Ontological Analysis

Abstract
In addition to the traditional commentary, foreign art theories have recently been added to the studies aimed at understanding classical Turkish literature poems. One of these modern aesthetic theories is the ontological understanding of art. The systematization of art ontology, which is one of the contemporary art philosophies, in Turkish literature was achieved thanks to İsmail Tunali (1922-2015). After Tunali's work entitled Art Ontology, the application of ontological analysis methods to literary works has been accepted in some academic circles, and the theory has been taken as reference by many academicians and researchers. When the classical Turkish literature is studied, Dursun Ali Tokel and Yavuz Bayram are observed to have made use of this method in their ghazal analysis and pioneered the method to become widespread. In particular, the methods and steps in the table developed by Yavuz Bayram based on Tunali's work were taken as an example in the ontological analysis studies after him.
In this article, the ghazal of Sheikh Galip (d. 1799), who is accepted as one of the last great representatives of Sebkihindi (Indian style) movement, ending with the redif ‘düştü’ has been studied by the ontological analysis method. Within the context of the method followed, the examples used in the application of the theory to classical Turkish literature poems until today have not been excluded, and the table prepared by Yavuz Bayram with reference from İsmail Tunali has been used. The relevant ghazal has been found in the literature to be studied through classical annotation and structuralist methods. Also, in this article, ontic integrity is analyzed. Using the ontological analysis method, the sound and meaning layers of the poem are discussed, and also the concrete and abstract meaning levels as well as the Sufi level are revealed. Whether there are reflections from the poet’s mood and life in the ghazal is also questioned through these layers.


Öz
Klasik Türk edebiyatı manzumelerini anlamaya yönelik çalışmalara, son zamanlarda geleneksel şerhin yanında yabancı sanat kuramları eklenmiştir. Bu modern estetik kuramlarından biri de ontolojik sanat anlayışıdır. Çağdaş sanat felsefelerinden biri olan sanat ontolojisinin Türk edebiyatında sistemleşmesi İsmail Tunalı (1922-2015) sayesinde olmuştur. Tunalı’nın Sanat Ontolojisi adlı eseri sonrasında ontolojik analiz yöntemlerinin edebî eserlere uygulanması bazı akademik çevrelerde kabul görmüş ve kuram birçok akademisyen ve araştırmacı tarafından referans alınmıştır. Klasik Türk edebiyatı literatürüne bakıldığında Dursun Ali Tökel ve Yavuz Bayram’ın gazel çözümlemelerinde bu yöntemden faydalandıkları ve yöntemin yaygınlaşması için öncülük ettikleri görülmektedir. Bilhassa Yavuz Bayram’ın Tunalı’nın eserinden yola çıkarak geliştirdiği tabloda yer alan yöntem ve aşamalar kendisinden sonraki ontolojik analiz çalışmalarında örnek alınmıştır.
Bu makalede, Sebkihindi (Hint üslubu) akımının son büyük temsilcilerinden biri olarak kabul edilen Şeyh Galip’in (ö. 1799) ‘düştü’ redifli gazeli ontolojik analiz metoduyla incelenmiştir. Yöntem olarak kuramın bugüne kadar klasik Türk edebiyatı manzumelerine uygulanmasında kullanılan örneklerinin dışına çıkılmamış, Yavuz Bayram’ın İsmail Tunalı’dan referansla hazırladığı tablodan istifade edilmiştir. Gazelin literatürdeki çalışmalarda, klasik şerh ve yapısalcılık metotlarıyla incelendiği görülmüştür. Bu makaleyle de ontik bütünlüğü analiz edilmiştir. Ontolojik analiz metodu ile manzumenin ses ve anlam katmanları ele alınmış somut ve soyut anlam düzeyi ile tasavvufî düzeyi ortaya konmuştur. Gazelde şairin ruh hâlinden ve hayatından akisler bulunup bulunmadığı da yine bu katmanlar vasıtasıyla sorgulanmıştır.

A general ontology in the tradition of Russell and Bergmann is sketched and applied to time.  The discussion does not accept the frame of mainstream analytical philosophy of time which was led astray by McTaggart's misinterpretation of Russell. The conceptulisations of  mainstream philosophy of time are rejected and certain problems are  judged not to be  genuine.

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Sanat, insanlık tarihinin mücadele alanlarından birisidir. İmgesel alanda devam eden bu mücadeleye 19. yüzyılın sonlarından itibaren sinemanın da dâhil olduğunu biliyoruz. Estetik bir objenin, estetik bir süjenin bedeni üzerindeki etkisini ise bahsedilen imgesel mücadele alanında "estetik haz" kavramı ile tanımlamaktayız. Estetik haz kavramının anlaşılır olması ve üzerinde felsefi bir tartışmanın yapılabilmesi ise ontolojik açıdan estetik objenin bir bilgi nesnesi olarak kabul edilmesi ile ilgilidir.  Bu kabul sonrasında estetik objenin, estetik süje üzerinde yaratacağı tasarlanmış bir etkiden söz etmeye başlayabiliriz. Bu çalışmada estetik hazzın sanatçı tarafından tasarlanmış düşüncelerle meydana getirilmek istenen bir duygulam olduğu ifade edilmektedir. Estetik haz kavramı, genel haz kavramının tanımlarını bir hayli aşarak toplumsal alanda özneler üzerinde yaratılan çok boyutlu bir etkiyi anlatmaktadır. Bu bağlamda çalışmanın amacı estetik hazzın varoluşunun, bellek ve özneleştirme kavramları ile ilgisini ortaya koymaktır. Çalışmanın son kısmında ise  "Brand New Testament" isimli film, estetik felsefesi ve estetik haz kapsamında değerlendirilmiştir. Değerlendirmede kullanılan yöntem estetik objelerin varoluşlarının anlaşılması için tercih edilen ontolojik analizdir. Bu yöntemle filmin yönetmeninin oluşturduğu kasıtlı imgeler üzerinden yani ön ontolojik tabaka vasıtasıyla tasarımdaki bellek ve özneleştirici unsurlar ortaya çıkarılmak istenmektedir.
Art has been one of the arenas of the human history. We know that cinema was included in this struggle taking place in the imaginative field after the end of nineteenth century. We define the effect of an aesthetic object on the body of an aesthetical subject with the concept of aesthetical pleasure in the aforementioned imaginative field of struggle. Making the aesthetical pleasure understandable and conducting a philosophical discussion on it is related to accepting and aesthetical object as an object of information in terms of ontology. After accepting this, we can start to mention about a designed effect of the aesthetical object on an aesthetical subject. In this study, it is stated that aesthetical pleasure is an affectivity which was formed with the thoughts designed by the artist. The concept of aesthetical pleasure extremely exceeds the general definition of pleasure and describes a multi-dimensional effects created on subjects in social field. Within this context, the objective of the study is to reveal the relationships between the existence of the aesthetical pleasure and the concepts of memory and subjectivation. In the final chapter of the study, the film “Brand New Testament” was analyzed in terms of philosophy of aesthetics and aesthetical pleasure. The method employed in the evaluation is the ontological analysis which was preferred to understand the existence of aesthetical objects. Through this method, it is desired to reveal the memory and subjectivating elements in designs through the intentional images created by the director of the film, namely, through pre-ontological layer.

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