DOCSLIB.ORG

Turkish Cosmo Girls, Soap Fans and Guitar Heroes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Turkish Cosmo Girls, Soap Fans and Guitar Heroes TURKISH COSMO GIRLS, SOAP FANS AND GUITAR HEROES: RESISTIVE PLEASURES OF TURKISH WOMEN CONSUMING AND PRODUCING TRANSNATIONAL AMERICAN POPULAR CULTURE BY ASLIHAN TOKGÖZ ONARAN B.A., BOĞAZİÇİ UNIVERSITY, 1997 M.A., İSTANBUL UNIVERSITY, 2000 A.M., BROWN UNIVERSITY, 2003 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF AMERICAN CIVILIZATION AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2010 © Copyright 2010 by Aslıhan Tokgöz Onaran This dissertation by Aslıhan Tokgöz Onaran is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ____________ _____________________________ Susan Smulyan, Advisor Recommended to the Graduate Council Date ____________ _____________________________ Lynne Joyrich, Reader Date ____________ _____________________________ Philip Rosen, Reader Approved by the Graduate Council Date ____________ _____________________________ Sheila Bonde, Dean of the Graduate School iii Vita Aslıhan Tokgöz Onaran was born on December 26, 1976, in Istanbul, Turkey. She received her Bachelor‟s degree in English Education in 1997, in the Department of Foreign Language Education at Boğaziçi University in Istanbul. Prior to her Ph.D. studies, Aslıhan served as Lecturer in English at the Department of Foreign Languages of Doğuş University for three years, during which time she received her Master‟s degree in American Culture and Literature at Istanbul University. She then moved to the United States for her Ph.D. degree in the Department of American Civilization at Brown University under the supervision of Professor Susan Smulyan. Aslıhan‟s research and teaching interests in gender politics and the localized actualizations of global cultures are informed by her subjectivity as a transnational feminist. Throughout her life, Aslıhan has observed, participated in, been intrigued by and critically investigated the multivalent local manifestations of imported cultures such as television shows, women‟s magazines and pop music, particularly in terms of their relationship to gender, sexuality and national identity in Turkey, the United States and beyond. At Brown, Aslıhan‟s graduate studies focused on popular culture studies, “women‟s genres,” theories of globalization, media flows, audience studies and identity politics as well as feminist theory and ethnography. Her preliminary research fields included transnational popular cultures; representation of race, gender and nation in U.S. film, national and “third” cinemas; twentieth century American literature with a focus on ethnic and women‟s literatures; and, Feminist and Postcolonial Studies (with a regional focus on the Middle East). iv Aslıhan Tokgöz Onaran is currently Lecturer in Screen Studies at the Screen Studies Program of the Department of Visual and Performing Arts at Clark University, MA, where she teaches interdisciplinary courses on critical theory, world cinemas and global media cultures. Her selected publications include: 1. Forthcoming. “Counterpatriarchal Pleasures of Muslim Turkish Women: A Feminist Ethnography of Rural Women Watching American Daytime Television.” In Gender Justice in the Muslim World, ed. Rogaia M. Abusharaf. Philadelphia: University of Pennsylvania Museum Press. 2. 2009. “Öteki‟ne Bakış: Batılı ve „Öteki‟ Türk Kimlikleri Arasındaki İlişkinin Amerikan Sinemasında İmgelenmesi” (“Gazing at the Other: Representation of the Relationship Between the West and the Turkish Other in American Cinema”). In Kimlikler Lutfen: Turkiye Cumhuriyeti’nde Kulturel Kimlik Arayisi ve Temsili (“IDs Please: In Search of Cultural Identity and Representation in the Turkish Republic”), ed. Gonul Pultar, 434-447. Ankara, Turkey: Middle Eastern Technical University Publications. 3. 2007. “The Feminist Movement,” “Feminine Mystique,” and “Disney Theme Parks.” In Postwar America, ed. James Ciment. New York: M.E. Sharpe. 4. 2005. Anadolu‟da Kadin, Cinsellik ve Medya (“Women, Sexuality and Media in Anatolia”). Yeni Aktuel 10: 88. 5. 2005. “Turkish American Literature.” In Encyclopedia of Multiethnic American Literature, ed. Emmanuel S. Nelson, 2180-2183. Westport, CT: Greenwood. v 6. 1998. American Adam Under Threat: Revitalization of the Myth of the American Indian in Sherman Alexie's Captivity. Doğuş University Journal 1: 201-212. vi I dedicate this dissertation to my college sweetheart, Burak, my precious son, Berk, and to my dear mother, Münire Baylantahtacı. vii Acknowledgements This dissertation would not have been possible without the support from many people: my mentors, colleagues, friends and family. I would like to express my gratitude to these individuals for their contributions to my academic career. I would first like to thank my advisor and dissertation director Professor Susan Smulyan for being an amazing mentor, scholar and teacher. Susan has helped me immeasurably with her exceptional insight and guidance as well as with her continued faith in me throughout my graduate studies. I owe her gratitude for her valuable suggestions along the way and for providing personal and scholarly support whenever she could. I have been lucky to work with an advisor who would offer to „Skype‟ me to discuss my dissertation even when she was on sabbatical at the other end of the world. I am also grateful to my readers, Professor Lynne Joyrich and Professor Philip Rosen, for their time and constructive feedback on my dissertation. I would like to thank Professor Rosen also for our preliminary field studies on national cinemas and for inspiring me, through his seminar, to „historicize‟ theory. I am thankful to Professor Joyrich also for allowing me to sit in on the “Mediated Bodies/Bodies of Mediation” seminar at Brown‟s Pembroke Center. A special thanks to Professor Rogaia M. Abusharaf, my preliminary field advisor in Feminist and Postcolonial Studies, and a great teacher, colleague and friend, for introducing me to the critical study of international feminism, for inviting me to join her Pembroke research seminar, Gender and Traditional Muslim Practices, and for helping me share my research with other scholars. viii I would also like to thank Professor Mutlu K. Blasing for her guidance during my preliminary field studies with her, and for being a role model to me as the only other Turkish Ph.D. graduate in American Civilization at Brown; Professor Jane Gerhard for introducing me to feminist media studies through our conversations during my teaching assistantship in her class; Professor Carol Delaney, for graciously reading a much longer draft of my first chapter, and Professor Suheyla Kırca Schroeder for sharing her research on women‟s magazines with me. I would like to express my gratitude to Professor Robert Coover, one of the foremost American fiction writers and intellectuals, for his continued support before and after I entered Brown. I would like to thank him for continuing to inspire me with his exciting work on digital media and for inviting me to the Brown International Literary Arts Festival to introduce Turkish Nobel Laureate Orhan Pamuk. I have made wonderful friends during my graduate studies at Brown many of whom are doctors today. I‟d like to thank Dr. Stéphanie F. Larrieux for being an amazing friend, for co-founding our “dissertation chat-and-chew,” for trying all the coffee shops in the area with me, for giving me a hand that time when I had difficulty walking up College Hill with my confused mind of baby names and dissertation titles we had discussed, as well as for the fun times in New Mexico, and the support she has given me throughout Brown and beyond. I have been lucky to be a member of such a great cohort, and am grateful for the friendship of my fellow classmates, Dr. James V. Gatewood, Dr. Mikiko Tachi and Kelli Shapiro. I am especially grateful to Dr. Susanne Wiedeman, a wonderful friend and an excellent scholar and teacher. I can‟t thank her enough for being there for me every step ix of the way, for reading multiple drafts of my chapters, for the „feel good‟ packages, and for flying all to way to Istanbul as my guest of honor. I would also like to thank a special person, Dorte M. Aggergaard, another „European gal,‟ who brightens up any space with her presence, for crossing paths with me and with “Afitap.” Many thanks to Jin Suk Bae, Aiko Takeuchi and Kübra Inkayali for their friendship and “abla/big sister” vibes that my son Berk just loved (and so let me finish this dissertation!); to Jennifer Meeropol, who provided me the balance I needed at times and for the delicious home-made burritos; to Lutfiyah Ahmed for being the best roommate I could have asked for; to Dr. Gill Frank for stimulating intellectual discussions even when I was „wearing‟ Berk; to Tülay and Peter Lawton for their positive energies and endless support without which this dissertation would not be accomplished; to Dr. Bahar Bilgen for her grounded perspective and encouragement as a fellow „AP Mama Ph.D” and Boğaziçi alum; and, to all members of the Gordon family for accepting me and my family as one of their own. I would especially like to express my gratitude to my dearest friend, Karçiçeği Aykurt, whose mere presence and sunshiny voice gave me hope when I most needed it, for always believing in me and in “the spirit of 1976.” Many thanks also go to Maral Ötüken and all members of the Ötüken family for their long-time support; Dr. Balkız Öztürk, a great friend and colleague, for our conversations
Load more

Recommended publications
  • Popular Music and National Culture in Israel, by Motti Regev and Edwin Seroussi
    Review Popular Music and National Culture in Israel, by Motti Regev and Edwin Seroussi. Berkeley–Los Angeles–London: University of California Press, 2004. Paperback, 308 pp., ISBN 0 520 23654 8 The study of popular music in Israel is a relatively new field. Although it has a history of more than a century, since the beginning of the Zionist establishment in Israel in the late nineteenth century, the bulk of this genre was created after the establishment of the State of Israel in 1948. The few studies of the popular music of Israel’s Jewish population that were carried out before the 1980s dealt mainly with the genre known as “Songs of the Land of Israel.”1 From the early ’80s until the beginning of the twenty-first century, the range of subjects covered by this research was expanded. “Songs of the Land of Israel” still played a central role,2 but other categories of Israeli popular music, such as “Oriental” or “Mediterranean” music,3 and Israeli rock,4 were also studied, as was the influence of foreign music on Israeli popular music.5 Another field of research developed in the early twenty-first century was the detailed analysis of the musical and linguistic characteristics of composers and poets whose work was set to music. This music, too, belongs to the category of “Songs of the Land of Israel.”6 The book reviewed here differs from previous studies in that it provides a broad, overall view of popular music in Israeli society. It is the first attempt to survey Israel’s popular music as a complete field of research.
    [Show full text]
  • When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
    Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it.
    [Show full text]
  • Dead but Not Powerless Series to Be Published but It Was Worth the Has a Fast Pace and Commands Your Atten- Words As “Odiferous” and “Prickle.” Do 18 Wait
    August 17, 2018 | Volume XVI, Issue 8 “First and foremost, the foundation of my life is my vocation. I’m very clear that credits his Buddhist tools of compassion I was born to be the priest that I am – it Living His Most Authentic Life and authenticity with helping him to sit with centers me, and I often have to go back to people who have undergone traumatic ex- that. As a priest/activist: how do I culti- covered, then you have access to their tal- Buddhist practitioner. When the LGBTQ periences. vate my humanity and help others do the ent …” community came together in the wake of While advancing professionally, Mer- same? That anchors me.” – REV. MErrICK It is vintage Merrick to be determined a number of murders of transwomen and rick had always struggled to nav- MOSES to bring his community up with him, to be formed an Advisory Council to reach igate his identity, eventually BY SAGE PIPER an example for others. This had been his out to city officials he was there, identifying himself as Last week, the Baltimore City way ever since he returned and he was the natural pick for gender-nonconforming Board of Estimates made A profile of to Baltimore from New York State’s Attorney Marilyn Mos- Of many in his 30s. To steady history when they lifted the in 2001. At that point he was by to hire as Victim’s Advo- hats – himself he used Merrick health-insurance exclusion Merrick Moses, following a romance. The cate early in her first term.
    [Show full text]
  • The Story of Israel at 66 Through the Songs of Arik Einstein
    1 The Soundtrack of Israel: The Story of Israel at 66 through the songs of Arik Einstein Israel turns sixty six this year and a so much has happened in this seemingly short lifetime. Every war, every peace treaty, every struggle, and every accomplishment has left its impact on the ever changing character of the Jewish State. But throughout all of these ups and downs, all of the conflicts and all of the progress, there has been one voice that has consistently spoken for the Jewish nation, one voice that has represented Israelis for all 66 years and will continue to represent a people far into the future. That is the voice of Arik Einstein. Einstein’s music, referred to by Prime Minister Benjamin Netanyahu as the “soundtrack of Israel,” transcended generations. Einstein often took the words of high-brow Israeli poets such as Chaim Nachman Bialik, Rahel, Nathan Alterman and Avraham Halfi and turned them into rock anthems sung by vibrant Israeli youth. Einstein captured the heart and soul of Israelis old and young. For every Zionist, peacenik, settler, hopeless romantic, nostalgia aficionado and child (or child at heart) in Israel, there is at least one Arik Einstein song that speaks to them. For every historic Israeli moment, there is an Arik Einstein song that represents the emotion of a united nation, or a shuttered people. Although fairly unknown outside of Israel, Arik Einstein was loved by all, and mourned by all after his sudden death in November of 2013, when tens of thousands of Israelis joined together to pay their respects to the iconic Sabra at a memorial service in Rabin Square in Tel Aviv.
    [Show full text]
  • Return: the Counter-Diasporic Migration of German-Born Turks to Turkey
    MIM Research Seminar 8: 11 April 2013 ‘Euro-Turks’ return: the counter-diasporic migration of German-born Turks to Turkey Russell King* and Nilay Kılınçᶧ * Willy Brandt Guest Professor of Migration Studies, Malmö University 2012-13 ᶧ Intern at MIM, Malmö University, and MA student in European Studies, Lund University Outline of Seminar • Turkish migration to Europe and Germany, and the ‘Euro-Turk’ phenomenon • Theoretical and contextual background: the second generation, counter-diaspora, transnationalism, and return migration • Three main research questions: pre-return, return, and post-return • Research methods and sites: Istanbul and Black Sea coast, 35 participant interviews • Findings: growing up ‘Turkish’ in Germany • Findings: five narratives of return • Findings: post-return experiences, achievements, and disappointments • Conclusion 1 Introducing Turkish migration to Europe • Turkey is the largest single source country for immigration into Europe, mainly to Germany, but also substantial numbers in the Netherlands and Belgium, as well as the UK, France, Austria, Sweden, Denmark and elsewhere • Turkish migration to Germany is the third largest in the world (after Mexico US and Bangladesh India). Estimated ‘stock’ of 2.7 million Turks in Germany, where they are the largest group • Turkish migration to Germany was classic labour migration, managed by bilateral recruitment agreements 1961-64. Following Robin Cohen’s (1997) typology of diasporas, it is a labour diaspora • Labour migration Turkey Germany heavily concentrated in years 1961-73, but with a qualitative change within those years: initially from urban areas of Turkey, people with above-average education and skills; later, lower-educated unskilled workers from rural Turkey 2 Guestworkers, Settlers, ‘Euro-Turks’ • Turks in Germany are classic case of ‘guests who stayed for good’ as the Gastarbeiter soon became (semi-)permanent settled community.
    [Show full text]
  • The Sociology of Music Timothy Dowd, Emory University
    The Sociology of Music Timothy Dowd, Emory University Journal Title: 21st Century Sociology: A Reference Handbook Volume: Volume 2 Publisher: SAGE Publications | 2007, Pages 249-260 Type of Work: Article | Preprint: Prior to Peer Review Permanent URL: http://pid.emory.edu/ark:/25593/cr9m9 Accessed September 25, 2021 9:46 PM EDT Dowd, Timothy J. 2007. “The Sociology of Music.” In 21st Century Sociology: A Reference Handbook (Volume 2), Edited by Clifton D. Bryant and Dennis L. Peck. Thousand Oaks, CA: Sage, pages 249-260, 440 and 505-512. Timothy J. Dowd.∗ [email protected] Emory University Timothy J. Dowd is Associate Professor of Sociology at Emory University. His research deals with the sociology of music, as well as with the sociologies of culture, media and organizations. His publications include articles in American Sociological Review, Social Forces, Annual Review of Sociology, and Administrative Science Quarterly. He has also edited special issues for journals, including “Explorations in the Sociology of Music” (Poetics, 2002), “Music in Society: The Sociological Agenda” (with Richard A. Peterson, Poetics, 2004), and “The Sociology of Music: Sounds, Songs, and Society” (American Behavioral Scientist, 2005). Introduction The sociology of music has enjoyed a notable boom during the final decade of the twentieth century and the early years of the twenty-first century. This is partly evident in the rising number of publications that address music in some capacity, be it the creation, dissemination, or reception of various musical genres.
    [Show full text]
  • Roll to Hard Core Punk: an Introduction to Rock Music in Durban 1963 - 1985
    Lindy van der Meulen FROM ROCK 'N 'ROLL TO HARD CORE PUNK: AN INTRODUCTION TO ROCK MUSIC IN DURBAN 1963 - 1985 This thesis has been submitted in fulfilment of the degree of Master of Music at the University of Natal DECEMBER 1 995 ACKNOWLEDGEMENTS The financial assistance of the Centre for Science Development (HSRC, South Africa) towards this research project is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the Centre for Science Development. The valuable assistance and expertise of my supervisors, Professors Christopher Ballantine and Beverly Parker are also acknowledged. Thanks to all interviewees for their time and assistance. Special thanks to Rubin Rose and David Marks for making their musical and scrapbook collections available. Thanks also to Ernesto Marques for making many of the South African punk recordings available to me. DECLARATION This study represents original work of the author and has not been submitted in any other form to another University. Where use has been made of the work of others, this has been duly acknowledged in the text . .......~~~~ . Lindy van der Meulen December 1995. ABSTRACT This thesis introduces the reader to rock music in Durban from 1963 to 1985, tracing the development of rock in Durban from rock'n'roll to hard core punk. Although the thesis is historically orientated, it also endeavours to show the relationship of rock music in Durban to three central themes, viz: the relationship of rock in Durban to the socio-political realities of apartheid in South Africa; the role of women in local rock, and the identity crisis experienced by white, English-speaking South Africans.
    [Show full text]
  • Does Race Matter in International Beauty Pageants? a Quantitative Analysis of Miss World B S Z  R  W , PD U    B   C 
    Does race matter in international beauty pageants? A quantitative analysis of Miss World B S Z R W, PD U B C Abstract: Most research on race and beauty pageants uses qualitative research methods and focuses on national beauty pageants. For this reason it is unclear whether there are broad patterns of racial inequalities in international beauty pageants. My study addresses this issue by using a quantitative approach to examine whether race affects success rates in international beauty pageants. This study examines countries that have competed in the Miss World pageant from 1951 to 2011 and examine each country’s probability of winning and being in the semi- fi nals. The analysis shows that race matters. White countries have a much higher chance of winning and being in the semi-fi nals than non-white nations. Furthermore, white nations have been over-represented as winners and semi-fi nalists while non-white nations have been under-represented in both those categories. The patterns of success for white nations and lack of success for non-white nations demonstrates that beauty is not neutral and that global beauty pageants can be seen as a refl ection of racial hierarchies and a reaffi rmation of the ideology of white beauty. Introduction Studying Race in Beauty Pageants than simple phenotypes, in beauty pageants Browsing through the headshots of the Although race is a socially constructed where the body is visually displayed, physical 2011 contestants on the websites of the Miss concept, the concept of race and racism appearance is a noticeable way of signifying World and the Miss Universe pageants, the persists3, and in order to study racial race.5 Moreover, the general public that view women’s beauty was indisputable.
    [Show full text]
  • Anadolu Türkülerinin Anadolu Pop- Rock Müzik Türüne Uyarlanmasinin Halkbilimsel Incelenmesi
    T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TÜRK DİLİ VE EDEBİYATI ANABİLİM DALI TÜRK HALK EDEBİYATI BİLİM DALI DOKTORA TEZİ ANADOLU TÜRKÜLERİNİN ANADOLU POP- ROCK MÜZİK TÜRÜNE UYARLANMASININ HALKBİLİMSEL İNCELENMESİ Nafiz CAMGÖZ 2502120512 TEZ DANIŞMANI Prof. Dr. Abdulkadir EMEKSİZ İSTANBUL – 2019 ii ÖZ ANADOLU TÜRKÜLERİNİN ANADOLU POP-ROCK MÜZİK TÜRÜNE UYARLANMASININ HALKBİLİMSEL İNCELENMESİ NAFİZ CAMGÖZ Osmanlı’nın son döneminden erken Cumhuriyet dönemini de içine alan süreçte, Batı kültürüne ait olan müzik tekniğinin Türk müziği ile birleştirilmesi sonucu ortaya çıkan müziksel sentez çalışmaları, 1960’lı yıllarda ortaya çıkacak olan Anadolu pop-rock müzik türünün de habercisi niteliğindedir. Anadolu pop-rock müzik türü, geleneksel Türk halk müziğinin melodik ve ritmik motiflerinin, çalgılarının Batı müziğinin tekniğiyle ve çalgılarıyla harmanlandığı; Anadolu ve Batı müzik kültürlerinin buluştuğu sentez bir müzik türü olarak karşımıza çıkmaktadır. Bu çalışmada söz konusu müzik türü, geleneğin güncellenmesi, otantisite, kültür endüstrisi ve metinlerarasılık açısından değerlendirilmiş olup alıntılama, anıştırma, öykünme teknikleriyle ilişkilendirilerek karşılaştırmalı analizler yapılmıştır. Edinilen bilgiler ışığında Anadolu pop-rock müzik türünün, halk müziği geleneğinin çağdaş bir yorumu olduğu görülmüştür. Çünkü kültürün temel unsurları olarak gelenekler geçmişe sabitlenmiş bir olgu olmayıp sürekli değişim ve dönüşüm içindedirler. Gelenekler ve onu temsil eden otantik kültürel ürün ve pratikler, küreselleşmenin ve teknolojik
    [Show full text]
  • Istanbul Teknik Üniversitesi Sosyal Bilimler Enstitüsü
    İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ ANADOLU ROCK’TA MELODİK, ARMONİK VE RİTMİK YAPI: 1965-1975 YÜKSEK LİSANS TEZİ Burçin Bahadır GÜNER Müzikoloji ve Müzik Teorisi Anabilim Dalı Müzikoloji Programı MAYIS 2015 İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ ANADOLU ROCK’TA MELODİK, ARMONİK VE RİTMİK YAPI: 1965-1975 YÜKSEK LİSANS TEZİ Burçin Bahadır GÜNER 404131003 Müzikoloji ve Müzik Teorisi Anabilim Dalı Müzikoloji Programı Tez Danışmanı: Yrd. Doç. Dr. Ozan Baysal Teslim Tarihi: 4 MAYIS 2015 İTÜ Sosyal Bilimler Enstitüsü’nün 404131003 numaralı Yüksek Lisans Öğrencisi Burçin Bahadır GÜNER, ilgili yönetmeliklerin belirlediği gerekli tüm şartları yerine getirdikten sonra hazırladığı “Anadolu Rock’ta Melodik, Armonik ve Ritmik Yapı: 1965-1975” başlıklı tezini aşağıda imzaları olan jüri önünde başarı ile sunmuştur. Tez Danışmanı: Yrd. Doç. Dr. Ozan BAYSAL ………………….. İstanbul Teknik Üniversitesi Jüri Üyeleri: Prof. Songül KARAHASANOĞLU ………………...... İstanbul Teknik Üniversitesi Yrd. Doç. Dr. Şirin Karadeniz GÜNEY ………………….. Haliç Üniversitesi Teslim Tarihi : 4 Mayıs 2015 Savunma Tarihi : 27 Mayıs 2015 iii iv ÖNSÖZ Bu çalışma; Anadolu Rock’ın Türkiye’nin popüler müzik tarihindeki önemi gözönüne alınarak, stilistik özelliklerini müzikal metin düzeyinde açıklamak için hazırlandı. Burada amaç; Anadolu Rock’ın melodik, armonik ve ritmik yapısını açıklamak, bu stilistik yapıyı oluşturan yerel ve Batılı özellikleri de görünür kılmaktır. Çalışmada; Anadolu Rock’ın önemli üç sanatçısı Barış Manço, Cem Karaca ve Erkin Koray’ın 1965-1975 yılları arasında yayınlamış oldukları plaklardan seçilen parçaların transkripsiyonu yapılarak analiz edildi. Bu analizler sonucu ortaya çıkan özellikler hem makam müziği ile hem de Batıdaki tonal ve modal müzikal yapılar ile olan ilişkileri açısından karşılaştırıldı. Konu seçiminden itibaren tezin her aşamasındaki desteği için danışmanım Yrd.
    [Show full text]
  • CEM KARACA VE BARIŞ MANÇO” ÖRNEĞİ (1960-1980) POLITICAL DISCOURSE in MUSIC and ANATOLIAN ROCK in TURKEY: the CASE of “CEM KARACA and BARIS MANCO” (1960-1980) Doç
    The Journal of Academic Social Science Studies International Journal of Social Science Doi number:http://dx.doi.org/10.9761/JASSS7030 Number: 56 , p. 325-350, Spring III 2017 Yayın Süreci / Publication Process Yayın Geliş Tarihi / Article Arrival Date - Yayınlanma Tarihi / The Published Date 26.03.2017 31.05.2017 MÜZİKTE SİYASAL SÖYLEM VE TÜRKİYE’DE ANADOLU ROCK: “CEM KARACA VE BARIŞ MANÇO” ÖRNEĞİ (1960-1980) POLITICAL DISCOURSE IN MUSIC AND ANATOLIAN ROCK IN TURKEY: THE CASE OF “CEM KARACA AND BARIS MANCO” (1960-1980) Doç. Dr. Fatma Gürses Kastamonu Üniversitesi, İletişim Fakültesi Gazetecilik Bölümü Öz Rock müzik, Amerika’da ve uluslararası alanda yaygınlık kazanarak kitleye ulaşan popüler bir tür olmuştur. Dünyada, çeşitli konuların tartışıldığı, yurttaşların bu tartışmalara katıldığı, müzik akımları ve gençlik hareketinin hızla yaygınlaştığı değişim yılları olan 1960’larda bu müzik türü, siyasal söylem biçimlerinin kitleselleşmesine aracı- lık etmiştir. Dünyadaki bu değişim ve özgürlükçü hareketten etkilenen Türkiye’de ise bu dönem, yurttaşın kamusal-siyasal özne olarak algılandığı, yabancı müziklerin ülkeye gi- rişinin hızlandığı, yurttaşın kendini ifade alanı bulduğu yıllardır. 12 Eylül 1980 askeri darbesi ile Türkiye’de bu özgürlükçü ortam kesintiye uğratılmış ve siyasal sistemde kök- lü değişiklikler yapılmıştır. Bu çalışma, düzen eleştirisi getiren rock müzikten etkilene- rek Türkiye’de ortaya çıkan Anadolu rock olarak adlandırılan müzik türünün temsilcile- ri olan Cem Karaca ve Barış Manço’nun, 1960-1980 yılları arasındaki söz konusu siyasal dinamikleri şarkı sözlerinde temsil etme biçimlerini incelemeye çalışacaktır. Bu iki mü- zisyenin çalışmalarını temel alarak Türkiye’de Anadolu rock müziğinin, siyasal unsurla- rı hangi söylemsel öğelerle sabitledikleri, neleri dışlayarak veya neleri bünyesine alarak söylemi inşa ettiklerini ortaya çıkarmak çalışmanın temel hedefidir.
    [Show full text]
  • Anadolu Pop/Rock'ta Toplumsal Belleğin Izini Sürmek: 1960'Lı Ve
    Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü İletişim Bilimleri Anabilim Dalı Kültürel Çalışmalar ve Medya Bilim Dalı ANADOLU POP/ROCK’TA TOPLUMSAL BELLEĞİN İZİNİ SÜRMEK: 1960’LI VE 1970’Lİ YILLAR Gökçen Sena DUMAN Yüksek Lisans Tezi Ankara, 2021 ANADOLU POP/ROCK’TA TOPLUMSAL BELLEĞİN İZİNİ SÜRMEK: 1960’LI VE 1970’Lİ YILLAR Gökçen Sena DUMAN Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü İletişim Bilimleri Anabilim Dalı Kültürel Çalışmalar ve Medya Bilim Dalı Yüksek Lisans Tezi Ankara, 2021 TEŞEKKÜR Teşekkürlerin en büyüğü şüphesiz devam etmekte güçlük çektiğim anlarda bana inanmaktan bir an bile vazgeçmeyen, ilerlemem için cesaretlendiren değerli tez danışmanım Doç. Dr. Gülsüm Depeli Sevinç’e. Kendisine en yoğun zamanlarında bile bana sabır, heyecan ve titizlikle yol gösterdiği için müteşekkirim. Tezimin kuramsal arka planını oluşturmaya başladığım ilk günlerden itibaren ve sonraki tüm süreçlerde bellek çalışmaları alanındaki derin bilgisini benden esirgemeyerek ufkumu açan Dr. Öğr. Üyesi Göze Orhon’a tezime sunduğu kıymetli katkılar için ne kadar teşekkür etsem az kalır. Savunma jürisinde yer almayı kabul eden değerli etnomüzikolog Doç. Dr. Evrim Hikmet Öğüt’e yapıcı yorumları ve değerli katkılarıyla tezimi zenginleştirdiği için çok teşekkür ederim. Duruşlarıyla ve ürettikleriyle akademinin gerçek anlamını ve değerini koruyan Hacettepe Üniversitesi İletişim Fakültesi’nin tüm değerli hocalarına da teşekkürü borç bilirim. Tez çalışmamı 2210-A Genel Yurt İçi Yüksek Lisans Burs Programı ile destekleyen TÜBİTAK Bilim İnsanı Destekleme Daire Başkanlığı (BİDEB)’na teşekkürlerimi sunarım. Saha araştırmasında yer almayı kabul ederek hayatlarını ve bellek anlatılarını bana açan, çalışmamı şekillendiren görüşmecilerimin hepsine çok teşekkür ederim. İlkokul yıllarından bugüne dek birbirimizin her anına tanık olduğumuz, İlayda, Zeynep, Mert ve Can’a bu süreçte de bana güç verdikleri için; Semiha, Şeyma ve Gamze’ye “galiba yapamayacağım” hissine kapıldığım tüm anlarda beni sabırla dinleyip keyifli sohbetleriyle sakinleşmemi sağladıkları için çok teşekkür ederim.
    [Show full text]