Postmodern Dijital Tüketim Kültürü Bağlamında Youtuber Folklorunun Performans Merkezli Analizi: Oğuzhan Uğur Örneği

Abstract

In this study, Oğuzhan Uğur Youtuber performance and Çete folklore as a virtual folk group formed around him are examined in the context of postmodern digital consumption culture. Based on a context centered approach, Youtuber folklore has been examined in the context of posmodernity, comsumption culture, new media/participation culture and the features of the Youtube platform as a whole of historical and socio-cultural conditions that reveal itself. The diachronic and multimediatic communication and interaction process between Oğuzhan Uğur and his follower group was analyzed as a holistic performance as two sequences belonging to the performer and interactionist group. The self-reflective understanding of science that emerged in social and human sciences with postmodernist thought; It has led to the emergence of a postmodern-critical approach to examine the relationship between reality, discourse, power and representation at the level of disciplinary paradigms and folklore. This approach provides the opportunity to see the discourse and reality represented by the folkloric phenomenon, as well as the realities suppressed by the discourse. In this context, Youtuber folklore is not only approached in terms of its positive meaning and functions; It has also been discussed in terms of aspects that need to be critically evaluated. The study consists of an introduction and four parts. In the introduction, information about the subject, scope, theoretical and methodological framework of the study is given. In the first chapter, the emergence of postmodernism and its intellectual components, postmodernity as a socio-cultural projection of postmodernism and the characteristics of consumer society are discussed. In the second part, the development of the internet, the emergence and characteristics of new media, social media and network environments, approaches to digital network environments are discussed. In the third chapter, information about the theoretical background and predecessors of performance studies as an interdisciplinary field, the restructuring process of the folklore discipline around the notions of 'context' and 'performance', and digital and postmodern folklore as new possibilities revealed by context and performance-centered folklore approaches are given. In the first part of the fourth chapter, the general features of Youtube, the participatory culture it reveals, surveillance, data and capital economy; Information was given about Youtuber phenomenon, Youtube Turkey and famous Youtubers and Oğuzhan Uğur as a Youtuber. In the second part of the chapter, Oğuzhan Uğur Youtuber folklore is analyzed with a performative approach.