{"id":3863,"date":"2025-03-03T02:44:52","date_gmt":"2025-03-02T23:44:52","guid":{"rendered":"https:\/\/klasikdusunceokulu.com\/?page_id=3863"},"modified":"2025-03-03T02:44:52","modified_gmt":"2025-03-02T23:44:52","slug":"kursat-demirci-gilgamis-okumalari-32","status":"publish","type":"page","link":"https:\/\/klasikdusunceokulu.com\/index.php\/kursat-demirci-gilgamis-okumalari-32\/","title":{"rendered":"K\u00fcr\u015fat Demirci: G\u0131lgam\u0131\u015f Okumalar\u0131 32"},"content":{"rendered":"

K\u00dcR\u015eAT DEM\u0130RC\u0130: GILGAMI\u015e OKUMALARI 32. SEM\u0130NER \u00d6ZET\u0130<\/strong><\/p>\n

Bu seminer, G\u0131lgam\u0131\u015f Okumalar\u0131\u2019n\u0131n bu d\u00f6nem i\u00e7in son dersi olup, genel bir de\u011ferlendirme ve 8. Tablet’e giri\u015f niteli\u011findedir. Tarih, k\u00fclt\u00fcr, edebiyat ve sosyoloji perspektiflerinden G\u0131lgam\u0131\u015f Destan\u0131’n\u0131n birey ve toplum \u00fczerindeki etkileri ele al\u0131nm\u0131\u015ft\u0131r. Ayr\u0131ca, Bat\u0131 ve Do\u011fu k\u00fclt\u00fcrlerinde bireyle\u015fme, tiyatro gelene\u011fi, hik\u00e2yele\u015ftirme ve psikanaliz ba\u011flam\u0131nda sinema ile edebiyat\u0131n i\u015flevi \u00fczerinde durulmu\u015ftur.<\/p>\n

Ana Temalar<\/strong><\/p>\n

    \n
  1. Enkidu\u2019nun \u00d6l\u00fcm\u00fc ve G\u0131lgam\u0131\u015f\u2019\u0131n Yas S\u00fcreci<\/strong>
    \n7. Tablet\u2019in tamamlanmas\u0131n\u0131n ard\u0131ndan G\u0131lgam\u0131\u015f\u2019\u0131n Enkidu\u2019nun \u00f6l\u00fcm\u00fc kar\u015f\u0131s\u0131ndaki derin \u00fcz\u00fcnt\u00fcs\u00fcn\u00fc i\u015fleyen 8. Tablet’e giri\u015f yap\u0131lm\u0131\u015ft\u0131r. Mezopotamya\u2019da \u00f6l\u00fcm alg\u0131s\u0131 ve cenaze rit\u00fcelleri, \u00f6l\u00fc hediyeleri ve yas pratikleri ba\u011flam\u0131nda tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r.<\/li>\n
  2. Do\u011fu ve Bat\u0131 K\u00fclt\u00fcrlerinde Anlat\u0131 ve Tiyatro Gelenekleri<\/strong>
    \nBat\u0131\u2019daki tiyatro gelene\u011fi bireyselle\u015fmeyi te\u015fvik eden bir alan sunarken, Do\u011fu\u2019daki anlat\u0131 gelene\u011finin toplumsal ba\u011flam ve kolektif haf\u0131za \u00fczerinden \u015fekillendi\u011fi vurgulanm\u0131\u015ft\u0131r. Grek-Roma tiyatro anlay\u0131\u015f\u0131 ile Mezopotamya ve \u0130slam d\u00fcnyas\u0131ndaki anlat\u0131 gelenekleri kar\u015f\u0131la\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.<\/li>\n
  3. Sinema, Hik\u00e2yele\u015ftirme ve Psikanalitik Yorum<\/strong>
    \nSinema ve tiyatro, bilin\u00e7alt\u0131na eri\u015febilen ve toplumsal bilin\u00e7 olu\u015fturan g\u00fc\u00e7l\u00fc anlat\u0131 ara\u00e7lar\u0131 olarak ele al\u0131nm\u0131\u015ft\u0131r. Psikanalitik bak\u0131\u015f a\u00e7\u0131s\u0131yla, sinema salonlar\u0131n\u0131n ve tiyatro mek\u00e2nlar\u0131n\u0131n bireyin bilin\u00e7alt\u0131n\u0131 d\u0131\u015fa vurmas\u0131n\u0131 sa\u011flayan g\u00fcvenli alanlar olarak i\u015flev g\u00f6rd\u00fc\u011f\u00fc tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r.<\/li>\n
  4. Do\u011fu ve Bat\u0131 K\u00fclt\u00fcrlerinde Bireyle\u015fme S\u00fcreci<\/strong>
    \nBat\u0131 k\u00fclt\u00fcr\u00fcn\u00fcn bireyselle\u015fmeyi \u00f6ne \u00e7\u0131kard\u0131\u011f\u0131, Do\u011fu k\u00fclt\u00fcr\u00fcnde ise kolektif kimli\u011fin bask\u0131n oldu\u011fu belirtilmi\u015ftir. Bireyin topluma kar\u015f\u0131 konumu ve bireysel \u00f6zerkli\u011fin anlat\u0131larla nas\u0131l \u015fekillendi\u011fi de\u011ferlendirilmi\u015ftir.<\/li>\n
  5. Binbir Gece Masallar\u0131 ve G\u0131lgam\u0131\u015f Destan\u0131\u2019nda Hik\u00e2yele\u015ftirme<\/strong>
    \nBinbir Gece Masallar\u0131 ve G\u0131lgam\u0131\u015f Destan\u0131\u2019n\u0131n bireyle\u015fme s\u00fcrecine katk\u0131s\u0131 tart\u0131\u015f\u0131lm\u0131\u015f, mitolojik ve edebi formlar\u0131n toplumsal bilin\u00e7 olu\u015fturma i\u015flevi de\u011ferlendirilmi\u015ftir.<\/li>\n
  6. Te\u015frifat ve \u00c2d\u00e2b-\u0131 Mu\u00e2\u015feretin K\u00fclt\u00fcrel S\u00fcreklili\u011fi<\/strong>
    \nOsmanl\u0131\u2019da Te\u015frifat ve \u00c2d\u00e2b-\u0131 Mu\u00e2\u015feret (nezaket ve g\u00f6rg\u00fc kurallar\u0131) gelene\u011fi incelenmi\u015f, modern toplumda bu t\u00fcr kurallar\u0131n nas\u0131l evrildi\u011fi ve de\u011fi\u015fime u\u011frad\u0131\u011f\u0131 \u00fczerinde durulmu\u015ftur.<\/li>\n<\/ol>\n

    Sonu\u00e7<\/strong><\/p>\n

    Bu seminerde 8. Tablet’e giri\u015f yap\u0131lm\u0131\u015f, Enkidu\u2019nun \u00f6l\u00fcm\u00fc \u00fczerine yas ve rit\u00fceller tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Do\u011fu ve Bat\u0131 anlat\u0131 gelenekleri, bireyle\u015fme s\u00fcreci ve psikanalitik ba\u011flamda hik\u00e2yele\u015ftirmenin i\u015flevi ele al\u0131nm\u0131\u015ft\u0131r. D\u00f6nemin son semineri olmas\u0131 nedeniyle genel bir de\u011ferlendirme yap\u0131lm\u0131\u015f ve gelecek okumalar \u00fczerine \u00f6ng\u00f6r\u00fcler payla\u015f\u0131lm\u0131\u015ft\u0131r.<\/p>\n

     <\/p>\n

    This seminar marks the final session of this term\u2019s Gilgamesh Readings, providing a general evaluation and an introduction to Tablet VIII. The discussion explores the impact of the Epic of Gilgamesh on individuals and society through historical, cultural, literary, and sociological perspectives. Additionally, topics such as individualization in Eastern and Western cultures, theatrical traditions, storytelling, and the role of cinema and literature in psychoanalysis are examined.<\/p>\n

    Main Themes<\/strong><\/p>\n

      \n
    1. Enkidu\u2019s Death and Gilgamesh\u2019s Mourning Process<\/strong>
      \nAfter completing Tablet VII, the session introduces Tablet VIII, which focuses on Gilgamesh\u2019s deep sorrow over Enkidu\u2019s death. The concept of death in Mesopotamian culture is explored through funerary rites, offerings to the dead, and mourning practices.<\/li>\n
    2. Narrative and Theatrical Traditions in Eastern and Western Cultures<\/strong>
      \nWhile Western theatrical traditions promote individualism, Eastern storytelling is rooted in collective memory and social contexts. Greek-Roman theater is compared with Mesopotamian and Islamic narrative traditions.<\/li>\n
    3. Cinema, Storytelling, and Psychoanalytic Interpretation<\/strong>
      \nCinema and theater are analyzed as powerful mediums that access the subconscious and shape collective consciousness. From a psychoanalytic perspective, cinema and theater spaces function as safe zones for individuals to externalize their unconscious thoughts.<\/li>\n
    4. The Process of Individualization in Eastern and Western Cultures<\/strong>
      \nWestern culture emphasizes individual autonomy, while Eastern culture tends to prioritize collective identity. The discussion examines how narratives influence the individual\u2019s position in society and shape personal agency.<\/li>\n
    5. Storytelling in One Thousand and One Nights<\/em> and the Epic of Gilgamesh<\/strong>
      \nThe role of storytelling in personal development and cultural identity is explored through the One Thousand and One Nights<\/em> and the Epic of Gilgamesh. The seminar examines how mythological and literary forms contribute to the formation of collective consciousness.<\/li>\n
    6. The Cultural Continuity of Etiquette and Social Conduct<\/strong>
      \nThe Ottoman tradition of Te\u015frifat<\/em> and \u00c2d\u00e2b-\u0131 Mu\u00e2\u015feret<\/em> (codes of etiquette and social conduct) is discussed in relation to modern transformations in social behavior and cultural norms.<\/li>\n<\/ol>\n

      Conclusion<\/strong><\/p>\n

      This seminar introduces Tablet VIII, focusing on mourning rituals for Enkidu and the cultural significance of death. The session also examines storytelling traditions in Eastern and Western societies, the process of individualization, and the psychoanalytic function of narratives. As the final session of the term, the discussion includes a general evaluation and a preview of future readings.<\/p>\n

       <\/p>\n","protected":false},"excerpt":{"rendered":"

      K\u00dcR\u015eAT DEM\u0130RC\u0130: GILGAMI\u015e OKUMALARI 32. SEM\u0130NER \u00d6ZET\u0130 Bu seminer, G\u0131lgam\u0131\u015f […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"100-width.php","meta":{"footnotes":""},"class_list":["post-3863","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/3863","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/comments?post=3863"}],"version-history":[{"count":1,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/3863\/revisions"}],"predecessor-version":[{"id":3865,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/3863\/revisions\/3865"}],"wp:attachment":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/media?parent=3863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}