Diken, Bülent

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Name Variants
Diken, Bülent
D., Bulent
Bülent DIKEN
DIKEN, Bülent
Diken, BÜLENT
Bulent, Diken
Diken,B.
Diken,Bulent
D., Bülent
DIKEN, BÜLENT
Diken, B.
BÜLENT DIKEN
Diken, Bulent
B. Diken
D.,Bulent
Diken B.
Bülent Diken
Job Title
Prof. Dr.
Email Address
bulent.diken@khas.edu.tr
Main Affiliation
Radio, Television and Cinema
Status
Website
ORCID ID
0000-0002-2661-8568
Scopus Author ID
9335633100
Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
FZH-2580-2022
Scholarly Output

25

Articles

9

Citation Count

9

Supervised Theses

14

Filters

2021 - 20222
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Subject: comedy

Scholarly Output Search Results

Now showing 1 - 2 of 2
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    Article
    Citation - WoS: 0
    Citation - Scopus: 0
    Representations of Everyday Life in İnci Eviner’s We, Elsewhere: Comedy, Use and Free Will
    (Routledge, 2021) Tuncer, Ezgi; Tuncer, Ezgi; Diken, Bülent; Diken, Bülent
    İnci Eviner's installation We, Elsewhere 1 for the Turkey Pavilion 2 at the 58th Venice Art Biennial offers a spectacle of the incomplete, in which the objects, videos and their characters, and sounds in the piece, along with the exhibition space itself, consist all of halves, missing something. It is designed as a non-place in the midst of nowhere, which appears as a liminal space of exception, in which the inside and outside become indistinct. In this respect, the role of the large ramp, which transgresses the public-private divide, is particularly remarkable for it both connects and disconnects the place in relation to the outside, incarnating a paradoxical form of inclusionary exclusion. One cannot avoid noticing the ramp on entering the pavilion: cut horizontally and vertically, the spaces between left void, it is a cross-sectional space experienced through its corridors, area closed off by metal bars, a semi-closed room and viewing area arranged on stairs. However, its interior is rendered visible through the cross-sections of buildings and the subterranean. We bear witness to the events inside it, and, ceasing to be spectators, participate in the installation. Through this displacement, we also move from a representational space to a lived space.
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    Article
    Citation - Scopus: 1
    Comic Socrates? the Clouds, Taste, and Philosophy
    (Duke University Press, 2022) Diken, B.; Diken, Bülent; Laustsen, C.B.
    In the Clouds, Aristophanes apparently ridicules Socratic philosophy as a useless, essentially passive preoccupation, which, “twisted” in the wrong hands, can seriously harm the City. But such an instrumentalist reading of the Clouds (and of philosophy) misses a crucial point regarding the relation between philosophy and comedy. Insofar as philosophy, love of wisdom, is irreducible to wisdom — insofar as, in other words, philosophy is also a matter of taste (a concept which seeks to combine knowledge and pleasure) — the Clouds can be read as an ironic-comic defense of philosophy. To discuss this, the article reads the Clouds in the perspective of free use. This reading makes it possible to articulate two distinct but related senses of perverting philosophy, which are evidenced with material from within the play: the reduction of reason to instrumental reason and/or to state philosophy. To end with, the article discusses the relationship between comedy and philosophy in more general terms. © 2022 Duke University Press.