Articles
Here you can find some of my researches.
Abstract
This thesis explores the interplay between technology, politics, and artistic expression in the digital era, focusing on contemporary performance art and its capacity to initiate societal dialogue and change. It investigates how performance art represents complex societal issues and examines the thin line between personal interpretation and the spread of propaganda.
The research highlights the often-inadvertent continuation of colonial ideologies and biases against marginalized communities in these artistic endeavours. By delving into the consequences of ignorance, entrenched stereotypes, and prejudicial attitudes, the thesis addresses the ability of performance art to connect with diverse audiences and highlight stories often overlooked by mainstream media and propagandistic narratives. Additionally, various instances of political performances in public spaces across different countries, executed by both artists and non- artists, will be highlighted. The objective is to explore comparisons and distinctions between these acts, examining their relationship with audience engagement, and assessing their influence on social and expanded media platforms.
A significant portion of this study analyses the inclusive portrayal of politically charged themes through socially engaged art, emphasizing the effects and implications of such representations. It further assesses the role of performance art in engaging non-professional audiences and its transformative potential in shaping public participation. The analysis covers themes such as state of war, political turmoil, and the experiences of displaced persons, aiming to reimagine and preserve their stories. Beyond simply reporting on contemporary and historical political events, this thesis critically examines these events' ongoing impact on today's society.
Abstract
Art is capable of making philosophical concepts objective. Art, with representative functions, injects supplementary concepts into societies and creates self-awareness through aesthetic experience. When art enters society and surpasses the private realm and turns into a communal matter, it connects to social politics. Theatre and more specifically, performance arts share a kind of representation that helps the ways of aesthetic experience. Performance art is a point in which the theory, before performance and before existing, unites with practice in the sensorial structure. This quality is more prominent in street art. As the sole function of art is fulfilled in it being public and communal, this feature's prominence is increased when within street art we move out of a limited and private space: When an experience becomes public and when it is shared with thoughts, it is experienced to remake the performance through sensorial truth. Performance art is made in the streets, exactly where the association and disassociation of people (and their equality and inequality) happens. This occurrence creates a structure of time and space where people can easily enter enabling a level of aesthetic experience which is as thinking about life. The moment created during performance is the instant in which the public connects to philosophy to then create simple and vital concepts.
Abstract
From ancient times until today, one of the most fundamental goals in tragedies has been enhancing consciousness in the public. Throughout history, artists have tried to make ways through tragedy to be able to represent their viewpoints concerning art and politics. In the nineteenth century, Wagner, years after the extinction of the Greek tragedy, found out that the path of enhancing self-consciousness in society lies only through tragedy. The creation a new location (Bayreuth) along with a complex of arts (Total artwork), had made a specific situation for the German public in the nineteenth century to be able to have mental and physical interaction. Wagner’s success in these goals in the public is an important matter which will be studied in this research, concerning the socio-political and cultural conditions in nineteenth century Germany.
Keywords
Wagner, Romanticism, Schelling, Total artwork, The ring of Nibelung, Opera, Self-consciousness, Hegel
- Published at "Il Parlaggio" January 2022 issueUniversity of Naples Federico II
- http://sinestesieonline.it/il-parlaggio/
Abstract
Oral literature in Azerbaijan, parts of Iran and some parts in the east of Caspian Sea, was preserved and spread by Ashiqs. The Ashiqs had a vital role in the history of folk literature. “Koroglu” and “Dede qorqut” were epics that were narrated by Ashiqs. These epics were oral at first and were written through many years. There were different versions of these epics in Iran, Turkey, Azerbaijan, Tajikistan and Armenia.
Abstract
Although Liszt’s “Hamlet” symphonic poem does not follow a specified written programme, the relation of Liszt’s symphonic poem and Shakespeare’s Hamlet could be revealed from several matters: 1-Examining Liszt’s notes indicates that this work of art was supposed to be an overture for Hamlet’s incidental music but is eventually published as a separate piece as a symphonic poem. 2-There are references to Ophelia in the partiture. 3-In his letter to Agnes Street-Klindworth, Liszt makes some references to this work.
A general glance on the form of Liszt’s Hamlet reveals an interesting swing between two contradictory elements; Liszt used this formula for the central structure of his programme music. In Hamlet, this contradiction lies in the psychological analysis of the characters of Hamlet and Ophelia. Liszt’s letter to Agnes Street-Klindworth and his references in his partiture unfolds this contradiction. Hamlet is vengeful and ambitious and plans his victory carefully, while Ophelia is portrayed as a faint shadow, like a musical silhouette
Abstract
Aristophanes’ comedies, which are full of bold words and acts and sexual metaphors etc., are complicated and thoughtworthy works in their structure and content. These qualities make Aristophanes’ comedies a standard for the next centuries’ comedies. Aristophanes, who is the greatest ancient Greek comedy writer and is considered to be the pioneer of ancient comedy, has many works of comedy, some of which are exceptional and extraordinary compared to other works. “Freedom of speech” is an important aspect in Aristophanes’ works. He constantly tries to criticize the socio-political conditions of his society. He is the first to create political comedies. There are political trails in most of his works. Aristophanes’ critical viewpoint has a sarcastic and audacious quality. Contrary to Menander, Aristophanes has idealistic notions. Aristophanes’ comedy usually targets famous Athenian figures and ridicules their policies. His comedy is rational and argumentative, and He tries to dictate his viewpoints to his audience in the clearest manner. His three plays “Lysistrata”, “Thesmophoriazusae”, and “Ecclesiazusae” are norm breaking plays which he wrote in his late period. These plays could be examined as exceptions. This essay tries to analyse Aristophanes’ policies and ideas in writing comedies using his three plays.