode de production postfordiste ainsi que son effet sur la vie pratique et culturelle en tant que notion de styles de vie centré autour de la consommation. Nous analyserons aussi son lien avec les media. Dans ce contexte, ce mémoire tente de comprendre les positions politiques acceptées des journaux de la presse écrite turc en analysant les nouvelles concernant les styles de vie dans les suppléments du week-end des journaux Cumhuriyet, Hürriyet et Zaman. En assumant que la vie quotidienne ainsi que les styles de vie ne sont pas séparés du contexte politique, cette recherche tente de définir les clivages politiques d?un autre point de vue.
Beyaz yakalılarda direniş stratejileri ve rıza süreçlerinin eklemlenmesi
With this study, we aim to contribute to the working life literature in social sciences by revealing the pressure that the neoliberal work regime urges on the employees, and the individual strategies against these constraints. Throughout this research, we questioned a possible change in terms of the betterment of the employee rights in the work regime. Our basic concern was that how an individual continued his existence against neoliberal working conditions and even more importantly his demand for a job in this regime. From this point forth, we tried to research postindustrial working life conditions in Turkey, the worker-type of private sector and their diverse methods to encounter the constraints.We examined whether the private sector employees encountered the pressures of the neoliberal economic system and whether they developed any resistance strategies to eliminate the constraint applied on them, and also we tried to find an answer to the question of how they continued to be a part of this economic system voluntarily.We can put the problematic of our research this way: In the postindustrial society, the work regime imposes itself as a unique way to the organization of social life as well as the social construction of individual?s role. Our basic hypothesis is that individual strategies may not achieve a social change unless they are transformed into collective, systematic action. We can specify our hypothesis as follows: a) In the neoliberal economy where communication and transportation technologies are intensely used and which are constantly advancing, economic exploitation is becoming more invisible, b) Employees who are in search of individual benefit against this invisible economic exploitation develop their own resistance strategies, c) Even if the employees manage to create their own resistance strategies, they participate in this exploitation system voluntarily because this voluntary participation is a part of their resistance strategies, d) Whatever the circumstances are, devoting oneself to the working process is considered as a virtue among the employees and this self-commitment experience either increases the rivalry in the labor market or prevents the development of the organized resistance strategies, e) The use of technological procedure in the working life brings along a double process, that is, on the one hand technology is a means of an emancipation in terms of providing an individual with the chance of expressing himself freely, on the other hand it causes them being encircled systematically by surveillance techniques which in fact absorbs the possibility of resistance.In this research, we particularly studied the white collars as they formed the core of the neoliberal working regime. Despite the fact that this regime spread to other social domains, including the public sphere, the private sector is still the realm where working order is crystallized. Therefore, we made interviews with 44 white collars at different positions from various sectors. Also, in order to create a wide comparison field for our research object, instead of dealing with only one specific sector or the employees at the same position, we canalized to the employees? experience one by one so that we could establish a relative generality.These 44 interviewees, 21 women and 23 men, are chosen at random among white collars from private sector. The interviews were made in İstanbul and in İzmir, both of which were priorly industrialized in comparison with the other cities in Turkey. The reason why we especially chose these two cities for this fieldwork was that the significance they possessed in their integration degree to the global market and the development of service sector. Yet, when compared with Istanbul, Izmir can be qualified as a city which ranges at the start-up phase in terms of its integration to postindustrial economy. We can point out that the place of work, geographically, has importance in the interviewees? responses because the relation constructed by workers with the economic system bases on the capacity of the city with regards to its capability to create postindustrial relations of production. In addition, we divided the interviewees into three categories of age (22-30, 31-39, 40 and plus). Although the age factor bared some effect on the interviewees? responses, we can denote that they did not change the results generally. The same thing was seen for indicator of sex. Although sex influenced the interviewees? discourses, it did not have a direct effect on the responses we received.Also, as we did not want to limit ourselves with the interviews only, we used various analysis on commercials in our research so that we could reach relatively more general results. With the intention of discussing the possibility of social change, we compared different theoretical opinions and moreover we exchanged opinions on these theoretical views.During our fieldwork, we did not have any difficulties in contacting our interviewees. However, we experienced some hardship as most of the workers were in a kind of discreet manner because they did not want to talk about their work place and working conditions. They said they found it difficult to describe the events or conditions in detail or remarked they did not in actual fact pas attention to the details in the places they work. In our opinion this attitude of the interviewees was directly proportionate to interiorizing the circumstances they were in.Throughout our research, we obtained a lot of data regarding the white collars? working life. We observed that while trying to define the white collars? working conditions in today?s world, the individualization of working process, performance anxiety and the precarization were of vital importance. These conditions, on the one hand reduce the quality of life and create the mechanisms of constraint which cause an individual to be isolated in his working life, on the other hand they soften the working process and cause the internalization of the constraint.In the light of the questionnaire we carried out, we determined six subjects which represent the white collars? attitudes towards the working life: 1) Praise of work attitude, which emphasizes the virtue of working, 2) Reference to industrial and pre-industrial labor, which is relatively autonomous and represents the wish for an emancipated working life, 3) Quest for flexibility, where flexibility is considered as emancipation and which is affirmed as well, 4) Individualization emphasis, 5) Inability to discern between the terms work and profession, 6) Regarding working as an indicator of privileges.In our opinion, these attitudes play a great role in the formation of the process of consent against working conditions. We also observed that consumption practices generate a trap domain for the reproduction of the pressure mechanisms and cause the non-problematizing of the mechanism.Our research also showed the role of technology in the process of consent for we observed that technological process encircled an individual systematically. Thus, employees are surrounded by surveillance techniques in their working place, yet as these techniques make the power mechanisms invisible, they ease the pressures in the working life relatively. In actual fact, these technologies are the symbol of the spread of the power which makes the employees a part of the power as well by making them get involved in the system. As a result, technological process and especially surveillance techniques lead the employees to take part in their auto-exploitation voluntarily.As our purpose is to study the diverse methods of white collar workers when they encounter the constraints of working life, we, therefore examined the resistance of the individuals against bad working conditions. With this study, we composed a resistance typology over working practices. There are three types of employees: negotiator, tenacious and cunning. The negotiator type uses negotiation as a resistance strategy so that this environment of agreement can help the communication continue. The negotiator type believes that if the communication breaks due to any reason, this will lead him to lose his strategy domain, so he considers such a possibility as a danger. The tenacious type performs a resistance over the strategy of conformity. Until he owns the power to change things, he endures bad working conditions and when he experiences any injustice, he prefers to be patient instead of acting immediately. The cunning type, whom we meet in the working life rather often, resists the circumstances by hiding his reactance. He shows no reaction against the bad conditions and even behaves in accordance with the conditions; however he violates the norms by evading constantly.Cette recherche que nous avons menée, vise à contribuer à la littérature de vie professionnelle dans la science sociale en mettant en évidence les contraintes imposé par le régime de travail et les stratégies individuelles face aux contraintes. Au cours de la recherche nous avons questionné la possibilité d?un changement dans le régime de travail en fonction des droits de travailleur. Nous étions curieux pourquoi les individus continuent à travailler dans les conditions de travail néolibérale, et plus important pourquoi ils demandent un emploi dans ce nouveau régime. En fait, nous avons examiné les conditions de travail postindustrielles en Turquie, le travailleur-type du secteur privé à l?ère postindustrielle et ses diverses méthodes de surmonter les contraintes. Nous avons essayé de répondre plusieurs question comme les suivantes : Est-ce que vraiment les travailleurs du secteur privé subissent les contraints du système économique néolibéral ou est-ce qu?ils ont déjà des stratégies de résistance qui leur donnent la possibilité de dépasser la contraint? Comment ils peuvent réussir à continuer à participer volontairement au système économique?Par conséquent brièvement notre problématique de recherche est le suivant : le régime de travail dans la société postindustrielle s?impose en tant qu?unique voie dans l?organisation de la vie sociale ainsi que la construction sociale du rôle de l?individu. Notre hypothèse principale : les stratégies individuelles ne peuvent pas être le catalyseur d?un changement social lorsqu?elles ne transforment pas à une action collective, systématique. Nos hypothèses sont comme le suivant : a) Dans l?économie néolibérale qui est accompagné par les technologies de communication et de transport, toujours en voie de développement, le système d?exploitation économique devient de plus en plus invisible ; b) Face aux système d?exploitation économique, les individus développent leurs propre stratégie de résistance à travers une quête de bénéfice individuelle ; c) Bien que les travailleurs disposent leur propre stratégie de résistance, ils participent volontairement à ce même système d?exploitation et cette participation représente une partie de ces stratégies de résistance ; d) Le dévouement du soi au processus de travail quel que soit les circonstance, de celui-ci, est conçu comme une vertu, qui par conséquent contribue à accroitre la compétition dans le marché de la main d??uvre et efface ainsi les stratégies de résistance ; e) L?usage des procédés technologique amorce un double processus, qui d?une part fournit des moyens d?émancipation à travers l?expression libre du soi, mais d?autre part suscite un encerclement systématique de l?individu par les technique de surveillance, d?où l?absorption potentielle résistant.Nous avons interrogé les cols blancs du secteur privée parce qu?ils constituent le centre de ce nouveau régime de travail néolibérale. Même si ce régime s?étende à plusieurs domaines, même à la sphère publique, le secteur privé constitue encore le point de cristallisation. Nous avons réalisé 44 entretiens semi-directifs avec les cols blancs dans plusieurs secteurs et des positions différents afin de comprendre l?intention des acteurs et leurs choix dans leur vie professionnelle. De plus il était important de créer un large domaine de comparaison des objets de recherche, autrement dit une gamme assez large. De cette manière nous avons visé relativement de créer une généralité par rapport au choix d?un seul secteur ou position.21 Femmes et 23 Hommes, ces 44 interviewés ont choisis par hasard. Ils habitent à Istanbul et à Izmir qui sont deux villes à l?ouest de la Turquie parmi une gamme assez restreinte qui s?industrialisent par avance. Ainsi, ces deux villes sont importantes au sens de leur degré d?intégration au marché global et celui de développement du secteur tertiaire. Par rapport à Istanbul, Izmir peut être qualifié comme une ville qui se trouve au stade de commencement à l?intégration à l?économie postindustriel. Le lieu de travail au sens géographique du terme a un effet primordial dans les réponses des interviewés, parce que le rapport qu?ils construisent avec le système économique dépend de la capacité de la ville à former les rapports de production postindustriels. De plus, nous avons construit trois catégories d?âge (22-30, 31-39, au-dessus de 40) en fonction des âges des interviewés. Même si ces catégories d?âge influencent quelque fois les données, nous pouvons prétendre qu?ils ne changent pas les résultats généraux. Ceci est également valable pour l?indicateur de sexe. Bien que ce dernier oriente les discours des interviewés, l?indicateur de sexe n?a pas changé les réponses des questions que nous avons posé.De plus nous avons fait des analyses de publicité afin de ne pas se limiter avec les interviews, car notre objectif était de saisir la vie professionnelle et le rôle de l?économie postindustrielle d?une manière relativement plus générale. Enfin, nous avons fait place aux débats théoriques. Nous avons également essayé de discuter nous-même à l?aide des divers cadres théoriques, afin de questionner la possibilité d?un changement social.L?accès au terrain était relativement facile pour nous, parce que les interviewés sont d?ailleurs des travailleurs dans le secteur tertiaire. Cependant nous avons rencontré les difficultés pendant les interviews. Car la plupart des interviewés étaient discrètes, c?est-à-dire ils ne parlaient pas facilement de leur vie professionnelle. Ils ne racontaient pas les évènements d?une manière plus détaillée malgré notre effort dans cette direction. A notre avis, la raison d?une telle difficulté peut être entrainée, au moins partiellement, l?intériorisation des conditions de travail par les travailleurs. Nous avons eu l?impression qu?ils avaient une notion de récit de vie ne mérite pas à être narrée.Au cours de la recherche nous avons obtenu plusieurs données sur la vie professionnelle des cols blancs du secteur privé. Tout d?abord, nous avons observé que l?individualisation des processus de travail, le souci de performance et la précarisation constituent une importance centrale dans le courage de définir les conditions de travail contemporain des cols blancs du secteur privée. Ces conditions ont double sens : d?une part ils composent les nouveaux mécanismes de contraintes qui isolent l?individu dans sa vie professionnelle et réduisent la qualité de vie, et d?autre part ils assurent l?intériorisation des contraints parce qu?ils assouplissent les processus de travail.Nous avons précisé six thèmes sur l?attitude à l?égard du travail chez les cols blancs du secteur privé à la lumière de notre enquête. La première attitude est l?éloge au travail qui fait l?accent sur la vertu de travail. La deuxième, c?est la référence à la main d??uvre préindustriel et industriel qui représente la recherche d?une vie professionnelle relativement libre et autonome. La troisième attitude face aux conditions de travail est la quête de flexibilité qui affirme les processus flexibles du travail et représente le désir d?avantage de celle-ci comme une liberté. La quatrième attitude concerne l?accent fait sur l?individualité. La cinquième attitude à l?égard du travail, c?est l?incapacité de distinguer le métier et l?emploi. La dernière attitude est la tendance de voir le travail comme indicateur de privilège. A notre avis, ces attitudes-là jouent un rôle principale dans le processus de consentement vis-à-vis aux conditions de travail. En plus, nous avons met en évidence que les pratiques de consommation constitue un domaine de piège dans la reproduction des mécanismes de contrainte et l?absence de problématisation de ces derniers.Notre recherche montre, de plus, l?importance de rôle de technologie parce que les procédés technologiques se fonctionnent comme un encerclement systématique de l?individu. Les travailleurs sont enveloppés par les techniques de surveillance dans les lieux de travail. Ces techniques, en rendant invisible les mécanismes de pouvoir, soulage les contraintes rencontrés dans la vie professionnelle. Cependant ils ont des symboles que le pouvoir s?étendre et comprennent le travailleur lui-même en lui faisant une partie de ce pouvoir. C?est pourquoi les procédés technologiques et surtout les techniques de surveillance suscitent la participation volontaire des travailleurs à leur propre exploitation.Comme notre objectif est ainsi d?examiner les méthodes des travailleurs pour surmonter les contraintes dans le régime de travail postindustriel, nous avons fait une typologie de résistance à travers des pratiques professionnelles. Il existe trois types résistants : le négociateur, le persévérant, le finaud. Le négociateur, comme on peut facilement saisir, utilise la négociation comme une stratégie de résistance. Car l?ambiance de négociation lui donne la possibilité d?assurer la continuation de communication. Le découpage de la communication par un raison quelconque constitue un danger pour lui parce qu?un tel découpage se termine par l?exclusion de la communication, et du coup le négociateur perd sa champs de stratégies. Le persévérant est un individu qui présente une résistance à travers la stratégie de harmonie. Il tolère les mauvaises conditions jusqu?à acquérir une puissance de les changer. Il n?entre pas immédiatement en action dans le moment où il rencontre l?injustice. La patience constitue son attitude principale. Dernièrement le finaud est un type résistant qui cache ses actes réactionnaires sous un air de simplicité. Il est à noter que ce type est le plus rencontré dans la vie professionnelle. Il parait son alentour comme quelqu?un tout à fait d?accord avec les conditions de travail. Mais il comporte d?une manière furtive.
Bir etkileşim ve tüketim mekanı olarak sanat galerisi algısının ve sosyal işlevlerinin dönüşümü: İstanbul'daki sanat galerileri olgusu
This thesis intends to demonstrate the functions of art galleries, its perceptions among the visitors and finally its interactions with residents of the city. It concentrates on art galleries in Istanbul. The fact that there is a huge increase in the number of art galleries made us curious about its reasons. This excess of the number of galleries dragged us to diverse economic, social and individual conjunctures. Within the privatization of culture especially after 1980, the institutions of art like museums, art galleries, foundations of culture, started resembling to exploitations. In general, the aim is: create an art market showing a maximum effort for articulating it to the international art markets. To achieve this, biennials, museums, private galleries, foundations engaged with art, festivals of art, fairs, and auctions are opening snappily. Istanbul having upon 200 art galleries has become a principal agent in this international art market. Moreover, international corporations have been trying to constitute financial and cultural connections between the metropolis cities and Istanbul will be accepted nevertheless like the new metropolis and a new market having started to articulate to this web. Art gallery constitutes an important place in this new order of world and its market. The functions of gallery in this system, its perceptions through the visitors and residents of city, finally its interactions in the quotidian life will be organized according to this order and its values. Especially the bourgeoisie will be the principal agent determining and organizing these values. The new bourgeoisie of Turkey or new investors have interested to art for economical and symbolic reasons. The first aim that we have observed is the profit. A bourgeois enterprise being a protector of art, is aiming to increase its brand value in the market. As we hear their name, so we have confidence and nevertheless we purchase their products instead the other firm. The second aim of using art by the bourgeoisie and its enterprises is to have a prestige to whom will bring the assurance and the recognition in diverse markets. So, all of these two efforts will be integrated within only one objective which is more profit. We have observed in this market that the art gallery is a principal agent because it is a reflection of the era. It is adapted to values, point of views, judgments and necessities of the period. The characteristics and the functions of the gallery have been changing through the new conjuncture. The adaptation of art gallery transforms also the perception and the attitude of individuals. One of the principal reasons creating this change is the economical xii factor. Art, day by day seems like one of the important markets for the global economy. Briefly, to able to understand this change, its new values and points of views, we must clearly determine the diverse periods. According to academicals, we descript two essential periods to understand the situation and the function of art gallery better. The first is modernism and the second is postmodernism – or late modernism according to different theories. Consequently, we have compared two different perceptions of art galleries according to era. Firstly, the perception of modern and classical art gallery, and then the one of postmodern art gallery. Then, it appears two models of gallery. According to the classical and modern appearance of art gallery, these art spaces have the function of reproduction of the feeling of belonging for superior classes and of redounding the feeling of exclusion for the others. We must mention the classical and ancient perception to able to understand the new perception of gallery which is being formed and its social functions that is transforming. The notions like "white cube" or modern art gallery that we use to descript the classical perception is determined by these strict rules. These rules include the spirit and the view of visitor but externalizing the body and all of its other properties as talking, eating, drinking, and sitting down during the visit… The visitor who enters to a more sterile world that has the rules and an order has a sentiment of rupture with the world which is stayed out. This rupture provides control and opportunity of discipline to the institution. These institutions of art reproduce also the social distinction between different social classes. They procure steadily a stable hierarchy in the society because the visit of an art gallery needs already cultural capital which determines the attitudes, the sentiments, the ideas, the pleasures and the knowledge of a visitor. This cultural capital is gained because of the education and the family. As a result, the ones who have this chance and opportunity will feel the emotion of belonging in these spaces of art and the others nevertheless will feel the sentiment of exclusion. On the other hand, it's remarkable that the administrations of galleries try to attract visitors from all of the social classes. So, this classical appearance of the gallery which creates a distinction for people and the effort of the administrations of some grand galleries in Istanbul were contradictious. We have observed that there is no contradiction but a transformation and an adaptation of art gallery according to new period. We could create a definition of art gallery as "postmodern" which procures for its visitors an experience which does not product a stable social structure and so does not exclude the other classes. A space which does not only exist for elites but accessible to all. A heterogenic space includes amusement, education and consumption with all of its cafes, lessons, courses, plays for kids, workshops, restaurants, opening ceremonies, symposiums, concerts… Today, we can't mention of a stable hierarchy and an order. Day by day, the system of categories in order has been dissolving, the pluralism and heterogeneity replaces it. One truth is being transformed to multiple personal meanings. We analyzed the probable reasons of this transformation in the functions of galleries. The result turned out to be like this: A new model of gallery that we will conceptualize as"postmodern" appeared. In these days, the institutions of art like art galleries have started to review their institutional organizations and their functions according to new necessities of era which appears. The new economical, cultural and political system obliges all the institutions to transform. We see this change of establishments as in art gallery. On the other hand, the transition of modern art galleries which we call "postmodern" is not so rapid and does not realize quickly. It is a long process to realize. Nevertheless, there are certain galleries which do not have this aim resisting against, but there are lots of art galleries which are having a revision. Nevertheless, this new type of art gallery called postmodern have begun to change the perception of modern, serious, homogeneous art gallery through the visitors. These galleries will show efforts to change this image. The economical, cultural and political conjuncture will force it to having a revision. As a result, all of these transformations influence the residents' attitude and the interaction between the residents of the city and the art gallery even if they are not visitors of the gallery. This would also change the space of the city and the galleries may cause some conflicts on the space. In this context, we examined the subject in tree main sections: In the first section, we tried to analyze the functions of art galleries by comparing them with the functions of the old art galleries. In today's world, we did heed to the collaboration between art galleries and museums. In the analysis, we considered both of these spaces as art institutions which have certain functions in the new order of capitalism. Generally, they are the reflections of certain powers. Since the Turkish bourgeoisie doesn't even have a history of 100 years, they need to profit from the art. They will be the art partisans and fanatics so that they could differentiate from the other elites but they will do it by democratizing these spaces, by transforming them to a consummation place to attract more people. The prime reason of this democratization is generally the idea of gaining more profits for their investments in various markets. Art becomes a strategy and a new form of consummation in the aim of increasing the values of their own brand. In the second section, we intended to demonstrate the new perception of art and especially the factors which influenced this perception among the visitors. We investigated the motivations of the visitors and their way of perceiving. We classified the factors as "the independent factors" and "the dependent factors" of the individual. The exterior factors which are independent from the person are like the spaciousness of the edifice of an art gallery or the news about this art gallery. Other interior factors are directly related to the individual like opinions and feelings. Both of these factors construct the perception of the individual. In the last chapter of this study, we attempted to find different ways of interaction like interaction between individual and space of gallery or interaction between gallery and daily life of residents of the neighborhood. Different interactions form a total experience of gallery for Istanbul. The critical point of this effort of transformation of art gallery is the visitor factor. Art gallery so must have an attention to the relation with its visitor. We observe that administrations of galleries give a lot of importance to this interaction between its visitors. Consequently, art galleries which provide different interactions for the individuals are becoming an indispensable part of the city, also for the other people who do not come to these spaces. They have an interaction with these spaces while passing by its doors in the street. The art galleries are a part of the city and they are cultural agents in daily life of the society so of the city. For the furtherance of the study, we selected the Europe Continent of Istanbul where a big party of galleries could be found. We had conversations with 32 visitors of art galleries to apperceive clearly their perceptions and interactions. The objective of this thesis is to question the functions, the perceptions and the interaction between the society and the new art galleries in Istanbul. The following are the outcomes obtained from the study: a) This new perception about gallery that we will conceptualize as "postmodern" is constructed according to "the logic of new capitalism" which requires the visitors who became consumers. b) Visitors experience these spaces as visual spectacles, as a consummation place of free time. c) This logic of the system of consummation is formed by marketing, public relations and publicities. d) To realize this, they have to transform the image of the gallery of the old, serious, modern model, change people's perception about it and transform this space to a consummation place. e) So, the postmodern art galleries aim to attract more people to their institutions and the gallery's administration does a big effort to offer pleasure, education and amusement at the same time. f) These efforts and this multiplicity of galleries would cause some changes which influence the interaction between the gallery and the daily life of residents of the city. g) As a result, the postmodern art galleries started to change the old gallery model which creates a distinction between individuals. Briefly, postmodern art galleries want to pull over lots of people to theirs spaces trying to destroy the image and serious perception of ancient modern model. xv Administrations of gallery show a maximum effort to add pleasure and amusement to visits. These institutions of art try to having a transformation to institutions of joy, amusement and the consumption. We observe that visitors have started to experiment these spaces like visual spectacles, as a space of consumption of leisure time. The politics of art galleries have become day by day for changing this space of art to a space of consumption which facilitates visit of lots of people. This logic of the consumption system is formed by dominant ideologies of bourgeoisie and they use these spaces of art as opportunity of marketing. They use in general, art as an intermediary of theirs advertisements and prestige. To achieve this, they have to transform the ancient model of gallery modern and serious. They must change the perception throughout the individuals. Then, to collect more visitors, they try to change these spaces to a space of consumption. Because of this thesis, we reached to the conclusion that the new gallery comprehension also called "postmodern", is constructed according to "the logic of new capitalism" which requires visitors who became consumers who considerate these spaces as visual spectacles. This system logic organizes them according to their dominant ideologies and uses these art spaces as marketing, public relations and publicity opportunities. To realize this, they have to transform the image of the gallery from the old, serious, modern model, change people's perception about it and transform this space to a consummation place