{"id":11022,"date":"2026-03-06T11:13:00","date_gmt":"2026-03-06T08:13:00","guid":{"rendered":"https:\/\/www.mordayanisma.org\/?p=11022"},"modified":"2026-04-11T19:01:52","modified_gmt":"2026-04-11T16:01:52","slug":"seyrin-feminist-filtresi","status":"publish","type":"post","link":"https:\/\/www.mordayanisma.org\/en\/2026\/03\/06\/seyrin-feminist-filtresi\/","title":{"rendered":"Seyrin Feminist Filtresi"},"content":{"rendered":"<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/Seyrin-Feminist-Filtresi.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">G\u00f6rsel: <em>Locadaki Mary<\/em>, Mary Cassatt <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2026 y\u0131l\u0131n\u0131n ilk Mor Masa bulu\u015fmas\u0131nda Prof. Dr. \u00d6zlem Belk\u0131s\u2019la \u201cFeminizm ve Sanat &#8211; \u0130zlediklerimiz ve Biz\u201d ba\u015fl\u0131\u011f\u0131 \u00fczerine s\u00f6yle\u015fmek, d\u00fc\u015f\u00fcnmek, tart\u0131\u015fmak i\u00e7in bir araya geldik. Bu yaz\u0131y\u0131, s\u00f6yle\u015fiye kat\u0131lamayan kad\u0131nlara ula\u015ft\u0131rmak \u00fczere ses kayd\u0131ndan ve ald\u0131\u011f\u0131m\u0131z notlardan s\u00fczerek kolektif olarak yazd\u0131k.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kad\u0131n d\u00fc\u015fman\u0131 politikalar h\u0131z kesmeden s\u00fcrse de biz kad\u0131nlar ya\u015fam\u0131 anlamland\u0131rmaya devam ediyoruz. Bu karanl\u0131k g\u00fcnleri, b\u00f6yle sohbetlerden ald\u0131\u011f\u0131m\u0131z g\u00fc\u00e7le ve m\u00fccadelemizle a\u015faca\u011f\u0131z.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>\u00d6nce biraz tarih: Sanat tarihi ve feminizm<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Sanata feminist perspektiften bakmak, \u00fcretim s\u00fcre\u00e7lerini ve eserleri bu g\u00f6zle incelemek g\u00fcncel m\u00fccadelemiz a\u00e7\u0131s\u0131ndan \u00f6nem ta\u015f\u0131yor. Erkek egemen kapitalizmin cinsiyet\u00e7i, emek ve beden s\u00f6m\u00fcr\u00fcs\u00fc \u00fczerine kurulu sistemin i\u00e7erisinde hem \u00f6n\u00fcm\u00fcze konulan\u0131 oldu\u011fu gibi kabul etmemek hem de yerine daha e\u015fit olan\u0131 nas\u0131l koyar\u0131m demek, feminist m\u00fccadele ve \u00fcretimlerimiz a\u00e7\u0131s\u0131ndan olduk\u00e7a \u00f6nemli. G\u00fcn\u00fcm\u00fczde bu tart\u0131\u015fmalar\u0131 daha derin ve i\u015fe yarar \u015fekilde yapabilmek i\u00e7in biraz ge\u00e7mi\u015fe bakal\u0131m.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"801\" height=\"496\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/image_2026-03-05_171248446.avif\" alt=\"-\" class=\"wp-image-11046\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/image_2026-03-05_171248446.avif 801w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/image_2026-03-05_171248446-300x186.avif 300w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/image_2026-03-05_171248446-768x476.avif 768w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/image_2026-03-05_171248446-18x12.avif 18w\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Sanat tarih\u00e7ilerinin kulland\u0131\u011f\u0131 temel bir sanat cetveli vard\u0131r. Bu cetvele g\u00f6re tiyatronun ba\u015flang\u0131c\u0131 M.\u00d6. 500\u2019lere uzan\u0131yor. Antik Yunan, Roma, Orta\u00e7a\u011f, Frans\u0131z Devrimi, \u0130talya\u2019daki R\u00f6nesans derken biz feministler i\u00e7in \u00e7ok dikkatli bakmam\u0131z gereken bir d\u00f6nem ba\u015flar. Elbette bundan \u00f6nce de kad\u0131nlar\u0131n m\u00fccadelesi var, fakat 1800\u2019lerin ortalar\u0131ndan itibaren organize olmu\u015f bir kad\u0131n m\u00fccadelesi ba\u015fl\u0131yor. Bu m\u00fccadelenin teorize olmas\u0131, feminizmin ortaya konmas\u0131, toplumsal cinsiyet teorilerinin yaz\u0131lmas\u0131 ise 20. y\u00fczy\u0131l\u0131n ortalar\u0131na denk geliyor. Yani cetvelde kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak bakmam\u0131z gereken, nas\u0131l bir geri okuma yapmam\u0131z gerekti\u011fini bize anlatan \u015fu k\u00fc\u00e7\u00fcc\u00fck k\u0131s\u0131m. T\u00fcm bu m\u00fccadele ve kad\u0131n hareketinin teorile\u015fmesine paralel olarak, 1940\u2019lardan itibaren sanata feminist bakma anlay\u0131\u015f\u0131n\u0131n ve feminist sanat \u00e7al\u0131\u015fmalar\u0131n\u0131n ba\u015flad\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliyoruz.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sanat arac\u0131l\u0131\u011f\u0131yla beden politikalar\u0131<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Antik Yunan\u2019da estetize edilen beden, Orta\u00e7a\u011f\u2019da soyutla\u015fan bir sanata d\u00f6n\u00fc\u015f\u00fcyor.&nbsp; R\u00f6nesans\u2019ta bedenin yeniden idealize edilmesi bu defa hikayelerle beraber ba\u015fl\u0131yor. Tanr\u0131 baba, yani erke\u011fin g\u00fc\u00e7l\u00fc bedeninin yan\u0131nda, masum kad\u0131n bedenlerini g\u00f6r\u00fcyoruz. Sanat, yava\u015f yava\u015f kad\u0131nlar\u0131n toplum i\u00e7inde, kamusal alanda, evde nas\u0131l g\u00f6r\u00fcnmeleri gerekti\u011fine dair hik\u00e2yelendirilen kad\u0131n bedenlerini konu edinmeye ba\u015fl\u0131yor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu hik\u00e2yeler yava\u015f yava\u015f yery\u00fcz\u00fcne indik\u00e7e, biz art\u0131k bu hik\u00e2yeleri sanat\u00e7\u0131n\u0131n g\u00f6z\u00fcnden g\u00f6rmeye ba\u015fl\u0131yoruz. Sanat eseriyle daha fazla empati kurmam\u0131z\u0131 sa\u011flayan da i\u015fte bu y\u00f6ntemin d\u00f6n\u00fc\u015f\u00fcm\u00fc oluyor.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">1960\u2019lar ya\u015fam\u0131n her alan\u0131nda oldu\u011fu gibi sanatta da ciddi bir s\u0131\u00e7rama yarat\u0131yor. Sanat ve performans\u0131n i\u00e7 i\u00e7e ge\u00e7ti\u011fini ve al\u0131mlay\u0131c\u0131s\u0131n\u0131n da sanat \u00fcr\u00fcn\u00fcn\u00fcn bir par\u00e7as\u0131 olmaya ba\u015flad\u0131\u011f\u0131na tan\u0131k oluyoruz. Bu s\u0131\u00e7raman\u0131n ard\u0131nda, asl\u0131nda sanat\u0131n belirli bir z\u00fcmreye olan aidiyetinin sars\u0131lmas\u0131 yat\u0131yor.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u0130\u00e7inden ge\u00e7ti\u011fi hi\u00e7bir \u00e7a\u011fa yabanc\u0131 kalmayan sanat, bug\u00fcn\u00fcn d\u00fcnyas\u0131n\u0131n yapay zek\u00e2s\u0131na da yabanc\u0131 kalm\u0131yor. Bug\u00fcn, Tekinsiz Vadi<sup data-fn=\"418c59a9-f65f-434b-8771-7d6b2f62766f\" class=\"fn\"><a id=\"418c59a9-f65f-434b-8771-7d6b2f62766f-link\" href=\"#418c59a9-f65f-434b-8771-7d6b2f62766f\">1<\/a><\/sup> olarak adland\u0131r\u0131lan, yapay zek\u00e2 arac\u0131l\u0131\u011f\u0131yla modellenen bir oyunculuk bile izleyebiliyoruz.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sanat ve cinsiyet aras\u0131ndaki ili\u015fki<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full is-resized\" style=\"margin-top:0;margin-right:0;margin-bottom:0;margin-left:0\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"750\" sizes=\"auto, (max-width: 270px) 100vw, 270px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/melek.avif\" alt=\"-\" class=\"wp-image-11026\" style=\"width:270px;height:auto\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/melek.avif 540w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/melek-216x300.avif 216w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/melek-9x12.avif 9w\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Birka\u00e7 sanat eseri \u00fczerinden sanat ve cinsiyet aras\u0131ndaki ili\u015fkiyi yoklayal\u0131m: <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ernesto Lamagna\u2019n\u0131n 2014 y\u0131l\u0131nda yapt\u0131\u011f\u0131 <em>Melek<\/em> adl\u0131 bu heykel, bug\u00fcne de\u011fin akl\u0131m\u0131za adeta \u00e7ivilenen melek imgesine ba\u015fkald\u0131r\u0131yor adeta.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hi\u00e7bir eseri ya da sanat\u00e7\u0131y\u0131 ya\u015fad\u0131\u011f\u0131 d\u00f6nemden ay\u0131rarak d\u00fc\u015f\u00fcnemeyiz. Her f\u0131r\u00e7a darbesinde, perspektifinde, \u00e7iziminde bir toplumun yans\u0131mas\u0131n\u0131 da g\u00f6r\u00fcr\u00fcz.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A\u015fa\u011f\u0131da 1933\u2019te Cumhuriyet\u2019in 10. y\u0131l kutlamalar\u0131 i\u00e7in Zeki Faik \u0130zzer\u2019e Frans\u0131z Devrim\u2019ini sembolize eden tablonun naziresi sipari\u015f ediliyor. Biz bu iki tabloyu kar\u015f\u0131la\u015ft\u0131r\u0131nca Zeki Faik Bey\u2019in bizleri daha \u201cedepli\u201d g\u00f6sterme arzusu oldu\u011fu hemen g\u00f6rebiliyoruz.<\/p>\n\n\n\n<div class=\"wp-block-group is-content-justification-center is-nowrap is-layout-flex wp-container-core-group-is-layout-58cdcb37 wp-block-group-is-layout-flex\">\n<figure class=\"wp-block-image size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"225\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/inkilap_resized-300x225.avif\" alt=\"-\" class=\"wp-image-11033\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/inkilap_resized-300x225.avif 300w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/inkilap_resized-16x12.avif 16w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/inkilap_resized.avif 600w\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"225\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/fransiz_resized-300x225.avif\" alt=\"-\" class=\"wp-image-11034\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/fransiz_resized-300x225.avif 300w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/fransiz_resized-16x12.avif 16w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/fransiz_resized.avif 600w\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-group is-content-justification-center is-nowrap is-layout-flex wp-container-core-group-is-layout-58cdcb37 wp-block-group-is-layout-flex\">\n<p class=\"wp-block-paragraph\">Zeki Faik \u0130zzer, <em>\u0130nk\u0131lap Yolunda<\/em>, 1933<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delacroix, <em>Halka Yol G\u00f6steren \u00d6zg\u00fcrl\u00fck<\/em>, 1830<\/p>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">\u0130nsan, bir \u015feyleri kategorize ederek anlamland\u0131ran bir canl\u0131 oldu\u011funa g\u00f6re cinsiyet ve sanat ili\u015fkisini incelerken baz\u0131 kategoriler g\u00f6rmemiz asl\u0131nda olduk\u00e7a ola\u011fan. O zaman biz de kategoriler \u00fczerinden, sanat ve kad\u0131n aras\u0131ndaki ili\u015fkiye bakabiliriz. Bu ili\u015fkiyi \u00fc\u00e7 perspektifte analiz edelim:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"\">Sanat\u0131n \u00fcreteni, \u00f6znesi olarak kad\u0131nlar<\/li>\n\n\n\n<li class=\"\">Sanat\u0131n konusu, nesnesi olarak kad\u0131nlar<\/li>\n\n\n\n<li class=\"\">Sanat\u0131n seyircisi olarak kad\u0131nlar<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sanat\u0131n \u00fcretici, \u00f6znesi olarak kad\u0131n<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">\u0130lk\u00e7a\u011f\u2019da kad\u0131nlar\u0131n sanat \u00fcretmesi ba\u015fl\u0131 ba\u015f\u0131na problemdi. Antik Yunan\u2019da kad\u0131n\u0131n sahneye \u00e7\u0131kmas\u0131 yasakt\u0131, kad\u0131n rollerini kad\u0131n k\u0131yafeti giyen, peruk takan, sesini incelten erkekler oynad\u0131. Shakespeare&#8217;in hi\u00e7bir oyununda bir kad\u0131n oynamad\u0131. Cumhuriyet \u00f6ncesinde M\u00fcsl\u00fcman kad\u0131nlar\u0131n sahneye \u00e7\u0131kmas\u0131 yasak oldu\u011fundan kad\u0131nlar, gayrim\u00fcslim taklidi yaparak sahneye \u00e7\u0131kt\u0131lar. K\u0131s\u0131tlamalar tiyatro alan\u0131yla s\u0131n\u0131rl\u0131 de\u011fil elbette. Yak\u0131n zamana kadar Suat Dervi\u015f erkek san\u0131l\u0131yordu, her ne kadar son y\u0131llarda transfobikli\u011fiyle g\u00fcndeme gelse de Harry Potter\u2019\u0131n yazar\u0131 J. K. Rowling de kad\u0131n oldu\u011fu anla\u015f\u0131lmamas\u0131 i\u00e7in ilk iki ismini k\u0131saltarak kulland\u0131. \u201cD\u00fc\u015f\u00fcnen Adam\u201d heykeliyle tan\u0131d\u0131\u011f\u0131m\u0131z Rodin\u2019in yapt\u0131\u011f\u0131 y\u00fczlerce e\u015fsiz heykelin, heykel par\u00e7alar\u0131n\u0131n partneri Camille Claudel\u2019e ait olmas\u0131 gibi sanat tarihi, bir\u00e7ok kad\u0131n sanat\u00e7\u0131n\u0131n eserlerine g\u00f6z\u00fcn\u00fc dikmi\u015f erkeklerle doludur.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bug\u00fcne bak\u0131nca her ne kadar resmi yasaklar olmasa da kad\u0131n\u0131n sanat\u0131n \u00f6znesi, \u00fcreticisi olmas\u0131 h\u00e2l\u00e2 b\u00fcy\u00fck \u00e7abalar gerektiriyor. Sanat\u00e7\u0131 olmak ciddiye al\u0131nan bir meslek de\u011fil hobi olarak g\u00f6r\u00fcl\u00fcyor. \u00d6zellikle \u201cg\u00f6r\u00fcn\u00fcr, y\u00fcksek\u201d kademelere gelinmedik\u00e7e var olabilmek b\u00fcy\u00fck bir u\u011fra\u015f. Bu u\u011fra\u015flar\u0131n ard\u0131ndan kad\u0131n sanat \u00fcreticisi olabilmi\u015fse de bu dal\u0131n i\u00e7erisinde \u00f6tekile\u015ftirilme, yok say\u0131lma, eme\u011fi ciddiye al\u0131nmama, sadece bedeniyle ve genellikle yard\u0131mc\u0131 kategorilere s\u0131k\u0131\u015ft\u0131r\u0131lma gibi sorunlarla kar\u015f\u0131 kar\u015f\u0131ya kal\u0131yor. \u00d6zne olma s\u00fcrecinde kad\u0131nlar ayr\u0131ca sanat yolunu tercih etmek istedikleri andan itibaren \u00e7e\u015fitli yak\u0131\u015ft\u0131rmalara maruz kal\u0131yor. Ataerkil toplum i\u00e7erisinde bir kad\u0131n\u0131n sanat\u00e7\u0131 olma iste\u011fi en hafif tabiriyle \u201cyoldan \u00e7\u0131kma\u201d hik\u00e2yesiyle kurgulan\u0131yor.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sanat yapan, yapmaya yeltenen, yapmay\u0131 arzu eden kad\u0131nlar\u0131 ve ya\u015famlar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrken bize yol a\u00e7acak, e\u011fer bulan\u0131ksa suyu durula\u015ft\u0131racak sorulardan baz\u0131lar\u0131n\u0131 \u015f\u00f6yle s\u0131ralayabiliriz:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sanat\u0131 \u00fcretenler kad\u0131nlar, sanat\u0131 nas\u0131l \u00fcretmi\u015f? Sanat tarihi boyunca acaba sanat\u0131 \u00fcretirken neler yapm\u0131\u015flar? Yani resim yapmak istediklerinde onlara nas\u0131l olanaklar tan\u0131nm\u0131\u015f? Kendi \u00e7a\u011fda\u015flar\u0131 olan erkek ressamlar\u0131n olanaklar\u0131na sahip olmu\u015flar m\u0131? Sahneye \u00e7\u0131kmak istediklerinde acaba bir zorlukla kar\u015f\u0131la\u015fm\u0131\u015flar m\u0131? Mesela roman yazmak istediklerinde, hikaye yazmak, oyun yazmak istediklerinde acaba ne kadar zorlanm\u0131\u015flar? Bir sanat\u00e7\u0131 olarak acaba kad\u0131nlar\u0131n nas\u0131l bir ya\u015fant\u0131lar\u0131 olmu\u015f? Bu sorular\u0131n cevaplar\u0131 bizleri kad\u0131n sanat\u00e7\u0131lar\u0131n ve \u00fcretimlerinin evrenine yakla\u015ft\u0131r\u0131r.&nbsp;<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sanat\u0131n konusu, nesnesi olarak kad\u0131n<\/strong><\/h4>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full wp-container-content-9dbf05af\"><img loading=\"lazy\" decoding=\"async\" width=\"250\" height=\"316\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/Sassoferrato-Mother-Mary-Prays-with-folded-hands.avif\" alt=\"-\" class=\"wp-image-11036\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/Sassoferrato-Mother-Mary-Prays-with-folded-hands.avif 250w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/Sassoferrato-Mother-Mary-Prays-with-folded-hands-237x300.avif 237w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/Sassoferrato-Mother-Mary-Prays-with-folded-hands-9x12.avif 9w\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Sanat\u0131n konusu olarak kad\u0131n, genellikle iki kutupta temsil edilir: Bir kutupta bakire Meryem, di\u011ferinde fettan Havva ya da bir tarafta melek ve \u00f6tekinde \u015feytan. Bir kutupta kad\u0131nlar\u0131 uysal, edepli anne rollerinde, toplumun olumlad\u0131\u011f\u0131 formlarda izleriz.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-medium wp-container-content-9dbf05af\"><img loading=\"lazy\" decoding=\"async\" width=\"214\" height=\"300\" sizes=\"auto, (max-width: 214px) 100vw, 214px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/yesilcam-femme-fatale-007_sinematik.yesilcam-214x300.avif\" alt=\"-\" class=\"wp-image-11037\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/yesilcam-femme-fatale-007_sinematik.yesilcam-214x300.avif 214w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/yesilcam-femme-fatale-007_sinematik.yesilcam-9x12.avif 9w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/yesilcam-femme-fatale-007_sinematik.yesilcam.avif 591w\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Di\u011fer kutupta ise \u00f6rneklerini 1960\u2019larda Ye\u015fil\u00e7am\u2019da s\u0131k\u00e7a g\u00f6rd\u00fc\u011f\u00fcm\u00fcz, d\u00fc\u015f\u00fcncelerini ortaya koyan, cinselli\u011fi sak\u0131nmadan ya\u015fayan, ahlaks\u0131z, \u015fuursuz Bat\u0131l\u0131la\u015fm\u0131\u015f, anne olmayan, g\u00f6z\u00fc d\u0131\u015far\u0131da, yuva y\u0131kan kad\u0131n tiplemeleri vard\u0131r.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu iki kutuplu kad\u0131n karakterleri yazanlar ise d\u00f6neminin en modern erkekleridir. Kad\u0131nlarsa beden g\u00fczellemesi ya da \u00f6tekile\u015ftirilme aras\u0131nda gidip gelen, genellikle kendi hik\u00e2yesi de\u011fil de erkeklerin yan hikayesi olarak betimleniyorlar. E\u011fer iyi bir kad\u0131n sanat\u00e7\u0131ysan\u0131z muhakkak \u00e7atlak, u\u00e7uk ka\u00e7\u0131ks\u0131n\u0131zd\u0131r. Normal, akl\u0131 ba\u015f\u0131nda sanat \u00fcretmeyi tercih eden kad\u0131nlar\u0131n varl\u0131\u011f\u0131 illa bir \u00e7atlakl\u0131k d\u00fc\u015f\u00fcncesiyle birle\u015ftirilir.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Sanat\u0131n seyircisi olarak kad\u0131n: Feminist bir izleyici nas\u0131l olunur?<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">Asl\u0131nda b\u00fct\u00fcn bu sanat tart\u0131\u015fmalar\u0131n\u0131, konuyu tam da buraya getirmek i\u00e7in yapt\u0131k. Biz kad\u0131nlar olarak ataerkil d\u00fczenin kodlar\u0131yla \u00fcretilmi\u015f olan sanata feminist g\u00f6zle nas\u0131l bakaca\u011f\u0131z? Ele\u015ftirel, feminist bir izleyici olman\u0131n yolu iktidar ili\u015fkilerini g\u00f6rmekten, kad\u0131n\u0131n bir eserde nas\u0131l konumland\u0131r\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6rmekten ge\u00e7iyor. Tiyatroda, sinemada, televizyonda \u015fiddet ili\u015fkilerinin normalle\u015fti\u011fi, g\u00fczellenip kutsand\u0131\u011f\u0131; kad\u0131nlar\u0131n, ezilenlerin yok say\u0131ld\u0131\u011f\u0131 eserleri \u201cahlak\u00e7\u0131l\u0131k\u201d tuza\u011f\u0131na da d\u00fc\u015fmeden ele\u015ftirel bir s\u00fczge\u00e7ten ge\u00e7irerek izlememiz gerekiyor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bu konuda bize yard\u0131mc\u0131 olmas\u0131 i\u00e7in \u00d6zlem Hoca\u2019n\u0131n s\u00f6yle\u015fide bizlere \u00f6nerdi\u011fi baz\u0131 testlerden bahsedelim. Bu testler bize kad\u0131n karakterlerin kurulu\u015fu, temsil edilme bi\u00e7imleri hakk\u0131nda \u00f6nemli ipu\u00e7lar\u0131 sunuyor. Bu testleri biraz oyun, biraz da zihin jimnasti\u011fi olarak olarak d\u00fc\u015f\u00fcnelim.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Russ Testi: <\/strong>Bu teste g\u00f6re bir sanat eserinde birbiriyle rekabet etmeyen iki kad\u0131n karakter var m\u0131 diye bakmal\u0131y\u0131z.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betcdhel Testi:<\/strong> Bir eserde kad\u0131nlar\u0131n dramatik bir malzemenin \u00f6tesinde bir birey olarak temsil edilip edilmedi\u011fine bakmal\u0131y\u0131z. Yani eserde en az isimlendirilmi\u015f iki kad\u0131n var olmal\u0131 ve bu kad\u0131nlar birbiriyle konu\u015fmal\u0131.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"1130\" sizes=\"auto, (max-width: 187px) 100vw, 187px\" src=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/unnamed-2.avif\" alt=\"-\" class=\"wp-image-11042\" style=\"aspect-ratio:0.5309734645134975;object-fit:cover;width:187px;height:auto\" title=\"\" srcset=\"https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/unnamed-2.avif 600w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/unnamed-2-159x300.avif 159w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/unnamed-2-544x1024.avif 544w, https:\/\/www.mordayanisma.org\/wp-content\/uploads\/2026\/03\/unnamed-2-6x12.avif 6w\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Ellen Willis Testi: <\/strong>Cinsiyetleri tersine \u00e7evirince hik\u00e2ye ayn\u0131 etkiyi yarat\u0131r m\u0131, de\u011ferinden bir \u015fey kaybeder mi diye incelemeliyiz.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Seksi Lamba Testi: <\/strong>Bir kad\u0131n karakter yerine seksi bir lamba koyabiliyorsan\u0131z ve hik\u00e2ye i\u015flemeye devam ediyorsa buradaki kad\u0131n temsiliyeti sorunlu diye d\u00fc\u015f\u00fcnmeliyiz.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sanat tarihi bize kad\u0131nlar\u0131n bak\u0131lan, erkeklerin bakan olarak konumland\u0131r\u0131ld\u0131\u011f\u0131 bilgisini veriyor. G\u00f6zlerimize \u00e7ekilmi\u015f perdeleri \u00f6yle bir \u00e7\u0131rp\u0131da s\u00f6k\u00fcp atmak kolay i\u015f de\u011fil. Elbette modern ya\u015fam\u0131n imk\u00e2nlar\u0131yla kad\u0131nlar ve erkekler ayn\u0131 salonlarda, ayn\u0131 atmosferi soludular, ayn\u0131 y\u00f6ne bak\u0131p, ayn\u0131 \u015feyi izlediler. B\u00fct\u00fcn bu eylemlerin kad\u0131nlar ve erkekler aras\u0131nda bir t\u00fcr e\u015fitlik olu\u015fturdu\u011funu s\u00f6yleyebiliriz. Ancak \u00f6rt\u00fcl\u00fc bir \u015fekilde kad\u0131nlar\u0131n ne izledi\u011fini, nas\u0131l yorum yapt\u0131\u011f\u0131n\u0131, hatta yorum yap\u0131p yapmayaca\u011f\u0131n\u0131 \u015fekillendiren ataerki, kad\u0131nlar\u0131n d\u00fc\u015f\u00fcncelerini rahat b\u0131rakm\u0131yor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seyrin feminist filtresi, \u00f6yle salt be\u011fenme-be\u011fenmeme ili\u015fkisiyle \u00e7al\u0131\u015fmaz. Feminist ele\u015ftirinin \u00f6z\u00fc ezme-ezilme ili\u015fkilerini de\u015fifre ederken direnme ve g\u00fc\u00e7lenme stratejileri olu\u015fturmada da yard\u0131mc\u0131 olur. Bu, elbette buraya yazd\u0131\u011f\u0131m\u0131z gibi kolay bir \u015fey de\u011fil. Belki bir kas gibi d\u00fc\u015f\u00fcnmek, \u00e7al\u0131\u015ft\u0131rd\u0131k\u00e7a \u00e7al\u0131\u015faca\u011f\u0131n\u0131, \u00e7al\u0131\u015ft\u0131rmad\u0131k\u00e7a da g\u00fc\u00e7s\u00fczle\u015fece\u011fini ak\u0131lda tutmak gerekiyor.<\/p>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"418c59a9-f65f-434b-8771-7d6b2f62766f\">Tekinsiz vadi (uncanny valley) temelde bir robotun ger\u00e7ek bir insan kadar olmasa bile, insana benzer niteliklerde g\u00f6r\u00fcnmesi ve davranmas\u0131 kar\u015f\u0131s\u0131nda ya\u015fad\u0131\u011f\u0131m\u0131z \u00e2ni \u015fa\u015f\u0131rma, \u00fcrkme, tiksinti, nefret tarz\u0131 olumsuz tepkileri a\u00e7\u0131klamaya \u00e7al\u0131\u015fan bir varsay\u0131m\u0131n ad\u0131.\u00a0<br><a href=\"https:\/\/www.acikbilim.com\/tekinsiz-vadi\/#.TvhYxxHZuKY.twitter\" target=\"_blank\" rel=\"noopener\">Kaynak: A\u00e7\u0131k Bilin\u00e7<\/a> <a href=\"#418c59a9-f65f-434b-8771-7d6b2f62766f-link\" aria-label=\"Jump to footnote reference 1\">\u21a9\ufe0e<\/a><\/li><\/ol>\n\n\n<p class=\"wp-block-paragraph\"><\/p>","protected":false},"excerpt":{"rendered":"<p>G\u00f6rsel: Locadaki Mary, Mary Cassatt 2026 y\u0131l\u0131n\u0131n ilk Mor Masa bulu\u015fmas\u0131nda Prof. Dr. \u00d6zlem Belk\u0131s\u2019la \u201cFeminizm ve Sanat &#8211; \u0130zlediklerimiz ve Biz\u201d ba\u015fl\u0131\u011f\u0131 \u00fczerine s\u00f6yle\u015fmek, d\u00fc\u015f\u00fcnmek, tart\u0131\u015fmak i\u00e7in bir araya geldik. Bu yaz\u0131y\u0131, s\u00f6yle\u015fiye kat\u0131lamayan kad\u0131nlara ula\u015ft\u0131rmak \u00fczere ses kayd\u0131ndan ve ald\u0131\u011f\u0131m\u0131z notlardan s\u00fczerek kolektif olarak yazd\u0131k.&nbsp; Kad\u0131n d\u00fc\u015fman\u0131 politikalar h\u0131z kesmeden s\u00fcrse de biz&hellip;<\/p>","protected":false},"author":5,"featured_media":11023,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_eb_attr":"","inline_featured_image":false,"footnotes":"[{\"content\":\"Tekinsiz vadi (uncanny valley) temelde bir robotun ger\u00e7ek bir insan kadar olmasa bile, insana benzer niteliklerde g\u00f6r\u00fcnmesi ve davranmas\u0131 kar\u015f\u0131s\u0131nda ya\u015fad\u0131\u011f\u0131m\u0131z \u00e2ni \u015fa\u015f\u0131rma, \u00fcrkme, tiksinti, nefret tarz\u0131 olumsuz tepkileri a\u00e7\u0131klamaya \u00e7al\u0131\u015fan bir varsay\u0131m\u0131n ad\u0131.\u00a0<br><a href=\\\"https:\/\/www.acikbilim.com\/tekinsiz-vadi\/#.TvhYxxHZuKY.twitter\\\">Kaynak: A\u00e7\u0131k Bilin\u00e7<\/a>\",\"id\":\"418c59a9-f65f-434b-8771-7d6b2f62766f\"}]"},"categories":[98,561],"tags":[212,1541,1547],"ppma_author":[613],"class_list":["post-11022","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","category-mor-masa","tag-feminist-sanat","tag-mor-masa","tag-ozlem-belkis","author-kolektif"],"authors":[{"term_id":613,"user_id":0,"is_guest":1,"slug":"kolektif","display_name":"Kolektif","avatar_url":"https:\/\/www.mordayanisma.org\/wp-content\/litespeed\/avatar\/fefdbcbd649cfc34ba2bc325b4cb21fd.jpg?ver=1784191119","author_category":"","first_name":"Kolektif","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11022","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/comments?post=11022"}],"version-history":[{"count":16,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11022\/revisions"}],"predecessor-version":[{"id":11474,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11022\/revisions\/11474"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media\/11023"}],"wp:attachment":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media?parent=11022"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/categories?post=11022"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/tags?post=11022"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/ppma_author?post=11022"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}