Heideggeryen bir perspektiften Aletheia – sinema ilişkisi
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Tarih
2021
Yazarlar
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Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
ÖZET: Bu tez çalışması, 20. yüzyılın en önemli düşünürlerinden olan Martin Heidegger’in aletheia ve sanat kavramları arasında kurduğu ontolojik ilişkinin temellerini, benzer bir şekilde sinema sanatında aramayı dener. Bu doğrultuda da ilk olarak Heidegger’in hermeneutik fenomenoloji yöntemiyle araştırdığı aletheia kavramının etimolojik ve mitolojik kökenini hatırlatır. Heidegger’e göre; gizin açılması anlamına gelen aletheia fenomenin anlamı, zaman içinde yozlaşmaya uğramıştır. Ona göre; bu yozlaşmanın en büyük sorumlusu, metafizik ve onu olumlayan gelenek tarihidir. Heidegger’e göre hakikatin örtüklüğü, en temelde bir özgürlük sorunundan kaynaklanır. Bu nedenle de hakikatin kendini görünür kılmasını engelleyen gelenekle hesaplaşmak gerekir. Bu tez çalışması da Heidegger’in düşüncesine paralel olarak birinci bölümünde destrüksiyonun tarihi görevini hatırlatır ve Heidegger’in fenomenolojik hakikat yorumunu gündeme getirir. İkinci bölüm ise antik Yunan düşüncesinde en önemli kavramlardan biri olan tekhne faaliyeti hakkındadır. Heidegger’e göre bir zamanlar gizin açılmasının bir imkanı olan bu yaratma faaliyeti, zamanla teknik ve pratik bir üretime dönüşerek poiesis özelliğini yitirmiştir. Bu anlama gelen teknik bir üretim karşısında sanat, hala kendi varlığında hakikati ortaya çıkaran kurtarıcı bir güce sahiptir. Bu nedenle de üçüncü bölüm, Heidegger’in sanat eserinin kökeni hakkında yaptığı çalışmayı merkeze alarak aletheia ve sanat arasındaki ilişkiye odaklanır. Son olarak dördüncü bölüm ise aletheia – sanat arasındaki sahih ilişkinin sinema sanatında nasıl tezahür ettiğini göstermeye çalışır. Bu noktada somut bir tartışma yaratabilmek ve tezi temellendirebilmek için şiirsel sinemanın en büyük ustalarından olan Abbas Kiarostami’nin sanata yaklaşımı ve Ta’m e guilass filmi hakkında bir inceleme yapar.
ABSTRACT: This dissertation aims to investigate the relationship between aletheia and cinema by referring to the German philosopher Martin Heidegger who has laid out the foundations of the ontological relationship between the concept of aletheia and art. The study begins with a clarification of the etymological and mythological origins of aletheia, a concept analyzed by Heidegger through the method of hermeneutic phenomenology. According to Heidegger, the definition of aletheia, indicating “unconcealedness”, has degenerated over time; and the biggest culprits of this degeneration are metaphysics and the philosophical tradition affirming the former. For him, the latency of truth is essentially related to the problem of freedom, and even originates from it, thus, one must first confront the tradition which conceals the truth. In the first part, in line with Heidegger's philosophy, this dissertation also reminds the historical task of deconstruction, and initiates a discussion of Heidegger's phenomenological interpretation of truth. The second part of this study concentrates on tekhne, one of the most important concepts in the Ancient Greek philosophy. According to Heidegger, this creative activity, which had the potentiality to reveal the truth, has turned into a technical and practical production over time and lost the power of poiesis. Thus, Heidegger argues, we should reestablish the proper relationship between tekhne and poiesis. This would enable us to show that art still holds a liberating power that reveals the truth in its own existence. Thus, the third chapter investigates the relationship between aletheia and art, relying upon Heidegger's work on the origin of the work of art. Finally, the fourth part aims to show how the authentic relationship between aletheia and art emerged within the domain of cinema. At this point, in order to initiate an informative discussion, the dissertation examines Abbas Kiarostami's approach to art and analyzes the movie Ta'm e guilass.
ABSTRACT: This dissertation aims to investigate the relationship between aletheia and cinema by referring to the German philosopher Martin Heidegger who has laid out the foundations of the ontological relationship between the concept of aletheia and art. The study begins with a clarification of the etymological and mythological origins of aletheia, a concept analyzed by Heidegger through the method of hermeneutic phenomenology. According to Heidegger, the definition of aletheia, indicating “unconcealedness”, has degenerated over time; and the biggest culprits of this degeneration are metaphysics and the philosophical tradition affirming the former. For him, the latency of truth is essentially related to the problem of freedom, and even originates from it, thus, one must first confront the tradition which conceals the truth. In the first part, in line with Heidegger's philosophy, this dissertation also reminds the historical task of deconstruction, and initiates a discussion of Heidegger's phenomenological interpretation of truth. The second part of this study concentrates on tekhne, one of the most important concepts in the Ancient Greek philosophy. According to Heidegger, this creative activity, which had the potentiality to reveal the truth, has turned into a technical and practical production over time and lost the power of poiesis. Thus, Heidegger argues, we should reestablish the proper relationship between tekhne and poiesis. This would enable us to show that art still holds a liberating power that reveals the truth in its own existence. Thus, the third chapter investigates the relationship between aletheia and art, relying upon Heidegger's work on the origin of the work of art. Finally, the fourth part aims to show how the authentic relationship between aletheia and art emerged within the domain of cinema. At this point, in order to initiate an informative discussion, the dissertation examines Abbas Kiarostami's approach to art and analyzes the movie Ta'm e guilass.
Açıklama
Anahtar Kelimeler
Aletheia, sanat, hakikat, Martin Heidegger, Abbas Kiarostami, Art, Truth
