Şarkiyatçı Söylemde Ötekilik Mekanlarının Yeniden Üretimi

Özet

Özet Bu çalışma, Batılı eril fantazilerin söyleminde üretilmiş Harem, Hamam ve Köle Pazarı konularında şekillenmiş şarkiyatçı söylemin klişelerinden olan ve ötekilik mekânları olarak tanımlanan mekânlarda konumlandırılmıştır. Doğulu kadın temsillerinin yer aldığı bu resimlerden alıntılamalar yaparak, Türkiye’de yeniden üreten sanatçıların, çalışmalarının karşılaştırmalı okumalarını yapmaktadır. Çalışmada, bu bağlam üzerine yapıtlarını üreten İnci Eviner, Gülsün Karamustafa, Taner Ceylan ve İsmet Doğan olmak üzere dört sanatçıya yer verilmiştir. Kadını temsil istencinin, ataerkil düzende, hegemonik yapısına feminist kuram çerçevesinde yaklaşılmıştır. Sonuç olarak Türkiye’nin sosyo-politik ve tarihi süreçleri de ele alınarak yapılan incelemede doğunun öteki oluşu, kadının öteki oluşuyla kesişmektedir; sanatçıların yapıtlarında, öznenin kendini tanımlamada muhtaç olduğu “öteki”, merkezin sürekli değişen yapısıyla, yeni ötekiler yaratma sürecinden kaynaklı kimlik krizi yaratmaktadır. Ataerkil sistemin değişmez ötekisi, doğusu, edilgeni, eksiklisi vb. olarak işaret ettiği kadındır. Dolayısıyla kadının temsil edilişi, bu söylemler dâhilinde ötekini tahakküm altına almayı içinde barındırır; Türkiye’de üretilen bu çalışmaların bağlamları eril söylemin sadece bir tarafı yani “doğusu”dur. Bu anlamda şarkiyatçılığın paradoksal yapısı gereği, çalışmada konu edinilen dört sanatçının yapıtlarında ki yeniden üretimlerinin, bir heterotopya olma özelliği taşıdığı söylenebilir. Anahtar Kelimeler: Şarkiyatçılık, Harem, Hamam, Köle Pazarı, Ötekilik Mekânları Abstrac This study involves spaces which are defined as otherness and among the cliché of orientalist discourse which were shaped around seraglios, public baths, and slave bazaars produced by Western masculine fantasies through visuals and today’s reproduction. By referencing these visuals involving the representations of eastern women, this study makes a comparison between Turkish artists who reproduce these spaces. These artists included in the study are İnci Eviner, Gülsün Karamustafa, Taner Ceylan and İsmet Doğan. The hegemonic structure of women representation will in the paternalistic order was approached from the feminist theory perspective. As a result, in this examination considering Turkey’s socio-politic and historical processes crosses the otherness of the East with otherness of women. In the works of artists, the “other” required by the object to define itself creates an identity crisis sourcing from the process of creating new others due to the changing structure of the center. The unchanging other, east, passive, etc. of paternalistic system is women. Therefore, the representation of women involves domination of the other within these discourses. The contexts of these studies produced in Turkey is only one side of the masculine discourse; the “East”. In this sense, by nature of orientalism’s paradoxical structure, the reproductions of the artists included in this study can be stated to be heterotopia. Keywords: Orientalism, Seraglio, Public bath, Slave Market, Otherness SpacesSummary This study determined the main boundaries of spaces which are defined as otherness and among the cliché of orientalist discourse which were shaped around seraglios, public baths, and slave bazaars produced by Western masculine fantasies through visuals and today’s reproduction. Therefore, this study defines orientalism as it is created, replicated and consumed by Western centered discourse. According to Edward Said, orientalism is classified into two categories as open and implied. Open orientalism expresses opinions on the language, letters, history, sociology, etc. about Eastern cultures explicitly. However, implied orientalism refers to a field of dreams, images, fantasies and fears. So, East has become an object for both desire and information. This study has a viewpoint with reference to Said’s implied orientalism, and also criticizes Said for masculinity. According to the perspective of the West, East was centered as the other and represented on an imaginary geography. At this point, the representation of the East as the other crosses between the representation of women as the other. This feminist analogy which places the object constituting both the idea of this study and the foundations of Western oriented perspective in the white male, defines the women as the other to men. From Freudian perspective, women were seen as incomplete men. When we look through this perspective, East is seen as the incomplete West. The main idea of Westernization lies at this point. Within this context, the starting point of this study has been the 18th century, when the interest in sexuality peaked in the West as also expressed by Foucault in his book titled “History of Sexuality”. 18th century was also the period when France undertook the mission of francization and the period of Ottoman collapse. Therefore, political-cultural relationships and their social reflections have been examined in this study. In this study which involved the footprints of cultural interaction between the two countries, how the ongoing discourses created a pattern was focused. The goal of this viewpoint and historical restriction is to point at the common grounds of two-way interaction between Ottoman Empire and France. This common ground is masculine viewpoint. In this study, the hegemonic structure of women representation will in this paternalistic order was approached from the feminist theory perspective. Starting from the Ottoman westernization movements, the reflections of Western modernity on visual arts in Turkey’s socio-political history was investigated within the context of women representation from an orientalist viewpoint. Therefore, it is observed that orientalist visuals which are the extensions of paternalistic structure representing women as the object in the West that can be characterized as the otherness spaces, have transmitted the same tradition. In visual arts in Turkey, the