Papers by Türkü Naz Altınay
Biopolitics, Governmentality and Dispositif in Handmaid's Tale
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…the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be sa... more …the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww!"-Jack Kerouac After almost 70 years of its first publication, Ginsberg's poem Howl stands as a colossal monument dedicated to the " best minds " of his " generation destroyed by madness " (Ginsberg, 1). It's a manifestation of the madness and insanity of a whole generation after the Second World War whose great hopes of long-term peace, prosperity and relief were totally demolished and annihilated and who were decentralized politically, morally, emotionally and existentially. These were the children and grandsons of Lost Generation and they were raised in the desperate barren lands of " Wasteland " of T.S. Eliot, who " cannot say, or guess, for you know only / A heap of broken images, where the sun beats, / And the dead tree gives no shelter, the cricket no relief, / And the dry stone no sound of water " (Eliot, 5) and whose holy souls were burnt down under the incendiary light of " Moloch " who were defying the norms of the status-quo and " machinery of the night " (Ginsberg, 1). The main and sole purpose of this essay is to concentrate on the bliss of madness in Howl of Ginsberg and thus in the movie of Howl by Epstein as a confrontation and defiance to the status-quo and power tools. The very tools that strip the populations of thinking, dreaming and experiencing life at fullest extent while governing the minds and souls by stifling the space of mind, physical existence and also thinking capacities in general sense. In that sense, the focus of the essay will be the concept of insanity in both the poem and the movie as a defiance to the power tools in terms of dispositif (apparatus), great confinement
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After almost five decades of its production, Kubrick's 2001: A Space Odyssey stands out as one of... more After almost five decades of its production, Kubrick's 2001: A Space Odyssey stands out as one of the most significant prophecies about future: a space age where the humankind abilities and intelligence surpassed by the tools that once he created. The movie itself is a both visual feast and a chronicle of human evolution. Starting with a scene from the early ages of apes which are human ancestors set in the desert, the story continues with the first contact of these apes with the Monolith erected intentionally in the middle of the vast space of Earth. The first encounter of the ape with the monolith triggers the beginning of a set of journey of humankind. The first part of the movie is an analogy to the ape's first use of tool due to the first contact with the monolith. The contact results in the human's first step of evolution, dominating and using the tool for its own purposes leading to a space age eventually which is emphasized with a sharp lap dissolve of the scene of bone thrown into the air to the spacecraft in the outer space. This is the symbol of humanity's long journey from having the capability of using objects as simple tools and weapons to the sophisticated and technological advancement. In that sense, the monolith is an extra-terrestrial object planted by a different intelligent species that probably have much more advanced technology and sophistication than human race triggering a leap of conscious and cognitive abilities. The spaceship scene is remarked by The Blue Danube by Berlin Philharmonic Orchestra which is a reference to
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The main purpose of this essay is to examine the sociological structure, traditional genesis, roo... more The main purpose of this essay is to examine the sociological structure, traditional genesis, roots and continuity within contemporary culture of Manisa Mesir Festival which is held annually at the beginning of the spring in Manisa and celebrated by thousands of people. After five siecles, the continuity of this tradition is amazing, on the other hand it reflects the transformation of the primordial purposes and presents a simulacrum of its own. Within this essay, the genesis and transformation of the tradition and its purposes, the thing that it transformed into; plunderage culture and mass psychology of violence and the contuniuty of the tradition as a simulacrum within contemporary culture will be examined.
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Conference Presentations by Türkü Naz Altınay
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Papers by Türkü Naz Altınay
Conference Presentations by Türkü Naz Altınay