Bildiri Özetleri

Transcription

Bildiri Özetleri
INTERNATIONAL
SEMIOTICS CONFERENCE
ABSTRACT BOOKLET
7-10 May, 2015
İstanbul Üniversitesi, İstanbul/TÜRKİYE
Semiotics of Cultural Heritages:
Authenticity to Informatics
www.iscch2015.org
INTERNATIONAL
SEMIOTICS CONFERENCE
ABSTRACT BOOKLET
7-10 May, 2015
İstanbul Üniversitesi, İstanbul/TÜRKİYE
KEY-NOTE SPEAKERS
Nüket GÜZ Sequences of Life at Serail
Solomon MARCUS Cultural Heritage: Traps and Dramatic Choices
Eero TARASTI On the possibility of Existential Semiotic Theroy of culture
Vilmos VOIGT A Truly Semiotic Understanding of Cultural Heritage
www.iscch2015.org
COMMITTEES
HONORARY BOARD
Mahmut Ak
Eero Tarasti
Solomon Marcus “in behalf of his 90th anniversary”
Sıddık Yarman
Mustafa Özkan
H. Rıza Güven
Nüket Güz
Ş. Teoman Duralı
H. Şafak Ural
CHAIRS
Eero Tarasti
Sevinç Gülseçen
Ayşe Zeynep Onur
ORGANIZING COMMITTEE CHAIRS
Şevket Dönmez
F. Deniz Özden
Zerrin Ayvaz Reis
ORGANIZING COMMITTEE
Sevinç Gülseçen
Şevket Dönmez
Zeynep Onur
F. Deniz Özden
Zerrin Ayvaz Reis
Murat Gezer
Ekin Öyken
İsmail Özmen
F. Feyza Aksu
Hidayet Arslan
Teri Sisa Mason
Selin Gürses Şanbay
INTERNATIONAL SCIENTIFIC COMMITTEE
Rimantas Astrauskas, Lithuanian Academy of Music and Theater
Krstian Bankov, New Bulgarian University
Şevket Dönmez, Istanbul University
Çiğdem Dürüşken, Istanbul University
Melahat Küçükarslan Emiroğlu, Bahçeşehir University
Seher Er, Istanbul University
Anuar Galiev, Al-Farabi Kazakh National University
Rahilya Geybullaeva, Baku Slavic University
Sevinç Gülseçen, İstanbul University
V. Doğan Günay, Dokuz Eylül University, İzmir
Simten Gündeş, Maltepe University
Aki-Mauri Huhtinen, Finnish School of Defense
Nazlı İnönü, İstanbul University
Jean-Marie Jacono, Université d’Aix-Marseille
Seema Khanwalkar, Ahmedabad University
Evangelos Kourdis, Aristotle University of Thessaloniki
Pirjo Kukkonen, University of Helsinki
Altti Kuusamo, University of Turku
Rengin Küçükerdoğan, Istanbul Kültür University
Massimo Leone, University of Turin
Solomon Marcus, Bucharest, Rumania
Dario Martinelli, Technological University of Kaunas
Jean-Claude Mbarga, Université de Yaoundée, Cameroun
Ricardo Monteiro, Universidade Anhembi Morumbi São Paulo
Zeynep Onur, Çankaya University, Ankara
Ekin Öyken, Istanbul University
F. Deniz Özden, Istanbul University
İsmail Özmen, Istanbul University
Nedret Öztokat, İstanbul University
Malgorzata Pankowska, University of Economics in Katowice
Maja Angelovska Panova, Institute of National History, Skopje, Republic of Macedonia
Zerrin Ayvaz Reis, Istanbul University
Nilüfer Sarı Sezer, Istanbul University
Hamid Reza Shairi, Université Tarbiat Modares, Teheran
Eva Alexandrou Şarlak, Işık University
Eila Tarasti, University of Helsinki
Daina Teters, Latvian Academy of Culture, Latvia
Mieczyslaw Tomaszewski, Cracow Music Academy
Igifeneia Vamvakidou, University of Western Macedonia, Greece
Patrizia Violi, University of Bologna
Vilmos Voigt, Eötvös Loran University, Budapest
Zdislaw Wasik, Poznan University
Asnu Bilban Yalçın, Istanbul University
Melda Yıldız, Kean University
3
Henry Zhao, University of Sichuan, China
Semiotics of Cultural Heritages, From Authenticity to Informatics
Semiotics of Cultural Heritages is an international research project founded by Professor Eero Tarasti in 2013. It is largely based upon his
theory of existential semiotics.
All can and have to agree that our global world has undergone enormous changes and crises in many aspects. There is a hypothesis that societies
undergo three phases: first: archaic in which people and communities live still nature-bound life with cyclical time and with mythological
worldview and traditions; second: socio-semiotic which was the avenue chosen by the Western world in the emergence of modernity, leading to
certain stratified social structures, class, industrialization, democratic institutions, enlightenment, humanistic Bildung idea, in one word a
certain historic development. The third one is techno-semiotic, the society under modern electronic and computer technology, with internet,
increasing communication, the 'extase' of communication, changing radically the previous structures of social organization.
If this idea is taken seriously, it certainly means that we should not straight ahead reject the cultural traditions and achievements of the past.
Some of them should be preserved which means that we consider some of them to represent such values which are worth to be believed in
still in our techno-period and even to serve as a kind of 'lived-in' models as Claude Lévi-Strauss once said. That part of our social practices
which we find worthwhile to be maintained we can call a cultural heritage.
Such a heritage can be as to its size and scale of whatsoever nature: it can be an entire living form, culture, it can be a nation, it can be a
language almost disappearing (like there can be languages spoken only by one or two persons), it can be a certain behaviour, rite, manner,
myth, value, object, genre, fest, any type of material or spiritual culture of any quantity. So any sign and particularly its signified, the idea, or
value which it represents.
For any such type of conduct or material or spiritual thing as cultural heritage we can also distinguish among four modes of 'being' so to say to
borrow from the theory of existential semiotics (Tarasti 2012)
Body: how single individuals physically carry the heritage, which kind of corporeal activities it presupposes to be functional
Identity: which kind of personality or 'habit' is presumed to be enjoying the heritage, which kind of stable or less stable identity is necessary
for its living and survival
Social practice: how the heritage is shared by members of a certain community, how it is enacted by given social roles within it, how it exists as
a routine , almost unnoticeable practice and tradition, and how it is supported by discourse(s) around it, how it is integrated as a part of social
life, which profession, which groups exercise it
Values, norms: which kind of more abstract value and norm system it is manifesting, from which kind of epistemic ideas it is originating, is it in
harmony or in conflict with dominant belief systems of the society
Kültürel Mirasın Semiyotiği : Otantikten Enformatiğe
Kültürel mirasın göstergebilimi, Eero Tarasti tarafından iki yıl önce başlatılmış ve Tarasti'nin Varoluşcu Göstergebilim teorisinden temellenen
uluslararası bir araştırma projesidir.
Küreselleşen dünyamızın birçok alanda büyük değişimler ve krizler geçirdiği bir gerçektir. Semiyotik perspektifden bakıldığında toplumların üç
aşamadan geçtiği ileri sürülmüştür: Bunlardan ilkini oluşturan arkaik aşamada insanlar ve topluluklar döngüsel zamanın egemen olduğu, mitolojik
dediğimiz dünya kavrayışı ve gelenekler çerçevesinde, doğayla iç içe bir yaşam sürdürmektedir; sosyo-semiyotik olarak tanımlanan ikinci aşama
ise modernitenin ortaya çıkışıyla Batı dünyasının seçtiği, sınıflı toplum yapılarına, sanayileşmeye, demokratik kurumlara, aydınlanmaya,
humanistik olgunlaşma hümanist bir ilerleme düşüncesine ülküsüne kısacası belirli bir tarihsel gelişime yönelen temel çizgidir. Üçüncüsü teknosemiyotik aşamadır; bu aşamada toplum modern elektronik ve bilişim teknolojisinin güdümündedir: Başta internet olmak üzere, giderek çoğalan
haberleşme ve 'çılgınlığa' dönüşmüş iletişim olanaklarının etkisiyle toplumsal yapının alışılmış düzenleniş biçimleri kökten değişime uğramaktadır.
Bu görüşü kabul ediyorsak geçmişin kültürel gelenek ve kazanımlarını da bütünüyle reddedemeyeceğimizi kabul etmeliyiz. Bu da kültürel
miras konusunun önemini ortaya koyar. Toplumsal pratiklerin sürdürülmeye değer bölümünü kültürel miras olarak tanımlayabiliriz. Bu tür bir
miras büyüklük ve ölçek açısından farklılık gösterebilir: Başlı başına bir yaşama biçiminden, bir kültürden, bir milletten, yok olma sürecine
girmiş bir dilden, belirli bir davranış biçiminden, ayinden, tarzdan, mitostan, değerden, nesneden, üsluptan, şölenden, kısacası maddi ve
manevi kültürün herhangi bir öğesinden ibaret olabilir. Bunların her biri birer gösterge dizgesidir.
Ne var ki, içinde bulunduğumuz tekno-semiyotik süreçte kimi gelenekler yok olma tehdidi altındadır. Bununla birlikte elektronik ve teknik çağ
bize söz konusu geleneklerin korunması, yerine konulması, ve yenilenmesi için etkili araçlar sunabilir. Dolayısıyla bu noktada önemli olan
sadece geçmişin izini sürmek değil, seçilen mirası geleceğin bir parçası kılmaktır. İşte, kültürel miras niteliğindeki bu tür yaşam tarzlarını
fiziksel ve ruhsal olguları varlık biçimi açısından dörde ayırabiliriz. Bu olgular Eero Tarasti'nin varoluşçu semiyotik kuramından hareketle
şöyle sınıflandırılmaktadır:
Beden: Tek tek bireyler işlevsel olması gereken bedensel etkinliklerle kültürel mirası fiziksel olarak nasıl taşır?
Kimlik: Kültürel miras hangi tür kimlik ya da tutum (Ch. S. Peirce) için avantaj sağlar, bu mirasın yok olmaması ve sürmesi için, değişmeyen ya
da az değişen, ne tür bir kimlik gereklidir
Toplumsal pratik: Kültürel miras belirli bir topluluğun üyeleri tarafından nasıl benimsenir, topluluğun bünyesindeki belirli toplumsal roller
tarafından nasıl hayata geçirilir, bir rutin, belli belirsiz bir uygulama ve gelenek olarak nasıl var olur, etrafında ne tür destekleyici söylemler
oluşur, toplumsal yaşama nasıl katılır, hangi meslek ve gruplar tarafından kullanılır?
Değerler ve normlar: Kültürel miras daha soyut değer ve normlardan hangilerini gösterir, hangi bilgiden doğar, toplumun egemen inanç
sistemleriyle uyumlu mudur?
La sémiotique des héritages culturels, de l’évocation, de la rénovation et de la réparation
La sémiotique des héritages culturels est un projet de recherche international initié et dévéloppé par la théorie de la sémiotique existentielle d'Eero Tarasti.
Tout le monde peut et doit reconnaitre que notre monde global a subi d'énormes changements et crises dans de nombreux aspects. Il y a une
hypothèse qui dit que toutes sociétés subissent trois stades: au premier, ce qui est archaïque, les gens et les communautés vivent toujours liés à la
nature dans le cadre du temps cyclique, selon une vision du monde mythologique et les traditions; le second, ce qui est socio-sémiotique, est la
route principale prise par le monde occidental, conduisant à certaines structures sociales stratifiées, aux classes, à l'industrialisation, aux institutions
démocratiques, au Siècle des lumières et à l'idée humanistique de Bildung, en bref, à un certain développement historique. Le troisième est le stade
techno-sémiotique, auquel la société est sous la domination de l'électronique moderne et de la technologie informatique, avec internet, la
communication accrue et l'extase de la communication qui changent radicalement les structures précédentes d'organisation sociale.
Si cette idée est approuvée, ça signifiera qu'il ne faut pas entièrement rejeter les traditions et les réussites culturelles du passé. Certaines
doivent être préservées, ce qui signifie qu'on estime qu'elles représentent des valeurs dignes d'être appréciées même aujourd'hui dans notre
période techno et qu'elles sont mêmes capables de servir des modèles “habités”, comme Claude Lévi-Strauss l'avait jadis indiqué.
On peut appeler cette partie de nos pratiques sociales que nous considérons comme dignes d'être conservé, un héritage culturel. Un tel
héritage peut avoir de différentes natures selon la portée et la proportion: il peut consister dans toute une forme de vie, toute une culture, il
peut être une nation, une langue en danger d'extinction, un certain comportement, un rite, une manière, un mythe, une valeur, un objet, un
genre, un festival, tout type de culture matérielle ou spirituelle de n'importe quelle quantité. Ce qui veut dire, tout signe et son signifié en
particulier, l'idée ou la valeur qu'il représente.
Dans notre phase techno-sémiotique ces traditions sont souvent en constant danger de disparaitre, d'être détruites ou tout simplement
oubliées par notre temps, particulièrement par ce qu'on considère comme le future. Mais il est en même temps possible que notre technotemps électronique nous offre des outils efficaces et inconnus jusqu'alors pour la préservation, la restauration, et la rénovation des
traditions. Donc, il ne s'agit pas ici de “rechercher le temps perdu” au sens proustien mais plutôt de faire l'héritage choisi partie de la tradition
vivante de l'avenir. Nous pouvons séparer ces styles de vie, ces notions physiques et psychiques en quatre parties selon les modalités
d'existence. Ces notions sont catégorisées de manière suivante sous la lumière de la sémiotique existentielle d'E. Tarasti :
Le corps : Comment chaque personne se porte physiquement le patrimoine culturel qui doit être fonctionnel par l'activité corporel ?
L'identité : Pour quelle identité ou attitude le patrimoine culturel offre de l'avantage ? Quel type d'identité – stationnaire ou peu fluctuante –
est nécessaire pour que le patrimoine ne disparaisse pas et qu'il continue à être ?
La pratique sociale : Comment est assimilé le patrimoine culturel par les membres d'une certain communauté ? Comment il est réalisé par les
rôles définis dans le cadre de la communauté ? Comment il existe en tant que routine, que pratique vague ? Quels types de discours
subsidiaires se forment autour de lui ? Comment il se mêle à la vie sociale ? Par quels métiers et groupes il s'utilise ?
Les valeurs et les normes : Parmi les valeurs et les normes abstraites, le patrimoine culturel présente lesquelles ? Il se pose du quel savoir ?
Est-ce qu'il convient aux systèmes dominants de la croyance de la société ?
SUBTOPICS
ALTBAŞLIKLAR
AXES
Ÿ Cultural Heritages in Dialogue
Ÿ Renewing Cultural Heritages
Ÿ Cultural Heritages as
Ÿ Diyaloglarda Kültürel Miras
Ÿ Kültürel Mirasın Yenilenmesi
Ÿ Değer Temsilcileri Olarak
Ÿ Les Rubriques de la conférence
Ÿ Renouvellement du patrimoine
Represantations of Values
Ÿ Cultural Heritages and Their
Ÿ
Ÿ
Ÿ
Ÿ
Communities
Body Person and Values in
Cultural Heritages
Cultural Heritages as Sign
Systems and Processes
Cultural Heritages Lost
Cultural Heritages Based on
Istanbul
Kültürel Miraslar
Ÿ
Ÿ Kültürel Miras ve
Ÿ
Ÿ
Ÿ
Ÿ
Topluluklar
Kültürel Miras; Kişi ve
Değerler
İşaret Sistemleri ve Süreçleri
Olarak Kültürel Miras
Kaybedilmiş Kültürel
Miraslar
İstanbul’un Kültürel Mirası
Ÿ
Ÿ
Ÿ
Ÿ
Ÿ
culturel
Patrimoines culturels en tant
que représentations des valeurs
Patrimoines culturels et leurs
communautés
Patrimoines culturels ; acteurs
et valeurs
Patrimoines culturels en tant que
systèmes de signes et processus
Patrimoines culturels perdus
Patrimoines culturels d’Istanbul
M. Selen ABBASOĞLU ERMİYAGİL Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus . . . . . . . . . . . 15
Alla ABLOVA Bell stone from Russian Karelia: A Semiotic View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Eva ALEXANDROU ŞARLAK A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions . 17
Galiev ANUAR Baksy (Shaman) And World Model Of Kazakh People. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Alessandro CAMIZ Semiotics of contradiction in cultural heritage. Memory vs. Verdinglichung. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Renk DİMLİ ORAKLIBEL Tracking cultural myths in Anadol commercials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Papatya Nur DÖKMECİ YÖRÜKOĞLU Soundscapes of Heritage Sites: Semantic Evaluation of the Sound Environment in Ulus, Ankara . 21
Abijit DUTTA War as cultural heritage and the inauthenticities of constant preservation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Karen GERSON ŞARHON The Ladino Database Project Results As Insight To The Current Situation Of Judeo-Spanish In Turkey . . . . . . . 23
Rahilya GEYBULLAYEVA Deciphering of contemporary words: from modern to the past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Tania Letizia GOBBETT Iconic Cathegorisation in Art History as a Matter of Research 'Experiment Critical' Methods in Building Theory 25
Mustafa GÜLEÇ Difference of system and structural transformation in perceiving of cultural heritage as a sign: an example of
Van Nelle Factory (Rotterdam, The Netherlands) and Sümerbank Bursa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Uğur GÜNDÜZ Latmos: Looking For The Prints of The Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Selçuk GÜRIŞIK Social Semiology Readings Through Design Language Of The Cultural Heritage Object. . . . . . . . . . . . . . . . . . . . . . . . . . 29
Sari HELKALA KOİVİSTO Musical sign - A Nature-bound foundation of Cultural Heritages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Bujar HOXA Multilingualism in a Semiotic Context: Sameness vs. Otherness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Seema KHANWALKAR Cultural Heritages as sign systems and Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Pirjo KUKKONEN Translation as Semiotics and Cultural Heritages Processes of Intra- and Intersemiotic Translation: Authenticity,
Interpretation, and Imitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Altti KUUSAMO The Tradition, the Work of Art and New Identifications as Discoveries. The Changed ”Original Meaning” of the Work:
How to Revive and Place the new Historical Meaning of a Changed Sign system? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Fahriye Oya KUYUMCU Did Abstractıon in Terms Of Geometric Patterns in Islamıc Art And Architecture Cause Problem in Providing
Sustainability Of Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Melahat KÜÇÜKARSLAN EMİROĞLU An Attempt For Creating Value For Cultural Heritage: Neighbourhood Culture . . . . . . . . . . . . . . . 37
Altan A. MARÇELLİ Anatolıan Ceramics: A Case Study Of Number Symbolısm In A Socıo-Relıgıous Context. . . . . . . . . . . . . . . . . . . . . . . 39
Roberto MASTROIANNI Cultural Heritage. Existential semiotics, Philosophical Anthropology and Anthropo-semiotics . . . . . . . . . . . . . 40
Joseph MBONGUE Topic: Hypocrisy and lie as symbolism of two merging concepts of reality and appearance: the paradox
syndrome of a psychosemiosis.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Morsaleh Ranjbar MOGHADDAM Street's Play as a Vanishing Cultural Heritage Zograscope which called in Iran Shahr e Farang ‫ ﻓرﻧﮓﺷﻬر‬. . . . 43
Maria NOEL DO Monument of Christopher Columbus at Buenos Aires City: memory, space and semiotics. . . . . . . . . . . . . . . . . . . . . . . 44
Zeynep ONUR The Language Of Abstract As A Lost Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Ian PAGDETT The Evocative Visual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Lazaros PAPOUTZIS Athens Olympic Games Opening Ceremony, 2004. The Semiotics of the Ancient Greek Spirit.. . . . . . . . . . . . . . . . . 47
Nilüfer PEMBECİOĞLU The Doorknobs Of The Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Nidal SEİDE Old wine in useless bottles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Takemi SOSA Symphonic Narrative: Space and Synthesis in Magnus Lindberg's AURA (1994) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Bianca SUAREZ The Inception Of Technological Development Through Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Merve TAŞTAN Courtyard Style Architecture as a Cultural Heritage for Communal Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Ozan ÜNSALAN Hidden “Spectral Signs” on the Valens Aqueduct columns by means of Semiotics and Molecular Physics
in Cultural Heritage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Elżbieta Magdalena WASIK On the notion of the linguistic self within the framework of existential semiotics . . . . . . . . . . . . . . . . . . . . 55
Zdzislaw WASIK A solipsistic paradigm in the semiotics of nature and culture – its roots and prospects . . . . . . . . . . . . . . . . . . . . . . . . . 57
Ebru YENER GÖKŞENLİ The Image of the Bull in Spanish Culture and the Importance of Bullfights in Spanish Society . . . . . . . . . . . . . . 59
Tolga AKAGÜN İstanbul Üniversitesi'nin Bilişim Mirasının Yaşatılması: Sanal Bilişim Müzesi Çalışmaları . . . . . . . . . . . . . . . . . . . . . . . . . 63
Olcay AKDENİZ Milas'ta Macar Mimarisi Ve Macar Evleri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Arda ARŞIK İmzadan e-imzaya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Şeniz ATİK İstanbul Küçükçekmece Bathonea Kazıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Hasan BİNAY Neolitik Yerleşimden Bizans 12. Bölgesi Ve Langa Bostanı'na Yenikapı'nın 8 Bin Yıllık Kültürel Ve Topografik Değişimi : Son
Arkeolojik Kazılar Ve Kentsel Dönüşüm Projeleri Kapsamında İstanbul Yenikapı Semtinin Ele Alınması. . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Aydan BİRDEVRİM Anadolu Kapı Tokmaklarının Çağdaş Yorumları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Fatma Banu ÇAKAN Feyhaman Duran Evi Örneğinde Dokuma Eserler İçin Sergileme Önerileri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Hasan Fırat DİKER Kültürel Miras Olarak Ayasofya . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Fatih ELCİL İstanbul Üniversitesi Feyhaman Koleksiyonu Hatlarından Yazı-Resim Levha Örnekleri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Tolga ERGÜL Sivas Alibaba Mahallesi Alevilerinde Bağlama: 'Telli Kur'an' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Namık KILIÇ Sualtı Kültürel Mirasın Korunmasında Yenikapı Batıkları Örneği . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Remziye KÖSE ÖZELÇİ Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel
Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Nisan LORDOĞLU Antik Byzantıon ve Kalkhedon'un Şehircilik Açısından İncelenmesi: Kuruluşlarından Roma İmparatorluk
Dönemi'ne Kadar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
İsmail Hakkı NAKİLCİOĞLU Yerel kültürel mirasın yenilenmesi ve Afyonkarahisar'da yaşatılmaya çalışılan “Âdine” geleneği . . . . . . . . . 79
Elif OKUR TOLUN Ağaç İmgesinin Anlamlandırılması: Temur Köran'ın “Ağaç” Sergisine Göstergebilimsel Bakış . . . . . . . . . . . . . . . . . . . . 81
F. Deniz ÖZDEN Feyhaman Duran Evi - Yeri. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
F. Deniz ÖZDEN İstanbul Yoros Kalesi Kazıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Yüksel DEDE Arkeolojik Buluntuların Değerlendirmesinde Deneysel Arkeolojik Yöntemlerin Önemi Ve Yeniden Üretimin
Kültür Mirasının Korunması Bilincine Katkıları . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Juan David BARRERA Forme et signification dans le discours musical des organistes français du « Grand Siècle » :
vers l'établissement d'une nouvelle typologie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Jean-Marie JACONO Héritage culturel et globalisation: la chanson française à texte depuis 1980 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Jean-Marie JACONO Representation of Retour a la Willa Nevski (Novel by Eero Tarasti) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Monire KHALVATI Poésie comme quête de la présence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Marzieh Athari NIKAZM L'analyse des différents modèles de l'énonciation chez les soufis et les mystiques persanophones :
Sama, verset labial et la poésie mystique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Kalliope STİGA Musique et Idéologie vue à travers l'œuvre artistique et l'action sociopolitique de Mikis Theodorakis . . . . . . . . . . . . . . 93
Daina TETERS Prédestination Métaphorique Du Patrimoine Culturel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Abstracts in English
Cultural Sign on the Facades of Traditional Houses: Walled City Nicosia North Cyprus
1
M. Selen ABBASOĞLU ERMİYAGİL, Department of Interior Architecture, European University of Lefke, TRNC, [email protected]
2
Cemaliye SUNALP GÜRÇINAR, Department of Architecture, European University of Lefke, TRNC, [email protected]
3
Dr. Ömer EREM, Department of Architecture, Istanbul Technical University, TRNC, [email protected]
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The purpose of this study is to identify and interpret the signs on the facades of traditional houses. Walled City
Nicosia region is one of the most important location where historical and cultural character identity is still
continuing. Multi-cultural identity is the reason for choosing this area to study. Walled City Nicosia which was built
six thousand years ago is a multi-cultural Turkish town which reflects the sign of Byzantines, Lusignans, Venetians,
Ottomans, British and Greek cultures. This multi- cultural identity of the town has been influencing its development.
Cultural signs are the compositional expression of the recognizable and generic characteristics of cultures. Thus,
cultural signs can be used to create an architectural language. Due to variety of the cultural signs the study required a
careful evaluation.
Accordingly, physical analysis approach was used to make proper definitions.
The study consists of three parts, literature review, physical analyses and evaluation. The date obtained from
literature review analyses to identify cultural signs as architectural elements on the building facades.
In the final part the framework of the signs are discussed and related to the architectural language. Revealing
existing cultural signs on traditional building facades would help sustaining architectural language despite urban
development pressures.
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15
Bell stone from Russian Karelia: A Semiotic View
Alla ABLOVA, University of Helsinki, Finland, [email protected]
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Lithophones are potentially durable musical instruments1, which consist of single (or a set of) raw stones/slabswhich
resonate when struck. Information about their physical and musical qualities and about the role they played in now
extinct societies is limited. Some archeological musical stones still remaining in their place of use can provide us with
valuable information about the methods and places chosen for sound production as well as about the acoustic
aspects of the life ofpast worlds.In this report we study the Звонкой камень (=Ringing stone) lithophone
(1st century BC, the Early Iron Age), discovered in 1966 in Russian Karelia. When struck with another stone it
produces high melodic sounds similar to the sound of a small metal bell. As an integral part of the musical stone
there is a big resounding cavity (50-60 cm2). The report deals with an attempt to reconstruct the music texts played
on theRinging stone.Similar acoustic phenomena are constructive elements of a cultural setting which are involved
in creating social reality. Studying the lithophones enables us to extend the modern image of past societies on both a
sensory and cognitive level.1In our context the termmusical instrumentrefers toanytoolused for a non-verbal sound
activity of man.
A Cultural Journey on Iconography of The Old Testament Prophets: A Case Study on Solomon Depictions
Eva ALEXANDROU ŞARLAK, Faculty of Fine Arts, Isik University, Turkey, [email protected]
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
The biblical King Solomon, the twentieth and youngest son of King David is accepted as one of the most important leaders of the
Hebrew History. When he tookeover the throne from his father in 973 BC., he did not only constructed a new path for the political
situation of the Hebrew society by expanding the borders of his Kingdom but with his mercantile navy he also constitued
commercial relationships with neighbour Kingdoms, and his power attracted the rulers of different civilizations, like the Queen of
Sheba. His powerful kingdom influenced numerous emperors to create their own ideal rule and to offer and introduce it to their
society. Besides to his brilliant and successful kingship he is distinguished with his prophetic characteristic as well. Furthermore, his
prophecy came into the prominence in the world of civilizations. His legendary identity, his wisdom, and his wise judgements are
mentioned on remarkable historical, literary, various legends, religious works and in holy books: the Old Testament, Bible, Qur'an.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Consequently Prophet Solomon will take an important role for the history of art and architecture. His temple, his famous throne,
and his magic ring still continues to be an important topic for the historians and art historians. However he will consitute a
significant place as a figure in the art of painting and iconography. He will be depicted in icons, western european paintings and in
the Islamic miniatures. Obviously it has to be noted that the data of Solomon's miscellaneous life form, donated with
supernatural powers and miraculous abilities, will be the main basis for the variety of his depictions: sometimes as a young ruler,
sometimes as old Rabbi and sometimes as an Islamic Sultan in traditional costumes.
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In spite of the numerous researches and surveys on Solomon's depictions under separate cover in the context of Islamic,
European art and Christian iconography, a comparison on typological characteristics of the prophet between icons and Ottoman
miniatures is not revealed. The focus of the paper is to analyze and construct a comparative study and realise a typological
observation on the depictions and illustrations of the Prophet Solomon in Christian art of iconography and Ottoman miniatures.
By emphasizing the differences or similarities of Solomons's depictions in two distinctive traditions, primarly the reflections of
the written sources and holy books will be determined. In addition to the holy texts, the development of the iconography and of
the Ottoman miniature art will become the strengtening factors in the survey and will aid to clarify the comparison of Solomon
depictions in both traditions. Besides to the main focus of the survey, on the prophet depictions produced by various
iconographers and painters, the characteristics such as scene compositions, colour arrangements, posture and positions
examined in the light of period and geography, will be argued.
17
Baksy (Shaman) And World Model Of Kazakh People
Galiev ANUAR, Kazakhstan, [email protected]
Saikeneva DINARA, Kazakhstan
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Shaman in traditional society has many functions. To serve he need to appeal spirits, that live in other world, because
of that shamans have to have mystical travel. One of the earliest illustration of such travel is on Kargaly diadem,
which is found on Kazakhstan territory. The history of its exploration was described in book of Soviet writer Yuriy
Dombrovskiy “Guardian of antiquity”. This diadem belongs to Scythian period. Historians consider, that diadem
performs that shaman's travel. For having such travel shaman has to good orient in different worlds. Knowledge of
geography of those worlds shaman gets during “shaman sickness”. Specialists consider, shaman sickness is one of
the stages of rite de passage. Such shamans travel allows us to image the structure of other worlds. Fairytales show,
that Kazakhs think, that Universe has three levels (Up, Middle and Down worlds).
The model of the world of Turkic Peoples (including Kazakhs) can be reconstructed with ancient Turkic epos “Dede
Korkut”. This epos describes mystical travel of first Shaman Korkut. Escaping from the death Korkut runs away to
different worlds and meets everywhere people who are digging his grave. In the North, it is a man in black cloth, in
the South in red cloth, in the West in white, in the East in blue. Tradition to mark four directions with colors goes back
to Xiongnu (3rdcentury B.C.). Xiongnu's army divided to four parts and color of their horses corresponds to the world
direction of their part. It is not clear which color of horse corresponds to East. One Japanese annals shows, that it is
grey color. Xiongnu tradition was accepted by ancient Turks, who called themselves Kok-turks - “Heaven, east Turks”.
The East has particular meaning in the world image of Turk people. Kazakhs always orient entrance of Yurta to the
East, and Mongolian people to the South. Thereby, Kazakh culture keeps conception about the structure of the
Universe, that is largely contributed with shaman's relics.
Semiotics of contradiction in cultural heritage. Memory vs. Verdinglichung
Alessandro CAMIZ, Cyprus, Girne American University, TRNC, [email protected]
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“The meaning of a word depends on the way in which each language breaks up the realm of meaning to which the
word belongs”, Levi-Strauss, Claude 1963. Structural Anthropology. New York: Basic books: 93.
It is in the third book of Das Capital (Marx, 1894) that the term Verdinglichung was introduced, translated in English
by most scholars as reification of thingisation, meaning the capitalistic trend to transform in product every other
production factor. Following this trend, the reification of cultural heritage seems to be happening in the last decades,
transferring the artifacts from the domain of conservation and restoration to the domain of branding and fund
raising. The representation of this phenomenon is clearly recognizable, for instance, in the amount of money that
national institutions are spending for graphics, logo, and advertising on cultural heritage compared to the amount of
money dedicated to restoration. Within pre-capitalist economies, the restoration of fragments of the past was
considered an essential activity, in the last decades instead, it seems like the virtual reconstruction of images has
gained more importance than the conservation of the physical memory embedded in cultural heritage, as sign
vehicle (Eco, 1967). The proposed paper analyzes with a comparative approach, the shift in meaning implied by the
different set of prevalent activities dedicated to cultural heritage matters, in the archaic, socio-semiotic and technosemiotic societies (Tarasti, 2000) showing how human memory, as implied in material and immaterial cultural
heritage, has become subsidiary in the society of digital memory (Le Goff, 1988).
References
Eco, Umberto. 1967. Proposte per una semiologia dell'architettura, Marcatré, n. 34, 35, 36: 56-76.
Marx, Karl. 1894. Das Kapital, Kritik der politischen Ökonomie. Hamburg: Verlag von Otto Meisner: 48.
Le Goff, Jacques. 1988. Histoire et mémoire. Paris: Gallimard.
Tarasti, Eero. 2000. Existential Semiotics. Bloomington: Indiana University Press.
19
Tracking cultural myths in Anadol commercials
Renk DİMLİ ORAKLIBEL, Bahcesehir University, Turkey, [email protected]
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7-10 May, 2015
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Anadol, by being the first mass manufactured automobile of Turkey's history, naturally makes it an iconic/cult object.
Between the years of 1966 and 1984, there were 87 thousands of automobiles in various models –from sports cars
to pick-ups– were produced. Anadol's second model A2, after A1, began to be marketed in 1973. Moreover, Turkish
television broadcast began in 1968 with TRT1 (Turkish Radio and Television Corporation, Channel 1) and first
television commercials began to be broadcasted in 1972. In that manner, both introduction of Anadol and television
culture in Turkey and; beginning of production of A2 and broadcasting of the TV commercials were contemporary
developments for the society. Advertisements are coded meticulously by the admen since they are an important
way of communication from producer to consumer. They (re)create the cultural myths by using existing codes for a
better communication to the audience. They contribute to the cultural heritage and since they are visual texts they
become a medium for reading and transmitting cultural experiences and life styles. Considering television
commercials' significant role in the memory of the society, three Anadol A2 commercials broadcasted in mid-70s are
subjected to a semiotic analysis in the study. As the selected commercials are the first trials of the Turkish
commercials and subjected product in these commercials, Anadol, is also an inherited object in Turkey's cultural life,
this paper aims to present the cultural myths that are embedded in commercials and imposed to cultural memory of
the society.
Soundscapes of Heritage Sites: Semantic Evaluation of the Sound Environment in Ulus, Ankara
Papatya Nur DÖKMECİ YÖRÜKOĞLU, Cankaya University, Turkey, [email protected]
Zeynep ONUR, Cankaya University, Turkey, [email protected]
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The old city center of Ankara, Ulus and its heritage value from the perspective of its lost and changed soundscape are
considered within the scope of this study. Sound recordings with designed soundwalks on the pre-identified routes
and semantic sound analysis are done in order to evaluate the present situation of the sound environment in Ulus.
The semantic values hidden in the intricate content of soundscapes within an urban context and their cultural values
are analysed through the case example. The importance of management of the historic sound environments of
cultural heritage sites, their importance for the urban habitual life and the society are discussed and finally a
preservation model for heritage soundscapes is introduced.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
21
War as cultural heritage and the inauthenticities of constant preservation
Abijit DUTTA, Singapore, [email protected]
Sebastian Chih Yuan KU, Singapore, [email protected]
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Do we choose what is heritage? Or is heritage simply an edifice sculpted out of collective memory, its pieces glued
together with residues of an experience, either benign or malignant, that caused an alteration in body, in land, in
identity and values, and became encoded into a culture, perpetuating its effects in large, visible ways and also small,
less perceptible ways. In this paper, we argue that war is a cultural heritage that is renewed, remembered, and
restored through a “sentient memorialisation in damaged bodies and the continuously experienceable
memorialization in the land (Elaine Scarry, Body in Pain)”, which produces and reinforces the signs of war, an
enforcement of their abiding signification. Using the framework of existential semiotics, as developed by Prof. Eero
Tarasti, we will seek to demonstrate that war finds expression in all the four modes of being that characterise a living
tradition (body, spirit, identity, values & norms), an ongoing act of preservation made possible because war is its own
reinforcement (ibid). Having described war as cultural heritage we further ask how this impossibility of forgetting,
this autonomous act of restoration, leads in fact to a renovation, driven by the selective informatics of changing
political imperatives that harvest these cultural heritage and seek to transform memory into political action. In other
words, we examine the authenticities lost and found in a cultural heritage that continuously preserves itself and yet
is always under constant semiotic pressures from what is current and immediate.
The Ladino Database Project Results As Insight To The Current Situation Of Judeo-Spanish In Turkey
Karen GERSON ŞARHON, Ottoman-Turkish Sephardic Culture Research Center, Turkey, [email protected]
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In the years 2008-2010, the Sephardic Center of Istanbul conducted a documentation project on Judeo-Spanish
called the “Ladino Database Project”. The aim of the project was to document as much of the spoken Judeo-Spanish
as possible in order to create an archive of the spoken language for future reference.
To do this, 69 native speakers of Judeo-Spanish from Istanbul and 11 native speakers from Izmir were interviewed
with digital tape recorders. Our Center now has approximately 80 hours of spoken Judeo-Spanish recorded in digital
form together with their mot-à-mot transcriptions. This impressive data corpus can serve as research material for
researchers and investigators of Judeo-Spanish.
An analysis of this corpus would shed light on the actual situation of Judeo-Spanish in Turkey. The interviewees
belong to the last generation of native speakers of the language and an analysis of their recorded conversations
would be ideal for linguistic research.
I would like to present a preliminary linguistic analysis on the spoken Judeo-Spanish of Turkey showing if possible the
differences between Istanbul and Izmir and among the speakers themselves.
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23
Deciphering of contemporary words: from modern to the past
Rahilya GEYBULLAYEVA, Head of the Azerbaijani Literature Department, [email protected]
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Any tradition and related words usually is representation of previous cultural strata, interpretation, accordingly a
hub of memory and oblivion.
Proposed paper will be on semiotics of contemporary words in Turkic kardesh and Azerbaiajani qardash.
Reconstruction of biography of these words appeared during research on translation of ancient sacral idioms
semiotics, exactly prechristian analoques of Святой Дух (Sacred Spirit) in Trinity. Submitted research based on
translation of Hebrew roah-kodesh , which allowed to draw line from past to present and tie-up the link between
symbol and language: theo/ [zeo]/god – code (English) –codex, codicem (log for writing, beam, book - Latin)kho(u)da (Persian) - güd-s (Arabic) – kut (Turkic)-good (English); khodashim and korbanot (transformation into
kurban ola(yi)m)
Iconic Cathegorisation in Art History as a Matter of Research 'Experiment Critical' Methods in Building Theory
Tania Letizia GOBBETT, Italy, [email protected]
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The idea of memory from the XV Flaming history of music deals with the overlapping continua, denigrated note to
become a full experiment of spiritual listening in practice: what a truth action is. The conversion point of Moebius.
From the text 'Human' of Cartesio published postmoustly, to the environment for a philosophical thought of Croce in
some aesthetic crisis (Anceschi) the idea of 'tempo' has taken in advance question of field, plan, homological issues
to establish a scientific cognition of facts, deeds, thoughts. The discovery that the drawing master of Cezanne
thought his elementary method of analysis (Cavina), brought in light the opportunity of disguise on mannerism
more freely in the research of a fourth syllogistic call for arts, than before to let be possible the learning from the
early masterpiece the Euclidian illusions of the touching corners of a triangle in Lisippo, its closure in a cube of the
self of a surrender pugilist as well as the circular overspreading motion of desperation of the Lacoonte. Therefore to
reconstruct and develop some observation of the method of relief of the perspective of Poncelet, left overtly a
possible explanation of the right of the fugue: the real setting. A purpose with a pragmatic issue, to seizure and code,
which recalls Renaissance: the rediscovery of the Plato's cave, as a good since Piero della Francesca. In a few years,
some cases showed their contradiction and misfortune: the 'difformity' of Rothko, of David, and the 'paganism' of
classics as Michelangelo. The disappearance of Raffaello, Leone X and Leonardo and the visual rhetoric of Tiziano as
anticipation, or late, post figurative issue? The state of art semiotics though shaped in the continuous of the
Academy of Arts, may need to inform cases of a natural light of recognition of the postumes of the Second Wars, drag
into revenge, solitude, the artists gathered in ruptures with the process for its ideological foundations seamed clear
to all, from Pablo Picasso to Pierre Soulages, Emilio Vedova.
25
Difference of system and structural transformation in perceiving of cultural heritage as a sign:
an example of Van Nelle Factory (Rotterdam, The Netherlands) and Sümerbank Bursa
Mustafa GÜLEÇ, Faculty of Languages & History-Geography, Ankara University, Turkey, [email protected]
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Approaches, which describe cognitive structure, suggest in general that signs are described within a system and they
gain functions as static, isolated and independent symbols. Thus, they acquire a position and meaning. Cognition
transforms in its turn the static symbolic structures concerned into discrete and sequential processing steps. Previously
internalized and from actual perception acquired information turns into a symbolic input. Consequently, it becomes a
symbolic output after an interpretation within the cognition. In this manner, the system produces continuous and
sequential cycles (Van Gelder, 1998; 1999). The above mentioned symbolic representations or syntagma are in fact
basic structures. However, their dynamical aspects are not seen in the theoretical approach, because they are usually
described as static entity. Dynamical System Hypothesis, which is proposed in the analysis of cognitive structure,
adopts symbolic representations and also underlines that they are dynamical entities (Van Gelder, 1999: 245). It adds
symbols in a representational process and their dynamics in their system internal status or in their appearance paths
constructed by attractors and repellers to the description. Elman (1995) argues in this context that language and
cognition should be considered as dynamical system rather than computational symbol processors. Representations in
the dynamical model, can be seen as transient and context-bound stability in the middle of a change (transformation),
rather than static, context-free and permanent units. Meaning or interpretation can only be produced in such an order
or system setting (Lévi-Strauss, 2013: 45). In this study, the perception of cultural heritage components will be analyzed
in a comparative perspective between Van Nelle Tobacco, Tea & Coffee Factory (Rotterdam, The Netherlands), which is
now under the UNESCO World Cultural Heritage Protection List and Sümerbank Factory (Bursa, Turkey) in line with the
presuppositions of the theoretical approach (i.e. parallel to the Dynamical System Hypothesis). As a result of this
analysis, the dynamical cognitive model indicates that signs can exhibit some stability in the dynamical configuration of
a required context after their production within a system. The existence of the sign concerned and its analysis, which
has been conducted timelessly with a weak epistemic aspect and without taking sufficiently periodic issues, social
perception, emotion and context into account, may yield inevitably some universal i.e. context-free inferences in terms
of assigning function and meaning to the dynamical process at micro and macro level.
Latmos: Looking For The Prints of The Past
Uğur GÜNDÜZ, Faculty of Communication, Istanbul University, Turkey, [email protected]
Nilüfer PEMBECİOĞLU, Faculty of Communication, Istanbul University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Today, also known as "Çamiçi " Bafa Lake Region, has a particular structure specifically with the Lake Bafa in the
foreground. Now as a Lake, Bafa is located in the territory of Aydın and Muğla province, situated on the southeast of
Great Menderes River delta, which is 21 meters in the deepest part of a shallow lake. Old-time sea trading port of the
Aegean Sea became the Bafa Lake today as a part of the Great Menderes, with alluvium carried by the shore for miles
was inside. Shore of the lake still contains the ruins of the ancient city of Herakliea, monasteries and caves that hosts
the historical traces. Today Bafa Lake has a national and international fame as a bird area due to many bird species
living in the area.
Both wetlands, which are important in terms of the need to Lake Bafa Nature Park, the Latmos Mountains and the
extraordinary beauty of the ancient cities have. In 1994 Bafa gained the status of National Park due to the
extraordinary fauna and habitat contained in the Lake Bafa Nature Parks and Menderes Delta. As the natural beauty
of the region is a center of attraction here the ancient cities of the coastal strip, Herakleia and Latmos and all of the
archaeological monuments of the past are included into the status of the first degree archaeological site. Depending
on the information gained through history, the 'Latmos' Bay of Aegean Sea to the east of "Hereklia" Ionian peninsula
was exporting the best olives, olive oil, cereals, oregano and mint to the 96 colonies of the Atlantic. By 300 BC Latmos
Bay was either stuffed with the soil stemming from the Menderes River or a dreadful drought took place and Lake
Bafa lost its contact with the sea. In the former periods Bafa Lake, not only met the needs of fish throughout the
Aegean Region but also the whole fish and fish products exported to Italy and Greece was from this unique source.
Middle East's largest caviar production was held here.
27
The value of this study could not be assessed only through the revieling of the natural beauty and ancient subjects of the area but also
through the legends of the past. The concept and image of 'fish' throughout the old times, Bafa is a good example to yield how the people
lived in those old times. Thus, 'fish' becomes a way to examine the relationship between the visual material and concept, between the
individual life styles and culture. Bafa area, in the past, was providing important contributions to Ottoman cuisine with garth and caviar
production plant to be important. Bafa Lake, having unique species of fish, fishing styles, and expectations in life also affected the lives of local
people. Water and fish in unity with mankind include not only the stories told in the past but also represent the life, caves, rocks, drawn back
through pictures since the ancient times.
Bafa in the Aegean region of Anatolia opening to the sea has been home to different cultures in different periods of history. Encountered
during the examination of the Aegean civilizations, myths, today, is not yet fully named or structured but covered with a mystery.
The collection of data from the first part of the study of oral and written sources, archeology, history, art history, education, and
communication in different branches of science, divided into joining the points of origin to the present day, and then the visualization of these
data with the basic infrastructure work is planned for the front shots. Project also concentrates on the rock paintings in the region, its legends
and reflections. After about 30 years study in the area, recently Anneliese Peschlow's findings of a Hittite relief in Herakliea (Milas, Mugla) is
considered to be the finding of the century since it represents the Hittites reached up to such a South point in the West Anatolia. In the light of
all this information, this study concentrates on the region's largest and best-preserved rock paintings of 8000 years old emphasizing the
history of the area and culture of the structure at both national and international level.
Social Semiology Readings Through Design Language Of The Cultural Heritage Object
Halil Selçuk GÜRIŞIK, Nisantasi University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Because of hand made felted textiles represent the regional representation of the Anatolian cultural evolution since
tenth centuries; they considered as cultural heritage.
Decoding the design language of the products within specific craft activity and their surface design embellishments
narrate episodes of the oral history. These legendary readings can capture an episodic cultural retrospective relating
to the socio-economic and cultural changes in society.
Descending craft activity and products embrace many invisible qualities, which are depicting many solutions
according to contemporary issues; such as eco-friendly product-actions, green production processes and slow
fashion. They are all trying to balance the over consumerism against the capitalist life style.
Value-added design implementation upon this traditional hand craft activity and its products facilitated a revival
movement resultant to verified social acceptance; not only through consumers, also had the specific group of craftspeople reevaluated their morale. They become much happier in their cultural locations within a better self
confidence.
This paper will share the design-mediatory interaction implemented up on a culture object and enable to create a
contemporary appreciation of the products, not only domestically also internationally. This transformative
approach towards reviving-model to a cultural inherited object can set up an example to apply on different activities,
in future.
www.iscch2015.org
29
Musical sign - A Nature-bound foundation of Cultural Heritages
Sari HELKALA KOIVISTO, Faculty of Arts, University of Helsinki, Finland, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
The contexts in which we live are cultural positions. It means symbolic activities, wherein the main sign system is
social and linguistic. Human's ability to symbolize while living in this integrated system is central. Cultural codes are
usually viewed as superstructures based on natural language. The language is probably seen the most characteristic
code system in society. Therefore people do not think in their everyday life the language would be a signifier for
something more in regarding to means of expression and shared cultural communication. But the human beings
have possibility to acquire experiential parts of human knowledge being as if outside language and
expressing/manifesting themselves through the arts without verbal message. Music represents a cultural metalanguage. In addition of its artistic subjectivity the music moves through expressive emotional signs within linguistic
Cultural Heritages. Music has a historical past, the presence of this day and a temporal unknown future. It has a basic
grammar and expressive transcendental power of its own. But at the same time its accentuated existence is closely
bound to cultural language.
Musical signification constitutes an emotional chain which represents the understood dialogical continuum of
interaction. Musical movements carry an expressive prosody which originates from deep biological inheritance of
the human species. The mentioned musical prosody is hidden within the language after postnatal bodily
movements and the first vocalizations in the development of infant's and his/her (m)other's dyadic mirroring. Every
cultural (musical) character has its primary foundation in neurobiological existence. The musical developing prosody
will be next signified by the shared cultural continuum of expressive speech. In this case the musical sign has a
position to become an articulated linguistic gesture. Having transforming in-built existence between linguistic and
musical signification the intertextuality of prosodic sign creates subtle slow changes in cultural understanding and
renewing thinking.
Multilingualism in a Semiotic Context: Sameness vs. Otherness
Bujar HOXA, South East European University, Macedonia, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
It is obvious that many countries throughout the globe function in a system that allows the usage of more than one
language. The construction of such a multilingual social reality, especially in societies such as the one in which I live,
is perceived in many different ways. These differences attempt the process of differentiating identity's oneness and
sameness into various cultural subcategories, which already represent new realities (and/or otherness in terms of
the conceptualization of identity). Due to newly created social realities, semiotics naturally discusses the differences
and/or oppositions that can contribute to determined cultures' mutual exclusivity or inclusivity. In such a fashion, I
shall try using a semiotic style which may enact a semiotics of action, grounded in the semiotics of passions; in this
way, one may produce semantic taxonomies such as pride vs. humiliation, hegemony vs. subordination, etc., which
are obtainable due to disjunctive and/or conjunctive semiotic relations (such as is, for instance, contextualization vs.
de-contextualization).
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Cultural Heritages as sign systems and Process
Seema Khanwalkar, Ahmedabad, India, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
This paper addresses dimensions of cultural heritages that facilitate different experiences for the visitors to these
sites. The varying visual and performative encounters between the visitor and the heritage sites have been receiving
a lot of attention in recent times. The paper first provides insights into these encounters through global examples,
but with a specific focus on India. Naturalizing the representations of landscapes of cultural heritage tourism can be
seen around the world as staging authenticity is part of a consistent interpretation of cultures. So, people see
'primitive' or 'modern' cultures in accordance with the discourse of interpretations and heritage tourism helps
provide the necessary texts. These texts are part of 'production' cultures and have created very high value
discourses. Some cultures have invested in these productions with full gusto, while many others like India continue
to disengage with the idea of cultural heritage as a representative value. In such contexts, how does one understand
the relationship between the heritage sites and the visitor? Most cultural heritage sites are driven by intersubjective
experiences that help create meanings and emotions. Heritage itself is a continuously emerging sign and its value is
usually fixed in favour of specific assertions of culture. As has been so aptly stated, 'Heritage becomes signified;
produced and constituted in cultural contexts; communicated in cultural mediations; consumed, further reified and
'held onto' as a sense of belonging'. So, how do people, come on to their own sense and meaning of 'Cultural
Heritage'?
Translation as Semiotics and Cultural Heritages Processes of Intra- and Intersemiotic
Translation: Authenticity, Interpretation, and Imitation
Pirjo KUKKONEN, University of Helsinki, Finland, [email protected]
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
What is authentic, genuine, or real in translation (cf. Traduttore, traditore)? The modes of translation are many. How
can we talk about authenticity in translation? Is translation mimesis, imitation of a source? A translated text has
always a text as source, “an authentic” text, “an original”, a source which is read, interpreted and filtered through
another sign system in becoming “the same other” text, a “new” text, a target text. The big translation strategy is
change, from–to something else. Due to asymmetry of languages and cultures, and linguistically and culturally
specific information, we do not translate just words, we translate cognitive values, we translate signs in sign systems
in semiosis (using and producing signs in the act of signification), signs becoming significant entities, we use signs in
producing signification. In interpreting a verbal sign, Roman Jakobson in his On Linguistic Aspects of Translation
(1959), gives three modes of interpreting a verbal sign: “it may be translated into other signs of the same language,
into another language, or into another, nonverbal system of symbols” (rewording, translation proper, and
transmutation).
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The sign is a cognitive entity, “a thought sign”, because, as Jakobson (1959: 429) writes referring to Peirce “the
meaning of any linguistic sign is its translation into some further, alternative sign”, because “a sign is not a sign unless
it translates itself into another sign in which it is more fully developed” (Peirce 5.594). Jakobson (1959: 433) states
that “the cognitive level of language not only admits but directly requires recoding interpretation, that is,
translation.” Hence, translation is everywhere, because linguistic units (code units) are different in different
languages and cultures, and therefore, there is asymmetry, where full equivalence between code units does not
exist. Jakobson (1959: 430) writes: “translation from one language into another substitutes messages in one
language not for separate code units but for entire messages in some other language. Such a translation is a reported
33
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speech: the translator recodes and transmits a message received from another to source.” Thus, translation has “two equivalent messages in
two different codes. Equivalence in difference is a problem of language and the pivotal concern of linguistics.” All is translation. Jakobson
(ibid.) states: “No linguistic specimen may be interpreted by the science of language without a translation of its signs into other signs of the
same system or into signs of another system. Any comparison of two languages implies an examination of their mutual translatability: […]”. In
my paper, I will discuss the concept of authenticity in the modes of translation, a field with its interpretative character. The long history of
translation (translating and translators), the history of oral and written texts, the semiotics of texts, culture and cultural heritages can be seen
as a huge dynamic text, a huge semiosphere of languages and cultures (cf. Lotman 1990), which “is born of translation and in translation”, as
Henri Meschonnic (1932–2009), a French poet, linguist, essayist and translator, has written. In this cultural heritage, the semiotics of
authenticity and translation is a crucial point of view in how the collective memory of mankind has been transferred, remembered, renewed,
and restored.
References
Authenticity and Imitation in Translation and Culture, SWPS University of Social Sciences and Humanities, Warsaw 7–9 May 2015,
International Conference,
http://www.swps.pl/english-version/news/conferences/12164-authenticity-and-imitation-in-translation-and-culture
Jakobson, Roman [1959] 1987. On Linguistic Aspects of Translation. K. Pomorska & S. Rudy (eds.), Language in Literature. Cambridge,
Massachusetts, London, England: The Belknap Press of Harvard University Press. 428–435.
Lotman, Yuri M. 1990. Universe of Mind. A Semiotic Theory of Culture. Translated by Ann Shukman. Introduction by Umberto Eco.
Bloomington and Indianapolis: Indiana University Press.
Meschonnic, Henri 2011. Ethics and Politics of Translating. Translated and edited by Pier-Pascale Boulanger. Benjamins Translation Library 91.
Amsterdam/Philadelphia: John Benjamins Publishing.
Peirce, Charles Sanders 1931–1958. Collected Papers of Charles Sanders Peirce. Vols. 1–6 ed. by C. Hartshorne & P. Weiss; vols. 7–8 ed. by A.
W. Burks, 1958. Cambridge, MA: Belknap Press of Harvard University Press.
The Tradition, the Work of Art and New Identifications as Discoveries. The Changed “Original Meaning”
of the Work: How to Revive and Place the new Historical Meaning of a Changed Sign system?
Altti KUUSAMO, Art History, University of Turku, Finland, [email protected]
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
In this paper I will ask:
Are newly found signs of some old masterworks of art still in “history there” or are they only discoveries of our own
time? Do they change the intentions of those who didn't know the identification - in that way changing the reception
of the work “afterwards”? Question is of the after-meaning of a work.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Every age has its own average level of knowledge: preconceptions and prejudices, which we call the world-picture of
some certain age. Wilhelm Dilthey has said: “We do not construct word pictures by thinking”. Therefore specific
philosophical doctrines are always different from common prejudices of a certain age. How about then when we
have encountered an important meaning or a doctrinal comment which our time has found to be an important part
of an old painting? Where then is its meaning, in “history” or in our own age of interpretation? And especially when
this information was not known among contemporary intellectual/artists/letterati of the time?
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My intention is to problematize the historical place of some important facts which art historians have found during
the last century regarding a ”new” factual meaning of some prominent figures in some prominent art works changing the part of an old interpretation.
I'll present three cases of new identifications, one dealing with the newly found portrait of Michelangelo in Raphel's
fresco Philosophy or the School of Athens; two others are cases illustrating Michelangelo's Last Judgment: The
meaning of the skin of Saint Bartholomew and the so called “line of fate” found by Leo Steinberg (in the some fresco).
All these discoveries have been made in 20th century changing the “original” or old meaning of these works.
www.iscch2015.org
35
Did Abstraction in Terms Of Geometric Patterns in Islamic Art And
Architecture Cause Problem in Providing Sustainability Of Cultural Heritage
Fahriye Oya KUYUMCU, Cankaya University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
The language of abstract elements used in art and architecture grown together with the growth of humanity. This
language is not only a product of 20th Century but also comes to forefront as a product of our cultural heritage
throughout thirty thousand years that constitute our cultural treasury.
The language of these elements that can be classified under seven groups as line, shape-form-mass, pattern, scaleproportion-space, analysis-dissection, lightness-darkness and color also constituted the language of visual display
discipline.
In our study we will ask the question 'Can the language of abstraction that is used in art and architecture cause to
forget the through eliminating the meanings assigned to visual images by time and therefore cause the failure to
transmit the cultural heritage to future generations?' and in our presentation we will try to reveal if Geometrical
Ornament in Islamic Art transmitted as a cultural heritage or not as a result of our analysis.
An Attempt For Creating Value For Cultural Heritage: Neighbourhood Culture
Melahat KÜÇÜKARSLAN EMİROĞLU, Bahcesehir University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Neighborhood (mahalle), which is enhanced in worldwide author Orhan Pamuk‟s novels particularly between the
lines of descriptions belonging to İstanbul, and constituted an indispensable „place‟ of the public practices of
everyday life in Turkey for decades, recently is being encountered as an advertisement slogan of the elevating “gated
communities”* such as a myth declaring „the revival of 'neighbourhood culture (mahalle kültürü)'. The reason of
denominating it as a culture to be in demand of, mourning and nostalgia after disappeared practically, is because
neighborhood place was embedding such intimacy, which can describe a privatized interiority in public via authentic
relationships between members interacting in it. This intimacy embraces default innocence, constituted by the
chats, conversations, interactions, negotiations, acquaintances, familiarities, collectivities, shopping, cooperation,
even sharing gossips, and consulting happening especially in the most public spaces of neighborhood; artisan shops.
From an anthropological look, Marc Augé (1995) defines the place by its characteristics of “being relational, being
historical and concerned with identity” and „belonging to indigenous people‟. The discussions of last decays cover
arguments that conditions of various reflections of modernity produced „placelessness‟ as the result of uniformity,
universality, homogenization, and inauthenticity; consequently caused loss of the authentic relationship of human
with a meaningful environment and intention to find places meaningfully. This condition was called by NorbergSchulz as the collapse of the “split between thought and feeling”. In reality, people find theirselves in giving value to
this authentic relationship when they face to lose them via destruction of third parties for purposes of urban
transformation. At that moment, they interiorialize the feeling that it is a routine, a ritualistic social practice, a kind of
tradition, and also a convention which had been a special place on their thoughts -a collective memory, meaning that
it had an appropriated culture of its own; implicitly that it was a „place‟ in Augé‟s sense. For quite long time in
Turkey, especially in Istanbul, many examples of public expressions of these feelings of citizens have been and still
37
being testifying. During a public challenge in a social outbreak*, while many people from diverse backgrounds and hometowns occupied a
place together in cooperation showed that individually shared practices in Turkey manifest collective memory of a so-called neighbourhood
culture, whose components, practices, values, conventions were present there instinctively and transmitted spontaneously. This so-called
„neighbourhood culture' can be regarded as a value to create cultural heritage.
The ways in which to create this value is a central question for this study. Collecting as a profession can be a component of this quest. In this
context, „Museum of Innocence‟ constitutes an initial case/proposal for a space for collection of innocence inherits authenticity: that can be
described as an attempt to create a value for cultural heritage. There can be a place for assembling constituting elements of „neighbourhood
culture‟ benefiting from this idea of collecting. Today, since everything can be found in virtual space of Internet, the collectors of authentic
things/places may find theirselves in a reluctant attitude, but there they can find images of authentic things/places, which are free of
innocence. In this content, this study endeavors to introduce a new term for relating authenticity, culture with creating heritage: innocence.
In this respect, shopping activity was a socializing routine in neighbourhoods of the past (particularly in Istanbul) involving friendly
conversations between consumer and shop owners. Therefore, the most important one of the inevitable components that constitutes the
solidarity of neighborhood are artisans. The innocence of situation between artisans and shopping activity, from neighborhoods to shopping
centers, and further to Internet shopping has transformed in various layers. The question here may be “how this situation is transformed with
Internet?” ? The case Museum of Innocence is forwarded by Orhan Pamuk in three different formats; as a book, as a museum, and as a web site.
Moreover, consequent discussions of the study may be forwarded as “Does digital world create its own culture in order to articulate cultural
heritage? In other words, are we confronting to an era in where cultural heritage transformed itself from craftsmanship to informative tools?
Consequently, what are the levels of meaning in understanding the transformation of cultural heritage from authenticity to informatics?
Regarding the behavioral patterns in shopping activity, the transformation in meanings of the elements of this social practice is analyzed with
context, channel, contact, and medium. The mentioned characteristics and many others are taken as sign vehicles in order to analyze the
expression „neighbourhood culture'. This so-called „neighbourhood culture‟ appears as having a potential for already inheriting its own subcultural codes constructed within experience of unconscious nostalgic denominations at present(s) via communication with spontaneous
mutual codes of collective memory.
Anatolian Ceramics: A Case Study Of Number Symbolism In A Socio-Religious Context
Altan A. MARÇELLİ, Isik University, Turkey, [email protected]
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During the second half of the XIXth Century and the first quarter of the XXth Century a group of mostly embossed and
nonconventional figures were displayed on ceramics produced in Kütahya and Merzifon, in consequence of the the
impact of the socio-political turbulances of the period on the Christian ceramists. In an effort to analyse these
differently coded figures, we will make use of the number symbolism of the Christian liturgy.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
39
Cultural Heritage. Existential semiotics, Philosophical Anthropology and Anthropo-semiotics
Roberto MASTROIANNI, Turin University, Italy, [email protected]
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Semiotics of
Cultural Heritages:
Authenticity to
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The topic of my proposal is the anthropological imaginary, the cultural heritage and globalization in an ontoanthropological and existential perspective. I try to integrate, in Philosophical anthropology, the Sloterdijck's
philosophy, the existential semiotic and post-structruralist theory.
In this perspective the anthropological imaginary is a “collection of Images of the Humanity” who the single culture
produce and reproduce, images useful to define what is human or not human for a single culture and which are the
models of the just life to pursue inside society and community.
The anthropological imaginary supplies therefore those images of the man who the antropo-genesis and the
antropo-poiesis, like physical and symbolic processes, use for disciplining the human society.
This semio-philosophical model explains to the genetic process and the morphologic cultural configuration of the
human and it represents the connection between ontogenetic and philogenetic adapting of the men to “cultural
models of humanity”.
The biological type of human nature does not exist, but there is only a integrative nature of cultural-symbolic of
existential semiotic type with biological invariant (Arnold Gehlen, Hannah Arendt, Clifford Geertz…). The men meet
humanity in that “public square of the market”, where (ex. C. Geertz, “Interpretations of culture”) the common
language and the culture give form to the humanity, according to a semiotic idea of culture. This is the “Dasein's
world”.
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“In Dasein's world of daily experiences, situations in which the subject has to search for the code that corresponds to his own actions might be
considered signs. If the situation in which he is involved is ethical in nature, an ethical code must be employed, as opposed to an aesthetic
code; if the situation is historical in nature, a historical code must be applied; if it is existential, an existential code. How can the subject find
the appropriate code?”
In my anthropological perspective, the communication is anticipated like a form of action, a practical aestetic one , than do space the
anthropic space and at the same time “it culturally informs” the human imposing of the models of humanities inherited from the tradition
and successively transformed historically.
The “sloterdijckian philosophy” explains the onto-anthropological value of a “discorsive space” well that puts in form “the human” and the
“world” in an incessant symbolic linguistic activity . At the same time some results of cultural the anthropological research and the gehlenian
and arendtian thought can supply elements useful to delineate the “artificial” and “communicative” nature of the human existence.
What it interests to us here and the communicative nature of the semiotization of the space and the body in the processes of
Anthropogenesi/Anthropopoiesi
For the contemporary Post- humanistic philosophy there isn't an idea of specific humanity as there was in the Humanistic philosophy : ex. the
essence of the man was the rationality (ex. Aristotle and aristotelism) the essence of the man was the spirit (ex. Different form of theological
tradition), indeed it can be asserted that its essence coincides with the ability to the cultural forms to put in form the human. I'd like show in my
proposal a semio-philosophical model the connection between the globalization, tradition and human images for the construction of the
Humanity, in relation of the body of single individuals, in relation of the collective identity and social and political practices.
My theoretical proposal is a point of view on the dasein's world and the roles, conflicts and relation and formation of the images of humanity
in the “last spheare” (Sloterdijck) for the construction of the existential global imaginary
41
Hypocrisy and lie as symbolism of two merging concepts of
reality and appearance: the paradox syndrome of a psychosemiosis
Joseph MBONGUE, University of Yaoundé, Cameroon, [email protected]
INTERNATIONAL
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7-10 May, 2015
İstanbul Üniversitesi,
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Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
The world is full of signs which are natural, surnatural or produced by individuals and animals as Barthes (1964:pp.
91-135) says: “we live in a world, which has no 'pure', no 'innocent' contexts to offer us: a world of signs about, rather
than experience of” that are interpreted in the Peircean view as index, icon, and symbols. We, homo sapiens, are
called to address some of the problems relating to symbolic representation then the meaning given to signs is as
such because signs stand for something else “aliquid statt aliquod”. Reality and appearance seem to be two key
concepts in the actual semiotic discussion illustrating the underlying structure and the deep structure according to
Chomsky. They refer to two facts that can be seen as a dualistic way of Saussure as signifiant and signifié or a
perception of binary with everything is double e.g. truth and fake, life and death, day and night etc. Each sign has a
form and a meaning. The aim of this study is to explore two domains of the social semiotic namely hypocrisy and lie
where reality and appearance seem to merge even though they illustrate different perspectives in our more and
more complex world.
Street's Play as a Vanishing Cultural Heritage Zograscope which called in Iran Shahr e Farang ‫ﻓرﻧﮓ ﺷﻬر‬
Morsaleh Ranjbar MOGHADDAM, Cankaya University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Human living space and especially built environment in its constant changes and alterations and cause activities, social
interactions, and culture unlike by means of technological development its sprits embrace the death of some rituals and
social interactions too. Therefore cultures of children's play also were in constant changes by alterations and constant
changes of space and places and their vicissitudes. Although it is hard to emphasize all these play activities just only related
to children's culture of play, it seems some of them were more public and were offered spontaneous integration in play
activities and interactions with society members in a corner streets and immediate environment in city wide.
Street's play is an activity which is appeared after industrial revolution and rooted in divarication of human activities in
precise segregated spaces; in other words, ramification of spaces resulted in the ramifications of activities. For instance, in
an era that barriers of home as living spaces, public spaces, labor or work spaces, and play areas for children were not clear
and precise children's play practices navigated all spaces freely but later constantly this segregations become more and
more precise and deep in its separation from one another after industrial era till now; therefore, some cultures in
children's play appeared in price of vanishing some another and also some of them by development of technology
constantly were vanishing from children's everyday life.
In this paper tried to focus on notion of space which per se can conduct a culture and by its ramification change the
behavior and public attitude toward a certain activities; therefore, space can be influential factors in vanishing of a certain
culture in city wide. This point clarified by giving a certain example of play device ( ‫( ) ﻓرﻧﮓ ﺷﻬر‬Shahre Farang) Zograscope,
which is brought by Mozaffar ad-Din Shah Qajar; (Persian: Mozafar Ŝāhe Qājār‎, Muẓaffari'd-Dīn Shāh Qājār; 23 March 1853
- 3 January 1907), from Europe to Iran, but the Persian terminology which were used for Zograscope, is totally integrated
with the Persian title and name of city (‫( ﺷﻬر‬šahr)) which is illustrates the strong bond between device and space and
public use which was a spontaneous play or story telling about far far away Europe because when this device came to Iran it
became integrated with the form of narration about some images related to western words for public in alleys and streets
who started to believe and understand other different culture within imagination of owner of this device about Europe.
43
Monument of Christopher Columbus at Buenos Aires City: memory, space and semiotics
Maria NOEL DO, University of Bologna, Italy, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Last year, President of Argentina Cristina Kirchner announced, on October 12 (the date of the Day of Respect for
Cultural Diversity in America Latina), that it would be replace and re-located the monument of Christopher
Columbus from the square that's near the Government house “Casa Rosada” to another square in the airport
“Aeroparque”.
The big statue of Carrara marble, made by the Italian sculptor Arnoldo Zocchi in 1921, represents the arrival of
European Culture in America Latina, personified in the figure of Columbus. And since last year the statue it's torn
down, laying down on the floor.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Discussions about this soon started: the statue may be damaged during the transportation, Italian associations
complained about this; in the other hand, some Latin American citizens agree, because of the idea that colonizers
like Columbus killed entire communities of natives and "Indians" and many native's cultures where extinct.
The dismantled statue has a lot of political interpretations, but it's the socio-semiotic method that will help us to
understand this fact, and a detailed description and comprehension of this it's going to be done. Memory and urban
spaces are important concepts in this argument: J. M. Lotman notions of Culture and Memory and the last studies of
Patrizia Violi about trauma, spaces and semiotics.
www.iscch2015.org
The Language Of Abstract As A Lost Cultural Heritage
Zeynep ONUR, Faculty of Architecture, Cankaya University, Turkey, [email protected]
Ayşe Ece ONUR, Faculty of Architecture, Cankaya University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
The language of art in western culture in the 20th century, “Abstraction”,was a language adopted by Turkish culture
since the very begginning, and produced genuine work (signs) both during pre-Islamic period and after accepting
Islam with the influence of sufism (islamic philosophy).
In fact, the western culture never used “Abstraction” in the language of art since the 20th century.
During the last period of Ottoman Empire,, with the acceptance of west as the dominant culture, western
understanding was begun to influence Turkish culture and adopted in every area of life as well as art. After the
proclamation of the Turkish Republic, this adoption has continued to accelerate. The tradition of “description” that
has been embraced by the West for years, also become more masterful in Turkey.
As a result, in the 19th and 20th century while the West was heading towards abstraction, which was not conventional
in thier history late Ottoman and later Turkey started to head towards description which was not conventional in
Turkish history.
Exposing a question; If Turkey could achieve to protect its tradition that is beleived to go beyond possessed
stylisation and be percieved as abstraction, would it be possible to reach to abstract language of modern era in a
different way than the western way leaded by capitalism?
The aim of this paper is to trigger the argument related to the place (value) of abstract language today, if Turkish
communities could preserve their own traiditonal way progressing towards abstract.
www.iscch2015.org
What was the tradition that places itself as the base of abstract?
45
The Evocative Visual
Ian PADGETT, Research Tutor, University of the Arts London, Fashion Coordinator, Istanbul Bilgi University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Evocation is a key factor in semiotic analysis and or the interpretation of the visual image as re-presenting either
“Nostalgic”, “Retro” or “Vintage” Clothing or Fashion and its, descriptive account.
The “sign” together with its “signifier” although culturally specific, may often within the context of post modernity,
have commonality in the categories of levels of significance necessary for the transmission process or intended
communication.
This brief none expert paper (I am not a sociologist) seeks, by reference to the creative practice thesis of Prof Dr Jofre
de Silva 1999 and Ass Prof Dr Anothai Cholochatpinyo 2004, to present and discuss their models as they might reflect
upon the conference topic. Their models it is suggested might have application as analytical or deconstruction tool
but may also be considered a conceptual, creative and or construction framework for creative practices
Athens Olympic Games Opening Ceremony, 2004. The Semiotics of the Ancient Greek Spirit
Lazaros PAPOUTZIS, Aristotle University of Thessaloniki, Greece, [email protected]
Anastasia CHRISTODOULOU, Aristotle University of Thessaloniki, Greece
Ifigeneia VAMVAKIDOU, University of Western Macedonia, Greece
Andromachi SOLAKI, University of Western Macedonia, Greece
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Although born in Ancient Olympia, the modern-day Olympic Games have very little in common with those of antiquity in
terms of their organization, sporting events and ceremonial aspects. Organizers of today's Olympics therefore strive to marry
the spirit and symbolism of the ancient Games with the present institution. We note that, to achieve this, they incorporate a
variety of ancient cultural elements in their opening ceremonies, nevertheless placing emphasis on the culture of the country
hosting the Games. When the Olympic Games were held in Athens in 2004, the 211-minute opening ceremony aimed to
provide an optimal portrayal of the ancient Greek spirit, which influenced Western civilisation's way of thought through a
number of values (such as democracy, equality and peace), and the endurance of elements of Greek culture throughout the
centuries. Ancient Greece was only one of the opening ceremony's themes; other themes related to the country's history,
geography and mores were also presented.
This paper focuses on the semantic meanings of the ancient Greek spirit's messages and symbolisms, in the way they were
conveyed by director Dimitris Papaioannou in the Opening Ceremony of the Athens Olympics. Watching the multimodal
ceremony, we notice the traditional historical model incorporated by the official 'senders' of this public message. That means
that the whole of Greek history is represented in a linear fashion, focusing on historical heroes, famous persons, athletic
events and rituals. Thus, it seems that the continuity and trisemic schema of historical analysis was chosen over the modern
and postmodern historical schema that historians are nowadays using.
Our main goal was to find (a) the dominant visual images of ancient Greece, (b) the codes of these images, (c) their symbolic
meaning, and (d) their connotations and correlations with modern-day Greece.
www.iscch2015.org
Our research is based on sociosemiotic methodology, which scrutinizes the texts as an integral part of a material and
sociopolitical context. We focus on the Olympics as a vehicle for promoting values as well athletic identities and social
practices. The analysis led to a series of important discoveries referring to the structuring of visual data as well as to how
these data on Ancient Greece are related to and represent the Greek and global cultural heritage.
47
The Doorknobs Of The Past
Nilüfer PEMBECİOĞLU, Faculty of Communication, Istanbul University, Turkey, [email protected]
Aydan BİRDEVRİM, Vocational School of Technical Sciences, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Cultural heritage is the legacy of physical artifacts and intangible attributes of a group or society that are inherited
from past generations, maintained in the present and bestowed for the benefit of future generations. Cultural
heritage includes tangible culture such as buildings, monuments, landscapes, books, works of art, and artifacts.
Cultural heritage also includes intangible culture such as folklore, traditions, language, and knowledge, and natural
heritage including culturally significant landscapes.
Cultural Heritage is very important when it comes to the vanishing habits and objects. Throughout the time, the
cultural values attributed to the cultural heritage change a lot; usually modernism overlaps the traditions and the
past.
Sincere, warm-blooded Anatolian people full of love, tolerance and nature paying attention to communication and
neighborhood, produced sympathetic, symbolic doors. The concept of door is important not in its literal meaning
but in a tasty symbolic way.
In its direct sense the door is an architectural element symbolizing the entrance for the man-made shelters.
However, the natural environment, for example, a cave or in a valley and is likely to be the gate. Presence or absence
of the door could the related to the positioning the concepts of 'I' and 'other' because the door is how the door is
structured partly is related with the expected others to knock the door. That's why the symbolic views of a door or
the meanings attributed to the door, how strong or weak, thin or thick the door is also somewhat related and
compatible with utmost identity and positioning.
www.iscch2015.org
Today it is the age the boundaries of the space, nations and the rules are discussed. Thus the meanings attributed to
the doors are not only limited with entrance, security or privacy but enlarged as to include some other concepts such
as prestige, education, social position, etc. Door knockers might have different symbolic meanings in ancient times, but today the beautiful
doorknobs of the past are about to vanish with its unique system of values attributed to them. Produced in different materials based on the
architecture where they are used or in the given geography, the ancient doorknobs do not only have the limited function yet a kind of power,
in their various forms and styles.
Regarding the architecture of the building, there might be many doors of different uses within the building leading to rooms, halls or other
areas, yet, only the outer door yields attributions to the ownership since only the main door of the building represents the visible face of the
house, owner or the institution. Folk culture virtues of a home owner's personality or reputation of households in the region are integrated
with the gate of the house. And the doorknob is the key to that.
The doors are not only for getting into the building but also for getting out of it. But, the welcomed ones could go easily whereas the others
need to be shown the way to the door. The cultural corridors would also guide us how to make use of the paths, etc.
This study, “The Doorknobs Of The Past” aims to search for the different forms of doorknobs to establish a semiotic analysis of how they were
used in the past. This paper attempts to list and to visualize the cultural heritage of the centuries to analyze the form a lyrical rendition of
these door knockers found in different parts and regions of Anatolia which has been the cradle of different cultures from past to present.
This study, aiming to contribute the field of Turkish Cultural History including many mystic, symbolic meanings in the field of doorknobs in the
context of national and international promotion of the culture.
This is study on how the accessories such as the doorknobs, handles, locks of the doors are positioned and their forms are somewhat related
to the meaning of the door, if it is an aesthetic image or is it a real gate to the secrecy, intimacy and individuality. The door is for the visitors not
for the residences. Regarding the basics of communication, it is one of the essential points when the door is knocked and opened thus the
knocker could pass the border of communication to get a path through the unveiled gates.
49
Old wine in useless bottles
Nidal SEİDE, University of Copenhagen, Denmark, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Culture Heritage is an important issue to deal with today in the global community. Culture Heritage often comes up
for debate in the countries where some cultural institutions are funded by the state. Should we preserve the culture?
Which part of the culture is worth preserving? Why and how should we preserve culture in the digital and global
age? All relevant questions that I only will touch upon peripherally. My questions are more directed upon the
essentials of the individual's cultural heritage when the individual is forced to live in a foreign culture. It is about
identity and integrity. It is about being able to interpret and communicate the different and strange signs, so they can
be understood correctly.
Inspired by the polymath Charles S. Peirce (1839-1914) signification requires collateral experience, which may be
more or less absent in the foreigner and which takes time to learn. The concept of collateral experience is in play both
in the individual and in the culture and it must be present in the interpreter in order to interpret the values and
norms of the culture.
Today many people flee from war, destruction and repression to the West. These individuals are often
misunderstood and misinterpreted by the societies they come to. With a focus on the Arab countries' tradition in the
teaching of social sciences, I will illustrate how this part of the world (the Middle East) produces a different collateral
experience of the individual, which is consistently misunderstood in the West, and why the West's own
understanding of cultural heritage and identity does not fit in with the Arabic-speaking countries.
www.iscch2015.org
The digitalization makes it possible to reduce this cultural gap between east and west, and the article will argue for
possible solution.
Symphonic Narrative: Space and Synthesis in Magnus Lindberg's AURA (1994)
Takemi SOSA, Faculty of Arts, University of Helsinki, Finland, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Finnish composer Magnus Lindberg (1958-) has ascended to the international modern music scene in the 1980s and established himself
as the one of the leading figures in the contemporary music scene. His music is unique in his his well-known quick-gestural and energeticgoing style and richly detailed orchestration, thus openings up the an interesting starting point for the a semiotical approach. Lindberg's
works are based on a strict structural method by through which musical materials and form are constructed. A Highly complex harmonic
structure which is broughtcreated by a computer program is visible especially in his 1980's works. In the 1990s his musical texture has
become clearer., His music, however, is difficult to study only by through traditional musical analytical methods and theories. A narrative
approach provides interesting points of view for an analysis of complex contemporary music such as Lindberg's orchestral work. Since the
1980s, the theory of signification in music engendered a necessity to establish links with narration. Witold Lutosławski (1994) considers
the idea of form: “form must be properly shaped into a process with a perceptible akcja (i.e., action). By 'action' I understand a purely
musical 'plot' - not what is described as programme music. A purely musical plot. That is to say, a chain of interrelated musical events. For
the listener to follow the thread. From beginning to end.” According to Eero Tarasti (1994) the arch of tension between beginning and end
of tonal music relates to narrative movement, but musical tension is yielded by another way due to the lack of pitch hierarchy in modern
music. Hence the way of producing musical events, what Lutosławski calls the musical plot, becomes significant. Almén (2008) states that
“we identify the marked narrative elements when we have identified the transgressive elements. Likewise, determining the value of a
musical event in relation to the other events or to an external standard is established by the work's strategic design.” My objective is
threefold: first, what can we perceive in purely sonorous configurations as a musical event; second, how is the sequence constructed; and
third, how can we reconstruct a chain through various sequential musical events. Based on this viewpoint I will analyse the narrative of
Lindberg's orchestral work "Aura", focusing on his strategic design called “dramaturgical cohesion” in narrative. In musical narrativity, this
dramaturgy of composition plays a key role in creating the temporal unity of works (Tarasti 1994). As Lindberg (1995) himself has pointed
out, Aura - a large-scale orchestral piece taking over 40 minutes to perform - “is in some ways a synthesis of all different approaches (of
1980s and 1990s) to orchestral writing”. However, he emphasizes it is not a symphony, although it has four movements, played without a
break. Aura has several connections with symphonic characters, particularly Jean Sibelius's symphonies. Eero Tarasti (2002 and 2012)
points out the idea of organic narrativity and narrative space in discussing Sibelius's outputs. Taking into account Tarasti's ideas, I will
explore the strategic approach of the composer, because “organicity therefore depends on the enunciator's (composer's) consciousness”
(Tarasti 2002: 110). In other words, it is based on a perspective of cultural heritage as sign system and processes.
51
The Inception Of Technological Development Through Art
Bianca SUAREZ, Universidad Manuela Beltrán, Argentina, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
The artists in Latin America that aims a profound transformation in society, in their art studies and ateliers design the
kind of effect that will have their ideas within the human future.
Meanwhile, the path towards democratization, the role of education, and communication of knowledge seek to
achieve greater rationality and morality within the group of people who share the same society and cultural codes;
despite the strong polysemy of technological art, considering the magnitude of historical references, textual
constitution and its different forms and substances, despite its large semantic ambiguity, its references to find
constant characteristics pronpenden to make their political ideas as scientific strong enough to reach the ideological
sphere. Its tracks or brands combined with different contexts, periods and semantic nuances, make a hierarchically
structured and complex language with own significance, giving access with their intertextual relations allowing to
transcode other decolonial texts.
Courtyard Style Architecture as a Cultural Heritage for Communal Life
Merve TAŞTAN, Cankaya University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Southeast part of Turkey people used to live in courtyard houses which were a great opportunity to live communal
life. In this sense the cities having courtyard style architecture provide the opportunity for these kind of families to
live altogether. Additionally this style architecture also has given the chance to combat with the weather conditions
of the southeast.
Traditional Diyarbakır houses reflect the social and cultural characteristics of the past in their structure. These
houses; examples of the adaptation strategies of human beings to the environment, are fundamental since they set
some traces from the old cave residantials.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
In this respect this paper would discuss the impact of courtyard style architecture on the communal life and as a
cultural heritage.
53
Hidden “Spectral Signs” on the Valens Aqueduct columns by means of
Semiotics and Molecular Physics in Cultural Heritage
Ozan ÜNSALAN, Faculty of Science, Istanbul University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
This study involves the “reading the meaning of Raman spectral signals” (characteristics) of the pollutants occured
by either natural causes or exhaust gases on the columns of Valens Aqueduct (4th Century by Roman Emperor
Valens) and tries to construct a connection between “Semiotics and Molecular Physics” for the first time. During the
talk “very brief and simple explanation of Spectroscopy and its importance in Cultural Heritage studies” will be also
given.
On the notion of the linguistic self within the framework of existential semiotics
Elżbieta Magdalena WASIK, Adam Mickiewicz University in Poznan, Poland, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
The following paper develops the notion of the self borrowed from philosophical and psychological writings for the
purposes of language- and culture-related studies in terms of linguistic properties of human individuals as members
of observable interpersonal and assumable intersubjective collectivities.
It exposes the distinction between (1) the physical person, i.e., the “Me” as an externally observable object of
experience who sends and receives messages through sign practices and (2) the mental subject, i.e., the “I” as an
internally conceivable experiencing self who formulates and interprets its thoughts in sign patterns depending on
ever changing social and cultural conditionings. Studying the human selves in their roles of actual and
transcendental subjects, the conception elaborated here will subscribe to the tenets of existential semiotics, which
postulates to consider signs of all kind as initially arising in human minds before being sent and received by
communication participants. It contends that human signs must be approached, with regard the objective plane of
expression and the subjective plane of reference, according to at least four forms of being of their creators, which
correspond to their psychic states in their intellectual and emotional development, such as the individual corporeal
ego, the individual observer's mental ego, the conceptually potential social ego and the actually role-oriented social
ego. In other words, it endorses the idea that human selves act as semiotic subjects if they are willing to express their
emotions, knowledge, beliefs, attitudes, needs and values in their communication about the reality of their
everyday life.
Anyhow, putting forward the notion of the linguistic self, this paper will expose the communicational position of the
human self as a heir and transmitter of culture. Thus, it supports an idealistic-phenomenological view of culture
www.iscch2015.org
55
claiming that it exists in the knowledge of people in a directly unobservable ideational order distinguished from the phenomenal order of
perceivable events along with their concluded regulations, which is reflected in the language of a particular individual through the
interindividual communication. Accordingly, culture is seen as a socially autonomized system of values which manifests itself in the
heteronomous products and behavior of individual members of an ecologically determined society. Hence, respective realizations of culture
appear to be visible in civilizational artifacts and activities of human selves, which constitute thus a testimony of axiological choices made by
individual participants of culture, as, for example, theatre, music, literature and folklore, architecture, sculpture and landscape or customs
and social habits, moral conduct governed by the rules of commandments and ethics, language and other systems of mutual understanding.
It is due to tradition and education in which communicating individuals engage that cultural signs are transmitted from generation to
generation. Not incidentally, cultural heritage is that what the human individual as a semiotic subject comes across at some point of time.
And finally, transmitted are signs of values, mostly linguistic signs. All in all, a concluding statement will be formulated that only human
individuals as language speakers may be aware of the use of signs and of values to which they adhere.
This paper aims at complementing the conception of existential semiotics launched by Eero Tarasti.
A solipsistic paradigm in the semiotics of nature and culture - its roots and prospects
Zdzislaw WASIK, Philological School of Higher Education in Wroclaw, Poland, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
With the focus on the communicational activity of non-human and human selves as an investigative object of new
semiotic studies, the perspective of solipsistic anthropocentrism which bridges the sciences of nature with the
sciences of culture, will be counterpoised to the collective semiocentrism governing the conceptual and
methodological tenets of traditional semiotic studies.
It is obvious that the roots of this self-oriented conception of the investigative domain of semiotics are to be
searched in the philosophy of living organisms along with their subjective universes, namely, a biological conception
of Umwelt and a phenomenological conception of Lebenswelt. No wonder that instead of dealing with sign- and
referent-related properties of communicational products, practitioners of new semiotic studies are interested
rather in the properties of signifying and communicating agents on account of their sign- or meaning-processing
activities. In relation to human selves, exposed will be also the views according to which the domain of semiotic
objects encompasses the whole sphere of knowledge and the network of relationships between language and other
means with which humans memorize, think, learn and make meaning. Hereto belongs also a monolingualist theory
of language formulated against the background of an experientialist's view that the reality does not exist
independently of cognition, and that only some parts of language localized inside of the human brain of are available
to outside observers through speaking activities of human selves.
This monolingualist attitude is grounded on a phenomenological stance that the reality of everyday life is indirectly
cognized and constructed through communication, whereas language is regarded as partly accessible to cognition
while being realized in spoken texts. Thus, it is the empirically observable texts produced by communicating agents
www.iscch2015.org
57
which are specified in descriptive and cognitive semiotics as extensions of the rationally inferable language situated in the minds of speaking
selves that allow the outside observers to uncover how the human mind works. However, this kind of subjectivism is flavored also with a
solipsist belief assuming that the mental contents of the “semiotic self”, which are considered to exist really, constitute the only accessible
object of empirical study. The paper will end with an understanding of the investigative object of neosemiotics, which exposes the
perspective of solipsistic collectivism while merging existential phenomenology of the objective social self with transcendental
phenomenology of the subjective personal self within the framework of the so called existential semiotics.
The objects of interest will constitute here verbal exponents of the distinction between the existence of organismic forms of being “in itself”
and “for itself” realized in particular languages discussed by respective philosophers. What is relevant for existential aspects of human
individuals as members of society is the opposition between the two parts of “I” and “Me” in the individual “Self” and the “Other” as an
observer's part of the social “Self”. Subsequently, the followers of existential semiotics will be made aware that ipseity and alterity manifest
themselves in two existence modes of signifying and communicating agents, in corporeal/intercorporeal relationships as sensible features
and subjective/intersubjective relationships as intelligible qualities.
This paper aims at complementing the conception of existential semiotics laumched by Eero Tarasti.
The Image of the Bull in Spanish Culture and the Importance of Bullfights in Spanish Society
Ebru YENER GÖKŞENLİ, Spanish Language and Literature, Istanbul University, Turkey, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Spain, takes place in an important geographical region which has been the cradle of different civilizations
throughout centuries and where various traditions are collated. Besides shawl, and flamenco, one of the most
important cultural heritages of this passionate Mediterranean country is beyond any doubt man's struggle against
bull, which is a deadly animal. The education of the gladiator to beat the lion and tiger has been source of inspiration
for Spanish bullfight. With its image on the map, the Spanish lands seem like bull's skin and they are also mentioned
by the name of this animal's hard skin. The Spanish people worship bulls that take place in mythology with the
characteristics like aggressiveness, power and fearlessness, and also worship the matadors that fight a dual with
bulls. As a result of this intense interest of the society shown to this deadly struggle between man and bull, bullfight
became an constantly organized activity in the Iberian Peninsula. Although it is not exactly known the first date of
the duel between man and bull, it us certain that from the 16th Century this struggle has become traditional in Spain
and today it is being assessed as the symbol of power and competence. This tradition is also one of the most
important exams of bravery. Most of the spectators define bullfighting as an art. The special embroidered “bright”
dress of the matador and each phase of the bullfight compose the sophistications of this art. Bullfighters have a
privileged location in the community. Legendary bullfighters, such as Manolete and El Cordobes, are idols of
especially poor Spanish young men. For these youngsters, who want to have a privileged location in the community,
the matador is a cape wearing hero and a dazzling character. The bullfight, which also inspires most literature and
cinema work, is a social phenomenon that can be investigated from social and psychological point of view. The
famous Spanish poet, Federico García Lorca, has exemplified the matadors and mentioned that the muse “duende”
is coming up at the time when the bullfighter come face to face with death. Even though this show has been
forbidden in Catalonia due to animal rights in 2012, this rooted tradition, which has been continuing for centuries, is
continuing in the whole Iberian Peninsula enthusiastically and will be transfered to the next generations.
59
Türkçe Bildiri Özetleri
İstanbul Üniversitesi'nin Bilişim Mirasının Yaşatılması: Sanal Bilişim Müzesi Çalışmaları
Tolga AKAGÜN, Turizm İşletmeciliği Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
Sevinç GÜLSEÇEN, Enformatik Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
İsmail ÖZMEN, BUYAMER, İstanbul Üniversitesi, Türkiye, [email protected]
Oğuz ÇIKRIK, BUYAMER, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Hızla gelişen teknoloji, toplumları, tarihsel ve kültürel miraslarını kaybetme tehlikesiyle karşı karşıya bırakmaktadır. Ancak,
yine aynı teknoloji, toplumların, tarihsel ve kültürel değerlerini geçmişten geleceğe aktarabilmektedir. Böylece, geçmişte
şekillenenler, günümüz çalışmaları ile geleceğin de bir parçası olacaktır.
Tarihsel ve kültürel mirasların gelecek nesillere aktarılması ancak sanatsal, tarihsel ve kültürel kalıntıların, eserlerin ve
objelerin aktarılmasıyla gerçekleşmektedir. Söz konusu kalıntılar, eserler ve objeler 'klasik' müzecilik anlayışı ile
insanlardan uzakta koruma altında tutulmakta, erişim sınırı getirilmektedir. İleri teknoloji ile birlikte, tarihsel ve kültürel
kalıntılar, eserler ve objeler sanal ortama aktarılmaktadır. İnsanlar, bu sayede yer ve zaman kavramı olmadan iki boyutlu, üç
boyutlu ve metin içerikli incelemelerini gerçekleştirmektedir. Bu yaklaşım, her ne kadar klasik müzenin sanallaştırılmış
şekli, yani sanal müze, olarak algılansa da, gerçekte ilgili müzenin 'çevrim içi' hizmet veren bir web sayfasıdır. Olması
gereken ise, aynı ortamda bir araya getirilemeyecek objelerin, eserlerin ya da kalıntıların çevrim içi bir platformda, iki
boyutlu, üç boyutlu ya da metin içeriklerinin kullanımına açılmasıdır.
Geçmişten gelen bu miras günümüzde yapılacak çalışmalar ile gelecek nesillere daha kolay aktarılacaktır. İstanbul
Üniversitesi, köklü tarihi geçmişi ile bünyesinde zengin bir mirası barındırmaktadır. Ancak, bu değerler bir ortamda
sergilenememektedir. Bundan dolayı klasik müzelerin web sayfalarında kullandığı sanallaştırma tekniklerinin kullanılması
mümkün değildir. Bu yüzden sanal müzecilik platformlarından yararlanılacaktır.
www.iscch2015.org
Sanal müzecilik ile ilgili platformları oluşturmak için güçlü sunucu, internet alt yapısı ve uzmana ihtiyaç duyulmaktadır.
Evrensel boyutta, bu unsurların kurum disiplini içinde bir araya getirilmesi ve koordine edilmesi gerekmektedir. İstanbul
Üniversitesi Sanal Bilişim Müzesi oluşturma çalışmalarında, öncelikle Bilgisayar Bilimleri Uygulama ve Araştırma Merkezi
envanterine kayıtlı olan objeler dikkate alınacaktır. Bu şekilde, Sanal Bilişim Müzesinin çekirdeği oluşturulacaktır. İstanbul
Üniversitesi'nin diğer birimlerinde bulunan objeler daha sonra bu çekirdeğe eklenecektir. Böylece İstanbul Üniversitesi
Sanal Bilişim Müzesi son halini alacaktır.
63
Milas'ta Macar Mimarisi ve Macar Evleri
Olcay AKDENİZ, Cumhuriyet Gazetesi Milas,Muğla Muhabiri, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Güney Batı Anadolu'nun denize açılan kapısı olan Passala, Bargylia, Halikarnassos ve İasos'a giden yolun son durağı
olan Mylasa, Karia ülkesinin başkenti idi. Türklerin 14. yüzyılda bölgede kurdukları Menteşe Oğulları Beyliği'ne de
başkentlik yapan Milas, bereketli toprakları, kendince yeterli su kaynakları, uygun iklimi ile yüzlerce yıldır insanların
ilgi gösterdiği, göç alan bir ilçedir.
1950'li yılların ortalarına kadar Büyükmenderes Nehrinin geniş bataklıklar oluşturduğu Söke Ovası üzerinden İzmir'e
uygun ve yeterli bir karayolu olmaması nedeniyle Milas, ticari ilişkilerini ya Aydın üzerinden İzmir bağlantısıyla veya
deniz yoluyla İstanbul ve Ege Adalarıyla yoğunlaştırmıştır.
Milas'taki ürün çeşitliliği ve bolluğu, bu ürünlerin ticareti ve ihracatıyla birlikte yöreye zengin bir kültür alışverişini de
beraberinde getirmiştir. İlçenin yüzyıllardır aldığı göçler de yörenin kültürünün zenginleşmesine çok önemli katkılar
sağlamıştır.
Milas'ta "Macar Evleri" olarak bilinen ve şehrin en güzel caddesi olan Atatürk Bulvarı üzerindeki üç evde
somutlaşan Macar Mimarisi ile Milas aslında ilk kez 1927 yılında tanışmıştır. II. Abdülhamit'in "İstibdat
Yönetimi"nden Fransa'ya kaçarak Paris'e giden Murat Salih Bey, orada tanıştığı Mari Suzan hanımla evlenmiş II.
Meşrutiyet'in ilanıyla birlikte Milas'a yerleşmişlerdir. Murat Salih Bey, eşi Mari Suzan Hanım için güzel bir köşk
yaptırmak isteyince o yıllarda Milas'tan zımpara taşı ihracatı yapmakta olan bir İngiliz firmasında çalışan Macar
Mimar Pier Kübin'den yardım istemiştir. Pier Kübin'in tasarımı, İtalya'dan ve Rodos adasından gelen taş ustalarının
www.iscch2015.org
becerileri ve Safranbolulu marangoz ustaların hünerleri birleşince ortaya Milas'ın "1. Numaralı tescilli yapısı" olan Madam Murat Evi
çıkmıştır.
Cumhuriyetin ilk yıllarında Milas'ta kaymakamlık yapan Fevzi Beler'in Rodos Adası'nda yaptıkları binaları görünce davet Milas'a davet
ettiği 4 Macar yapı ustası, Milas'taki Macar Evlerinin yaratıcıları olmuşlardır. Macar ustalar önce, o yıllarda yeni açılan ve giderek şehrin ana
bulvarı haline gelen Atatürk Bulvarı üzerine Dr. Sırrı Aydoğan, Rıza Toksarı ve Kaymakam Fevzi Beler için yan yana üç ev yapmışlardır. Sonra
yine Kaymakam Fevzi Beler'in teşviki ile Aşçı Bekir tarafından Macar ustalara, Ege'nin en güzel sinemalarından birisi olan İstikamet
Sineması yaptırılmıştır. 1929 yılında yapımına başlanan sinema, 1931 yılında hizmete girmiştir. Yaptıkları işlerle yörenin varlıklı kişilerinin
ilgisini çeken Macar ustalar daha sonra şehir içinde veya bazı köylerde Orta Avrupa / Macar mimarisinin izlerini taşıyan evlerle geleneksel
Türk mimarisine uygun bazı evler veya iki mimarinin karışımı olan evler yapmışlardır.
Bugün, ne yazık ki İstikamet Sineması yıkılmış ve yerine kısmen eski sinemanın dış çizgilerini taşıyan bir işhanı yapılmıştır. Madam Murat'ın
köşkü ve üç Macar Evi, Atatürk Bulvarı'nda olanca güzellikleriyle varlıklarını korumaktadır.
65
İmzadan e-imzaya
Arda ARŞIK, İstanbul Kültür Üniversitesi, Türkiye, [email protected]
Vasfiye ARSLAN, Teknik Bilimler Meslek Yüksekokulu, İstanbul Üniversitesi, Türkiye, [email protected]
Zerrin AYVAZ REİS, Hasan Ali Yücel Eğitim Fakültesi, İstanbul Üniversitesi, Türkiye, [email protected]
Sevinç GÜLSEÇEN, Enformatik Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Semiyotik veya Türkçe adıyla göstergebilim kendini oluşturan isimlerden daha fazla bir anlam taşır. Hayatın içinde
sıkça kullanılan bir terim olmasa da semiyotik insanların birbirleriyle iletişim kurup anlaşmaları için yazılı, yazılı
olmayan, sözlü veya sözsüz olarak kullandıkları göstergeleri, gösterge dizgelerini bilimsel bir disiplin ile inceler. John
Locke ile başladığı kabul edilen semiyotik farklı ekoller oluşturarak günümüze gelmiştir. Bu ekoller (kabaca Avrupa ve
Amerikan ekolleri) birbirlerini beslerken, aynı şeylere bakıp birbirlerinden farklı yorumlarda bulunmaktadırlar.
Bu göstergelerden biri olan imza da göstergebilimin alanına girer. İmza sahibinden ve yetiştiği kültürden izler taşır.
İmza sahibinin yokluğunda onu temsil yeteneğine, resmi yazışmalarda sahibinin hukuki temsilcisi olma hakkına
sahiptir.
Göstergebilimin gelişirken yaşadığı tökezlemelere benzer zorluklar yaşayan graphology (yazıbilim) son yüz yılda
ilerlemeler kaydetse de halen bir sözdebilim durumundadır. Graphology psikoloji ve bilişsel bilimden beslendiği
kadar semiyotikten de beslenmektedir. Empirik olarak halen kabul görmese de adli tıp alanında kendisinden
faydalanılmaktadır.
Bu bildiri imzanın geçmişini, gelişimini göstergebilimcilerin çalışmaları ışığında nasıl yorumlandığını ve e-imzaya
evrilişi ve imzadaki bu dijitalleşmenin kültürel miras bakımından getirileri ve götürüleri üzerine fikir yormaktadır.
www.iscch2015.org
İstanbul Küçükçekmece Bathonea Kazıları
Şeniz ATİK, Mimar Sinan Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Arkeoloji Bilimi günümüzde pek çok bilim dalı ile ilişki ve iletişim içinde kendisini geliştirmiş ve geliştirmeye de devam
etmektedir. Hızla gelişen teknolojinin sunduğu olanakları da kullanarak bugün artık alandan topladığı verileri, daha
hızlı ve doğru algılanabilir yorumlarla ortaya koyabilmekte, verilerini çevresiyle birlikte modelleme imkanları da
yaratarak bir şölen havasında topluma sunma çabası ve gayretini göstermektedir.
Günümüz arkeologları artık sadece önündeki objeyi adlandırıp, tanımını yapıp belgeleyerek ve korunması için tedbir
almakla yetinmeyip, o obje ile ilgili yaşanmışlıkların da okunmasını sağlayan bir süreci yaşamaktayız. Geçmişten
kalan her bir parça bir işaret anlamındadır. Ancak okunabilmesi için bilgi, birikim, araştırma ve yorum gibi uzun süreci
kapsayan bir zamana ihtiyaç duyulmaktadır.
Günümüzden binlerce yıl önce üretilmiş olan objelerin hangi düşünceye dayanarak tasarlandığı konusunu irdelemek
için “bilişsel arkeoloij”nin hedefe konulması gerekmektedir. Tarihi yorumlarken artık sadece insanın günümüze
bıraktıkları ile yetinmeyip, aklından geçenleri de anlamaya ihtiyaç duyulmaktadır. Arkeoloji bilimi bu nedenle insanın
geçmiş derinliğindeki sembolleri yakalayarak günümüze ve geleceğe ışık tutacak verileri saptama sorumluluğudur.
İstanbul özeline baktığımızda, çok değerli olduğu her fırsatta ifade edilen ve UNESCO'nun Dünya Kültür Mirası
Listesi'ne giren “Tarihi Yarımada, arkeolojik açıdan henüz araştırılması tamamlanmamış bakir bir höyüktür.
Üzerinde kent yaşamının hâlâ devam ediyor olması arkeolojik çalışmaların yapılmasını engellemekte, hatta
imkânsız kılmaktadır. O nedenle Tarihi Yarımada'da büyük çaplı bilimsel bir kazı talebi yapılamamaktadır. İstanbul
www.iscch2015.org
67
merkezinin 20 kilometre batısında Küçükçekmece Gölü kıyılarında; 2009 yılında, Kocaeli Üniversitesinden Doç. Dr. Şengül Aydıngün
Başkanlığında başlatılan Küçükçekmece Göl Havzası -Bathonea? Kazı çalışmaları henüz çok genç olmasına rağmen çok önemli arkeolojik
verileri ortaya koymuştur. Yarım Burgaz Mağarası'nın da hemen yakınında bulunan kazı alanı, Çanak Çömleksiz Neolitik dönem dahil olmak
üzere, çakmaktaşından aletler, MÖ 7000'lerde Avrupa'ya tarımın bölge üzerinden ulaştığını kanıtlarken, günümüzden 2700-2600 yıl
öncesine ait iki antik liman ve dünyada keşfi yapılan üçüncü antik fener, ile M.Ö.6 yüzyıldan M.S. 12 yüzyıla kadar kesintisiz yerleşim ve
sonrasında Osmanlı Dönemi sonlarına ulaşan ayakta yapıların da yer aldığı bir kültür mirası kompleksi ve bunları daha da değerli kılan doğal
bir çevre.
Tüm bu veriler yoğun yapılaşmanın da hedefinde olan bu bölgede, kültür varlıklarının sürdürülebilirliği konusunda duyarlılığı gündeme
taşırken, verilerin bilim dünyası ve toplumla paylaşılmasını hayata geçirebilecek bir projeyi tasarlamayı zorunlu kılmıştır. Küçükçekmece Göl
Havzası -Bathonea Ören Yeri, İstanbul'un “ilk” ören yeri olma şansına sahip bir bölge. Bilim, Turizm ve Toplum için ütopik bir modelleme
taslağı!..
Neolitik Yerleşimden Bizans 12. Bölgesi ve Langa Bostanı'na Yenikapı'nın 8 Bin Yıllık Kültürel Ve Topografik Değişimi:
Son Arkeolojik Kazılar ve Kentsel Dönüşüm Projeleri Kapsamında İstanbul Yenikapı Semtinin Ele Alınması
Hasan BİNAY, Arkeolog, Yenikapı Arkeolojik Kazıları Ekip Üyesi, İstanbul Arkeoloji Müzesi, Türkiye, [email protected]
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
İstanbul kent içinde yürütülen büyük altyapı çalışmaları inşaat teknolojilerinde yaşanan gelişim nedeniyle önceki
yüzyıla göre çok daha derin temellere sahiptir. Bu durum İstanbul sur içi yerleşmesinin çok katmalı kültürel yapısını
tehdit eden bir durum iken arkeologların denetiminde yapılan kazılar kentin çok katmanlı yapısını daha iyi
anlamamıza yarayacak veriler de sunmaktadır. İnşaat projelerinin kültürel miras üzerindeki etkilerini fayda zarar
ikilemi içinde ele aldığımızda karşımıza çıkan en önemli örnek Yenikapı Metro ve Marmaray inşaatı kapsamında
yapılan kazılardır.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Bu bildiri ile Neolitik dönemden Bizans, Osmanlı ve Cumhuriyet Dönemlerine işlevindeki değişime rağmen aynı
bölgede önemli yaşam alanlarının bulunduğu Yenikapı semtinin günümüzde kentin yaşamında var oluş biçimi, alan
yönetimi anlayışı çerçevesinde ele alınacaktır. Sunum için son yıllarda yapılan arkeolojik kazılarda ele geçen
buluntular, Bizans Dönemi gravürleri, Osmanlı Dönemi haritaları ve Cumhuriyet Dönemi fotoğrafları ve planları
kullanılacaktır.
INTERNATIONAL
SEMIOTICS CONFERENCE
www.iscch2015.org
69
Anadolu Kapı Tokmaklarının Çağdaş Yorumları
Aydan BİRDEVRİM, Teknik Bilimler Meslek Yüksekokulu, İstanbul Üniversitesi, Türkiye, [email protected]
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Binaların en göze çarpan elemanlarından biri olan kapılar, insanla mekan arasında bir sınır noktasıdır. Ait oldukları
yapının içeriğine göre çeşitlilik gösterirler. Kimi zaman büyük ve gösterişli kimi zaman sadedir. Zaman içerisinde çeşitli
kültürlerde kapıların eşiklerinde ve üst kısımlarında felaketi uzaklaştıran, nazara karşı koruyan, iyiliği çeken bazı
işaretler kullanılmıştır. Esas konumuzu teşkil eden kapı tokmaklarının da bu simgelerden biri olma ihtimali yüksektir.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Anadolu insanının zevki taş ve ağaç işçiliğinde olduğu kadar maden işçiliğinde de kendini göstermiştir. Kapı
tokmakları bir işlevi yerine getirirken diğer yandan da kapının gerisinde yaşayan topluluğun sosyal ve ekonomik
durumunu, inançlarını estetik bir görüşle yansıtmıştır. Bu yüzden kapı tokmaklarını işe yarayan maden parçaları
olarak görmemek lazımdır. Aynalarda ve tokmaklardaki süslemeleri Anadolu insanının üstün zevkini kapılardaki
ifadesi olarak görmek gerekir. Sadece işe yararlılık ön planda tutulsaydı ortaya sanat değeri olmayan eğri büğrü
maden parçaları çıkardı.
INTERNATIONAL
SEMIOTICS CONFERENCE
Her dönemde ustalar tarafından yepyeni formlar içerisinde özgün tasarım ürünleri verilmiştir. Evler kapılar yok
olmuş tokmaklar günümüze kadar ulaşmıştır. Birer plastik sanat eseri olarak kabul ettiğim kapı tokmaklarını, ilk
bölümde tanımını vermeye çalışıp, maden sanatı içerisinde tarihsel gelişimini ele aldım. İkinci bölümde kapı
tokmaklarının yapım tekniklerinin, üçüncü bölümde ise tokmak yerine geçen halkaları inceledim. Dördüncü
bölümde tokmakların tasvirleri ve mitolojik yönünü, beşinci bölümde ise kapı tokmaklarının sosyal anlamlarını
araştırdım. Günümüze kadar gelebilmiş kapı tokmaklarının bulunduğu bazı şehir ve köyleri altıncı bölümde ele aldım
Son bölüm ise benim bu araştırmalara sebep olan yönüydü. Bu da kapı tokmaklarına olan ilgim ve sevgim onlara yeni
bir soluk vererek çamura dönüştürmemi sağladı.
www.iscch2015.org
Feyhaman Duran Evi Örneğinde Dokuma Eserler İçin Sergileme Önerileri
Fatma Banu ÇAKAN, Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
1946 yılından beri uluslararası düzeyde müzeleri ve müze çalışanlarını temsil eden ICOM, 2007 yılında Viyana'da
düzenlenen konferansın* sonuç bildirgesinde müzenin tanımını aşağıda olduğu şekliyle yeniden düzenlemiştir;
Müzeler, eğitim, araştırma ve eğlence amacıyla insanlığın taşınabilir ve taşınamaz kültür mirasını toplayan, araştırma
ve iletişim çalışmaları yürüterek topluma ve onun gelişimine hizmet eden, kar amacı gütmeyen, halka açık yerleşik
kurumlardır.
Yukarıda sayılan amaçların hepsini en verimli biçimde sağlayabilecek bir müze planlamak müzecilik bilimi ve onunla
ortaklaşa çalışan diğer bilim dallarının ortak sorumluluğudur. Koruma Onarım disiplini eserlerin sergilenmesi,
depolanması, bakımı ve kullanım koşulları ile ilgili standartların belirlenmesinde müzecilik bilimi ile birlikte çalışır. Bir
müzede bulunan eserlerin karşı karşıya kalabileceği başlıca üç tehlike vardır:
- Birinci tehlike doğru seçilmemiş depolama üniteleri ve düzenek sistemleridir. Çalışan personel veya inceleme yapan
araştırmacıların bu doğru seçilmemiş ve uygulanmış düzenek sistemlerini kullanmaları sırasında oluşacak baskı ve
yük, eserlerde mekanik hasar sürecini başlatacaktır. Mekanik bozulma sonuçları genellikle, yırtıklar, aşınmalar v.s.
şeklinde görsel olarak tespit edilebilen değişimlerdir.
- İkinci tehlike ışık, sıcaklık ve nem gibi çevresel faktörlerin başlatacağı veya hızlandıracağı kimyasal, fiziksel ve
biyolojik bozulma süreçleridir. Müzelerde bulunan organik temelli kağıt eserler yapısal özellikleri nedeni ile çevresel
koşullardan kısa sürede etkilenerek değişime uğrayabilen nesnelerdir. Bu değişim bazen geri dönüşümlü olabilse de
çoğu zaman geri dönüşümü mümkün olmayan bozulmalarla sonuçlanabilir. Bu nedenle öncelikle eser üzerinde bu
denli etkili olan çevresel faktörlerin zararlı etkilerine karşı sergileme ve depolama düzeneklerinde kullanılabilecek
pratik uygulamalara ve alınacak tedbirlere dikkat edilmelidir.
- Bir müze için üçüncü tehlike ise her an oluşabilecek yangın, su baskını, deprem soygun gibi acil durumlardır. Bir acil
durum planı bu zararın derecesini azaltacak veya tamamen yok edebilecek en önemli tedbirdir.
71
Kültürel Miras Olarak Ayasofya
Hasan Fırat DİKER, Fatih Sultan Mehmet Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Ayasofya'nın bugün var olmayan görünümlerinde, denetim dışı bırakılmış batılı bir mimarın keyfi tutumlarının mı, yoksa
Ayasofya'nın Tanzimat hareketleriyle başlayan ve camiden müzeye doğru giden serüveninde ağır ve bilinçli bir yol
haritasının izlenmesi mi etkin olmuştur? Böyle bir tartışmayı Ayasofya'nın ataletini koruyan günümüz görünümünde
yapmak çok kolay değildir. Zira, Ayasofya üzerindeki profan Fossati etkisi, Ayasofya'nın çok katmanlı geçmişini perdelediği
gibi, yapının mevcut müze işleviyle iç içe geçerek yeni müdahaleleri de güçleştirmektedir.
Mozaiklerin gün ışığına çıkarılması dışında, bu çok katmanlılığı anlamaya yönelik yeni önermelerde bulunulmaması,
mevcut baskın Fossati görünümünü ister istemez halen korumaktadır. Öyle ki, kendisinden sonraki Ayasofya onarımlarında
dahi, bezeme anlamındaki ilkeleri güncellenmeksizin takip ve taklid edilmiş ve bir Fossati dönemi yaratılmıştır. Yaklaşık
1500 yıllık bir anıt eserin tüm evrelerinin zaman zaman önüne geçecek mahiyette önemsenmiş bu dönemin
benimsenmesinde, önerme yoksunluğunun ya da isteksizliğinin payı olabilir. Öte yandan, yapılacak her dönemsel
müdahalenin, Ayasofya'nın Osmanlı ya da Bizans dönemine dair bir bulgu ve beraberinde tartışmasını getireceği öngörüsü
ile endişesi, Ayasofya'nın âtıl, kendi geçmişinden ve geleceğinden uzak mevcut görünümünü korumaya hizmet etmektedir.
Ayasofya'nın kilise olarak inşa edilip kullanıldığı Bizans evreleri kadar, camileştirilerek varlığını sürdürdüğü Osmanlı
dönemlerinin de gerektirdiği ilgiyi görmesi ve titizlikle irdelenmesi gerekmektedir. Nitekim, Ayasofya'nın bugün halen
antik hatıraları ve izleri saptanabiliyorsa, bunu, mabed kimliği yadsınmadan işlevlendirilmesine borçluyuz.
Her ne kadar Fossati onarımları maksadını aşacak şekilde, bu abidenin Osmanlı ve Bizans görünümlerini perdeleyici ve
unutturucu mahiyette olsa da, yapılan araştırmalar, onun sadece varlığını korumaya yönelik değil, aynı zamanda zengin
dokularını açıklayabilecek nitelikte olmalıdır.
www.iscch2015.org
Bir Dünya Mirası olmasının ötesinde, Ayasofya'yı cami ya da kilise olarak kabul edenlerin kadim mabed algısını besleyecek
yeni bilgi ve bulgular, herhangi bir ayrım gözetmeksizin onun varlığının ne kadar daha değerli ve korunmasının ne kadar
daha önemli olduğunu gösterecektir. Öğrenilebildikçe anlamlandırılacak Ayasofya, daha çok sevilecek ve korunacaktır.
İstanbul Üniversitesi Feyhaman Koleksiyonu Hatlarından Yazı-Resim Levha Örnekleri
Fatih ELCİL, Edebiyat Fakültesi, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
İstanbul Üniversitesi bünyesindeki Feyhaman Duran Kültür ve Sanat Evi'nde muhafaza edilen hat koleksiyonu, bazı
özellikleriyle , Benim için farklı anlamlar içermektedir. Koleksiyon, çok değerli hattatlara ait levhaları içermesinin
dışında, ayrıca iki yönden hat-resim birlikteliğini temsil etmektedir. Bunlardan birincisi; “bir ressam olarak”
Feyhaman'ın yaptığı hat levhalarıdır. Yani sanatçı, hat ve resmin birlikteliğini öncelikle kendi hayatında yaşamış ve bu
doğrultuda değerli eserler vermiştir. Koleksiyonun benim için önemli olan ikinci yönü de, içerdiği çeşitli sanatçılara
ait “yazı-resim” levhalardır. Önemli bir kısmını dervişlerin oluşturduğu “halk sanatçıları”, dini gerekçelerle figüre
karşı konulmuş mesafeyi, yazıyı kullanarak buldukları çıkış yoluyla aşmışlar ve ortaya “yazı-resim” levhalar çıkmıştır.
Konularını “cami”, “ibrik”, “kuş”, “ah mine'l- aşk”, “aslan”, “çifte vav”, “ashab-ı kehf”, “derviş”, “Hz.Ali” gibi resimlerin
oluşturduğu bu çalışmalar, Feyhaman Duran Koleksiyonu içinde önemli yer tutmaktadır. Sunumumda Feyhaman
koleksiyonundaki bu eser grubunu örneklerle tanıtmaya çalışacağım.
73
Sivas Alibaba Mahallesi Alevilerinde Bağlama: ‘Telli Kur’an’
Tolga ERGÜL, Müzik Bölümü, Güzel Sanatlar Fakültesi, Iğdır Üniversitesi, Türkiye, [email protected]
Gülay KARŞICI, Müzik Bölümü, Güzel Sanatlar Fakültesi, Marmara Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Çalgıların taşıdığı simgesel olguların ve bu doğrultuda sahip olduğu anlamların değerlendirilmesi çok eskilere kadar
uzanır. Arkeolojik bulgulara göre Anadolu'da ilk kez Hititler Dönemi'nde bağlama çalgısına rastlanır. Bu motiflerden
bağlamanın Hitit kültüründen beri hem gündelik yaşamda kullanıldığı, hem de inançsal bir nitelik taşıyarak
simgeleştirildiği, göstergebilim çerçevesinde ele alındığında 'kendi' dışında bir olguyu/ları temsil ettiği görülür.
Bugün Türkmen ve Alevi kültüründe bağlamaya verilen anlamın/ların, değerin/lerin binlerce yıl öncesine dayandığı
ve Anadolu'ya ait olduğu anlaşılır.
Sivas ili merkezinde bulunan Alibaba Mahallesi'nde Aleviler yaşar. Onlar için müzik ve bağlama değer temsilcileridir.
Onlar için dini ya da din dışı törenlerde gerçekleştirilen icra sadece müzik değildir: Söylenenler şarkı değil, 'Batın olan
Hak Kelamıdır'; bağlama da bir çalgı değil, 'Telli Kur'an'dır. Günümüzde onlar için bağlamanın taşıdığı anlam bakımından
Kur'an-ı Kerim'le özdeşleşmiş, onun değerlerini büyük ölçüde simgelediğine inanılan başka hiçbir nesne yoktur.
Erciyes Üniversitesi Güzel Sanatlar Enstitüsü Müzik Bilimleri Anabilim Dalı Doktora Programı'nda sürmekte olan
“Sivas Alibaba Mahallesi Alevilerinin Müzik Pratikleri” başlıklı Doktora Tez Çalışmasından Etnomüzikolojik alan
araştırması yöntemi kullanıldı. 2006-2014 yılları arasında Sivas Alibaba Mahallesi'nin farklı sokaklarında yaşayan
birkaç ailenin gözlemlenmesiyle, katılımcı gözlemle ve bu ailelerle yapılan görüşmeler doğrultusunda ele alınan bu
araştırmanın kapsamı Alibaba Mahallesi'nin kültürüne ait birçok geleneği içerir. Bu bildirinin konusu ise, bu
mahallede yaşayan Alevilerin bağlamaya verdiği anlam ve değer çerçevesiyle sınırlandırıldı. Bağlamanın kazandığı bu
nitelikler ve ona 'Telli Kur'an' denilmesi Sivas Alibaba Cem Vakfı Dedeleri ve Zakiri ile yapılan görüşmelerle şekillendi.
www.iscch2015.org
Sualtı Kültürel Mirasın Korunmasında Yenikapı Batıkları Örneği
Namık KILIÇ, Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü Genel Koruma ABD, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
İstanbul'un Yenikapı semtinde İstanbul Arkeoloji Müzeleri Müdürlüğü tarafından 2005-2013 yılları arasında
gerçekleştirilen kurtarma kazılarında 5. ile 11. yüzyıllar arasına tarihlenen 37 adet batık gemi kalıntısı bulunmuştur.
Bu batık gemilerin 27 tanesinin araziden belgelenerek kaldırılması, 31 tanesinin ise konservasyon çalışmaları
İstanbul Üniversitesi Edebiyat Fakültesi Sualtı Kültür Kalıntılarını Koruma Anabilim Dalı tarafından üstlenilmiştir
(Kocabaş, 2015:5).
Yenikapı Batıklarını oluşturan ahşaplar suya doymuş olarak ele geçmiştir. Suya doymuş ahşabın konservasyonu
olmazsa olmaz işlemlerden olup aynı zamanda zor ve uzun bir süreçtir. Araziden kaldırma çalışmaları tamamlanan
batıkların konservasyon süreci demonte edilen gemi elemanlarının tuzdan arındırma işlemi için paslanmaz çelik
havuzlara taşınması ile başlamaktadır. Şayet ahşap içerisindeki tuzlar uzaklaştırılmazsa ahşabın büyük bir
bölümünde genleşme ve kristalizasyon sonucunda geniş çatlaklar ve pul pul dökülmeler oluşabilmektedir (Smith,
2003:23).
Dolayısıyla bu tarz problemler yaşanmaması için tüm ahşaplarda tuz oranı 40 ppm'e kadar düşürülmektedir. İşlem
esnasında bakteri oluşumunu önlemek amacıyla Exocite 1012 ticari adıyla üretilen kimyasal malzeme 1/1000
oranında tank içerisine ilave edilmektedir. Dipslide ile yapılan ölçümlerle biyolojik aktivasyon kontrol altında
tutulmaya çalışılmaktadır.
Konservasyon prosedürüne geçilmeden önce ahşabın içeriğindeki su miktarının belirlenmesi gerekmektedir. Bu
amaçla ahşaplardan örnekler alınarak bozulma verileri elde edilmektedir. Batık ahşaplarının içeriğindeki su
www.iscch2015.org
75
miktarına göre yapılan sınıflandırmada ahşap ne kadar çok su içeriyorsa o kadar bozulmaya uğramış olarak kabul edilmektedir. Bu
değerlendirme, ahşapların bozulma durumunun belirlenmesinde kullanılan yaygın bir uygulamadır (McConnachie, Eaton ve Jones: 2008: 29).
Yapılan analiz çalışmalarına ve değerlendirmelere göre batık ahşaplarının bozulmuş hücre yapılarının kimyasal bir malzeme emdirilmek
suretiyle güçlendirilmesi şarttır (Schnell-Jensen, 2007: 50). Aksi takdirde batık ahşaplarında kuruma sonrasında çatlama, çekme vb.
deformasyonlar oluşacaktır. Bunun gibi problemleri önlemek için Yenikapı Batıklarında emdirme kimyasalı olarak Polietilen glikol (PEG) ve
melamin formaldehit reçineleri tercih edilmektedir. Konservasyon yöntemi olarak da PEG 2000 ön emdirmesi sonrası dondurarak kurutma
yöntemi ve Kauramin yöntemi uygulanmaktadır.
Gemilerin konservasyon işlemlerinde kullanılan PEG etkili bir iyon taşıyan elektrolittir ve gemi ahşaplarının bağlantı elemanlarında kullanılan
demirle tepkimeye girmektedir. Dolayısıyla PEG ile konservasyonuna başlanacak ahşaplarda degredasyon oluşmaması için tüm demir çiviler
ve korozyon kalıntıları temizlenmektedir (Giorgi, Chelazzi ve Baglioni, 2005: 10743-10748).
PEG ön emdirmesi sonrasında ahşaplar vakumlu dondurarak kurutma cihazında kurutularak sergilenebilir hale getirilmektedir. Bozulma oranı
yüksek ahşaplarda tercih edilen Kauramin yönteminde ise ahşaplara melamin formaldehit reçinesi emdirilmektedir. Emdirme sonrasında
ahşaplar fırın içerisinde 50 0C'de kurutularak sergilenebilir hale getirilmektedir.
Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli)
Fiziksel Gerçekliğe (Zeugma Mozaik Müzesi) Doğru Bir Yolculuk
Remziye KÖSE ÖZELÇİ, İletişim Fakültesi, Yeni Yüzyıl Üniversitesi, Türkiye, [email protected]
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Ünlü Fransız tarihçi Piere Nora “Hafıza Mekanları” adlı yapıtında hafıza mekanlarının iç içe geçmiş iki tür gerçeklikten
oluştuğunu vurgular. Buna göre uzama, süreme, dile ve geleneğe kaydolmuş ele gelen kavranabilir bir gerçeklik; öte
yandan sırf simgesel, tarihi içinde barındıran bir gerçeklik. Hafıza mekanları ise öncelikle kalıntılardır. Müzeler,
arşivler, mezarlıklarla koleksiyonlar, bayramlar, yıldönümleri, anlaşmalar, tutanaklar, anıtlar, kutsal yerler, dernekler,
sözlü tarih çalışmaları, belgeseller, filmler, şarkı sözleri..vb. kültürel belleğimizi/mirasımızı yaşatmaya ve
hatırlatmaya dair her türlü yaratım.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
“Kültürel Mirasın Aktarılma Çabası Olarak Simgesel Gerçeklikten (Yitik Kent Zeugma Belgeseli) Fiziksel Gerçekliğe
(Zeugma Mozaik Müzesi) Doğru Bir Yolculuk” adlı bu çalışmada Gaziantep'in Nizip ilçesinde yer alan Zeugma antik
kentinde yapılan kazılar sonucunda ortaya çıkarılan mozaiklerin izleri sürülecektir. Bu bağlamda yönetmenliğini
Remziye Köse ve Onur Akyol'un yaptığı 2001 yapımı “Yitik Kent Zeugma” Belgeseli ile 9 Eylül 2011 tarihinde açılan ve
1450 metrekarelik mozaik ile Tunus Bardo Müzesi'nden dünyanın en büyük mozaik müzesi ünvanını devr alan
“Gaziantep Mozaik Müzesi”nin her biri birer hafıza mekanı olarak ele alınacaktır.
INTERNATIONAL
SEMIOTICS CONFERENCE
“Yitik Kent Zeugma” Belgeseli'nde Zeugma'nın sular altında kalması nedeniyle Helenistik çağda yaşayan kentin 3d
modeli, dönemin mimarisi ve yaşam biçimi göz önüne alınarak hazırlanmıştır. Öte yandan dünyada benzeri olmayan
bir yöntemle de Gaziantep Mozaik Müzesi'nde, define talanı ile eksik olan 2 bin yıllık mozaiklerin parçaları, sanal
ortamda ışık oyunları ile tamamlanmaktadır. Bu görüşten yola çıkılarak simgesel ve fiziksel gerçekliklerin kimi “ortak
yönleri” nin saptanması; tarihsel ve ekinsel anlamı olan yerlerin ( Zeugma), olayların (mozaiklerin mitolojik öyküleri)
hafıza içinde sürekliğe kavuşturma çabalarının anlamı irdelenecektir.
www.iscch2015.org
77
Antik Byzantion ve Kalkhedon'un Şehircilik Açısından İncelenmesi:
Kuruluşlarından Roma İmparatorluk Dönemi'ne Kadar
Nisan LORDOĞLU, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Bu çalışmanın birincil amacı, modern İstanbul kentinin sınırları içinde yer alan iki antik kent, Byzantion ve
Kalkhedon'un kuruluşlarından Roma İmparatorluk Dönemi'ne kadar olan durumlarını, tarihsel süreç içerisinde
şehircilik açısından değerlendirmektir. Bu süreçte, birbirleri ile olan ilişkileri ve bu ilişkilerin iki kentin gelişimini ne
şekilde etkilediği antik kaynaklar, tarihsel veriler ve özellikle son yıllarda artan güncel arkeolojik buluntular
aracılığıyla araştırılması amaçlanmıştır. Antik kaynaklar vasıtasıyla Byzantion ve Kalkhedon'un siyasi, askeri,
ekonomik ve kültürel ilişkilerinin kentlerin planlanmasına olan etkileri ve zaman içerisindeki değişimlerinin
incelenmesi de araştırmanın amacına dâhil edilmiştir. Şimdiye kadar İstanbul ve çevresinde yapılan bütün arkeolojik
kazılar göz önünde bulundurularak, antik kaynaklar aracılığıyla çıkarımlar yapılmış ve bahsedilen bu iki kente ait
lokalizasyonu tespit edilemeyen yapıların konumları saptanmaya çalışılmıştır. Son yıllarda yapılan kurtarma
kazılarıyla sekiz bin yıllık bir geçmişi barındırdığı anlaşılan ve günümüzde devasa bir metropol haline gelmiş İstanbul
Kenti'yle ilgili ilk araştırmalar, 16. yy.'da Osmanlı İmparatorluğu'na gelen seyyahlarla başlamış ve günümüzde yapılan
arkeolojik kazılarda ortaya çıkan buluntularla tekrar gündeme gelmiştir. Günümüzde İstanbul'da son hızla ilerleyen
'kentsel dönüşüm' faaliyetleri ile bağlantılı inşaatlar, kentin büyümesi sonucu eski hatlara eklenen yeni tren yolu ve
metro hatları dolayısıyla da zorunlu olarak yapılan kurtarma kazıları İstanbul'un tarihi ile ilgili bir çok veriyi ortaya
çıkarmıştır. Üzerinde modern yerleşme olan her kentte olduğu gibi antik İstanbul ile ilgili verilere ulaşmak; Byzantion
ve Kalkhedon Kentleri'nin konumlarının ve yapılarının lokalizasyonunu yapmak elbette ki zordur. Antik kaynaklar ve
arkeolojik buluntular karşılaştırıldığında ortaya çıkan veriler her iki kentin konumunu ve kentteki bazı yapıların
lokalizasyonu için bir takım öneriler getirmeye olanak sağlamıştır. Ancak her iki kentin planını, topografyasını ve
territoriumunu kesin olarak belirlemek elimizdeki bulgularla şimdilik mümkün değildir. Bu çalışma, bugüne kadar
yapılan arkeolojik kazıları ve araştırmaları kapsamaktadır; yeni verilerin ortaya çıkmasıyla tezde belirsizliği görülen
noktaların süreç içinde açıklığa kavuşması beklenmektedir.
Yerel kültürel mirasın yenilenmesi ve
Afyonkarahisar'da yaşatılmaya çalışılan “Âdine” geleneği
İsmail Hakkı NAKİLCİOĞLU, Afyon Kocatepe Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Bu bildiride, kaybolmaya yüz tutmuş bir kültürel mirasın yenilenmesi olarak değerlendirilebilecek olan
Afyonkarahisar'daki “Adine” geleneğinin tekrar canlandırılması için yürütülen çalışmalar ele alınmakta ve bu
geleneğin çağdaş sosyolojik yorumunun yapılması hedeflenmektedir.
Bildirinin ilk bölümünde, yalnızca Afyonkarahisar il merkezine özgü olan ve yüzyıllardır süregelen, ancak son elli
yılda unutulup terkedilen “Âdine” geleneğinin ne olduğu, genel yapısı ve bireysel-toplumsal özellikleri
anlatılmaktadır.
Orta Asya'dan Anadolu'ya ve Balkanlar'a kadar her coğrafyada derin izler bırakmış olan Türk kültürüne ilişkin
gelenekler, zaman ve mekân boyutlarında farklı motifler halinde kendini göstermiştir. Yağmur duası da bu
motiflerden birisidir. Genel anlamda yağmur duası olarak algılanmakla birlikte, özü ve biçimi bakımından daha farklı
anlamlara sahip olan “Âdine”, yağmur yağması için uygulanan dinsel bir ritüel olmayıp, aksine, toprağı yeşerten
bereketli bahar yağmurları için yapılan bir şükür duasıdır.
Toplumsal dayanışmanın güzel ve ilginç bir örneğini sergileyen bu gelenekte, evleri kapı kapı dolaşan mahalle
çocukları pilav yapmak için yiyecek toplar. Bir avuç bulgurla bile olsa çocukları sevindiren evin kadını için hep bir
ağızdan maniler söylenerek hayır dualar edilir. Mahallenin yaşlı ve deneyimli bir kadını sokakta yakılan odun
ateşinde küçük bir kazanla bulgur pilavı pişirir. Çocuklar da “Âdine Pilâvı” adı verilen bu yiyeceği neşe içinde kapış
kapış yerler.
www.iscch2015.org
79
Bu arada pilavdan bir miktar alınarak çevredeki türbe ve yatırlara gidilir, orada dualar okunur ve kuşların yemesi için de uygun yerlere bulgur
serpilir. Böylece doğadaki diğer canlıların da bu bereketli pilavdan nasiplenmesi sağlanmış olur.
Çok yönlü toplumsal bir etkinlik olan ve mahalle çocuklarının neşeli bir işbirliği içinde tümüyle kendi girişimleriyle gerçekleştirdikleri Âdine
geleneğinin sosyolojik ve semiyotik analizi ise bildirinin ikinci bölümünde yapılmaya çalışılmaktadır.
Günümüzde internetin ve bilişim teknolojisi ürünlerinin odaya hapsedip yalnızlaştırdığı çocuklarımızı yeniden sosyalleştirmek, yakın çevreyle
ve içinde yaşadıkları semtle, mahalleyle bütünleştirmek amacıyla Afyonkarahisar'daki bir sivil toplum hareketi 2010'dan beri her yılın nisan
ayında bu etkinliği gerçekleştirmekte ve geçmişteki geleneği hem bugüne hem de geleceğe taşımaktadır.
Afyonkarahisar Yerel Tarih Araştırmaları Merkezi (AYTAM) adıyla çalışmalarını sürdüren hareket, tarihten devraldığımız kültürel mirası, özünü
koruyarak ama çağdaş koşullara uygun biçimde sonraki kuşaklara aktarmayı ve içinde bulunduğumuz tekno-semiyotik süreçte, küllenen bir
ateşi elli yıl aradan sonra yeniden parlatıp aydınlık geleceğin ışığı haline getirmeyi amaçlamaktadır.
Bildirinin son bölümünde, Âdine geleneğinin ruhunu oluşturan temel ögeler gözden geçirilmekte ve yeniden hayat bulan bu geleneğin,
özellikle inanç sistemi açısından gelecekte hem kendi insanımıza hem de dünya insanlığına hangi olumlu mesajlar sunabileceği
irdelenmektedir.
Ağaç İmgesinin Anlamlandırılması: Temur Köran'ın “Ağaç” Sergisine Göstergebilimsel Bakış
Elif OKUR TOLUN, Çankaya Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Geçmişten günümüze uzanan zaman diliminde “ağaç” farklı kültürlerde de, Türk kültüründe de önemli bir öge olarak
karşımıza çıkar. Her zaman ağaç insan yaşantısının içinde varolmuş sanatın ve sanat tarihinin de vazgeçilmez bir
konusu olmuştur.
Sıradan bir nesne gibi gözüken ağaç, tarih içinde derin anlamlar yüklenen bir nesneye, forma, mite, efsaneye, sanat
eserine dönüşmüştür. Kimi zaman hayat ağacı olarak yaşam ve ölümün simgesi, kimi zaman kişisel tarihin bir
göstergesi olarak soy ağacı, kimi zaman geleceğe ait umutları sonsuzluğu sembolize eden dilek ağaçı, kimi zaman ise
siyasi bir karşı koyuşun nesnesi haline gelmiştir. Toplumsal ve kişisel bellekte farklı şekillerde tekrar tekrar
kurgulanmış, kültürel mirasımızın bir parçası olmuştur.
Bu çalışmada ağacın Türk Sanatındaki yeralış biçimlerine bakarak nasıl bir değişim yaşadığı irdelenmiştir. Günümüz
Çağdaş Türk Sanatçıları arasında yer alan Temur Köran'ın bir eseri göstergebilimsel anlamda incelenerek, ağacı nasıl
anlamlandırdığı ele alınmıştır. Sanatçının 17 Nisan - 20 Mayıs 2014 tarihleri arasında Evin Sanat Galerisinde
sergilediği “ Ağaç “ isimli kişisel resim sergisi referans olarak alınmıştır. Köran'ın resimlerinde doğaya ait bir öğenin
kent yaşamında metropol nesnesine dönüşmesi, halkın sesini duyurmasında dinamik bir siyasi araç haline gelmesi ve
bu durumun resimsel göstergelerle nasıl sembolize edilerek sanata yansıdığı üzerinde durulmuştur.
81
Feyhaman Duran Evi - Yeri
F. Deniz ÖZDEN, Güzel Sanatlar Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
İ.Ü.Güzel Sanatlar Bölümü'ne bağlı bir birim olarak 2001 yılında açılan Feyhaman Duran Kültür ve Sanat Evi Prof.Dr.
Nurhan Atasoy tarafından başlatılmış bir projedir. Müze ev olarak korunan yapı Ressam Feyhaman Duran tarafından
İstanbul Üniversitesine bağışlanmıştır ve maddi kalıt bakımından Feyhaman Duran'ın yapıtları ve ev eşyalarıyla
oldukça zengin bir malzemeyi barındırmaktadır.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Feyhaman Duran'ın yaşadığı ev, tanımlanmış bir mekandır, bir yerdir. Mekan ve yer gündelik yaşamdaki kullanımıyla
varlık gösteren ancak anlamsal farklılıkları sorgulanmayan sözcüklerdir. Feyhaman Duran Evi'nde Christian NorbergSchulz'un Heidegger'in düşüncesinden yola çıkarak, mimarlığı varoluşcu mekan tasarımıyla bağdaştırmasını
duyumsarsınız. Mimari insanoğlu ve çevresi arasında ilişkiyi temel alarak varlık gösteren mekan tasarımını daha
doğrusu yer tasarımını içermektedir. Piaget'in insan ve mimari ilişkisi, etkileşimi bağlamında değerlendirdiği beş etki
alanı; elle tutulabilir objeler, mobilya, ev, sokak ve peyzajdır. Bundan hareketle evde yaşayanların(barınan) kimliği
eve yansır; evdeki eşyaların konumu ve yerleşim düzeni, yaşayanların ekonomik durumunu ve düşünce biçimini
göstermektedir. Bunun yanında ait oldukları toplumun değerlerini de yansıtmaktadırlar. Bu çalışmada Feyhaman
Duran, Evi ve çevresi, yapıtlarından örneklerle değerlendirilecektir.
www.iscch2015.org
Feyhaman Duran oturumu Gülser İlhan Serper anısına adanmıştır.
İstanbul Yoros Kalesi Kazıları
F. Deniz ÖZDEN, Güzel Sanatlar Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
İstanbul kentinin tarihi ve arkeolojik topografyasının gelişimi hakkındaki, arkeolojik buluntular ve tarihi kaynaklar
ışığında yapılan ve son zamanlarda artan çalışmalar dikkat çekmekle birlikte, antik Byzantium, Konstantinopolis'in
gelişimi üzerine çözülmesi gereken sorunların oldukça fazla olduğu görülmektedir.
Bu amaçla son yıllarda Bizans başkentinin en önemli sur dışı bölgesi olan Boğaziçi suyolu çevresinin antik ve
ortaçağdaki gelişimi ve yapılanması konusunda başlatılan yüzey araştırması kapsamında Beykoz Anadolu Kavağında
bulunan Yoros Kalesi kazıları önem taşımaktadır.
Boğaziçi'nin gerçek Bizans yüzü savunma yapıları ile kendini gösterir. Bunun nedeni stratejik ve askeri öneme sahip
olan bu su geçidinin her zaman saldırı tehlikesiyle karşı karşıya kalmasıdır. Bundan dolayı bölgede, ortaçağda, kent
dışı yerleşimlerinin yoğunlaşmadığı, buna karşın önemli kült ve hac yerlerinin, ve az sayıda imparatorluk
sayfiyelerinin bulunduğu görülür.
Boğazın Karadeniz'e açılan en önemli noktasında Anadolu sahilinde İstanbul'un tek Bizans kalesi olan Yoros Kalesi
çabalarımız ve T.C. Kültür ve Turizm Bakanlığımızın desteği ile Unesco geçici miras listesine girmiştir.
İstanbul Üniversitesinin, İstanbul'daki tek arkeolojik kazısı Konferansta katılımcılara da tanıtılmış olacaktır
www.iscch2015.org
83
Arkeolojik Buluntuların Değerlendirmesinde Deneysel Arkeolojik Yöntemlerin Önemi
ve Yeniden Üretimin Kültür Mirasının Korunması Bilincine Katkıları
Yüksel DEDE,Taşınabilir Kültür Varlıklarını Koruma ve Onarım Bölümü, İstanbul Üniversitesi, Türkiye, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Deneysel Arkeoloji yöntemleri, kazılarda ortaya çıkarılan buluntuların yapım ve kullanım süreçlerinde geçirdiği
aşamaları bilimsel kriterler içinde değerlendirilmesidir. Bu çalışma o dönemde yaşayan insanı sosyal, kültürel ve
teknolojik açıdan daha iyi anlaşılmasına yardımcı olur ve bizi bir çeşit zaman yolculuğuna çıkarır. Bu çalışmalar sadece
bilim insanları için değil,, gösterge bilimsel açıdan da herkesin kültürel geçmişimizi daha iyi anlaması açısından
önemlidir. Bunun örneklerini birçok ülkede görmekteyiz.
Bu çalışmalar aynı zamanda bizim kültürel yaşamımızı oluşturan, ancak binlerce yıldır unutulmuş kültürel
zincirimizin kayıp halkalarını da bulmamıza olanak sağlar. Deneysel çalışmalarla elde edilen veriler ışığında, toprak
altından çıkarılan buluntuların farklı disiplinler tarafından yeniden yorumlanarak, müze vitrinlerinin dışına taşınması
ve yaşamımızın içinde yer alması önemlidir. Bu, kültür bilincinin gelişmesi, pekişmesi ve neyi, neden, nasıl
korumamız gerektiği sorusunun yanıtlanmasında da yol gösterici bir görev üstlenir.
Résumés en Français
Forme et signification dans le discours musical des organistes français du « Grand Siècle » :
vers l'établissement d'une nouvelle typologie
Juan David BARRERA, France, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
La connaissance d'un objet, notamment dans le domaine des sciences humaines, est difficilement abordable sous
un angle purement « objectif » en raison du besoin de considération de la globalité des phénomènes culturels
subjectifs dans lesquels cet objet s'est produit. Ainsi, la problématique centrale de notre sujet de recherches, visant
l'étude du rapport que la musique des organistes français du Grand Siècle entretient avec la représentation du sacré,
doit prendre en considération le fait que l'horizon culturel du XVIIe siècle se focalise sur une vision analogique du
monde dans laquelle toute construction de la pensée se fonde sur comparaisons, allégories, métaphores, etc.,
autrement dit, sur un univers symbolique basé sur des constructions de l'esprit, sur un « non-objet ». Dans les études
musicologiques les plus importantes sur ce sujet , le plan objectif à été largement étudié par l'élaboration de
typologies qui privilégient la notion de forme. En revanche, la considération du plan subjectif, en rapport aux enjeux
signifiants du discours musical, est visiblement négligée. Cette négligence trouve son origine dans des préjugés
envers une tradition qui, en raison de son amalgame avec le langage officiel de la Cour louis-quatorzienne
(notamment avec le style des danses, ainsi que le lyrisme de l'Air de Cour et de la tragédie lullyste), semblerait a
priori avoir un rôle d'« ameublement » liturgique étranger à l'expression du sacré et du sentiment religieux. Or, à
l'encontre de cette vision généralisée, nous considérons que, malgré le glissement d'éléments de la musique
profane (ce qui est d'ailleurs un phénomène courant dans la musique sacrée de l'époque), ce répertoire répond à
une volonté communicative liée aux objectifs primordiaux de l'art chrétien du « Grand Siècle » (véhiculer la
doctrine), et que les notions de forme et signification qu'articulent ledit discours forment une unité assurant la
transmission du sens.
87
De ce fait, dans la tentative de décryptage du sens sacré sous-jacent que comporte cette musique, notre démarche analytique doit associer
les caractéristiques du discours des organistes (formes cultivées, esthétiques, agencements des topiques musicaux, etc.), avec les aspects
subjectifs du phénomène religieux dans lequel ce répertoire a vu le jour (tels que la conscience du croyant de l'époque, sa perception du
sacré, sa vision particulière du monde), ainsi que de l'ensemble des moyens symboliques employés dans ce contexte spirituel pour désigner
Dieu et le Sacré (images métaphoriques et allégoriques). Ainsi, on fera nécessairement recours à des approches telles que la
phénoménologie de la religion et la théologie symbolique, aussi bien qu'a la sémiotique et l'herméneutique musicales.
Par notre intervention, nous voudrions exposer une typologie du répertoire d'orgue français du Grand Siècle cherchant à rendre compte du
processus de signification à travers lequel le discours musical serait en mesure de véhiculer le message sacré. Ce processus comporterait une
double axe : une dimension communicative d'une part (formes cultivées par l'ensemble des compositeurs de cette école, à l'instar des
préludes, fugues, récits lyriques, duos, trios), ainsi que d'une dimension signifiante, d'autre part (agencement de topiques musicales à
l'intérieur des formes, par exemple le majestueux, le pastoral, le lamento, le combat, etc.). L'élaboration de cette typologie a pour but
principal la considération globale de la forme et la signification musicale de l'orgue français du Grand siècle en tant que manifestation des
enjeux esthétiques et religieux d'une culture ; cette considération pourrait apporter au contexte musical d'aujourd'hui (et tout
particulièrement aux interprètes) une compréhension renouvelée d'une tradition musicale qui vise essentiellement la représentation du
sacré.
Héritage culturel et globalisation: la chanson française à texte depuis 1980
Jean-Marie JACONO, France, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Une forme de chanson a été très importante en France à partir des années 1950 : la chanson "à texte". Très différente
du rock, ce type de chanson a mis en valeur des paroles sur des musiques simples, mais expressives. Elles ont eu pour
thème l'amour, la solitude, les problèmes sociaux, le refus des conventions sociales et la révolte. Cette chanson a
représenté une identité culturelle française. Des interprètes comme Barbara, Brassens, Brel, Ferré et même Edith
Piaf ont permis à cette chanson "à texte" d'être connue au-delà de la France.
Que devient cet héritage culturel aujourd'hui ? Le développement des techniques d'enregistrement, de
l'informatique, du son électronique, des médias et de la globalisation (mondialisation) culturelle conditionne
l'expression des interprètes. L'utilisation de la langue anglaise, la présence de nouveaux modes d'expression et
internet ont transformé les formes de la chanson. Quels sont les "signes" de cette nouvelle culture ? Trois types de
chanson existent aujourd'hui. La sémiotique existentielle et son zemic model permettent de définir leurs
caractéristiques fondamentales. La sociologie aussi. Sémiotique et sociologie permettent enfin de préciser la
relation à l'héritage culturel : dans une culture mondialisée définie par la circulation de l'information, le village global
et le réseau, l'utilisation de certaines techniques conduit à la disparition du patrimoine culturel.
89
Representation of Retour a la Willa Nevski (Novel by Eero Tarasti)
Jean-Marie JACONO, France, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Le roman intitulé "Retour a la Willa Nevski" écrit en français par Eero Tarasti sera présenté par Jean-Marie Jacono qui
réalisera un discours tenu avec Eero Tarasti.
The novel entitled "Retour a Willa Nevski" written in French by Eero Tarasti will be presented by Jean-Marie Jacono
who will realize a speech held with Eero Tarasti .
Eero TARASTI'nin Fransızca yazdığı romanı “Retour a la Willa Nevski” Jean-Marie JACONO tarafından tanıtılacaktır
ve Eero Tarasti ile bir söyleşi gerçekleştirecektir.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Poésie comme quête de la présence
Monir KHALVATI, Iran, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
L'attention de la part des poètes à une nudité initiale du monde et des mots, est requise par la phénoménologie
comme par la sémiotique. En poésie moderne et contemporaine, la formation du sens dans le poème serait donc
intimement liée à la présence sensible. La poétique du corps caractérise la façon propre du poète de s'envisager luimême, ainsi que d'envisager le monde. Le poète habite le monde par cette présence du corps, présence doublement
signifiante car elle est un rapport par excellence à l'intimité tout autant qu'un rapport à l'altérité. Notre étude visera
à démontrer : par quels moyens il est possible de témoigner d'une présence, immédiate, à l'aide de mots qui, eux,
instituent, par la médiation et le concept, tout un système de signes.
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
91
L’analyse des différents modèles de l’énonciation chez les soufis et les mystiques
persanophones : Sama, verset labial et la poésie mystique
Marzieh ATHARI NIKAZM, l'Université Shahid Beheshti, Iran, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
Dans cet article, nous allons analyser les particularités discursives et énonciatives du discours des mystiques et des
soufis persans. Nous voulons montrer qu'il y a de modèles différents de l'énonciation chez ses derniers : la danse
Sama, la poésie et des versets labiaux. Ces versets sont en effet des proses poétiques et nous voyons des
propositions très bizarres (Shath) comme gloire à moi, Je suis Dieu (de Halladj), etc. par lesquelles le sens déborde.
C'est toujours la question de la transcendance. Dans tous ces modèles de l'énonciation que ce soit avec le corps et
par le langage non-verbal comme la danse mystique ou par le langage littéraire, il y a un Soi qu'ils essaient de mettre
en scène. C'est la mise en pratique du "croire sans voir" qui atteint son point culminant dans la concentration
permanente d'un soi-ipse sur le Principe surintelligible.
Cette dimension mystique, un sous-ensemble de la dimension cognitive, contribue au sens qui reste incomplet et
toujours dans le voile pour les gens ordinaires. Tout cela mène à une sorte de philosophie l'Unité de l'existence
abordée et expliquée par Ibn Arabî.
Il vaut mieux ajouter qu'ils mettent en pratique une sorte d'éthique qui est différente de la morale issue de la religion
et de l'éthique de la laïcité. Leurs discours montrent un dépassement de soi qui atteint à un Soi transcendantal et qui
entraîne un débordement du sens. Des valeurs individuelles, ils atteignent aux valeurs ontologiques. L'objectif de
cette recherche est de montrer que chez les mystiques et les soufis, la véritable connaissance de soi est celle du Soi
surhumain et infini qui est le seul Réel même. C'est pourquoi le sens déborde. Et c'est la constante "affirmation de
l'Un" (at-tawhîd), qui aboutit à l'"extinction" de l'illusion existentielle dans la "réalisation de l'Essence (suprême)".
www.iscch2015.org
Musique et Idéologie vue à travers l'œuvre artistique et l'action
sociopolitique de Mikis Theodorakis
Kalliope STİGA, Grèce, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
«... très maligne la nature, elle m'a offert cette issue, pour ne pas m'affoler et pour survivre. Lors de tous les
moments difficiles, l'Art et plus particulièrement la musique, ouvrait une porte à mon existence…(…)». C'est ainsi
que le compositeur, homme politique et penseur Grec le plus reconnu mondialement, Mikis Theodorakis, décrit la
délivrance qui lui était offerte par le biais de la musique aux moments où le combattant et le créateur s'identifiaient
en lui-même. Car, dans sa vie, Musique et Politique, Politique et Musique sont étroitement liées. Résistant pendant
la Seconde Guerre Mondiale (1940-1944), combattant communiste pendant la Guerre Civile Grecque (1945-1949),
militant enflammé contre la Junte des Colonels (1967-1974), Theodorakis a consacré aussi bien son œuvre artistique
que son action politique au service de la Liberté, de la Démocratie, de la Justice Sociale… Tenant en considération
que pendant les périodes de lutte armée, de prison ou d'exil, plusieurs œuvres ont vu la lumière du jour par la plume
de Theodorakis, le but de cette communication est, d'une part, en s'appuyant sur les écrits littéraires du
compositeur (autobiographie, textes politiques, articles…), de mettre en évidence les circonstances dans lesquelles
ces œuvres sont nées et d'autre part, à travers une analyse poético- musicale des œuvres spécifiquement choisies
(comme entre autres, De l'Exil A', La Ballade du Frère Mort, Les chansons d'Andréas, Le Soleil et le Temps, les
Arcadies…), de révéler les raisons pour lesquelles le compositeur les caractérise de «témoignages d'une époque
tragique et cosmogonique». Par ailleurs, le caractère antimilitariste, diachronique et œcuménique de l'ensemble de
l'œuvre théodorakienne sera évoqué
93
Prédestination Métaphorique Du Patrimoine Culturel
Daina TETERS, Latvia, [email protected]
INTERNATIONAL
SEMIOTICS CONFERENCE
7-10 May, 2015
İstanbul Üniversitesi,
İstanbul/TÜRKİYE
Semiotics of
Cultural Heritages:
Authenticity to
Informatics
www.iscch2015.org
Depuis le temps de John Locke, tout européen a perdu l'habitude de se voir défini dans les catégories de spectre animalier comme un animal doué de qualités spécifiques - il s'est redéfini propriétaire. La révolution du droit naturel de propriété
prévoyait aux 17e - 18e siècles le droit de chacun à la vie, à la liberté et à la propriété, au 20e siècle, cette propriété a été
augmentée par « le tout », et, par conséquence, par le droit au patrimoine culturel ou plusieurs d'entre eux. Si, dans le
premier des cas, les contours du droit de propriété se tracent comme une notion, dans le cas du patrimoine culturel, les
problèmes inévitables surgissent quant à l'objet de l'héritage et la description du processus du legs. Le problème n'est pas
approfondi par le fait que la constante de base - la culture - soit une notion difficile à opérer par des outils scientifiques, il
est vrai qu'elle est variable et peut avoir l'usage soit vaste, soit étroit ; le problème est causé par le fait que le patrimoine
culturel appartient à des abstractions collectives qui n'ont pas de destinataire direct prévu par le droit romain. Ainsi, le
processus de la sélection du patrimoine ou le processus de succession ne peut être compris que dans un sens figuré.
Malgré les difficultés mentionnées, le patrimoine culturel prétend au statut de terme juridique et de notion scientifique et
il a été adapté à une série de documents juridiques internationaux, il est vrai qu'il révèle inévitablement les difficultés de
langage descriptif et les difficultés d'usage explicite. Parmi les dernières, citons les suivantes : le patrimoine culturel a un
certain statut privilégié en tant que propriété collective par rapport à d'autres propriétés, sa sélection d'après les indices
extérieurs signale l'apparition de l'irrationnel, les rapports entre l'héritier prévisible et le patrimoine ne sont pas
réglementés par un système, les relations entre le propriétaire décédé et l'héritier survivant qui « ranime » le bien culturel
sont compliquées etc. Les problèmes mentionnés ne se prêtent pas aux explications précises juridiques, ils font appel aux
analogies et aux métaphores. La communication présente est dédiée aux spécificités du fonctionnement de l'héritage
culturel, par exemple, intervenant en statut de sujet indépendant, aux particularités de sa verbalisation, aux métaphores
liées avec ce sujet comme renouvellement, ranimation, reconstruction, héritage successif, arrachement des profondeurs
de l'oubli et d'autres parallèles archéologiques et d'autres réseaux métaphoriques ainsi qu'aux conséquences de l'usage
dû à l'apparition du patrimoine culturel dans la richesse mentionnée langagière.
ACTIVITIES
ETKİNLİKLER
LES ACTIVITÉS
Documentaries
1 - Nida OLÇAR,
"Sıtkı OLÇAR- UNESCO
Living Human Treasure"
2 - Remziye KÖSE ÖZELÇİ,
F. Deniz ÖZDEN
"Zeugma, The Lost City"
3 - Selçuk GÜRIŞIK
"Narrating With The
Documented Journey Of
The Felted,
Culture-Objects…"
Belgeseller
1 - Nida OLÇAR,
"Sıtkı OLÇAR- UNESCO
Yaşayan İnsan Hazinesi"
2 - Remziye KÖSE ÖZELÇİ,
F. Deniz ÖZDEN
"Yitik Kent Zeugma"
3 - Selçuk GÜRIŞIK
"Keçeden
kültür ürünlerinin
yolculuğunu belgeseller
ile nakletmek..."
Documentaire
1 - Nida OLÇAR,
"Sıtkı OLÇAR- UNESCO
Le trésor de l'homme vivant"
2 - Remziye KÖSE ÖZELÇİ,
F. Deniz ÖZDEN
"Zeugma, la ville perdue"
3 - Selçuk GÜRIŞIK
"Les culture-objets,
raconter
le voyage documentaire
du feutre.."
ACTIVITIES
ETKİNLİKLER
LES ACTIVITÉS
Exhibitions
1 - Exhibition of Selçuk & Ali
2 - Exhibition of Sıtkı Olçar and
Nida Olçar
3 - Exhibition of Kifayet Özkul
From Traditional Turkish
ceramics to modern
designs
4 - Exhibition of Yüksel Dede
Reproduction studies of
neolithic chalcolithic period's
ceramics and neolithic
period stone technology's
tools by experimental method
Sergiler
1 - Selçuk & Ali Sergisi
2 - Sıtkı Olçar ve Nida Olçar
Sergisi
3 - Kifayet Özkul Sergisi
"Geleneksel Türk
Seramiklerinden Çağdaş
Tasarımlara"
4 - Yüksel Dede Sergisi
Neolitik Kalkolitik Dönem
Seramiklerinin ve Yontma Taş
- Sürtme Taş Aletlerin
Deneysel Yöntemler İle
Yeniden Üretim Çalışmaları
Workshop
1 - Kifayet Özkul
Work of earthenware
underglazed decoration
Çalıştay
1 - Kifayet Özkul
Çin'i Sıraltı Çalışması
L'exhibition
1 - L'exhibition de Selçuk & Ali
2 - L'exhibition de Sıtkı Olçar et
Nida Olçar
3 - L'exhibition de Kifayet Özkul
des céramiques
traditionnelles turques aux
formes modernes
4 - L'exhibition de Yüksel Dede
Les études de reproduction
de la céramique de la
période néolithique
calcholithique et des outils de
la technologie de pierre de la
période néolithique avec les
méthodes expérimentales.
Atelier
1 - Kifayet Özkul
Le travail de faience en
peinture de sous-glaçure
www.iscch2015.org
Semiotics of Cultural Heritages:
Authenticity to Informatics
In support of
UNESCO’S 70th
Anniversary Celebrations
United Nations
Educational, Scientific and
Cultural Organization