Research Article
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Constructing The Balkans: Emotion Politics of Pop Culture and Balkanization Discourse

Year 2022, , 635 - 651, 30.08.2022
https://doi.org/10.18506/anemon.1052856

Abstract

In today's world, where technology has developed so fast and digitalization has spread to almost every area of life, visual artifacts have become an important research topic in the discipline of international relations. Visual popular culture products can also be easily evaluated this way. States constantly reproduce their discourses in international politics through popular culture and they fix the definitions of identity representations such as terrorism, race and gender. Therefore, popular culture should also be studied as a means of producing political discourse alongside the truth built by the power. In this article, popular culture, a tool of power that produces politics on its own, will be examined in light of Maria Todorova’s balkanization concept, Balkan geography and identity. In this case, popular culture uses emotions rather politically to produce the balkanized Balkans. Emotions, through the balkanization discourse, produce Balkan identity as the other. Hence, in this article, the works of popular culture produced in the twentieth century will be analyzed periodically and it will be displayed how the Balkan identity has been constructed as a body that was first “feared” and later regarded as “embarrassing” through the discourse of balkanization.

References

  • Ahall, L. (2015). Mapping emotions, politics and war. L. Ahall ve T. Gregory(Ed.), Emotion Politics and War in (pp. 1-14). New York: Routledge.
  • Ahall, L. (2019). Affect as Methodology: Feminism and the Politics of Emotion. International Political Sociology, 12(1), 36-52.
  • Ahmed, S.(2019). Duyguların Kültüren Politikası, Sultan Komut(Çev.). İstanbul: Sel Yayınları.
  • Ashley, R.(1991). The state of the discipline: realism under challenge?. Richard H. ve James R.(Ed.), International Relations: Global and Australian Perspectives on an Evolving Discipline içinde (ss. 37-69). Canberra: Australian National University.
  • Bleiker, R.(2018). Mapping visual global politics. Roland B.(Ed.), Visual Global Politics in (pp.1-29). New York: Routledge.
  • Bleiker, R.(2009). Aesthetics and World Politics. New York: Palgrave Macmillan.
  • Bleiker, R.(2015). Pluralist Methods fo Visual Global Politics, Millenium: Journal of International Studies, 43(3), 872-890.
  • Butler, J.(1993). Bodies That Matter: On the Discursive Limits of “Sex”. New York: Routledge.
  • Campbell, D.(1992). Writing Security: United States Foreign Policy and the Politics of Identity. Minneapolis: University of Minnesota Press.
  • Eagleton, T.(2019). Kültür, Berrak Göçer(Çev.). İstanbul:Can Yayınları.
  • Fanon, F.(2008). Black Skin, White Mask. New York: Grove Press.
  • Goldsworthy, V.(1998). Inventing Ruritania: The Imperialism of the Imagination. New Haven and London: Yale University Press.
  • Griffin, P.(2015). Popular Culture, Political Economy and the Death of Feminism. London:Routledge.
  • Hall, S.(1997). Representations: Cultural Representations and Signifying Practices. London: Sage.
  • Hall, S.(1999). Part III: Introduction. John E. and Stuart H.(Ed.), Visual Culture: The Reader in(pp. 309-315). London: Sage.
  • Hansen, L.(2006). Security as Practice: Discourse Analysis and the Bosnian War. New York: Routledge.
  • Hinderliter, B., Kaizen, W., Maimon, V., Mansoor, J. and McCormick, S.(Ed.)(2009). Communities of Sense: Rethinking Aesthetics and Politics. Durham and London: Duke University Press.
  • Hutchison, E. ve Bleiker, R.(2014). Theorizing emotions in world politics. International Theory, 6(3),491-514.
  • Hutchison, E.(2016). Affective Communities in World Politics: Collective Emotions After Trauma. London: Cambridge University Press.
  • Kellner, D.(2013). Sinema Savaşları, Gürol Koca(Çev.). İstanbul: Metis Yayınları.
  • Koschut, S.(Ed.)(2020). The Power of Emotions in World Politics. London and New York: Routledge.
  • Massumi, B.(2019). Duygu Politikası, Hakan Erdoğan(Çev.).İstanbul: Otonom Yayınları.
  • Mestrovic, S.(1994). Balkanization of the West: The Confluence of Postmodernism and Postcommunism. London: Routledge.
  • Mitchell, W.J.T.(1986). Iconology: Image, Text, Ideology. Chicago: University of Chicago Press.
  • Mulvey, L.(1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18.
  • Murtic, D.(2015). Post-Yugoslavia Cinema: Towards a Cosmopolitan Imagining. Basingstoke: Palgrave MacMillan.
  • Neumann, I. B. ve Nexon, D.H.(Ed.)(2006). Harry Potter and International Relations. Oxford: Rowman and Littlefield Publishers.
  • Pace, M. ve Bilgiç, A.(2018), Trauma, Emotions, and Memory in World Politics: The Case of the European Union’s Foreign Policy in the Middle East Conflict. Political Psychology, 39(3), 503-517.
  • Ranciere, J.(2020). Dissensus: Politika ve Estetik Üzerine, Mustafa Yalçınkaya(Çev.). İstanbul:Ayrıntı Yayınları.
  • Ravetto-Biagoli, K.(2012). Laughing into an Abyss:Cinema and Balkanization. Aniko I.(Ed.), A Companion to Eastern European Cinemas in (pp.77-101). Chichester: John Wiley and Sons.
  • Rose, G.(2016). Visual Methodologies: An Introduction to Researching with Visual Materials. London: Sage. Said, E. W.(2017). Şarkiyatçılık, Berna Yıldırım(Çev.). İstanbul:Metis Yayınları.
  • Shapiro, M. J.(1988). The Politics of Representation: Writing Practices in Biography, Photography and Policy Analysis. Madison: University of Wisconsin Press.
  • Shepherd, L. J. ve Hamilton, C.(Ed.)(2016). Understanding Popular Culture and World Politics in the Digital Age. London and New York: Routledge.
  • Solomon, T.(2015). Embodiment, emotions and materialism in international relations, L. Ahall and Gregory, Thomas G.(Ed.), Emotions, Politics, and War in (pp.58-70). London: Routledge.
  • Storey, J.(2001). Cultural Theory and Popular Culture. Essex: Pearson.
  • Todorova, M.(1997). Imagining The Balkans. London: Oxford University Press.
  • Veliu, L.(2018). Balkanization: A Critical Study of Otherness Through Twitter. Germany: Springer.
  • Walker, R.B.J.(2016). Out of Line: Essays on the Politics of Boundaries and the Limits of Modern Politics. New York: Routledge.
  • Weber, C.(2001). International Relations Theory: A Critical Introduction. New York: Routledge.
  • Weber, C.(2017). Queer International Relations: Sovereignity, Sexuality and the Will to Knowledge. London: Oxford University Press.
  • Weldes, J.(2003). Popular Culture, Science Fiction and World Politics. Jutta W.(Ed.), To Seek Out New Worlds: Science Fiction and World Politics in (pp.1-31). New York: Palgrave Macmillan.
  • Williams, R.(1983). Keywords. London: Fontana Press.
  • Yiğit, Z.(2019). Post-Yugoslav Sineması’nda Savaş Konulu Filmlerde Toplumsal Fantezi: ‘düşman’. Akdeniz Üniversitesi İletişim Fakültesi Dergisi(AKİL), Sayı:32, 769-780.

Balkanları İnşa Etmek: Popüler Kültür ve Balkanlaşma Söyleminin Duygu Politikası

Year 2022, , 635 - 651, 30.08.2022
https://doi.org/10.18506/anemon.1052856

Abstract

Teknolojinin çok hızlı geliştiği ve dijitalleşmenin yaşamın hemen hemen her alanına yayıldığı günümüzde, uluslararası ilişkiler disiplininde görsel üretimler giderek önemli bir araştırma konusu haline gelmiştir. Görsel popüler kültür ürünleri de kolaylıkla bu şekilde değerlendirilebilir. Devletler uluslararası politikadaki söylemlerini günümüzde popüler kültür aracılığıyla sürekli yeniden üretmekte ve terörizm, ırk, cinsiyet gibi çeşitli kimlik temsillerinin anlamlarını sabitlemektedir. Bu sebeple popüler kültür de siyasi söylem üreten bir araç olarak incelenmeli ve iktidarın inşa ettiği hakikat incelenmelidir. Bu makalede popüler kültürün tek başına politika üreten bir iktidar aracı olduğu Maria Todorova’nın ortaya attığı Balkanlaşma kavramıyla birlikte Balkan coğrafyası ve Balkanlı kimliği üzerinde incelenecektir. Popüler kültür burada balkanlaştırılmış Balkanları üretirken duyguları oldukça politik olarak kullanır. Duygular balkanlaşma söylemiyle birlikte Balkan kimliğini bir öteki olarak üretir. Bu sebeple bu makalede yirminci yüzyılda ortaya konulmuş popüler kültür eserleri dönemsel olarak analiz edilecek, Balkanlı kimliğinin balkanlaşma söylemiyle “korkulan” ve daha sonra “utanılan” bir beden olarak nasıl inşa edildiği gösterilecektir.

References

  • Ahall, L. (2015). Mapping emotions, politics and war. L. Ahall ve T. Gregory(Ed.), Emotion Politics and War in (pp. 1-14). New York: Routledge.
  • Ahall, L. (2019). Affect as Methodology: Feminism and the Politics of Emotion. International Political Sociology, 12(1), 36-52.
  • Ahmed, S.(2019). Duyguların Kültüren Politikası, Sultan Komut(Çev.). İstanbul: Sel Yayınları.
  • Ashley, R.(1991). The state of the discipline: realism under challenge?. Richard H. ve James R.(Ed.), International Relations: Global and Australian Perspectives on an Evolving Discipline içinde (ss. 37-69). Canberra: Australian National University.
  • Bleiker, R.(2018). Mapping visual global politics. Roland B.(Ed.), Visual Global Politics in (pp.1-29). New York: Routledge.
  • Bleiker, R.(2009). Aesthetics and World Politics. New York: Palgrave Macmillan.
  • Bleiker, R.(2015). Pluralist Methods fo Visual Global Politics, Millenium: Journal of International Studies, 43(3), 872-890.
  • Butler, J.(1993). Bodies That Matter: On the Discursive Limits of “Sex”. New York: Routledge.
  • Campbell, D.(1992). Writing Security: United States Foreign Policy and the Politics of Identity. Minneapolis: University of Minnesota Press.
  • Eagleton, T.(2019). Kültür, Berrak Göçer(Çev.). İstanbul:Can Yayınları.
  • Fanon, F.(2008). Black Skin, White Mask. New York: Grove Press.
  • Goldsworthy, V.(1998). Inventing Ruritania: The Imperialism of the Imagination. New Haven and London: Yale University Press.
  • Griffin, P.(2015). Popular Culture, Political Economy and the Death of Feminism. London:Routledge.
  • Hall, S.(1997). Representations: Cultural Representations and Signifying Practices. London: Sage.
  • Hall, S.(1999). Part III: Introduction. John E. and Stuart H.(Ed.), Visual Culture: The Reader in(pp. 309-315). London: Sage.
  • Hansen, L.(2006). Security as Practice: Discourse Analysis and the Bosnian War. New York: Routledge.
  • Hinderliter, B., Kaizen, W., Maimon, V., Mansoor, J. and McCormick, S.(Ed.)(2009). Communities of Sense: Rethinking Aesthetics and Politics. Durham and London: Duke University Press.
  • Hutchison, E. ve Bleiker, R.(2014). Theorizing emotions in world politics. International Theory, 6(3),491-514.
  • Hutchison, E.(2016). Affective Communities in World Politics: Collective Emotions After Trauma. London: Cambridge University Press.
  • Kellner, D.(2013). Sinema Savaşları, Gürol Koca(Çev.). İstanbul: Metis Yayınları.
  • Koschut, S.(Ed.)(2020). The Power of Emotions in World Politics. London and New York: Routledge.
  • Massumi, B.(2019). Duygu Politikası, Hakan Erdoğan(Çev.).İstanbul: Otonom Yayınları.
  • Mestrovic, S.(1994). Balkanization of the West: The Confluence of Postmodernism and Postcommunism. London: Routledge.
  • Mitchell, W.J.T.(1986). Iconology: Image, Text, Ideology. Chicago: University of Chicago Press.
  • Mulvey, L.(1975). Visual Pleasure and Narrative Cinema. Screen, 16(3), 6-18.
  • Murtic, D.(2015). Post-Yugoslavia Cinema: Towards a Cosmopolitan Imagining. Basingstoke: Palgrave MacMillan.
  • Neumann, I. B. ve Nexon, D.H.(Ed.)(2006). Harry Potter and International Relations. Oxford: Rowman and Littlefield Publishers.
  • Pace, M. ve Bilgiç, A.(2018), Trauma, Emotions, and Memory in World Politics: The Case of the European Union’s Foreign Policy in the Middle East Conflict. Political Psychology, 39(3), 503-517.
  • Ranciere, J.(2020). Dissensus: Politika ve Estetik Üzerine, Mustafa Yalçınkaya(Çev.). İstanbul:Ayrıntı Yayınları.
  • Ravetto-Biagoli, K.(2012). Laughing into an Abyss:Cinema and Balkanization. Aniko I.(Ed.), A Companion to Eastern European Cinemas in (pp.77-101). Chichester: John Wiley and Sons.
  • Rose, G.(2016). Visual Methodologies: An Introduction to Researching with Visual Materials. London: Sage. Said, E. W.(2017). Şarkiyatçılık, Berna Yıldırım(Çev.). İstanbul:Metis Yayınları.
  • Shapiro, M. J.(1988). The Politics of Representation: Writing Practices in Biography, Photography and Policy Analysis. Madison: University of Wisconsin Press.
  • Shepherd, L. J. ve Hamilton, C.(Ed.)(2016). Understanding Popular Culture and World Politics in the Digital Age. London and New York: Routledge.
  • Solomon, T.(2015). Embodiment, emotions and materialism in international relations, L. Ahall and Gregory, Thomas G.(Ed.), Emotions, Politics, and War in (pp.58-70). London: Routledge.
  • Storey, J.(2001). Cultural Theory and Popular Culture. Essex: Pearson.
  • Todorova, M.(1997). Imagining The Balkans. London: Oxford University Press.
  • Veliu, L.(2018). Balkanization: A Critical Study of Otherness Through Twitter. Germany: Springer.
  • Walker, R.B.J.(2016). Out of Line: Essays on the Politics of Boundaries and the Limits of Modern Politics. New York: Routledge.
  • Weber, C.(2001). International Relations Theory: A Critical Introduction. New York: Routledge.
  • Weber, C.(2017). Queer International Relations: Sovereignity, Sexuality and the Will to Knowledge. London: Oxford University Press.
  • Weldes, J.(2003). Popular Culture, Science Fiction and World Politics. Jutta W.(Ed.), To Seek Out New Worlds: Science Fiction and World Politics in (pp.1-31). New York: Palgrave Macmillan.
  • Williams, R.(1983). Keywords. London: Fontana Press.
  • Yiğit, Z.(2019). Post-Yugoslav Sineması’nda Savaş Konulu Filmlerde Toplumsal Fantezi: ‘düşman’. Akdeniz Üniversitesi İletişim Fakültesi Dergisi(AKİL), Sayı:32, 769-780.
There are 43 citations in total.

Details

Primary Language Turkish
Journal Section Research Article
Authors

Orhun Kaan Kahraman 0000-0002-6633-4666

Publication Date August 30, 2022
Acceptance Date May 24, 2022
Published in Issue Year 2022

Cite

APA Kahraman, O. K. (2022). Balkanları İnşa Etmek: Popüler Kültür ve Balkanlaşma Söyleminin Duygu Politikası. Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi, 10(2), 635-651. https://doi.org/10.18506/anemon.1052856

Anemon Muş Alparslan Üniversitesi Sosyal Bilimler Dergisi Creative Commons Atıf-GayriTicari 4.0 Uluslararası Lisansı (CC BY NC) ile lisanslanmıştır.