The art of caricature which has gained power by the development of written and visual comminication tools- which are most important signifiers of mass culture- has vital importance in terms of history of thought in addition to art history of the geography which it belongs. The caricatures which have strong connections with socio-cultural structure of the society in which it came out, have significant roles in terms of generation and protection of the discourses based on its society. It can be said that the discourses established through Kemalist revolution as a Westernization movement and the political class, state, family, national education, academia and media against the Ottoman Empire which were left behind/ tried to be left behind in this period have been maintained/ reproduced in a continuum course. In this article weekly humor magazine Uykusuz was scanned through the Ottoman sign for a total of thirty-two issues May-August 2015 and May-August 2018. The Ottoman sign includes sarik, gown, fez, beard, prayer-beads, skullcap, baggy trouser. It is aimed to make comparison in order to determine the changes on processing of Ottoman in the two selected periods. The aim of the study to show how Ottoman sign as religious, Islamic, historical and traditional figure is placed on a secular line in a magazine. The Ottoman sign has mainly processed with the sultan and the fez signifiers. Although the themes of unhappiness and uneasiness are the main themes in the caricatures, the sultan has sometimes drawn as statesmen without authority, sometimes repressive and fearful.
Sociology of Religion, Caricature, Ottoman, Religion, Islam, Kemalism, Semiology.
|Author :||- Zehra ÖĞÜT|
|Number of pages:||242-282|