Hacettepe Üniversitesi Açık Erişim Sistemi (HÜAES)
- HÜAES, Hacettepe Üniversitesi bünyesinde üretilen kitap, makale, tez, bildiri, rapor gibi tüm akademik kaynakları uluslararası standartlarda dijital ortamda depolar, etkisini artırmak için telif haklarına uygun olarak Açık Erişime sunar.
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Recent Submissions
Bakışa Bakmak: Özne İmgesinin Kuruluşuna Sanattan Bakmak
(Güzel Sanatlar Enstitüsü, 2025) Namidar, Merve; Seramik ve Cam
This study examines the process of subject formation within a psychoanalytic framework and discusses how this process finds correspondence in contemporary art practices. Although the foundations of the modern subject are often grounded in Descartes’s proposition “I think, therefore I am,” psychoanalytic theories argue that the subject is shaped through unconscious processes and its relations with the Other. In this context, the philosophical and psychoanalytic bases of subject, identity, language, and desire are explored through the theories of Sartre, Lacan, and Foucault. Following Sartre’s phenomenological approach, the study discusses how the gaze of the Other objectifies the subject and how this gaze produces a reciprocal form of alienation. Foucault’s panopticon model, on the other hand, reveals the role of surveillance as an internalized form of power in the construction of identity.
Through examples of contemporary art dealing with themes of identity, gaze, and surveillance, the study investigates how psychoanalytic theories of the subject manifest visually and conceptually, and how art renders these dynamics visible. It is argued that the subject is not a fixed or closed entity, but a processual and discontinuous structure formed at the intersection of language, desire, the gaze of the Other, and mechanisms of surveillance. Accordingly, the study identifies a necessary distinction between “the gaze of power” and “the power of the gaze.” Contrary to the conventional assumption that power stems from an external force watching and regulating us, the central proposition here is that power is constituted through the meaning the subject attributes to its own gaze. Thus, the subject is not only the one who is surveilled but also the agent who turns the gaze into power. Structures such as the symbolic order, the law, and the “name-of-the-father” become operative through this transformation of the gaze into power.
Through the artistic research and the practical works produced within the scope of this study, the constitutive gaze of the subject is rendered visible, exposing not only the mechanisms of representation but also the power that makes representation possible. In this way, art emerges not as a passive site of display but as a field that activates the subject’s potential to redistribute and transform power.
Algının Paradoksu Bağlamında Gerçeklik Kurgusunun Plastik Sanatlarda Deşifre Edilme Potansiyeli
(Güzel Sanatlar Enstitüsü, 2025) Gerede, Nezaket Başak; Seramik ve Cam
The world perceived by the subject—namely the world accessible through sensory and higher cognitive processes—may give the impression of being fully grasped, yet the only mediator of this grasp is the subject’s own perception. This study analyzes the phenomenon of perception within the framework of Merleau-Ponty’s theory of perception and Gestalt psychology, discussing how perception provides access to reality in both philosophical and psychological contexts. The analysis demonstrates that perception is, in every case, a paradoxical process for the subject; while it situates the subject within the world, it simultaneously grants access to a reality that exceeds the subject. Accordingly, the study examines how the subject constructs reality and reveals that this inquiry is grounded both in the desire to attain what reality is and in the manner through which the subject forms reality. However, it is shown that the subject can never attain absolute reality and is therefore captive within the reality game they play. It is also determined that this captivity directs the subject toward the openness that touches upon Lacan’s Real. Within this context, the study discusses how the examined artworks activate the reality game and the perceptual process in the viewer. The artistic works carried out in this research further analyze how the art object exposes the reality game, renders perceptual ambiguity visible, and invites the viewer into a field of traumatic encounter. Accordingly, the first role of the artwork is to reveal the reality game and invite the subject into a traumatic confrontation; its second role is to overthrow the Symbolic through this very exposure. Thus, the function of art is not to “represent” but to render visible the collapse of the existing order, meaning, and reality. By doing so, the artwork offers the subject the potential for a momentary encounter with the Real—a meeting that itself constitutes the destruction of reality. Consequently, the study demonstrates that the artwork renders the collapse of the reality construct visible, confronts the subject with this collapse, and carries the potential to invite the subject toward the reconstitution of truth.
Sanatsal Yaratım Sürecinde Coğrafyanın Etkisi
(Güzel Sanatlar Enstitüsü, 2025-11-26) İmren İyem; Resim
Beyond being a landmass with defined boundaries, geography is a realm of existence that encompasses concepts of belonging, identity, and memory, and profoundly influences the creative process of artists. Geographical displacement for various reasons can be defined as migration. It is also an internal journey, metaphorically or conceptually.
The act of creation, by its very nature, emerges from the combination of many influences. Many of these components are directly or indirectly related to the society we live in. In this context, the psychological and biological processes evoked by the artist's experience of displacement and migration also become important creative tools.
The thesis primarily focuses on concepts related to migration and migrant artists. The concept of identity, a fundamental foundation for both geography and the individual, transforms into a hybrid identity through the influence of displacement and the interactions created by this movement. The artist no longer entirely bears the traces of the old geography nor belongs to the new culture. This situation may require a new creative transformation for the artist. In this context, the dynamics affecting artistic creativity are not merely internal processes; geographical contexts also dynamically influence the process, particularly through the concepts of migration, belonging, identity, memory, and imagery.
Çizgi Romanın Dijitalleşme ile Değişen Uygulama Yöntemleri ve Oyunlaşması: Sezgin Burak’ın Tarkan Çizgi Romanı Üzerine Oyunlaştırma Sürecindeki Grafik Uygulamalar
(Güzel Sanatlar Enstitüsü, 2025-11-25) Fatmanur Aydoğan; Grafik
As one of the most powerful branches of visual storytelling, comics have managed to preserve their essence despite significant transformations in tools and methods brought by technology. Over time, various cultures have enriched the art of comics by developing their own distinctive styles. This thesis examines the definition and historical development of comics, the drawing techniques used in pre-digital era masterpieces, and the production processes of games inspired by these works. Furthermore, it explores the possibilities of adapting and gamifying an old comic in accordance with the conditions of the contemporary digital age. Within this context, Sezgin Burak’s timeless work Tarkan is analyzed in detail through qualitative research methods, including observation, content analysis, descriptive analysis, and comparative and practical approaches.
The study aims to document and analyze the development of comics from the 1800s to the present day, tracing their transformation from traditional techniques to the digital era through Turkish, Japanese, Italian, Franco-Belgian, and American schools. The drawing techniques and digitization processes employed by these schools will serve as guiding principles for the practical component of this thesis. The primary references of the research consist of interviews and first-hand accounts by master artists, supported by books, newspapers, magazines, and online blogs. Thus, this thesis seeks to provide an encyclopedic resource for future researchers by covering the process of adapting a comic into a game from the initial sketch stage to its gamified form.
The digital transformation of comics has evolved into interactive forms such as digital comics, hypercomics, webtoons, and motion comics. The thesis analyzes pioneering and popular examples in this field, as well as gamified comics that combine comic and game elements, and comics adapted from video games. In later sections, the study examines how interactive comics have been gamified throughout the history of the medium. Based on the collected data, the techniques and software used during production are also explored and applied.
Additionally, the study provides a detailed analysis of animation techniques and game graphics commonly used in game designs adapted from comics, presenting each step necessary for creating a game application, from pencil sketch to animation, through explanations of interactivity and clickability layers. This comprehensive approach aims to serve as a roadmap for future researchers. The overarching goal of the thesis is to present the techniques used in comic production over the past century, the process of digital transformation, and the graphic design developments involved in the transition of comics into games.
In the final section, the thesis applies the collected findings to develop an interactive comic adaptation of Sezgin Burak’s Tarkan, featuring a short story shaped by the player’s choices and multiple possible endings. Staying faithful to the original comic, a new story inspired by Barış Manço’s tale Çoban Yıldızı (The Shepherd’s Star) is created and adapted into the Tarkan universe. The traditional drawings are digitized and transformed into an interactive application. Throughout this process, challenges encountered, solutions developed, and methods that facilitate the contemporary application of traditional techniques without compromising their authenticity are documented. The digital tools used are compared and evaluated in terms of their suitability for the desired outcomes. Character designs reflecting the atmosphere of the Tarkan universe are created based on the research findings. In alignment with the aim of the thesis, a special character is dedicated to Barış Manço, whose deep love and devotion to Turkish culture make him a fitting inspiration for this project.
Hatıratlar Işığında Demokrat Parti’nin Kuruluş Süreci
(Atatürk İlkeleri ve İnkılap Tarihi Enstitüsü, 2025) Karaca,Büşra Zeynep; Atatürk İlke ve İnkılapları Tarihi
This study aims to examine the establishment process of the Democrat Party, which was
founded in 1946 alongside the transition to a multi-party system in Turkey after World
War II and remained in power for ten years between 1950 and 1960, based on memoirs.
It is observed that the establishment of the Democrat Party has not been addressed in a
narrative that focuses on memoirs and firsthand accounts of the period. For this reason,
the study analyzes the process through testimonies from both inside and outside the
party, as well as through the perspectives of leading journalists of the period who either
supported or contradicted each other, and attempts to explain the subject through other
sources. A comparative method has been followed in the use of memoirs. The time
frame covers the period from World War II in Turkey to the official establishment of
the Democrat Party on January 7, 1946.
Based on the testimonies of writers of the period, the issue of the establishment of the
Democrat Party was examined in the context of the approach of National Leader İsmet
İnönü to Turkey's transition to a multiparty system and whether the Quarted (the Four)
had attempted to establish a new party prior to the Quarted Motion.
The conclusion reached is that both internal and external factors played a role in
Turkey's transition to a multi-party system, but it was the internal factors that
determined the path to be followed in the direction in which external factors were
pushing Turkey. İsmet İnönü did not play a primary or leading role in the establishment
of a new opposition party, but the formation of the new party came about as a result of
dissatisfaction within the party and among the people, which found an organized
platform in the government's policy choices. On the other hand, the idea of establishing
a new opposition party in the mind of Quarted Motion was finalized after the rejection
of their offer to the Parliamentary Group. Previous initiatives were limited to
researching whether the political context was suitable to the establishment of a new
opposition party and attempting to establish the necessary connections for the party's
possible establishment.