Atalar kültü bağlamında Yeşilçam sinemasındaki baba tipine ilişkin bir araştırma
Küçük Resim Yok
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Trakya Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Türk toplumunda önemli bir yere sahip olan soy, aile ve saygı kavramları, kültürel değerlerinin bir parçasıdır. Bu değerlere olan bağlılık bireyin toplum içindeki meşruiyetini kazanmasında, kimliğinin ve grup bilincinin oluşmasında ayırt edici bir özelliktir. Toplumun en küçük grubu olarak aile temelinde aile büyüklerine duyulan korkuyla karışık saygı, atalar kültünün bir göstergesidir. Bu husustaki korku ve saygı, ataerkil merkezli geleneksel Türk aile yapısındaki babanın ata statüsü kazanmasında rol oynamıştır. Bu çalışma kapsamında, atanın dönemin şartlarına uygun bir şekilde kendini değiştirip dönüştürmesi baba tipi özelinde ata tipolojisi ekseninde araştırılmıştır. Bu bağlamda baba tipolojisinin "yenilenen aile ataları" na dayandığı görülmüştür. Aile atası olarak babanın tipolojik özellikleri ve atalar kültüyle bağı sözlü kültürden beslenen sinemanın film sahnelerinde tespit edilebilir mahiyettedir. Bu araştırma, amaçlı örneklem yöntemiyle Münir Özkul ve Hulusi Kentmen'in ikisi ortak toplam on filmini kapsamaktadır. Araştırma sonunda, Münir Özkul'un "kam döneminin yol gösterici, rehber bilge atalarının" Hulusi Kentmen'in ise "destan devri alp-eren ataları"nın birer uzantısı olduğu tespit edilmiştir. Genel bir ifadeyle, aile atası olarak babaya ilişkin inanış ve uygulamaların kökeninde hayatta olan atalara ilişkin kültlerin izleri söz konusudur.
The concepts of lineage, family and respect, which have an important place in Turkish society, are part of their cultural values. Commitment to these values is a distinctive feature in the individual's gaining legitimacy in society and in the formation of his identity and group consciousness. The respect mixed with fear felt for family elders on the basis of the family, as the smallest group of society, is an indicator of the cult of ancestors. Fear and respect in this regard played a role in the father's gaining ancestor status in the patriarchal-centered traditional Turkish family structure. Within the scope of this study, the ability of the ancestor to change and transform himself in accordance with the conditions of the period was investigated on the axis of ancestor typology, specifically the father type. In this context, it has been seen that the father typology is based on "renewed family ancestors". The typological characteristics of the father as the family ancestor and his connection with the cult of ancestors can be detected in the movie scenes of the cinema fed by oral culture. This research covers a total of ten films, two of them jointly, by Münir Özkul and Hulusi Kentmen, using the purposeful sampling method. At the end of the research, it was determined that Münir Özkul was an extension of the "guiding and wise ancestors of the epic period" and Hulusi Kentmen was an extension of the "alpine ancestors of the epic period". In general terms, the origins of beliefs and practices regarding the father as the family ancestor are traces of the cults of living ancestors.
The concepts of lineage, family and respect, which have an important place in Turkish society, are part of their cultural values. Commitment to these values is a distinctive feature in the individual's gaining legitimacy in society and in the formation of his identity and group consciousness. The respect mixed with fear felt for family elders on the basis of the family, as the smallest group of society, is an indicator of the cult of ancestors. Fear and respect in this regard played a role in the father's gaining ancestor status in the patriarchal-centered traditional Turkish family structure. Within the scope of this study, the ability of the ancestor to change and transform himself in accordance with the conditions of the period was investigated on the axis of ancestor typology, specifically the father type. In this context, it has been seen that the father typology is based on "renewed family ancestors". The typological characteristics of the father as the family ancestor and his connection with the cult of ancestors can be detected in the movie scenes of the cinema fed by oral culture. This research covers a total of ten films, two of them jointly, by Münir Özkul and Hulusi Kentmen, using the purposeful sampling method. At the end of the research, it was determined that Münir Özkul was an extension of the "guiding and wise ancestors of the epic period" and Hulusi Kentmen was an extension of the "alpine ancestors of the epic period". In general terms, the origins of beliefs and practices regarding the father as the family ancestor are traces of the cults of living ancestors.
Açıklama
Yüksek Lisans
Anahtar Kelimeler
Halk Bilimi (Folklor), Folklore
