Sürdürülebilir Kalkınma Amaçları

• 1

Yazarlar

• Demir, Sertac Timur(1)
• Demir, Sertaç Timur(1)

• MakaleYalnız künye2017Scopus SJRQ1/r/gumushane/15270
  The Stranger to Time: What a Collector Stands for in a Hurried Society

  Demir, Sertaç Timur

  City-dwellers who are threatened by the risk of natural or social disasters are in search of safer houses. Each attempt to satisfy their need for safety, however, turns into another version of the security problem; so much so that, escaping from risk itself turns into different (yet nevertheless more powerful) risks. The film 10 to 11 (2009) focuses on the socio-spatial conflict between a stranger and his neighbours who are anxious about a possible earthquake risk in Istanbul. Mithat, the protagonist of the film, is a stranger not only to place but essentially to time. He lives within time and understands place as an essential means loaded by temporal experiences and memories. This paper deals with the multiple dichotomies between time and memory, between risk and fear, between aesthetics and security, and between attachment and profit in the context of urban transformation. The stranger, who is analysed for the first time as a temporal being in this paper, is discussed using Zygmunt Bauman’s concepts of uncertainty and liquid modernity, Richard Sennett’s capitalism, Ulrich Beck’s risk society, Frank Furedi’s culture of fear, Stephen Bertman’s hurried culture, Elias Canetti’s death, Giorgio Agamben’s forgotten and gone, Svetlana Boym’s nostalgia, and Halbwachs, Assmann, Connerton, and Arendt’s memory, as well as around the temporal spaces of museums, bibliopoles, antique shops, and cemeteries.

  • 
  AtıfWoS1·OpenAlex2

  İncele
• MakaleYalnız künye2016/r/gumushane/16697
  Disease and Death in the Modern Culture: On Now and Eternity

  Demir, Sertac Timur

  This paper is basically about nowism as a representation of modernity rather than a temporal fragment, about cancer as philosophical reference rather than as a biological illness, and about death as constructive value rather than as a destructive experience. All these representation-loaded concepts are dealt with through the story of Tessa, the protagonist in the film Now is Good (2012). In the liquid modernity, on the one hand nowist orientations, tendencies and acts are wryly reduced to a cliche: Carpe diem (seize the day) and on the other hand temporal uncertainty of death implies the essential principle of memento mori (remember you will die) or Mutu qabla an tamutu (die before you die). The now is, as a worldview beyond a temporality, not merely good, but perhaps the God of the modern society. However, deadly cancer, which is an uninvited guest, nullifies this modern doctrine that commercializes the now as eternity and immortality itself. Cancer that marks death and the sense of chaos what cancer stirs are antithesis and perhaps antidote of the liquid modernity. This paper, for the very reason, unexpectedly affirms death while criticising the nowist culture.

  AtıfWoS2·TR Dizin2

  İncele