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Yayın An attempt of measuring art taste of a group of music students in Ankara(İstanbul Üniversitesi, 2014) Eren, OzanSince its first publication in 1979, Bourdieu’s prominent work called titled Distinction has been admired, imitated and discussed. By tracing the original study conducted by Bourdieu to measure the tastes and sticking to the later study in Britain which is more applicable and easier to operationalize, this study aims to question art tastes of bağlama students regularly attending to an urban–based music school in Kızılay/Ankara. Most importantly, it is aimed to provide a meaningful and valid methodological formulation in Turkish context to observe art tastes of music receivers regarding their economic, social, and cultural capitals. Considering the reason that musical field plays a crucial role in the analysis of Bourdieu and it has a very distinctive characteristic in the survey design conducted in Britain, this study intended to contribute in many ways to the further studies in the fields of cultural consumption and taste studies based on musical preferences in Turkey. Keywords: Art Taste, Music Receivers, Turkey, Methodological ContributionYayın Eril tahakkümün gölgesinde bir sanatçı: Alma (Mahler)(Ege Üniversitesi, 2016) Eren, OzanAralık, 1901’de Gustav Mahler tarafından yazılmış yıkıcı bir mektup aldıktan sonra Alma çok büyük hayal kırıklığına uğrar. Bundan sonra, Alma’dan tek mesleğinin kocasını sevmek olması beklenmektedir. Kısa süreli bir tereddütten sonra, Alma, Gustav Mahler’in isteğini kabul eder ve çift Mart, 1902’de evlenir. Araştırmayı Alma’nın aldığı mektuptan başlatan bu çalışma, bize Alma’nın Gustav Mahler’le evliliği boyunca sembolik şiddet ve eril tahakküm altında olduğunu kanıtlayacaktır. Gustav Mahler eril illusio’sunu Alma’ya dayatırken, Alma’nın aşk oyununun kurallarına uyması ve dayatılmış dişil habitus ile sınırlandırılmış sanat alanı içerisinde konumlanması beklenmiştir. Son olarak, bu çalışma bize gösterecektir ki Alma, Gustav Mahler’e itaat etmeseydi Gustav Mahler’in Alma’ya tahakkümü mümkün olmazdı. Bu nedenle, Gustav Mahler ve Alma arasındaki işbirliği ve suç ortaklığının eril tahakkümü güçlendirdiği iddia edilebilir.Yayın Microtonal guitar culture in Turkey(Trabzon University State Conservatory, 2022) Eren, Ozan; Güven, Uğur ZeynepThe main objective of this article is to analyze the development and the contemporary artistic milieu of microtonal guitar culture in Turkey. With a particular focus on the adjustable microtonal guitar developed by Tolgahan Çoğulu, we examined musicians’ experiences and the ways that they relate to this musical instrument. We used qualitative research methods and conducted in-depth interviews with our key informant and adviser Tolgahan Çoğulu as well as eight musicians who specialize in microtonal guitar. We utilized Bennett and Peterson’s definition of ‘scene’ to discuss microtonal guitar culture in Turkey. After briefly presenting the development of guitar music and questioning the nature of its representation in Istanbul, we analyzed the themes that emerged in conversation with the guitar players. We determined that our interviewees, who are educated, enthusiastic and committed musicians, are all influenced by Tolgahan Çoğulu’s efforts to shape the microtonal guitar world and are driven by their own artistic motivations. We found that musicians shared views on the innovative and promising qualities as well as certain live performance-related difficulties of this instrument –including the need to hammer new frets for different tuning systems on stage and the necessity of sharing microtonal guitar music recordings or videos using new media technologies. Although musical pieces in the microtonal guitar repertoire are mainly rooted in Turkish music, many consider this instrument to be an attempt towards overcoming the generally accepted distinctions between Western and Eastern music. We aim to contribute to further analysis of this flourishing music culture through our discussions on future implications of the current situation and our projections for the growing interest in microtonal music in Turkey.Yayın The sublime and the creation of identity in minor literature a comparison of ''the old man and the sea'' and ''the prey''(Uluslararası Kıbrıs Üniversitesi, 2017) Eren, OzanThe Old Man and the Sea, written ten years before Ernest Hemingway’s suicide and published in 1952, is one of his most important works and exemplary of his ‘Iceberg Theory’***. The novel tells the tale of Santiago, a Cuban fisherman who spends eightyfour days fruitlessly trying to catch a fish. On the eighty-fifth day, after a long struggle, he manages to land a swordfish which he ties to his boat, only to have it devoured by sharks before he reaches shore. The Prey is one of twelve short stories by Turkish writer, Bilge Karasu, included in his 1980 collection, The Garden of Departed Cats, and is also based around the relationships of the fish, the fisherman and the sea. The story weaves together three different narratives that complete each other. The story begins with a fish a fisherman has caught, snatching his arm, and although we may not be able to categorize this fish-fisherman relationship explicitly, it involves a state that is above and beyond the limits of our senses, a truly transcendental state. This transcendental state can be considered as part of the feeling of the ‘Dynamic Sublime’. The fish and the fisherman, who transcend the subject-object binary to become a single subject, referred to as the ‘creature’, and their affinity with the violent nature of their love, will be discussed in more detail in the following sections. This paper, which suggests a twofold approach, will first examine the fish-fishermansea relationship with reference to Kant’s ‘Dynamic Sublime’, in two works with similar subjects, written by two eminent twentieth century authors: Ernest Hemingway’s The Old Man and the Sea and Bilge Karasu’s The Prey. Hemingway and Karasu’s works* , published approximately thirty years apart, both recount the stories of fishermen who catch fish, and the fish-fisherman relationship that develops between them. However, when analyzed through the medium of the sea which forms the setting for the subject-object hierarchy of the fish-fisherman relationship, the application of Kant’s ‘Mathematical Sublime’** and ‘Dynamic Sublime’*** theories reveal the differences between the two works. Although the analysis requires the discussion of ‘beauty’ within a theoretical framework, the ‘Mathematical’ and ‘Dynamic Sublime’ form the core of this study. After the discussion of the ‘Mathematical Sublime’ and the ‘Dynamic Sublime’, the paper will argue that, through analysis of the two works, their constructions of identity, and the workings of the Sublime in major and minor literature, The Prey rightly belongs to minor literature****. It will also discuss form, and how the titles, The Old Man and the Sea, and The Prey, mark Karasu out as a representative of minor literature. Most importantly, this discussion will illustrate that unlike Hemingway’s repetitive and realistic writing style which aims to uphold a tradition in major literature, the story of Karasu is distinguished by its language affected with a high coefficient of deterritorialization. This will prove us that the differences in the appearance or manifestations of the ‘Dynamic Sublime’ and the ‘Mathematical Sublime’ in The Old Man and the Sea and The Prey are also due to literary differences.Yayın ''Suffering'' 1: commodification of music and the effects of 1980 military coup on the music industry in Turkey(Richtmann Publishing, 2015) Eren, OzanBy using Adorno and Horkheimer’s concept of ‘culture industry’ as a theoretical lens, this study aims to explore the rise of arabesque music and the dominance of the theme of “suffering” during the 1980s in Turkey. For this reason, using the concept of “culture industry”, a content analysis of the lyrics of randomly selected 20 arabesque songs which give the names to the albums produced between 1981 and 1986 was conducted within the scope of proposed analysis. The empirical analysis in this paper will demonstrate that after the 1980 coup, music industry was confronted with difficulties such as state monopoly on radio and television broadcasting, conformity rather than consciousness, the effort to create citizenry who was uncritical and the commodification of music. During this period, while the country suffered from the disastrous effects of the 1980 coup on one side, it at the same time glorified a music form, which mostly consisted of themes of suffering, on the other side.Yayın Türkiye'de çalışma ve meslek sahibi olma algısı - şiir/edebiyat alanı örneği(İstanbul Üniversitesi, 2016) Eren, OzanBirçok sosyolojik çalışmada, çalışma kavramı hâlen ücretli çalışma olarak düşünülmekte ve diğer çalışma türleri önemsenmemektedir. Bir bakış açısı, geniş kapsamlı çalışma pratikleri tanımı önermek yerine meta üretimini ileri sürer ve değişim değerinin önemini vurgular. Bu eğitim, meslek sahibi olmanın tanımlanmasında da görülmektedir. Günümüzde meslek sahibi olmak, üreticinin ürettiği meta ile ilişkisi üzerinden tanımlanmaktadır. Söylenenler ışığında bu çalışma, Türkiye'de çalışma ve meslek sahibi olma algısını şiir/edebiyat alanı örneği üzerinden gözlemlemeyi ve tartışmayı hedeflemektedir.Yayın Türkiye’de 1960’larda müzik alanı ve protest müziğin ilk nüveleri: anadolu pop akımı(İstanbul Üniversitesi, 2018) Eren, OzanMüzik olgusunun tek taraflı, basit değerlendirmesinden kaçınmaya çalışmak interdisipliner çalışmaların gelişmesi için yeni yöntemlerin araştırılmasını tetiklemiştir. Ancak, müzik sosyolojisi alanının nasıl kurulacağı halen tartışmalıdır. En önemlisi, her iki disiplinin inceliklerini de göz ardı etmeksizin müzik ve sosyolojiyi birbirine karıştırmak gerekmektedir. Bu bağlamda, bu makalenin temel amacı rock müzikle Türk folk müziğin bir sentezi olan Anadolu pop müziğin yükselişini bütüncül bir yaklaşımla incelemektir. Bourdieu’cü sosyolojik sanat teorisi yapısal tarihin, siyasal alan ve müzik alanı gibi etkileşimli alanların, müzikal olgunun incelenmesinin ve belli bir alanı etkiyelen yapıların ve eyleyicilerin analizine adandığı için bu çalışmada Bourdieu’nün bütüncül yaklaşımı esas alınmıştır. Ayrıca, bu çalışma bize gösterecektir ki Anadolu Pop’un 1960’larda doğması tesadüfi değildir. 1960’larda Türkiye’de uygun politik ortamın ve otonom sanatın varlığı ve 1960’larda Amerika’da protest müzik aracılığıyla bireysel dışavurum çabalarının artması Anadolu Pop’un ortaya çıkmasının arkasındaki itici güçlerdir.
