{"id":5413,"date":"2025-05-13T13:42:16","date_gmt":"2025-05-13T10:42:16","guid":{"rendered":"https:\/\/klasikdusunceokulu.com\/?page_id=5413"},"modified":"2025-05-13T13:42:42","modified_gmt":"2025-05-13T10:42:42","slug":"erman-goren-homeros-okumalariilias-47-seminer-ozeti","status":"publish","type":"page","link":"https:\/\/klasikdusunceokulu.com\/index.php\/erman-goren-homeros-okumalariilias-47-seminer-ozeti\/","title":{"rendered":"ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 47. SEM\u0130NER \u00d6ZET\u0130"},"content":{"rendered":"

ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 47. SEM\u0130NER \u00d6ZET\u0130<\/strong><\/p>\n

Dersin Amac\u0131 ve \u0130\u00e7eri\u011fi<\/strong><\/p>\n

Bu seminer, Ilias\u2019\u0131n 18. kitab\u0131ndaki \u00fcnl\u00fc \u201cAkhilleus\u2019un Kalkan\u0131\u201d sahnesini merkez alarak, epik anlat\u0131, sanatsal betimleme (ekphrasis) ve mitolojik kozmoloji aras\u0131ndaki ili\u015fkileri tart\u0131\u015f\u0131r. Erman G\u00f6ren, kalkan\u0131n yaln\u0131zca bir sava\u015f arac\u0131 de\u011fil, bir \u201cevren tasviri\u201d (imago mundi) olarak i\u015flev g\u00f6rd\u00fc\u011f\u00fcn\u00fc, sahne tasvirlerinin metafizik, siyasi, tar\u0131msal ve estetik d\u00fczenleri i\u00e7erdi\u011fini g\u00f6sterir. Kalkan, sadece bir nesnenin de\u011fil, ayn\u0131 zamanda bir eylemin ve d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fcn ifadesi olarak yorumlan\u0131r.<\/p>\n

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

    \n
  1. Ekphrasis ve Sanat\u0131n Ontolojisi<\/strong><\/li>\n<\/ol>\n

    Kalkan\u0131n betimlenmesi, bitmi\u015f bir nesneyi de\u011fil, yap\u0131m s\u00fcrecini anlat\u0131r. Bu y\u00f6n\u00fcyle Homeros\u2019un anlat\u0131s\u0131 klasik ekphrasis tan\u0131m\u0131n\u0131 a\u015far ve izleyiciyi hem nesnenin hem de sanat\u00e7\u0131n\u0131n eyleminin i\u00e7ine \u00e7eker.<\/p>\n

      \n
    1. D\u00f6rt Anlat\u0131 Katman\u0131: Olay, Nesne, Sanatk\u00e2r, G\u00f6zlemci<\/strong><\/li>\n<\/ol>\n

      Kalkan anlat\u0131s\u0131 d\u00f6rt bile\u015fen \u00fczerinden \u00e7\u00f6z\u00fcmlenir: anlat\u0131lan sahneler (res ipsa), kalkan\u0131n kendisi (opus ipsum), Hephaistos\u2019un eylemi (artifex), ve anlat\u0131c\u0131 ile izleyici (animadversor). Bu yap\u0131, anlat\u0131 stratejisinde modern estetik tart\u0131\u015fmalar\u0131 besler.<\/p>\n

        \n
      1. Kozmik Daire: Tak\u0131my\u0131ld\u0131zlar ve Tar\u0131m Takvimi<\/strong><\/li>\n<\/ol>\n

        Kalkan\u0131n merkezinde y\u0131ld\u0131zlar, G\u00fcne\u015f ve Ay yer al\u0131r. Pleiades, Hyades, Orion ve B\u00fcy\u00fck Ay\u0131 gibi tak\u0131my\u0131ld\u0131zlar mitolojik ve tar\u0131msal i\u015flevleriyle birlikte epik zamana y\u00f6n verir.<\/p>\n

          \n
        1. \u0130ki \u015eehir: Bar\u0131\u015f ve Sava\u015f\u0131n Temsili<\/strong><\/li>\n<\/ol>\n

          Kalkan \u00fczerinde yer alan iki \u015fehir, bar\u0131\u015f i\u00e7indeki toplumsal d\u00fczen ve sava\u015f\u0131n kaotik y\u0131k\u0131m\u0131 \u00fczerinden kar\u015f\u0131tl\u0131k kurar. Adalet sahnesi, Ilias\u2019\u0131n b\u00fct\u00fcn\u00fcne yay\u0131lan \u201ckan bedeli\u201d temas\u0131n\u0131n sembolik ifadesidir.<\/p>\n

            \n
          1. Zirai ve Hayvanc\u0131l\u0131kla \u0130lgili Sahneler<\/strong><\/li>\n<\/ol>\n

            Kalkan\u0131n d\u0131\u015f dairelerinde \u00e7ift\u00e7ilik, hasat, ba\u011f bozumu, hayvanc\u0131l\u0131k ve s\u00fcr\u00fclerin ta\u015f\u0131nmas\u0131 gibi g\u00fcndelik ya\u015fam faaliyetleri yer al\u0131r. Bu sahneler, Homeros\u2019un destans\u0131 bir metin i\u00e7inde g\u00fcndelikli\u011fi estetikle\u015ftirme becerisini ortaya koyar.<\/p>\n

              \n
            1. Ritmik D\u00fczen ve Raks<\/strong><\/li>\n<\/ol>\n

              Danslar, raks pistleri ve \u00e7\u00f6mlek\u00e7i tekeri metaforu ile kalkan\u0131n d\u0131\u015f halkas\u0131nda kozmik ahenk yeniden vurgulan\u0131r. Bu ritmik yap\u0131, tanr\u0131sal d\u00fczeni ve insan etkinli\u011finin uyumunu temsil eder.<\/p>\n

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

                \n
              1. seminer, Akhilleus\u2019un kalkan\u0131n\u0131 Homeros\u2019un bir evren tasviri olarak sunar. Kozmik, siyasi ve g\u00fcndelik d\u00fczenlerin ayn\u0131 formda birle\u015fti\u011fi bu betimleme, epik sanat\u0131n g\u00f6rsel, i\u015fitsel ve d\u00fc\u015f\u00fcnsel katmanlar\u0131n\u0131 harmanlayan benzersiz bir estetik \u00f6rnektir.<\/li>\n<\/ol>\n

                 <\/p>\n

                Purpose and Content of the Seminar<\/strong><\/p>\n

                This seminar centers on the famous \u201cShield of Achilles\u201d episode in Book 18 of the Ilias, examining the interplay between epic narration, artistic depiction (ekphrasis), and mythological cosmology. Erman G\u00f6ren interprets the shield not merely as a weapon, but as an \u201cimage of the world\u201d (imago mundi), where the depicted scenes represent metaphysical, political, agricultural, and aesthetic orders. The shield is treated as both an object and a narrative event, expressing a comprehensive worldview.<\/p>\n

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

                  \n
                1. Ekphrasis and the Ontology of Art<\/strong><\/li>\n<\/ol>\n

                  The description of the shield does not simply recount a finished object but narrates its creation process. In this way, Homer goes beyond classical ekphrasis, drawing the audience into both the object and the artist\u2019s creative act.<\/p>\n

                    \n
                  1. Four Narrative Layers: Event, Object, Artisan, Observer<\/strong><\/li>\n<\/ol>\n

                    The shield episode is analyzed through four components: the depicted scenes (res ipsa), the shield as a crafted object (opus ipsum), Hephaestus as the artisan (artifex), and the observer\/narrator (animadversor). This structure informs modern aesthetic discourse on layered narrative strategies.<\/p>\n

                      \n
                    1. Cosmic Ring: Constellations and Agricultural Calendar<\/strong><\/li>\n<\/ol>\n

                      At the center of the shield are celestial bodies\u2014Sun, Moon, and stars. Constellations like the Pleiades, Hyades, Orion, and the Great Bear guide not only mythic time but also agricultural rhythms in the epic worldview.<\/p>\n

                        \n
                      1. Two Cities: Representing Peace and War<\/strong><\/li>\n<\/ol>\n

                        The shield depicts two cities: one in peace, governed by justice and ritual, and another in the chaos of war. The justice scene symbolically expresses the Ilias\u2019 overarching theme of blood price and social order.<\/p>\n

                          \n
                        1. Scenes of Agriculture and Herding<\/strong><\/li>\n<\/ol>\n

                          The outer rings of the shield include scenes of farming, harvesting, winemaking, and herding. These depictions demonstrate Homer\u2019s ability to elevate everyday life within the epic frame, blending the mundane with the heroic.<\/p>\n

                            \n
                          1. Rhythmic Order and Dance<\/strong><\/li>\n<\/ol>\n

                            With dances, circular stages, and the potter\u2019s wheel as metaphors, the shield\u2019s outermost ring reaffirms cosmic harmony. This rhythmical structure symbolizes divine order and human participation in universal balance.<\/p>\n

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

                            Seminar 47 presents the Shield of Achilles as Homer\u2019s vision of the cosmos. Uniting cosmic, political, and everyday orders into a single aesthetic object, the shield becomes a layered artwork that blends visual, auditory, and philosophical dimensions\u2014one of the most sophisticated achievements of epic poetry.<\/p>\n","protected":false},"excerpt":{"rendered":"

                            ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 47. SEM\u0130NER \u00d6ZET\u0130 Dersin Amac\u0131 ve […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5413","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5413","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=5413"}],"version-history":[{"count":1,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5413\/revisions"}],"predecessor-version":[{"id":5414,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5413\/revisions\/5414"}],"wp:attachment":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/media?parent=5413"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}