Parody as a constitutive power in art

Based on the concept of parody, this thesis aims to reach beyond the genre-oriented thematic constitution of artwork, to re-establish aesthetics as an artistic creation process in terms of politics and poetics thereby developing a theoretical model, and to reify the concept of parody through comparative readings on art works (incl. present personal artistic practices). Thus, apart from the existing singular theoretic perspectives, it could comprehensively be possible to conceptualize the aesthetic discourse transforming itself into a constitutive character rather than transferring itself to a "substitutive political function" in an "undecidability" which is intrinsic to the logic of contemporary art. This thesis intends to point out how a conception was formed as a subversive and constitutive power throughout the differential moments of art, and how it was transformed into an impulsion of each artistic encounter with predecessor, successor, or generation either in the way of homage or in the way of rejection within the scope of mimesis, whose influence can be traced on the artworks as well as in the artistic creation process during this study. Consequently, we have to remark that a great deal of major artists taking up the turning points of art cannot be released from the impulse of working with parody, which is intrinsic to zeitgeist of art, it doesn't matter in which clothes it disguised, with what technical stuff it was girded, or from what theoretical ground it was taken off. Keywords: Parody, appropriation, mimesis, pastiche, allegory, montage, original, irony, art, painting.