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An Analysis of The Wolverine (2013) in terms of Techno-Orientalism

Year 2020, Volume: 7 Issue: 2, 1055 - 1076, 24.07.2020
https://doi.org/10.17680/erciyesiletisim.724560

Abstract

Edward Said generally explains the whole hegemonic relations, which Western societies use to dominate Eastern countries, as orientalism. In the course of time, orientalism has evolved into several forms and it is redefined in different geographies. In this context, the form of hegemonic relationship, which the United States has tried to establish in East Asian countries (particularly Japan) in recent years, is called techno-orientalism. It is known that techno-orientalism is generally seen in science fiction films. Hollywood films are particularly one of the main factors in the creation and distribution of Western hegemony. In this sense, The Wolverine, which is the most watched movie in the world and entire film is set in Japan, was selected as a sample. Descriptive film analysis method was used in the study. The aim of the study is to indicate the implicit relation of Western domination by revealing invisible codes in the film universe in terms of techno-orientalism. As a result, it is revealed that the Wolverine, who is created with a techno-orientalist viewpoint in the film’s narrative, tries to relieve Western audience by eliminating the threats; Japan and East Asia that develop economically and technologically in Western mind.

References

  • https://boxofficeturkiye.com/. (2013, 12 06). 02 5, 2020 tarihinde https://boxofficeturkiye. com/: https://boxofficeturkiye.com/yillik/?yil=2013&yilop=tum adresinden alındı
  • https://www.boxofficemojo.com/. (2014). 02 05, 2020 tarihinde https://www. boxofficemojo.com/: https://www.boxofficemojo.com/year/world/2013/ adresinden alındı
  • Binark, M. (1998). Oryantalist Söylem ve Japonya Meiji Dönenıi (1868-1912) Japon Kadın Hareketi Tarihini Okumak. Kültür ve İletişim, 1(1), 65-90.
  • Boztemur, R. (2002). Marx Doğu Sorunu ve Oryantalizm. Doğu-Batı Dergisi (20/ Oryantalizm-I), 135-152.
  • Choe, S. ve Kim, S. Y. (2015). Never Stop Playing: StarCraft and Asian Gamer Death. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 113-124). New Jersey: Rutgers University Press.
  • Chun, W. H. (2007). Race and Software. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters- Popular Culture in Asian America (s. 305-334). London: Duke University Press.
  • Cornea, C. (2007). Science Fiction Cinema:Between Fantasy and Reality. Edinburgh : Edinburgh University Press.
  • Çırakman, A. (2002). Oryantalizmin Varsayımsal Temelleri:Fikri Sabit İmgelem ve Düşünce Tarihi. Doğu-Batı Dergisi (20/Oryantalizm-I), 181-198.
  • D’Angelo, W. (2020, 2 8). Switch vs PS4 vs Xbox One Global Lifetime Sales – January 2020. 3 16, 2020 tarihinde https://www.vgchartz.com/: https://www.vgchartz.com/ article/442352/switch-vs-ps4-vs-xbox-one-global-lifetime-salesjanuary-2020/ adresinden alındı
  • Dickenson, B. (2006). Hollywood’s New Radicalism-War,Globalisation and The Movies From Reagan to George W. Bush. New York: I.B. Tauris&Co. Ltd.
  • Goto-Jones, C. (2015). Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō. Asiascape: Digital Asia, 2(1-2), 20-56.
  • Hough, K. (2015). Demon Courage and Dread Engines: America’s Reaction to the Russo- Japanese Invasion Sublime. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism Imagining Asia in Speculative Fiction, History, and Media (s. 23-39). New Jersey: Rutgers University Press.
  • Ishii, D. (2015). Palimpsestic Orientalisms and Antiblackness;or, Joss Whedon’s Grand Vision of an Asian/American Tomorrow. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 180-192). New Jersey: Rutgers University Press.
  • Jeong, K. (2011). Crisis of Gender and The Nation in Korean Literature and Cinema: Modernity Arrives Again. Maryland: Lexington Books.
  • Jones, J. (2015). Japan Removed: Godzilla Adaptations and Erasure of the Politics of Nuclear Experience. M. Edwards içinde, The Atomic Bomb in Japanese Cinema: Critical Essays (s. 34-55). North Carolina: McFarland&Company Inc.
  • Kahraman, H. B. (2002). İçselleştirilmiş, Açık ve Gizli Oryantalizm ve Kemalizm. Doğu-Batı Dergisi (20/Oryantalizm-I), 153-180.
  • Kellner, D. (2013). Sinema Savaşları Bush-Cheney Döneminde Hollywood Sineması ve Siyaset. (G. Koca, Çev.) İstanbul: Metis Yayınları.
  • Keyman, F. (2002). Globalleşme, Oryantalizm ve Öteki Sorunu: 11 Eylül Sonrası Dünya ve Adalet. Doğu-Batı Dergisi (20/Oryantalizm-II), 11-32.
  • Klein, C. (2003). Cold War Orientalism Asia in the Middlebrow Imagination 1945-1961. Los Angeles: University of California Press.
  • Klein, C. (2020). Cold War Cosmopolitanism:Period Style in 1950s Korean Cinema. Oakland: University of California Press.
  • Konty, O. (2002). Üçgenin Tabanım Yok Sayan Pythagoras: Oryantalizm ve Ataerkillik Üzerine. Doğu Batı Dergisi (20/Oryantalizm-I), 117-134.
  • Kosnik, A. D. (2015). The Mask of Fu Manchu, Son of Sinbad, and Star Wars IV:A New Hope: Techno-Orientalistof Twentieth-Century. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 89-100). New Jersey: Rutgers University Press.
  • Low, M. (2003). Displaying the future: techno‐nationalism and the rise of the consumer in Postwar Japan. History and Technology, 19(3), 197-209.
  • Lozano-Méndez, A. (2010). Techno-Orientalism In East-Asian Contexts: Reiteration, Diversification, Adaptation. M. Telmissany ve S. T. Schwartz içinde, Counterpoints: Edward Said’s Legacy (s. 185-210). Newcastle: Cambridge Scholars Publishing.
  • Marchart, O. (1998). The East, the West and the Rest: Central and Eastern Europe between Techno-Orientalism and the New Electronic Frontier. Convergence: The International Journal of Research into New Media Technologies, 4(2), 56-75.
  • McKay, D. (2017). Camera Men: Techno-orientalism in Two Acts. Journal of American Studies, 51(3), 939-964.
  • McLoad, K. (2013). Afro-Samurai:Techno-orientalism and Contemporary Hip-hop. Popular Music, 32(2), 259-275.
  • Morley, D. ve Robins, K. (1995). Spaces of Identity-Global Media,Electronic Landscapes and Cultural Boundaries. New York : Routledge.
  • Napier, S. J. (2013, 08 20). The Wolverines’ Burden: Orientalism and the Superhero. 01 03, 2020 tarihinde https://www.huffpost.com/: https://www.huffpost.com/entry/the-wolverines-burden-ori_b_3763815 adresinden alındı
  • Nguyen, M. T. ve Tu, T. L. (2007). Introduction. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters-Popular Culture in Asian America (s. 1-34). London: Duke University Press.
  • Nihei, C. (2009). Thinking Outside the Chinese Box: David Mitchell and Murakami Haruki’s Subversion of Stereotypes About Japan. New Voices, 3, 86-103.
  • Niu, G. A. (2008). Techno-Orientalism, Nanotechnology, Posthumans and Post-Posthumans in Neal Stephenson’s and Linda Nagata’s Science Fiction. Melus, 33(4), 73-96.
  • Özden, Z. (2004). Film Eleştirisi-Film Eleştirisinde Temel Yaklaşımlar ve Tür Filmi Eleştirisi. Ankara: İmge Kitabevi.
  • Park, J. C. (2010). Yellow Future Oriental Style in Hollywood Cinema. Minneapolis: University of Minnesota Press.
  • Rivera, T. (2014). Do Asians Dream of Electric Shrieks?: Techno-Orientalism and Erotohistoriographic Masochism in Eidos Montreal’s Deus Ex: Human Revolution. Amerasia Journal, 40(2), 67-86.
  • Roh, D., Huang, B. ve Niu, G. (2015). Technologizing Orientalism: An Introduction. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 1-22). New Jersey: Rutgers University Press.
  • Ryan, M. ve Kellner, D. (2010). Politik Kamere-Çağdaş Hollywood Sinemasının İdeolojisi ve Politikası. (E. Özsayar, Çev.) İstanbul: Ayrıntı Yayınları.
  • Said, E. (1998). Oryantalizm. (N. Uzel, Çev.) İstanbul: İrfan Yayıncılık.
  • Sohn, S. H. (2008). Introduction:Alien/Asian:Imagining the Racialized Future. Melus, 33(4), 5-22.
  • Soni, J. (2020, 1 31). Huawei phone sales beat Apple in 2019. 2 13, 2020 tarihinde https:// www.techradar.com/: https://www.techradar.com/news/huawei-phone-salesbeat- apple-in-2019 adresinden alındı
  • Suzuki, E. (2017). Beasts from the Deep. Journal of Asian American Studies, 20(1), 11-28.
  • Tzarina, P. ve Fung, C. (2015). How Does It Not Know What It Is: The Techno-Orientalized Body in Ridley Scott’s Blade Runner and Larissa Lai’s Automaton Biohraphies. D. Roh, B. Huang ve G. Niu içinde, Techno orientalism:Imagining Asia in Speculative Fiction, History and Media (s. 193-208). New Jersey: Rutgers University Press.
  • Ueno, T. (1999). Techno-Orientalism and Media-Tribalism:On Japanese Animation and Rave Culture. Third Text, 13(47), 95-106.
  • Ueno, T. (2002). Japanimation and Techno-Orientalism. B. Grenville içinde, The Uncanny: Experiments in Cyborg Culture (s. 223-231). Vancouver: Arsenal Pulp Press.
  • Wagenaar, W. (2016). Wacky Japan: A Mew Face of Orientalism. Asia in Focus(3), 46-54.
  • Woronoff, J. (1996). Japan as -anything but- Number One. London: MacMillan Press.
  • Yamashita, K. T. ve Pablo, L. M. (2017). Anime Wong:Mobilizing(techno) Orientalism- Artistic Keynote and Conversation. Journal of Contemporary Drama in English, 5(1), 173-188.
  • Yavuz, H. (1998). Alafrangalığın Tarihi. İstanbul: Timaş Yayınları.
  • Yeats, D. (2015). Home Is Where the War Is: Remaking Techno-Orientalist Militarism on the Homefront. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 125-138). New Jersey: Rutgers University Press.
  • Yılmaz, E. (2008). Sinema ve İdeoloji İlişkileri Üzerine. B. Bakır, Y. Ünal ve S. Saliji içinde, Sinema, İdeoloji, Politika Sinemasal Yazılar 1 (s. 63-86). Ankara: Orient Yayıncılık. Yu, T. (2008). Postmodern Futures: Naked Lunch, Blade Runner and Neuromancer. Melus, 33(4), 45-71.

Wolverine (2013) Filminin Tekno- Oryantalizm Bağlamında İncelenmesi

Year 2020, Volume: 7 Issue: 2, 1055 - 1076, 24.07.2020
https://doi.org/10.17680/erciyesiletisim.724560

Abstract

Edward Said genel olarak, Batılı toplumların Doğu ülkeleri üzerindeki güç ve iktidar oluşturmak için kullandığı hegemonik ilişkilerin bütününü oryantalizm olarak tanımlamaktadır. Zaman içinde oryantalizm düşüncesi çeşitli biçimlere evrilerek farklı coğrafyalarda yeniden tanımlanmıştır. Bu bağlamda son yıllarda özellikle Amerika Birleşik Devletleri’nin başta Japonya olmak üzere Doğu Asya ülkeleri üzerinde kurmaya çalıştığı hegemonik ilişki biçimine tekno-oryantalizm adı verilmektedir. Tekno-oryantalizm düşüncesinin genel olarak bilimkurgu filmlerinde görünür olduğu bilinmektedir. Özellikle Hollywood filmleri Batılı egemen düşüncenin oluşturulmasında ve yayılmasında başat faktörlerden biridir. Bu bağlamda çalışmada dünya çapında en çok izlenen ve filmin neredeyse tamamı Japonya’da geçen The Wolverine eseri örneklem olarak seçilmiştir. Araştırmada betimsel film analizi yöntemi kullanılmıştır. Çalışmanın amacı tekno-oryantalizm bağlamında filmsel evrendeki görünmez kodları ortaya çıkararak zımni olarak yer alan Batılı iktidar ve güç ilişkisini ortaya çıkarmaktır. Sonuç olarak filmin anlatısında tekno-oryantalist bakış açısıyla yaratılan Wolverine karakterinin Batılı zihinde ekonomik ve teknolojik olarak yükselen Japonya ve Doğu Asya tehdidini gidererek Batılı seyirciyi rahatlatmaya çalıştığı ortaya çıkmaktadır.

References

  • https://boxofficeturkiye.com/. (2013, 12 06). 02 5, 2020 tarihinde https://boxofficeturkiye. com/: https://boxofficeturkiye.com/yillik/?yil=2013&yilop=tum adresinden alındı
  • https://www.boxofficemojo.com/. (2014). 02 05, 2020 tarihinde https://www. boxofficemojo.com/: https://www.boxofficemojo.com/year/world/2013/ adresinden alındı
  • Binark, M. (1998). Oryantalist Söylem ve Japonya Meiji Dönenıi (1868-1912) Japon Kadın Hareketi Tarihini Okumak. Kültür ve İletişim, 1(1), 65-90.
  • Boztemur, R. (2002). Marx Doğu Sorunu ve Oryantalizm. Doğu-Batı Dergisi (20/ Oryantalizm-I), 135-152.
  • Choe, S. ve Kim, S. Y. (2015). Never Stop Playing: StarCraft and Asian Gamer Death. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 113-124). New Jersey: Rutgers University Press.
  • Chun, W. H. (2007). Race and Software. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters- Popular Culture in Asian America (s. 305-334). London: Duke University Press.
  • Cornea, C. (2007). Science Fiction Cinema:Between Fantasy and Reality. Edinburgh : Edinburgh University Press.
  • Çırakman, A. (2002). Oryantalizmin Varsayımsal Temelleri:Fikri Sabit İmgelem ve Düşünce Tarihi. Doğu-Batı Dergisi (20/Oryantalizm-I), 181-198.
  • D’Angelo, W. (2020, 2 8). Switch vs PS4 vs Xbox One Global Lifetime Sales – January 2020. 3 16, 2020 tarihinde https://www.vgchartz.com/: https://www.vgchartz.com/ article/442352/switch-vs-ps4-vs-xbox-one-global-lifetime-salesjanuary-2020/ adresinden alındı
  • Dickenson, B. (2006). Hollywood’s New Radicalism-War,Globalisation and The Movies From Reagan to George W. Bush. New York: I.B. Tauris&Co. Ltd.
  • Goto-Jones, C. (2015). Playing with Being in Digital Asia: Gamic Orientalism and the Virtual Dōjō. Asiascape: Digital Asia, 2(1-2), 20-56.
  • Hough, K. (2015). Demon Courage and Dread Engines: America’s Reaction to the Russo- Japanese Invasion Sublime. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism Imagining Asia in Speculative Fiction, History, and Media (s. 23-39). New Jersey: Rutgers University Press.
  • Ishii, D. (2015). Palimpsestic Orientalisms and Antiblackness;or, Joss Whedon’s Grand Vision of an Asian/American Tomorrow. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 180-192). New Jersey: Rutgers University Press.
  • Jeong, K. (2011). Crisis of Gender and The Nation in Korean Literature and Cinema: Modernity Arrives Again. Maryland: Lexington Books.
  • Jones, J. (2015). Japan Removed: Godzilla Adaptations and Erasure of the Politics of Nuclear Experience. M. Edwards içinde, The Atomic Bomb in Japanese Cinema: Critical Essays (s. 34-55). North Carolina: McFarland&Company Inc.
  • Kahraman, H. B. (2002). İçselleştirilmiş, Açık ve Gizli Oryantalizm ve Kemalizm. Doğu-Batı Dergisi (20/Oryantalizm-I), 153-180.
  • Kellner, D. (2013). Sinema Savaşları Bush-Cheney Döneminde Hollywood Sineması ve Siyaset. (G. Koca, Çev.) İstanbul: Metis Yayınları.
  • Keyman, F. (2002). Globalleşme, Oryantalizm ve Öteki Sorunu: 11 Eylül Sonrası Dünya ve Adalet. Doğu-Batı Dergisi (20/Oryantalizm-II), 11-32.
  • Klein, C. (2003). Cold War Orientalism Asia in the Middlebrow Imagination 1945-1961. Los Angeles: University of California Press.
  • Klein, C. (2020). Cold War Cosmopolitanism:Period Style in 1950s Korean Cinema. Oakland: University of California Press.
  • Konty, O. (2002). Üçgenin Tabanım Yok Sayan Pythagoras: Oryantalizm ve Ataerkillik Üzerine. Doğu Batı Dergisi (20/Oryantalizm-I), 117-134.
  • Kosnik, A. D. (2015). The Mask of Fu Manchu, Son of Sinbad, and Star Wars IV:A New Hope: Techno-Orientalistof Twentieth-Century. D. Roh, B. Huang ve G. Niu içinde, Techno- Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 89-100). New Jersey: Rutgers University Press.
  • Low, M. (2003). Displaying the future: techno‐nationalism and the rise of the consumer in Postwar Japan. History and Technology, 19(3), 197-209.
  • Lozano-Méndez, A. (2010). Techno-Orientalism In East-Asian Contexts: Reiteration, Diversification, Adaptation. M. Telmissany ve S. T. Schwartz içinde, Counterpoints: Edward Said’s Legacy (s. 185-210). Newcastle: Cambridge Scholars Publishing.
  • Marchart, O. (1998). The East, the West and the Rest: Central and Eastern Europe between Techno-Orientalism and the New Electronic Frontier. Convergence: The International Journal of Research into New Media Technologies, 4(2), 56-75.
  • McKay, D. (2017). Camera Men: Techno-orientalism in Two Acts. Journal of American Studies, 51(3), 939-964.
  • McLoad, K. (2013). Afro-Samurai:Techno-orientalism and Contemporary Hip-hop. Popular Music, 32(2), 259-275.
  • Morley, D. ve Robins, K. (1995). Spaces of Identity-Global Media,Electronic Landscapes and Cultural Boundaries. New York : Routledge.
  • Napier, S. J. (2013, 08 20). The Wolverines’ Burden: Orientalism and the Superhero. 01 03, 2020 tarihinde https://www.huffpost.com/: https://www.huffpost.com/entry/the-wolverines-burden-ori_b_3763815 adresinden alındı
  • Nguyen, M. T. ve Tu, T. L. (2007). Introduction. M. T. Nguyen ve T. L. Tu içinde, Alien Encounters-Popular Culture in Asian America (s. 1-34). London: Duke University Press.
  • Nihei, C. (2009). Thinking Outside the Chinese Box: David Mitchell and Murakami Haruki’s Subversion of Stereotypes About Japan. New Voices, 3, 86-103.
  • Niu, G. A. (2008). Techno-Orientalism, Nanotechnology, Posthumans and Post-Posthumans in Neal Stephenson’s and Linda Nagata’s Science Fiction. Melus, 33(4), 73-96.
  • Özden, Z. (2004). Film Eleştirisi-Film Eleştirisinde Temel Yaklaşımlar ve Tür Filmi Eleştirisi. Ankara: İmge Kitabevi.
  • Park, J. C. (2010). Yellow Future Oriental Style in Hollywood Cinema. Minneapolis: University of Minnesota Press.
  • Rivera, T. (2014). Do Asians Dream of Electric Shrieks?: Techno-Orientalism and Erotohistoriographic Masochism in Eidos Montreal’s Deus Ex: Human Revolution. Amerasia Journal, 40(2), 67-86.
  • Roh, D., Huang, B. ve Niu, G. (2015). Technologizing Orientalism: An Introduction. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 1-22). New Jersey: Rutgers University Press.
  • Ryan, M. ve Kellner, D. (2010). Politik Kamere-Çağdaş Hollywood Sinemasının İdeolojisi ve Politikası. (E. Özsayar, Çev.) İstanbul: Ayrıntı Yayınları.
  • Said, E. (1998). Oryantalizm. (N. Uzel, Çev.) İstanbul: İrfan Yayıncılık.
  • Sohn, S. H. (2008). Introduction:Alien/Asian:Imagining the Racialized Future. Melus, 33(4), 5-22.
  • Soni, J. (2020, 1 31). Huawei phone sales beat Apple in 2019. 2 13, 2020 tarihinde https:// www.techradar.com/: https://www.techradar.com/news/huawei-phone-salesbeat- apple-in-2019 adresinden alındı
  • Suzuki, E. (2017). Beasts from the Deep. Journal of Asian American Studies, 20(1), 11-28.
  • Tzarina, P. ve Fung, C. (2015). How Does It Not Know What It Is: The Techno-Orientalized Body in Ridley Scott’s Blade Runner and Larissa Lai’s Automaton Biohraphies. D. Roh, B. Huang ve G. Niu içinde, Techno orientalism:Imagining Asia in Speculative Fiction, History and Media (s. 193-208). New Jersey: Rutgers University Press.
  • Ueno, T. (1999). Techno-Orientalism and Media-Tribalism:On Japanese Animation and Rave Culture. Third Text, 13(47), 95-106.
  • Ueno, T. (2002). Japanimation and Techno-Orientalism. B. Grenville içinde, The Uncanny: Experiments in Cyborg Culture (s. 223-231). Vancouver: Arsenal Pulp Press.
  • Wagenaar, W. (2016). Wacky Japan: A Mew Face of Orientalism. Asia in Focus(3), 46-54.
  • Woronoff, J. (1996). Japan as -anything but- Number One. London: MacMillan Press.
  • Yamashita, K. T. ve Pablo, L. M. (2017). Anime Wong:Mobilizing(techno) Orientalism- Artistic Keynote and Conversation. Journal of Contemporary Drama in English, 5(1), 173-188.
  • Yavuz, H. (1998). Alafrangalığın Tarihi. İstanbul: Timaş Yayınları.
  • Yeats, D. (2015). Home Is Where the War Is: Remaking Techno-Orientalist Militarism on the Homefront. D. Roh, B. Huang ve G. Niu içinde, Techno-Orientalism-Imagining Asia in Speculative Fiction, History, and Media (s. 125-138). New Jersey: Rutgers University Press.
  • Yılmaz, E. (2008). Sinema ve İdeoloji İlişkileri Üzerine. B. Bakır, Y. Ünal ve S. Saliji içinde, Sinema, İdeoloji, Politika Sinemasal Yazılar 1 (s. 63-86). Ankara: Orient Yayıncılık. Yu, T. (2008). Postmodern Futures: Naked Lunch, Blade Runner and Neuromancer. Melus, 33(4), 45-71.
There are 50 citations in total.

Details

Primary Language Turkish
Subjects Radio-Television
Journal Section Türkçe Araştırma Makaleleri
Authors

Rifat Becerikli 0000-0001-6392-8330

Publication Date July 24, 2020
Submission Date April 21, 2020
Published in Issue Year 2020 Volume: 7 Issue: 2

Cite

APA Becerikli, R. (2020). Wolverine (2013) Filminin Tekno- Oryantalizm Bağlamında İncelenmesi. Erciyes İletişim Dergisi, 7(2), 1055-1076. https://doi.org/10.17680/erciyesiletisim.724560