Yazar "Ertan, Cihan" seçeneğine göre listele

Listeleniyor 1 - 4 / 4
  • Küçük Resim
    Öğe
    AKIŞKAN ZAMANIN CİSİMLEŞEN DENEYİM ALANI OLARAK BEDEN ÜZERİNE SOSYOLOJİK BİR TARTIŞMA
    (2020) Ertan, Cihan
    Zamanın ölçümü, hesaplanması, anlamı ve dolayısıyla zamanın deneyimi tarihselaçıdan farklı dönemlere göre değişiklik göstermektedir. Deneyimin cisimleştiği bedenise her daim zamanla yakın ilişki içinde olmuştur. Beden ve zaman arasındaki builişki, bedensel pratiklerin zaman üzerinden düzenlenip kontrol edilişinden; zamanınbenlik inşasındaki kritik önemine ve teknolojik gelişmelerin beden - zaman - mekânbağını dönüşüme uğratmasına kadar geniş bir alana yayılmıştır. Bu makale, beden vezaman arasındaki ilişkiye yönelik olarak, zamanın bedensel deneyimler üzerindekietkisini tartışmaktadır. Geç modern toplumsal formasyon içinde, iletişim veenformasyon teknolojilerindeki gelişmelerle birlikte, beden ve zaman arasındaki bukarşılıklı ilişkinin değişiminin izleklerine yönelik kavramsal ve ampirik bir çerçevesunmak, söz konusu makalenin amacını oluşturmaktadır. Bu doğrultuda makale, sanalgerçeklik, artırılmış gerçeklik ve sosyal medya araçlarını, sürekli olarak dönüşenzaman-mekân-beden arasındaki ilişkiyi değerlendirmek için kendine bir zemin olarakalmaktadır.
  • Küçük Resim
    Öğe
    COVID-19 Experiences of Stage Performers
    (Brill, 2022) Ertan, Cihan; Sarıalioğlu, Özge
    This article focuses on the experiences of artistic performers in Turkey from a primarily interactionist theoretical stance and aims to explore how they have been affected by the C OvID-19 crisis. The lockdown policies implemented in Turkey have had dire consequences for these performers, exposing them to a new social position of insecurity and uncertainty. They have suffered not only from a lack of economic resources but also of the social interaction that in prior circumstances provided them with the grounds upon which they construct and present their social self. The findings of the study show that the closures of performance spaces fractured the day-to-day routines that would normally provide them with a secure social self since they lacked the ground (the physical stage) through which they have physical interaction with others (their audiences). The narratives in the study demonstrate that not being able to be on-stage endangered the process of the social construction of the self as performers and that they sought new ways of reconstituting the performer-audience interaction in order to ease the negative effects of the pandemic conditions and to secure their selves.
  • Küçük Resim
    Öğe
    The Experıence Of Probatıon In Turkey: Crımınogenıc Needs And Expectatıons Of Probatıoners
    (2018) Ertan, Cihan; Timurturkan, Meral; Demez, Gönül; Kart, Elife
    This study presents the findings of the research conducted with 2560probationers in Turkey, Antalya between the date of September 2014 and April 2017.From the larger data of the research, this study aims to focus on the criminogenic needs,expectations from probation service of probationers as well as on the areas probationerswould like to improve themselves which is related to criminogenic needs. In addition,the study seeks to illuminate the relationship of these with some demographicalvariables. In the light of relevant analysis, the study both presents the general portrait ofprobation service and probationers in Turkey, Antalya; and suggests some politicalpriorities that may be helpful to improve the quality of probation in Turkey.
  • Küçük Resim
    Öğe
    The Presentation of Hegemonic Masculinity, Parasocial Interaction and Transnational Online Communities: A Case Study of the Turkish Series “Erkenci Kuş”
    (2020) Wılson, Sharon; Ertan, Cihan
    Women in general are still enticed and their consent regarding hegemonic gender relations isbeing gained by the traditional masculine traits presented and portrayed by the media. This articleaddresses how the audience of women from a Facebook group create parasocial interaction through thepresentation of the hegemonic masculinity of the male character - Can Divit in a Turkish series ErkenciKuş. Employing a qualitative thematic analysis of 486 posts combined with observations, the authors addan empirical perspective to the widely discussed concept of audience participation and make a claim thatthe audience perceived motivations for their involvement and their engagement of the show is through themain male character creating what should be known as male objectification. The study doesn’t focusesonly upon the representation of masculinity, further it also concentrates on the gaze of the audiences, andseeks to illuminate how they (audiences) consume these representations and how they relate themselvesto these hegemonic masculine ideals.