Mizah anlayışının yeni hali “caps”leri “dünya tarihine yön veren kişiler” üzerinden okumak
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Dosyalar
Tarih
2017
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Ticaret Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu çalışmanın sorunsalı, dünya tarihine yön veren kişiler üzerine yapılmış capslerin katılımcı demokrasi ve kültüre ne yönde bir katkı sunduğunu tartışmaya açarak; capslerin, bu kişilerin tarih sahnesindeki değerini basitleştirip basitleştirmediğini yorumlamaktır. Çalışmanın amacı ise, Türkiye’de “eğlence trolleri” olarak tanımlanan yeni medya kullanıcılarının yaratıcı dil pratiklerini ve caps üretimlerini inceleyerek; bu paylaşımların yaratıcı kültürü ve dolayısıyla katılımcı kültürü ve demokrasiyi destekleyip desteklemediğini sorgulamaktır. Bu bağlamda, “eğlence trollüğü”ne örnek oluşturan dünya tarihine yön veren kişiler üzerine üretilen capsler çözümlenmiş ve günümüz mizah anlayışındaki değişime de ayrıca vurguda bulunulmuştur. Çalışmada, Stuart Hall’un çoklu okuma yöntemi kullanılmış ve capsler karşıt okuma aracılığıyla çözümlenerek yorumlanmıştır. Amaçlı örnekleme tekniği ile seçilen ve dünya tarihine yön veren altı kişinin capsleri, tarihsel ve toplumsal bağlam göz önünde bulundurularak değerlendirilmiştir. Dünya tarihine yön veren kişiler ise Alexander Graham Bell, Thomas Edison, Albert Einstein, Charles Darwin, Friedrich Nietzsche ve Karl Marx olarak belirlenmiştir. Çalışmada incelenen capslere, www.siralio.com isimli web sitesinden ulaşılmıştır. Sonuç olarak, şu bulgulara ulaşılmıştır: İlk olarak, dünya bilim tarihine yön veren bu kişilerin katkıları sulandırılarak magazinleştirilmiş; bir başka deyişle, yapıbozumuna uğratılmıştır. Bunun için de post-modern söylemin temel özelliklerinden yararlanılmıştır. İkincisi, capslerdeki metinsel göstergelerin yorumlanması, yan anlamsal düzeyde gerçekleştirilmiştir. Üçüncüsü, remix estetiğinin kullanılmasıyla Türkiye’deki yerleşik halk kültürünün sözleriyle bilim insanlarının icatları ve teorileri arasında metinlerarası bir köprü oluşturulmuştur. Capslerdeki anlam inşası ise, eğlenceyi önceleyen mizahi bir dil, kelime oyunları ve post-modern biçemle yaratılmıştır.
The advancements in new communication technologies has transformed humour, and the language and content of humour along with many other things in daily life. This could be interpreted from both a positive and a negative perspective. Especially the creative humour constructed by the young population, who competently use the Internet technologies, produce creative content, and follow popular culture contents, has repositioned the current sense of humour. This actually is closely connected to the post-modern culture we are in that is defined as “the cultural logic of late capitalism”. Today’s sense of humour, which is distinguished by its ironic language and mock-all attitude, is being positioned as the dissident humour that was prevalent in 1960s, and it is now rising as a hollow sense of humour. Currently, humour is built on entertainment and rapidly consumed just like everything else in capitalist societies. However, it is emphasised that a kind of resistance is realised through this sense of humour that depends on entertainment. In that sense, memes that are produced online emerge as significant examples in the discussion of participatory democracy and culture. A meme today can be defined as an entertainment item in the form of captioned pictures or videos that spread quickly online. On social media there are numerous memes on a variety of topics. Politics, football teams, athletes, stars, antique paintings, famous philosophers, people that shaped the world history, popular culture contents and daily life could be given as some of the examples. Recently, memes on the pictures of people that shaped the world history attract attention. The main point of discussion here is that memes that depend on entertainment and rapid consumption may degrade the value of people who shaped the world history. The problem of this study is to analyse whether memes devalue these people on the history stage by discussing what contributions memes make in terms of participatory democracy and culture. The aim of the study is to investigate the creative language practices and meme productions of the new media users who are defined as “entertainment trolls” in Turkey; and question whether this sharing fosters creative culture and hence participatory culture and democracy. In this framework, as examples of “entertainment trolls” memes on people that shaped the world history were analysed, and the transformation in today’s sense of humour was highlighted. In the study, Stuart Hall’s multiple-reading technique was used and the memes were decoded and analysed. Purposeful sampling was used to gather the data from the memes made on six historical figures’ pictures; and the historical and social context was taken into consideration during the process. The selected historical figures that shaped the world history were Alexander Graham Bell, Thomas Edison, Albert Einstein, Charles Darwin, Friedrich Nietzsche and Karl Marx. The memes used in the study were taken from www.siralio.com. The website files and presents to its users the memes that are made on the people that shaped the world history. The background of the study was presented under two headings. The first part highlighted the youth culture in the framework of the discussions regarding new communication technologies and web technologies along with participatory democracy and culture. Under the second heading, memes as important examples of entertainment trolls, and today’s language of humour and changing sense of humour were explored by paying attention to the basic features of post-modern culture. In the analysis part, the basic features of post-modern culture were interpreted through the Internet memes. The features are as follows: (1) Deconstruction, (2) Intertextuality, (3) Remix culture/aesthetics (pastiche), (4) Wordplay, (5) Anonymity, (6) Humorous features in the context of irony, (7) the importance of connotation. In conclusion, in relation to the memes that used inventors, positive scientists, and philosophers that shaped the history of science, these findings were reached: Firstly, the contributions of the people who shaped the world history of science were ridiculed and tabloidesed, in other words, they were deconstructed. To achieve this, the basic features of post-modern discourse were used. Secondly, the interpretations of the textual indicators were realised at a connotational level. Thirdly, with the use of remix aesthetics, an intertextual bridge was built between the common public discourse in Turkey and inventions and theories of the scientists. The construction of meaning in the memes were achieved with a humorous language that prioritised entertainment, wordplay and post-modern style. In conclusion, it is controversial that through memes that are analysed in this study participatory democracy and culture could create a resistance in the context of opposing-hegemony. Moreover, it would be essential to conduct reception studies to verify this hypothesis and reach a conclusion.
The advancements in new communication technologies has transformed humour, and the language and content of humour along with many other things in daily life. This could be interpreted from both a positive and a negative perspective. Especially the creative humour constructed by the young population, who competently use the Internet technologies, produce creative content, and follow popular culture contents, has repositioned the current sense of humour. This actually is closely connected to the post-modern culture we are in that is defined as “the cultural logic of late capitalism”. Today’s sense of humour, which is distinguished by its ironic language and mock-all attitude, is being positioned as the dissident humour that was prevalent in 1960s, and it is now rising as a hollow sense of humour. Currently, humour is built on entertainment and rapidly consumed just like everything else in capitalist societies. However, it is emphasised that a kind of resistance is realised through this sense of humour that depends on entertainment. In that sense, memes that are produced online emerge as significant examples in the discussion of participatory democracy and culture. A meme today can be defined as an entertainment item in the form of captioned pictures or videos that spread quickly online. On social media there are numerous memes on a variety of topics. Politics, football teams, athletes, stars, antique paintings, famous philosophers, people that shaped the world history, popular culture contents and daily life could be given as some of the examples. Recently, memes on the pictures of people that shaped the world history attract attention. The main point of discussion here is that memes that depend on entertainment and rapid consumption may degrade the value of people who shaped the world history. The problem of this study is to analyse whether memes devalue these people on the history stage by discussing what contributions memes make in terms of participatory democracy and culture. The aim of the study is to investigate the creative language practices and meme productions of the new media users who are defined as “entertainment trolls” in Turkey; and question whether this sharing fosters creative culture and hence participatory culture and democracy. In this framework, as examples of “entertainment trolls” memes on people that shaped the world history were analysed, and the transformation in today’s sense of humour was highlighted. In the study, Stuart Hall’s multiple-reading technique was used and the memes were decoded and analysed. Purposeful sampling was used to gather the data from the memes made on six historical figures’ pictures; and the historical and social context was taken into consideration during the process. The selected historical figures that shaped the world history were Alexander Graham Bell, Thomas Edison, Albert Einstein, Charles Darwin, Friedrich Nietzsche and Karl Marx. The memes used in the study were taken from www.siralio.com. The website files and presents to its users the memes that are made on the people that shaped the world history. The background of the study was presented under two headings. The first part highlighted the youth culture in the framework of the discussions regarding new communication technologies and web technologies along with participatory democracy and culture. Under the second heading, memes as important examples of entertainment trolls, and today’s language of humour and changing sense of humour were explored by paying attention to the basic features of post-modern culture. In the analysis part, the basic features of post-modern culture were interpreted through the Internet memes. The features are as follows: (1) Deconstruction, (2) Intertextuality, (3) Remix culture/aesthetics (pastiche), (4) Wordplay, (5) Anonymity, (6) Humorous features in the context of irony, (7) the importance of connotation. In conclusion, in relation to the memes that used inventors, positive scientists, and philosophers that shaped the history of science, these findings were reached: Firstly, the contributions of the people who shaped the world history of science were ridiculed and tabloidesed, in other words, they were deconstructed. To achieve this, the basic features of post-modern discourse were used. Secondly, the interpretations of the textual indicators were realised at a connotational level. Thirdly, with the use of remix aesthetics, an intertextual bridge was built between the common public discourse in Turkey and inventions and theories of the scientists. The construction of meaning in the memes were achieved with a humorous language that prioritised entertainment, wordplay and post-modern style. In conclusion, it is controversial that through memes that are analysed in this study participatory democracy and culture could create a resistance in the context of opposing-hegemony. Moreover, it would be essential to conduct reception studies to verify this hypothesis and reach a conclusion.
Açıklama
Anahtar Kelimeler
Web 2.0, Post-Modern Kültür, Katılımcı Demokrasi, Yaratıcı Kültür, Mizah, Caps, Web 2.0, Post-Modern Culture, Participatory Democracy, Creative Culture, Humour, Memes
Kaynak
Intermedia Uluslararası Hakemli İletişim Bilimleri E-Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
4
Sayı
6
