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OTOETNOGRAFİK YAKLAŞIMDA FOTOĞRAFIN YERİ VE YÖNTEMİ ÜZERİNE: PIA ARKE’NİN ÇİFTE KİMLİĞİ

Year 2019, Volume: 6 Issue: 2 - Media and Participation, 470 - 491, 15.12.2019
https://doi.org/10.17572//mj2019.2.470491

Abstract

Bu çalışma özdüşünümsel bağlamda niteliksel araştırma yöntemi olarak kullanılan otoetnografik yaklaşımın fotoğraf ile ilişkisini Pia Arke’nin çalışmaları üzerinden incelemektedir. Otoetnografik yaklaşım, etnografik yazım geleneğinden gelen bir yazım performansı üzerine şekillense de, özellikle 1960’lar sanat ortamının ve temsil krizinin de etkisiyle sanatçıların bir etnograf gibi davranmaları, otoetnografinin temsil biçimlerinin de değişmesine yol açmıştır. Bu aşamada, yazınsal yöntemden görsel niteliksel yöntemlere geçiş, etnografik çalışmaların sanatsal çalışmalarla birlikte düşünülebileceğine dair bir eğilimi de beraberinde getirmiştir. Bu anlamda bu çalışma; otoetnografi ile fotoğrafın temsil, yöntem ve pratikte nasıl kesiştiğini; Pia Arke’nin fotoğrafı görsel araştırma yöntemi ve ifade biçimi olarak otoetnografik anlatımda nasıl kullandığını incelemek ve örneklemek üzerine şekillenmiştir.

References

  • Arke, P., & Jonsson, S. (2010a). Stories from Scoresbysund: Photographs, colonisation and mapping. Copenhagen: Pia Arke Selskabet and Kuratorisk Auktion.
  • Arke, P., Jessie Kleemann, Stephen Heilmann, Klaus Christensen, & Erik Gant. (2010b). Ethno-aesthetics =: Etnoæstetik. Copenhagen: Ark, Pia Arke Selskabet & Kuratorisk Aktion.
  • Barthes, R. (1981). Camera lucida: Reflections on photography. New York: Hill and Wang. Bhabha, H.K. (1994). The Location of Culture. NewYork: Routledge.
  • Bravo, M. and Sörlin, S. eds. (2002). Narrating the Arctic: A Cultural History of Nordic Scientific Practices. Canton, MA: Watson Publishing International.
  • Carpenter, E. S., Flaherty, R. J., & Varley, F. H. (1959). Eskimo. Toronto: University of Toronto Press.
  • Cotton, C. (2009). The photograph as contemporary art. London, Thames & Hudson. Denzin, N.K. (1997). Interpretive ethnography: Ethnographic practices for the 21st century. Thousand Oaks, CA: Sage Publications.
  • Edwards, E. (1992). Anthropology and Photograph, 1860-1920. New Haven and London: Yale University Press.
  • Ellis, C. (2004). The ethnographic I: A methodological novel about autoethnography. UK: AltaMira Press.
  • Fabian, J. (2014). Time and the other: How anthropology makes its subject. New York: Columbia University Press.
  • Fischer, Michael J. (1986). Ethnicity and the Post-Modern Arts of Memory. In (ed. James Clifford and George E. Marcus) Writing Culture: The Poetics and Politics of Ethnography (194-233). Berkeley: University of California Press.
  • Foster, H. (2009). Gerçeğin Geri Dönüşü: Yüzyılın Sonunda Avangard. (Esin Hoşsucu, Çev.). İstanbul: Ayrıntı.
  • Foucault, M. (1976). The Will to Knowledge: The History of Sexuality Volume 1. (trans. R Hurley, 1998). London: Penguin.
  • G.Heider, Karl. (Spring, 1975). What do people do? Dani auto-ethnography. Journal of Anthropological Research Vol. 31, No. 1, pp.3-17. Geertz, C. (1973). The interpretation of cultures. New York: Basic Books.
  • Gold, R. (1958). Roles in Sociological Field Observation. Social Forces 36 (3): 217–223. Gregory, B. and Mead, M. (1942). Balinese Character: A Photographic Analysis. New York: New York Academy of Sciences.
  • Haddon, Alfred C. (Alfred Cort) & Wilkin, Anthony & Finsch, Otto (1898). Torres Strait images from the 1898 Haddon expedition. (HADDON.001.BW).
  • Hansen, F., & Olaf, N. T. (2010). Tupilakosaurus: An incomplete(able) survey of Pia Arke's artistic work and research. Copenhagen: Kuratorisk Aktion.
  • Harper, D. (2002). Talking about pictures: A case for photo elicitation, Visual Studies, 17:1, 13-26, DOI: 10.1080/14725860220137345.
  • Hayano, D. (Spring 1979). Auto-Ethnography: Paradigms, Problems, and Prospects. Human Organization, Vol. 38, No. 1, pp. 99-104.
  • Herodot. (2012). Tarih. (Müntekim Ökmen, Çev.). İstanbul: İş Bankası Kültür Yayınları. Jacknis, I. (1984). Franz Boas and Photography. 10 (1), 2-60. Retrieved from https://repository.upenn.edu/svc/vol10/iss1/2.
  • Jonsson, S. (2013). Disclosing the World Order, Third Text, 27:2, 242-259, DOI: 10.1080/09528822.2013.772349
  • Junker, Buford H. (1960). Field Work: An Introduction to the Social Sciences. Chicago: University of Chicago Press.
  • Louise Pratt, M. (1992). Imperial Eyes: Travel Writing and Transculturation. London: Routledge.
  • M. Park‐Fuller, L. (2000). Performing absence: The staged personal narrative as testimony, Text and Performance Quarterly, 20:1, 20-42, DOI: 10.1080/10462930009366281.
  • Malinowski, B. (1922). Argonauts of the Western Pacific. London: Routledge and Kegan Paul.
  • Malinowski, B. (1967). A Diary in the Strict Sense of the Term. (Trans. Norbert Guterman). London: Routledge and Kegan Paul.
  • Maxwell, A. (2013). Modern anthropology and the problem of the racial type: the photographs of Franz Boas. Visual Communication, 12(1), 123–142. https://doi.org/10.1177/1470357212462782
  • Pinney, C. (2011). Photography and Anthropology. London: Reaktion Books. Proceedings. Comptes–rendus de l’Académie des Sciences Paris, 8 (séance du Lundi, 7 Janvier 1839).
  • Reed-Danahay, Deborah E. (Ed.). (1997). Auto/Ethnography: Rewriting the Self and the Social. UK: Berg.
  • Russell, C. (1999). Experimental Ethnoghraphy: The work of film in the age of video. Durham and London: Duke University Press.
  • Schneider, A. and Wright, C. (2013). Anthropology and Art Practice. London: Bloomsburry.
  • Schwandt, Thomas A. (2007). The Sage dictionary of qualitative inquiry, 3rd ed. Los Angeles, California: Sage.
  • Spry, T. (2001). Performing Autoethnography: An embodied methodological praxis. Qualitative Inquiry 7, no. 6 (2001): 706-732.
  • Tagg, J. (2007). The Burden of representation: Essays on photographies and histories. Hampshire: Palgrave Macmillan.
  • Von Harringa, C. (2016). Arke-Typical: Dialogues in Art, Anthropology and the Writing of Self in the Work of Pia Arke. Degree of Master of Arts Thesis in the Department of Art History. Concordia University Montréal, Quebec, Canada. W.Young, M. (1988). Malinowski’s Kiriwina: Fieldwork Photography 1915-1918. USA: The University of Chicago Press.
  • Wang, C. and Burris, M. A. (1997). Photovoice: Concept, Methodology, and Use for Participatory Needs Assessment, Health Education & Behavior. 24 (3): 369–387.
  • Znamenski, A. A. (2007). The Beauty of Primitive: Shamanism and Western Imagination. USA: Oxford University Press.

ON PLACE AND METHOD OF PHOTOGRAPHY IN THE AUTOETHNOGRAPHIC APPROACH: DOUBLE IDENTITY OF PIA ARKE

Year 2019, Volume: 6 Issue: 2 - Media and Participation, 470 - 491, 15.12.2019
https://doi.org/10.17572//mj2019.2.470491

Abstract

This study examines the relationship between autoethnography used as a qualitative research methodology in self-reflexive context and photography, through the works of Pia Arke. Although the autoethnographic approach is based on the writing performance of the ethnographic writing tradition; the 1960s art scene, postcolonialism and the representation crisis caused artists to act as an ethnographer and it changed the forms of representation of autoetnography. At this stage, the transition from literary method to visual qualitative methods has brought with it a tendency that ethnographic studies can be considered together with artistic studies. In this sense, this study has been shaped to investigate and to illustrate how autoethnography and photography intersect in representation, method and practice; and how Pia Arke uses photography as a method of visual research and autoethnographic expression.

References

  • Arke, P., & Jonsson, S. (2010a). Stories from Scoresbysund: Photographs, colonisation and mapping. Copenhagen: Pia Arke Selskabet and Kuratorisk Auktion.
  • Arke, P., Jessie Kleemann, Stephen Heilmann, Klaus Christensen, & Erik Gant. (2010b). Ethno-aesthetics =: Etnoæstetik. Copenhagen: Ark, Pia Arke Selskabet & Kuratorisk Aktion.
  • Barthes, R. (1981). Camera lucida: Reflections on photography. New York: Hill and Wang. Bhabha, H.K. (1994). The Location of Culture. NewYork: Routledge.
  • Bravo, M. and Sörlin, S. eds. (2002). Narrating the Arctic: A Cultural History of Nordic Scientific Practices. Canton, MA: Watson Publishing International.
  • Carpenter, E. S., Flaherty, R. J., & Varley, F. H. (1959). Eskimo. Toronto: University of Toronto Press.
  • Cotton, C. (2009). The photograph as contemporary art. London, Thames & Hudson. Denzin, N.K. (1997). Interpretive ethnography: Ethnographic practices for the 21st century. Thousand Oaks, CA: Sage Publications.
  • Edwards, E. (1992). Anthropology and Photograph, 1860-1920. New Haven and London: Yale University Press.
  • Ellis, C. (2004). The ethnographic I: A methodological novel about autoethnography. UK: AltaMira Press.
  • Fabian, J. (2014). Time and the other: How anthropology makes its subject. New York: Columbia University Press.
  • Fischer, Michael J. (1986). Ethnicity and the Post-Modern Arts of Memory. In (ed. James Clifford and George E. Marcus) Writing Culture: The Poetics and Politics of Ethnography (194-233). Berkeley: University of California Press.
  • Foster, H. (2009). Gerçeğin Geri Dönüşü: Yüzyılın Sonunda Avangard. (Esin Hoşsucu, Çev.). İstanbul: Ayrıntı.
  • Foucault, M. (1976). The Will to Knowledge: The History of Sexuality Volume 1. (trans. R Hurley, 1998). London: Penguin.
  • G.Heider, Karl. (Spring, 1975). What do people do? Dani auto-ethnography. Journal of Anthropological Research Vol. 31, No. 1, pp.3-17. Geertz, C. (1973). The interpretation of cultures. New York: Basic Books.
  • Gold, R. (1958). Roles in Sociological Field Observation. Social Forces 36 (3): 217–223. Gregory, B. and Mead, M. (1942). Balinese Character: A Photographic Analysis. New York: New York Academy of Sciences.
  • Haddon, Alfred C. (Alfred Cort) & Wilkin, Anthony & Finsch, Otto (1898). Torres Strait images from the 1898 Haddon expedition. (HADDON.001.BW).
  • Hansen, F., & Olaf, N. T. (2010). Tupilakosaurus: An incomplete(able) survey of Pia Arke's artistic work and research. Copenhagen: Kuratorisk Aktion.
  • Harper, D. (2002). Talking about pictures: A case for photo elicitation, Visual Studies, 17:1, 13-26, DOI: 10.1080/14725860220137345.
  • Hayano, D. (Spring 1979). Auto-Ethnography: Paradigms, Problems, and Prospects. Human Organization, Vol. 38, No. 1, pp. 99-104.
  • Herodot. (2012). Tarih. (Müntekim Ökmen, Çev.). İstanbul: İş Bankası Kültür Yayınları. Jacknis, I. (1984). Franz Boas and Photography. 10 (1), 2-60. Retrieved from https://repository.upenn.edu/svc/vol10/iss1/2.
  • Jonsson, S. (2013). Disclosing the World Order, Third Text, 27:2, 242-259, DOI: 10.1080/09528822.2013.772349
  • Junker, Buford H. (1960). Field Work: An Introduction to the Social Sciences. Chicago: University of Chicago Press.
  • Louise Pratt, M. (1992). Imperial Eyes: Travel Writing and Transculturation. London: Routledge.
  • M. Park‐Fuller, L. (2000). Performing absence: The staged personal narrative as testimony, Text and Performance Quarterly, 20:1, 20-42, DOI: 10.1080/10462930009366281.
  • Malinowski, B. (1922). Argonauts of the Western Pacific. London: Routledge and Kegan Paul.
  • Malinowski, B. (1967). A Diary in the Strict Sense of the Term. (Trans. Norbert Guterman). London: Routledge and Kegan Paul.
  • Maxwell, A. (2013). Modern anthropology and the problem of the racial type: the photographs of Franz Boas. Visual Communication, 12(1), 123–142. https://doi.org/10.1177/1470357212462782
  • Pinney, C. (2011). Photography and Anthropology. London: Reaktion Books. Proceedings. Comptes–rendus de l’Académie des Sciences Paris, 8 (séance du Lundi, 7 Janvier 1839).
  • Reed-Danahay, Deborah E. (Ed.). (1997). Auto/Ethnography: Rewriting the Self and the Social. UK: Berg.
  • Russell, C. (1999). Experimental Ethnoghraphy: The work of film in the age of video. Durham and London: Duke University Press.
  • Schneider, A. and Wright, C. (2013). Anthropology and Art Practice. London: Bloomsburry.
  • Schwandt, Thomas A. (2007). The Sage dictionary of qualitative inquiry, 3rd ed. Los Angeles, California: Sage.
  • Spry, T. (2001). Performing Autoethnography: An embodied methodological praxis. Qualitative Inquiry 7, no. 6 (2001): 706-732.
  • Tagg, J. (2007). The Burden of representation: Essays on photographies and histories. Hampshire: Palgrave Macmillan.
  • Von Harringa, C. (2016). Arke-Typical: Dialogues in Art, Anthropology and the Writing of Self in the Work of Pia Arke. Degree of Master of Arts Thesis in the Department of Art History. Concordia University Montréal, Quebec, Canada. W.Young, M. (1988). Malinowski’s Kiriwina: Fieldwork Photography 1915-1918. USA: The University of Chicago Press.
  • Wang, C. and Burris, M. A. (1997). Photovoice: Concept, Methodology, and Use for Participatory Needs Assessment, Health Education & Behavior. 24 (3): 369–387.
  • Znamenski, A. A. (2007). The Beauty of Primitive: Shamanism and Western Imagination. USA: Oxford University Press.
There are 36 citations in total.

Details

Primary Language Turkish
Subjects Communication and Media Studies
Journal Section Articles
Authors

Ozan Yavuz This is me 0000-0001-5257-5584

Publication Date December 15, 2019
Submission Date December 15, 2019
Published in Issue Year 2019 Volume: 6 Issue: 2 - Media and Participation

Cite

APA Yavuz, O. (2019). OTOETNOGRAFİK YAKLAŞIMDA FOTOĞRAFIN YERİ VE YÖNTEMİ ÜZERİNE: PIA ARKE’NİN ÇİFTE KİMLİĞİ. Moment Dergi, 6(2), 470-491. https://doi.org/10.17572//mj2019.2.470491