Ok, Sebla SelinÇelik, Eyhan2024-05-242024-05-242024https://katalog.marmara.edu.tr/veriler/cokluortam/cokluortam/F/D/E/F/A/Eyhan Celik_Yuksek Lisans Tezi-son.pdfhttps://hdl.handle.net/11424/296907Bu eser metnin amacı, Kürt sözlü kültürü olan dengbêjlik geleneğini armağan ekonomisi bağlamında çağdaş sanatın olanaklarıyla incelemektir. Sosyal bilimler ve çağdaş sanatın bir araya gelerek bana sunduğu yeni perspektifler ışığında, dengbêjliği daha önce çalışılmamış olan armağan ekonomisi bağlamında sorgulayarak, yeni düşünce ve ifade olanaklarının peşine düşmektir. Teorik ve estetik anlamda “İmge armağan edilebilir mi?” sorusuna yanıt aradığım bu soruşturma sürecinde armağan, hukuki, ahlaki ve iktisadi taraflarıyla karşıma çıktı. Geçmişten bugüne kadar geçerliliğini sürdüren, Marcel Mauss’a göre “görünürde gönüllü, gerçekteyse zorunlu olarak verilen” armağanda kişiyi yükümlülük altında bırakarak onu geri verme zorunluluğuna iten şey nedir? sorusu armağanı alan ve armağanı veren arasındaki ilişkide, “arkaik” icrasından beri kişilerin alacaklı ve borçlu olarak karşı karşıya gelmelerini zorunlu kılmıştır. En başta söz ile kurulan bağ aracılığıyla sürdürülen değiş tokuş biçimi, bugün Mauss’un deyimiyle ara biçimlere dönüşmüştür. Tıpkı nişan, düğün, cenaze, sadaka, doğum günü partilerinde olduğu gibi… Eser metnime konu olan dengbêjlik kültürünü ana eksene oturtmamın nedeni, konukseverlik yasaları gereği icrasında armağanlaşmanın açığa çıktığı kendi kültürüme ait bir konuya eğilirken, aynı zamanda bunun çağdaş sanatta armağan niteliği taşıyan estetik formunu araştırmaktı. Biçim ve içeriği birbirine armağan olması yönüyle yaklaştırmayı amaçlayan bir tartışma düzlemi yaratmaktı. Dengbêj video projem aracılığıyla “İmge armağan edilebilir mi?” sorusuna, Ulus Baker video ile yanıt vererek armağanın çağdaş sanattın olanaklarıyla ifadesini bulmamı sağladı. Ona göre “video, imgeyi ona verenlere armağan edebilme sanatıdır.” İcrasında armağanın açığa çıktığı bir gelenek olan dengbêjliği, kendisi zaten armağan niteliği taşıyan video ile sundum. Böylece ben de imgeleri bana verenlere karşı, beni yükümlülük altında bırakan imgeleri, onlara video aracılığıyla geri verdim.The purpose of this work is to examine the tradition of dengbêj, a part of Kurdish oral culture, within the context of gift economy through the possibilities offered by contemporary art. With the new perspectives offered to me by the intersection of social sciences and contemporary art, I aim to explore new avenues of thought and expression by questioning dengbêj in the previously unstudied context of gift economy. In the process of this inquiry, where I seek to answer the theoretical and aesthetic question, \"Can an image be gifted?\", the concept of the gift confronted me with its legal, moral, and economic aspects. What compels a person to reciprocate a gift that, according to Marcel Mauss, is \"seemingly voluntary, but in reality obligatory\"? This question has necessitated the confrontation of individuals as creditor and debtor in the relationship between the giver and receiver of the gift since its \"archaic\" performance. The exchange form, originally sustained through the bond established by words, has today transformed into intermediate forms, as Mauss describes, in contexts like engagements, weddings, funerals, charity, and birthday parties. The reason for focusing on the culture of dengbêj in my work is to explore an aspect of my own culture where the practice of gifting emerges due to the laws of hospitality, while simultaneously investigating its aesthetic form that carries the nature of a gift in contemporary art. It was to create a platform for discussion aiming to bring form and content closer together in the direction of being a gift to one another. Through my dengbêj video project, Ulus Baker answered the question \"Can an image be gifted?\" with video, enabling me to express the concept of the gift through the possibilities of contemporary art. According to him, \"video is the art of being able to gift the image to those who give it.\" I presented dengbêj, a tradition where the gift emerges in its performance, with video, which itself carries the nature of a gift. Thus, I reciprocated the images given to me, which placed me under obligation, by returning them through videoVI, 135 sayfa : resimturinfo:eu-repo/semantics/openAccessArmağanDengbêjlikİmgeKlamKonukseverlikVideoXelat The purpose of this work is to examine the tradition of dengbêja part of Kurdish oral culturewithin the context of gift economy through the possibilities offered by contemporary art. With the new perspectives offered to me by the intersection of social sciences and contemporary artI aim to explore new avenues of thought and expression by questioning dengbêj in the previously unstudied context of gift economy. In the process of this inquirywhere I seek to answer the theoretical and aesthetic question"Can an image be gifted?"the concept of the gift confronted me with its legalmoraland economic aspects. What compels a person to reciprocate a gift thataccording to Marcel Maussis "seemingly voluntarybut in reality obligatory"? This question has necessitated the confrontation of individuals as creditor and debtor in the relationship between the giver and receiver of the gift since its "archaic" performance. The exchange formoriginally sustained through the bond established by wordshas today transformed into intermediate formsas Mauss describesin contexts like engagementsweddingsfuneralscharityand birthday parties. The reason for focusing on the culture of dengbêj in my work is to explore an aspect of my own culture where the practice of gifting emerges due to the laws of hospitalitywhile simultaneously investigating its aesthetic form that carries the nature of a gift in contemporary art. It was to create a platform for discussion aiming to bring form and content closer together in the direction of being a gift to one another. Through my dengbêj video projectUlus Baker answered the question "Can an image be gifted?" with videoenabling me to express the concept of the gift through the possibilities of contemporary art. According to him"video is the art of being able to gift the image to those who give it." I presented dengbêja tradition where the gift emerges in its performancewith videowhich itself carries the nature of a gift. ThusI reciprocated the images given to mewhich placed me under obligationby returning them through video.masterThesis