Sergilerde bir tarihi eserin farklı temsilleri: Çatalhöyük'ün kadın figürini
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2024
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Open Access Color
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Tarihsel olarak, müzeler çoğunlukla objeleri anlatılara kategorize sergileme teknikleri kullanmışlardır. On beşinci yüzyıldan kalma merak kabinelerinden modern kurumlara evrilen müzeler, ulusal kimliği şekillendirmeyi amaçlamışlardır. Ancak bu tez, kültürel eserlerin müze bağlamında sergilenmesine yönelik alternatif yaklaşımları savunmaktadır. Bu çalışma, Türkiye'deki bir müzede sergilenen tanınmış bir Neolitik esere ilişkin temsili ve temsil dışı aracılara odaklanmaktadır. Amaç, müze ortamlarında kültürel miras objelerini salt temsillere indirgemenin ötesine geçen sergileme tekniklerini keşfetmektir. Bruno Latour'un çalışmalarından yararlanan araştırma, eserlerin analizinde tarihsel ve kültürel bağlamı anlamanın önemini vurgulamaktadır. Latour'un Actor-Network Teorisi, dinamik ağlar ve dönüşümlere odaklanmasıyla birlikte 'iconoclash' ve 'factish' kavramları, Çatalhöyük Kadın Figürü'nü inceleyen kuramsal çerçeveyi oluşturmaya yardım eder. Çalışma, sergi katalogları, arkeolojik raporlar, görüşmeler, saha ziyaretleri ve arşiv belgeleri gibi çeşitli yöntemlerden oluşan bir yaklaşım kullanmaktadır. Bu yöntemler aracılığıyla, eserin algısını ve anlamını şekillendiren aktörleri görünür kılmak amaçlanır. Çalışmanın temel bölümü, Çatalhöyük Kadın Figürün'i 1962'den günümüze kadar uzanan, çeşitli anlatılar ve sergileme teknikleriyle ele alan sergi ve olaylara odaklanır. Araştırma, ANT ilkelerini kullanarak 'idol-making, freeze framing, contextualizing' olmak üzere üç kümeye odaklanmaktadır. Her küme, eserin fiziksel kopyası, statik anlatısal sınırlamaları ve bilimsel bağlamlamını vurgulama dahil olmak üzere eserin temsilinin farklı yönlerine odaklanır. Sonuç olarak, bu araştırma kültürel eserleri çevreleyen bilimsel açıklamalar ile popüler inançlar arasındaki boşluğu araştırırken, eserler, müzeler, kategorilendirme ve anlatılar arasındaki ilişkileri görünür kılar. Çalışma, geleneksel temsili tekniklere alternatif araken, temsil dışı yaklaşımları vurgulamayı amaçlar. Dolayısıyla, müze ortamlarında kültürel mirasın korunması ve sunumuna ilişkin daha incelikli bir anlayışa katkıda bulunur.
Historically, museums have mostly employed display techniques that subjectify objects within narratives. Evolving from fifteenth-century cabinets of curiosities to modern institutions, museums aimed at shaping national identity. However, this thesis advocates for alternative approaches to displaying cultural artifacts in relation to museum context, exploring representational and non-representational mediators concerning a well-known Neolithic artifact displayed in a museum in Turkey. The aim is to discover displaying techniques that go beyond reducing cultural heritage objects to mere representations within museum contexts. Drawing from Bruno Latour' works, the research highlights the importance of understanding historical and cultural contexts in analyzing artifacts. Latour's Actor-Network Theory, based on dynamic networks and transformations alongside his concepts of 'iconoclash' and 'factish', serve as theoretical framework in examining the Neolithic artifact, Woman Figurine from Çatalhöyük. The study uses a multi-methodological approach, including analysis of exhibition catalogs, archaeological reports, interviews, site visits, and archival documents. Through these methods, the intricate web of influences shaping the perception and interpretation of the artifact is traced. The core analysis consists of eight cases starting from 1962 to the present, where the Woman Figurine of Çatalhöyük is presented with various narratives and display techniques. Employing ANT principles, the study analyzes these narratives using three clusters: idol-making, freeze-framing, and contextualizing. Each cluster elaborates on different aspects of the artifact's representation, including its physical reproduction, narrative limitations, and scientific contextualization. In conclusion, this research bridges the gap between scientific explanations and popular beliefs surrounding cultural artifacts while unveiling the complex relationships between artifacts, museums, categorization, and narratives. Thus, it aims to challenge traditional representational techniques while highlighting non-representational approaches. Overall, it contributes to a more delicate understanding of cultural heritage preservation and presentation in museum contexts.
Historically, museums have mostly employed display techniques that subjectify objects within narratives. Evolving from fifteenth-century cabinets of curiosities to modern institutions, museums aimed at shaping national identity. However, this thesis advocates for alternative approaches to displaying cultural artifacts in relation to museum context, exploring representational and non-representational mediators concerning a well-known Neolithic artifact displayed in a museum in Turkey. The aim is to discover displaying techniques that go beyond reducing cultural heritage objects to mere representations within museum contexts. Drawing from Bruno Latour' works, the research highlights the importance of understanding historical and cultural contexts in analyzing artifacts. Latour's Actor-Network Theory, based on dynamic networks and transformations alongside his concepts of 'iconoclash' and 'factish', serve as theoretical framework in examining the Neolithic artifact, Woman Figurine from Çatalhöyük. The study uses a multi-methodological approach, including analysis of exhibition catalogs, archaeological reports, interviews, site visits, and archival documents. Through these methods, the intricate web of influences shaping the perception and interpretation of the artifact is traced. The core analysis consists of eight cases starting from 1962 to the present, where the Woman Figurine of Çatalhöyük is presented with various narratives and display techniques. Employing ANT principles, the study analyzes these narratives using three clusters: idol-making, freeze-framing, and contextualizing. Each cluster elaborates on different aspects of the artifact's representation, including its physical reproduction, narrative limitations, and scientific contextualization. In conclusion, this research bridges the gap between scientific explanations and popular beliefs surrounding cultural artifacts while unveiling the complex relationships between artifacts, museums, categorization, and narratives. Thus, it aims to challenge traditional representational techniques while highlighting non-representational approaches. Overall, it contributes to a more delicate understanding of cultural heritage preservation and presentation in museum contexts.
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Müzecilik, Museology
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113