Türk Folklorunda Kültürün Görsel Tasarımı (Fotoğraf) ve Somut Olmayan Kültürel Miras İlişkisi
Özet
Considering that in the early ages people communicated by drawing pictures on cave walls, stones and rocks, visual culture has always existed in human life, but its effect has increased after the 19th century, when photography was invented. Since the first half of the 19th century, when photography was invented, it has been used effectively in almost every aspect of life, from art to science, from politics to daily life. These uses of photography have expanded in meaning with the development of visual culture technologies. Scientifically, the photograph that used to accompany the article is now used in different designs with more subjective interpretations and rich connotations. While the increasing use of visual materials in the cultural context and the data obtained from these have been the subject of visual anthropology and visual entography, visual folklore has emerged as a branch of folkloristics, which has developed by taking advantage of the basic principles of visual anthropology and ethnology. While visual folklore studies have been studied from different perspectives in various folklore academies around the world, notable studies have not yet been carried out in Turkey. From this point of view, the aim of this thesis is to reveal the principles of visual folklore discipline in Turkey on the axis of Turkish folklore and to bring a visual perspective to Turkish folklore.
The thesis consists of an introduction, four main chapters and a conclusion. In line with the determined targets; In the introduction part, the invention of photography, the cultural meanings of photography and the changes in meaning from past to present are discussed. In the first part, the methodology, limitations and plan of the study are discussed. In the second part, information is given about the use of photography in cultural sciences and visual folklore. In the third part, folkloric evaluations were made by examining the visual archives of institutions and publications that were directly or indirectly influential in the history of folklore. In the fourth chapter, which is the last chapter, the visuals that exist on the subject of intangible cultural heritage, which has an important impact on folklore studies today, are evaluated and how the intangible cultural heritage is photographed and used is evaluated practically. In the conclusion part, the data obtained in the introduction and four main parts are evaluated.
