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Doğu Akdeniz Üniversitesi Kent Arkeolojisi ve Kültürel Miras Yönetimi Yüksek Lisans programını tamamlama tezi KAAY500 kapsamında yapılan çalışma, Nuruosmaniye Yazma Eser Kütüphanesi (NOYEK) koleksiyonuna ait müellifi Abdülkādir-i Merâgī olan Câmiʿu’l-elḥân (NOYEK 3644) ve Makāsıdü’l-elhân (NOYEK 3656) yazma eserleri üzerinde gerçekleştirilmiştir. Bu kapsamda, İslâm dini altında Arap ve Türk toplumlarındaki “mûsiki” kronolojisi ve Abdülkādir-i Merâgī’nin hayatı ele alınmış, söz konusu eserlerin kodikolojik incelenmesi ve restorasyonları yapılmıştır. Çalışması tamamlanan el yazması eserlerin sürdürülebilirlik ilkesi çerçevesinde son durumları genel ve detay görünümleri ile fotoğraflanmış, sayısal ortama aktarmış ve eserlerin emniyetle muhafaza edilmesi amacı ile özel asitsiz karton kutular yapılmıştır. Bunlara ek olarak işlevini kaybetmiş ve eserlerin kondisyonuna zarar verdiği için eserlerden ayrılan eski onarımlara ait parçalar muhafaza altına alınmıştır. Toplumların geçmişlerine ışık tutan kültür varlıkları olan yazma eserler üzerinde gerçekleştirilen bu çalışmada her inceleme ve uygulama basamağı sorumluluk bilinci ve hassasiyetle yürütülmüştür. Eserler üzerinde yapılan tüm çalışmalar Kitap Şifahanesi ve Arşiv Dairesi Başkanlığı atölyelerinde gerçekleştirilmiştir. Çalışma ile, kültürel mirasın oluşumunda kullanılan geleneksel malzeme ve tekniklerin incelenip kaydedilmesi, doğru restorasyonla eserin özgün yapısına zarar vermeden geleceğe aktarılması, yapılan belgelemeler ve tutulan kayıtlar ile araştırmacılara kaynak oluşturması, sürdürülebilirliğe dair geliştirilen uygulamalarla devamlılığının sağlanması, toplumsal kültürel miras bilincine katkı sunması amaçlanmıştır. Anahtar Kelimeler: Kodikoloji, El Yazması, Restorasyon, Konservasyon, Sürdürülebilirlik, Nuruosmaniye Kütüphanesi, Abdülkādir-i Merâgī, Câmiʿu’l-elḥân, Makāsıdü’l-elhân.
This thesis would like to investigate the ways in which Franz Kafka explores the themes of disappointment and dystopic fear in The Trial. The situations of Kafka‟s characters have often been compared to the absurd and belittled characters of the post First World War era, the inhabitants of the Wasteland, nihilistic Waiting for Godot- like beings who are helpless before the forces of tyranny, and who thereby succumb to despair in the search of justice. We will glance through Kafka‟s The Trial from a Lacanian psychoanalytical approach by applying Jacques Lacan‟s Three Orders; The Imaginary, The Symbolic and The Real in understanding the destruction of the individual. The individual can be destroyed either psychologically or physically or both in Kafka‟s works, through extreme duress, the compulsion to conform to the expectation of the System, or murder. This is not self-destruction. It is unwilling victimhood in Kafka‟s works, although it is often with little will to self-preservation given the great power of the „system‟. The modern state, with its sophisticated apparatus of social control can diminish the power of the individual to the negligible. One of the foremost novelists of the 20th century, Franz Kafka became identified with a mood that characterised his work, namely a world portrayed by him as bleak, uncertain, threatening and unreal, with Kafka, so much so that the term „Kafkaesque‟ came into use to describe reality whenever it resembled Kafka‟s fictional world. In the progression of his works we believe we can see an unfolding philosophy the initial premise in Kafka‟s early work that the fear of the father is a source of angst and alienation the later works, particularly The Trial equate patriarchy with the System with far more unpleasant consequences as the System has the power not only to oppress, but also to kill. Sense of social mission in the novel reaches its peak in the destruction of Josef K. In conclusion, the thesis wish to establish that in fact The Trial presents a critique of the period in which Kafka wrote that is hopeful and uplifting. By depicting the nightmarish confusion and ultimate downfall of his protagonist, Kafka seeks to alert and forearm his readership in opposition to European totalitarianism, and to celebrate the unconquerable human spirit.
Regarding political views, individuals shape their own ideas and beliefs through their intuitive understanding of human nature. In order to have a political view, one should criticize and question what the reality is for oneself. The basic element for one’s political views should be an understanding of the nature of oneself. This reality can differ from one person to another. However, the important thing is to be conscious and to have an idea of what one believes and why one believes it, as well. The political views individuals have are based on their understanding of their own reality in the world.
This thesis addresses the impact and diversity of slavery in the city of Famagusta between 1300 and 1362 as observed through the Genoese notarial acts of Lamberto di Sambuceto and Giovanni da Rocha, as well as the Venetian notarial Acts of Nicola de Boateriis. It aims to open a scholarly window into slavery and slave trading activities in the city from a Genoese and Venetian point of view. In this regard, it includes an analysis (synthesis) of the slave population in the city, observing their origin, marketing, age groups, sex, price, social status, daily life and their relations with their masters. The role of Famagusta for international and internal slave trading, and its networks with other provinces, are also observed. Thus, the importance of Famagusta has also been shown as a place to help in the transportation of slaves in international slave trading. The main aim of this thesis is to construct an argument against the general ideas of historians such as Patterson and Dockes who contend that slaves were an isolated community; that they did not socially exist outside of their masters‟ spheres of influence and were described as a subhuman species because of their alienation from citizenship. In this respect, this thesis claims, with examples from notarial deeds in the 14th century, that contacts between slaves also existed with third parties in Famagusta in particular, and the island of Cyprus in general. All these acts treat Famagusta as a commercial harbour city at the very heart of trade, and so offer a good insight into related economic and trading activities.
ABSTRACT: This thesis primarily focuses on the Romantic poet John Keats’s poem Ode on a Grecian Urn, the Modernist poet and playwright Henrik Johan Ibsen’s play When we Dead Awaken and the Romantic Modernist poet and critic William Butler Yeats’s poem Sailing to Byzantium in order to demonstrate Romanticism’s contribution to the so called modernist movement in terms of idealism. The thesis begins with a demonstration of Keats as a representative of Romanticism and the explanation of the crucial Romantic traits. Ode on a Grecian Urn is analyzed through the Romantic features such as imagination, emotion, nature and beauty. Then it continues with a revelation of Ibsen as a Modernist playwright who has romantic roots and When we Dead Awaken as a romantic and modernist play. Afterwards, it maintains Yeats as a Romantic Modernist and Sailing to Byzantium as an example to Yeats’s transition from Romanticism to Modernism. Finally, it concludes by declaring the fact that although all three works were written in different years, they have a number of similarities that constitute their basic principles. This thesis aims to depict that the artists are influenced by the social, political, cultural and economic developments that occur in their time and shape their artistic visions according to their thoughts about the crisis. They reflect their reaction to their current social problems by protesting the established order and mostly create substitutes for reality which are idealized human beings in order to avoid the effect of time and mortal limitations. In addition to this, these artists try to reflect an ideal world, which they cannot achieve to have in the material realm. Therefore, they depict this ideal world in a transcendental level. While idealizing human beings the artists demonstrate a human paradox which indicates the thirst to live forever. At the end it displays a picture that the human beings are transient however, immortality can be achieved through creating a work of art and being remembered forever. Keywords: Romanticism, Modernism, John Keats, Henrik Johan Ibsen, William Butler Yeats, Idealism, Immortality. ……………………………………………………………………………………………………………………………………………………………………………………………………………………
ABSTRACT: The realm of The Truman Show is exceptionally intricate. It depicts the circumstances and experiences of Truman Burbank surrounded by another world in which he is the focus. The complexity of the film comes from the perplexing nature of the way actors are represented and the unclear connections between them. This suggests that cinema, in general, is conditioned by how audiences perceive it and by the complexity of its figurative representations. It is also determined by the code system which provides understanding of what the essential meaning of a film actually may be. In order to explain The Truman Show, this thesis will be based on film semiotics. The rationale behind basing the analysis of The Truman Show on the film semiotics, which looks, in particular, at film language, is to provide understanding of the semantic content, the language discourse and the nature of how the film is delivered to the audience. Discussion will be presented in terms of such concepts as family, reality, truth and lies, rebellion and escape. Furthermore, The Truman Show will be studied in relation to the Illuminati defined as a secret society which exerts power over the public by manipulating media and providing information to impose attitudes and control audiences. The Illuminati is characterized by the control of both information and disinformation (corrupt information aimed to mislead) through the ownership of such sectors of mainstream media as publications (newspapers, magazines), radio, TV, and broadcasting (filming). A few decades ago the general purpose of films was to express some kind of a lesson concerning the rules of right behavior. What we see today is total/absolute impurity, vulgar exposal of behavior, concepts, religion and women. Here, the actions of the Illuminati will be exposed by focusing on the concepts of control, religion, human rights and perceptions and illusions in The Truman Show. The discussion will be concluded by considering issues regarding the past and the present, and especially, the contemporary relationship between the media and the Illuminati, its world and its actions. Keywords: Semiotics, The Illuminati, The Truman Show, Secret Societies, Media Control. ……………………………………………………………………………………………………………………………………………………………………………………………………………………
Opera, efsanelerden, tarihsel olaylardan, mitolojiden veya güncel konulardan ilham alabilen; sözlerinin büyük bir kısmı veya tamamı şarkılarla seslendirilen, genellikle orkestra eşliğinde sahnelenen, görsel sanatları içeren ve dansı da içerebilen, edebi değere sahip metinleri sanatsal olarak aktarım yoluyla devam ettiren tiyatro formundaki sözlü müzik eseridir. Araştırmanın amacı, 21.Yüzyıl’da Türk operalarında işlenen mitolojik unsur ve imgelerin, çözümlenerek saptanması ve incelenecek olan mitolojik öğelerin kültürel miras yönetimi kapsamında ele alınan sürdürülebilirlik çerçevesinde günümüze aktarımının opera gibi müziksel unsurlarla gerçekleşebileceğini ve sürdürülebileceğini ortaya koymaktır. Bu araştırmanın problemi “21.Yüzyıl Türk operalarında yer verilen mitolojik unsurlar nelerdir?” sorusudur. Araştırmaya “Ninatta” operasının bestecisi Evrim Demirel ve libretisti Ahmet Ümit, “Başka Dünya” operasının bestecisi Selman Ada ve libretisti Tarık Günersel, “İnanna” operasının bestecisi Çetin Işıközlü yapılan görüşmelerle dahil olmuşlardır. Araştırmada yöntem olarak; doküman analizi ve yarı yapılandırılmış görüşme tekniği kullanılmış, görüşmede opera bestecilerine ve libretistlerine sorular yöneltilmiştir. Görüşmelerde ses kaydı alınmış, ses kayıtları sonrasında dikte edilerek veriye dönüştürülmüştür. Doküman analizi ve görüşme sonucunda elde edilen veriler ışığında, bulgular yorumlanmıştır. Saptanan mitolojik unsurlar; karakter, kostüm, dekor analizi, librettolarda kullanılan dil, kültürel dayanaklar ve somut olmayan kültürel miras kapsamında sürdürülebilirlik olgusuna katkısı bağlamında incelenmiştir. Bu araştırma, somut olmayan kültürel miras alanında, opera – mitoloji ilişkisini ortaya koyması noktasında öncü bir çalışma niteliğindedir. Araştırmada, gelenek ve göreneklerin, tören ve ritüellerin, nesilden nesile kültür aktarımı ile sürdüğü ve günümüzde kültürel sürdürülebilirliğin opera gibi müzik yapıtları ile de gerçekleştiği sonucuna varılmıştır. Anahtar Kelimeler: Müzik, Türk Operaları, Mitoloji, Somut Olmayan Kültürel Miras, Kültürel Miras Yönetimi, Sürdürülebilirlik
ABSTRACT: Humans are creatures many of whose worst fear is that they will disappear, who characterize themselves as unique creatures, who consciously want to increase their civilization, and who can imagine events that involve either part of their own experience or someone else’s experience; even events that have never really happened and creatures who have never really existed. Every human being has his/her own psychology and every person’s psychology differs due to individual experiences and beliefs. Human beings try to avoid feeling remorse by accommodating enormous defence mechanisms. Sometimes, they can accuse someone else or worse they can remain silent to try to lessen their remorse. Disappearing is the worst fear of human beings. Because of that fear, we develop survival instincts. We want to be recognized and accepted and some of us want to reproduce. To destroy the hunger of recognition, some want to reproduce to ensure their immortality or leave a work of art to penetrate human minds. Mary Shelley by writing Frankenstein or The Modern Prometheus, attempted to satisfy her hunger for recognition, gain approval and to satisfy her lack of self-confidence that lies behind the fear of not being accepted and stems from being repulsed by her father who raised her. She writes out of remorse in order to restore her mental health. In short, although there are lots of differences between Shelley’s psychology and that of her characters in Frankenstein or The Modern Prometheus my aim is mainly to show the similarities. Shelley’s main aim in writing such a novel may seem like creating a horror novel but by writing such a novel, she reflects her state of mind, and the novel becomes the fatalistic expression of her psychology. Keywords: Remorse, recognition, self-confidence. ……………………………………………………………………………………………………………………………………………………………………………………………………………………
ABSTRACT: This thesis mainly focuses on the acts of evil in William Shakespeare’s three plays The Tempest, Othello, the Moor of Venice and Titus Andronicus in order to illustrate how the characters that represent the self in this case Iago, Titus and Prospero become in the position of the characters of the other Othello, Tamora and Caliban. The characters who are representations of the self reflect Edward Said’s Orientalism, when they aim to destroy the desired victims as they see the other as inferior. Edward Said’s Orientalism illustrates how some selves see themselves superior to the other in terms of culture, religion and race, which brings into existence various binary oppositions of what the self, is not. To be more precise the binary oppositions include being uncivilised, barbaric, ignorant, savage and uneducated, which are all terms that are associated with the other as in the case of Othello, Tamora and Caliban. This then determines the self to be civilised, educated and wise which excludes what the other, is not. It is natural to identify evil with the characters that belong to the other because of the way the self represents them. On the other hand, it is not so natural to identify evil with characters of the self when they are associated with positive characteristics that exclude negative characteristics of the other. This thesis aims to depict how evil as seen in Shakespeare’s characters Iago, Titus and Prospero do not belong to a particular religion, ethnic or cultural group. Whether the individual is a Catholic, Protestant, English, Roman, Moorish or Goth evil lies in the self. The evil in the antagonist Iago and protagonist in Titus, and Prospero are associated with evil thoughts and actions, which comes from within, and defiles the individual. Evil often deals with the reality of individuals who have problems with themselves in the society they live in. So, when the characters Iago, Titus and Prospero act in evil ways they become associated with the characteristics of the other, and they themselves become the uncivilized, barbaric and ignorant ones. Keywords: Evil, Self-Other, William Shakespeare, Edward Said. ……………………………………………………………………………………………………………………………………………………………………………………………………………………