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This study, it is aimed to examine the studies in foreign literature on aesthetic labor. Within the scope of the study, scientific publications such as articles, papers, and books with "Aesthetic Labor", and "Aesthetic Labor" in the study title and published in journals in Scopus, and Web of Science databases were analyzed by document analysis technique. The data set of 181 scientific studies in the Web of Science database and 168 in the Scopus database, the most cited studies, the number of citations by years, keyword analysis, title, and summary analysis, relationship analysis between authors, author, and journal information, number of publications in countries, The number of publications by years, types of studies, journals and impact factors were examined in terms of various bibliometric indicators such as the most productive authors. According to the findings of the study, the most cited studies in the field of aesthetic labor, the most cited authors, the most cited year, the most studied countries, the most studied genres, journals, and prominent keywords were analyzed. It is aimed to provide information and guide the researchers who will work in the field of organizational behavior by analyzing the studies on aesthetic labor in the literature related to the study. [ABSTRACT FROM AUTHOR]

In Principles of Art Collingwood defines art as an activity through which we express our emotions by creating a totality of experience based on the imagination. With this definition, the creation of the artist is explained as an experience of cognitive activity. In the first part of his work, Collingwood emphasizes the idea of cognitive activity so strong that his thinking arrives to the point at which the artist can create an art work without producing an external object. Hence, the necessity of the aesthetic spectator for aesthetic activity is denied. These assertions of Collingwood bring about a contradiction with regard to ontological status of the art work: art work can be totally mental and private, but it also an expression. As far as it is expression, it is necessarily sharable and communicable; thus, publicly accessible. Commentators like Aaron Ridley, Gary Kemp try to solve this contradiction by discussing the material and objective qualities. In contrast with this, in this article it will be argued that the contradiction can be reevaluated by focusing on the relation between artist and spectator and bringing art's role of self-awareness forward. Art proper is an activity through which artist both becomes more and more conscious of his or her social selfhood and artistic practice and helps the spectators to face with her or his self. So, the first parts of the work in which the object and the spectator are held to be unnecessary for artist cognitive activity can be interpreted as the initial steps of artist's process of self-consciousness. In a contradictory way, the last parts of the work in which expression, engagement with the sensual matter and the necessity of the spectator are emphasized can be analyzed as the level that the artist and the spectator become aware of themselves and of the immanency of the other in becoming an individual. In order to make this analysis, in this paper Collingwood's conception of aesthetic experience will be examined in detail, its intersubjectivity will be manifested and the path through which the spectator as the simple witness turns to be a necessary collaborator will be traced. [ABSTRACT FROM AUTHOR]

Considering the undercurrent ideological and epistemological contentions which underlay the project of an aspired Ottoman identity during the Hamidian period and the sociocultural ramifications of the Empire's ambiguous engagement with modernity, this paper attempts a cultural re-reading of the Francoturkish Literary Journal Maarifet (1898-?). Published in Constantinople by a Greek-Orthodox woman, Theodossia Sophroniadou, this journal stands out as typical "product" of a broader transitional discursive framework forged at the aesthetic and epistemological "limbo" between Enlightenment and Romanticism. Focusing on the editor's metaphysical outlook outlined in herearlier essay "The Starry Sky" (1894), on Dieudonnée's short stories and on the magazine's fashion, correspondence and sociability columns, this article draws from Eagleton's seminal study on "the Aesthetic", on Foucault's concept of the "Aesthetics of Existence" and on McNay's sociocentric approach on gender and agency and examines how Maarifet brings forth a declining discourse of anupper class "Aesthetic", the reverberations of which extend well beyond the symbolic and materialdimensions of an upper class femininity and agency to an implicit though eloquent critique both against modern massculture and against positivist strains of Young Turk thought. [ABSTRACT FROM AUTHOR]

This paper tries to understand and disambiguate the concept of the Philosophical Anthropology in scope of the thought, as Mengüşoğlu tries to explain by putting Kant and Scheler philosophy at the center. Mengüşoğlu states, in his own studies, what kind of method shall be followed while doing this, and he does it based on the phenomena, actions and freedom concepts starting from the holism approach. In other words, it aims at discovering an interdisciplinary field that can extend from social psychology to ethics, by examining the theoria, praxis and poiesis fields as Mengüşoğlu does. The actions and phenomena concepts were tried to be explained in scope of holism displayed together with the field of existence and values, of the perception processes that bring thought and action fields to the people. The way the philosophy methodology is used in scope of the social sciences by Mengüşoğlu, who puts people's capability/ability states at the center, makes possible the culture of discussing the interpretable relativities in a historicalness consistent with each other. This paper also aims at examining this consistency's ontological foundations. [ABSTRACT FROM AUTHOR]

The relation between poetry and philosophy has maintained its importance from ancient ages to this day. In spite of the fact that poet and philosopher are close in respect to the relations with world and life, both have divergent ways for it as well. It is because the philosopher and poet are disturbed with the deep problems of meaning and existence. The fact that the language has gone into division as philosophy and poetry brought along the problem how to deal with the truth. The poetry and philosophy, at this point, might league together in a common study area nevertheless they express the truth in idiosyncratic ways. The fact remains that there are some philosophers feeling uncomfortable about this association while quite the contrary there are some others who affirm it, thinking that it is possible to construct a new language from this point forth in order to maintain the truth. Indeed the first disturbed philosopher about this relation is Plato. Taking up an efficient position in respect to the poet/poetry within the books Republic and Ion, Plato distinctly sides with logos in conflict of philosophy and poetry. On the other side Nietzsche in contrast with Plato, fastened on reinstating the relation network between philosophy, art and science, initiates a new philosophical way by abolishing the antilogy of concept and metaphor, and legitimizing only a degree difference (with less metaphorical metaphor) while this new philosophy is hang by a thread of being confused with poetry and purposely uses the metaphors. Although there are differences between poetry and philosophy, we can see that some of the masterpiece poems have a philosophical aspect. This may make us think that any exact distinction between philosophy and poetry is problematical. Thusly we, in this paper, tried not to deepen those problematical distinctions but maintain a new perspective by intersection of two disciplines. In this context, we think that a new affluence can be counted in our culture by means of new and genuine interpretations on the occasion of rising philosophical attention to especially our folk poetry. At this point, the deep philosophical background of Karacaoğlan's poetry can provide us with that opportunity. The rich philosophical aspect of beauty, love, nature, death and other mystical concepts dealt by Karacaoğlan overruns his era. This is because, in contrary with the lodge and sufism poets, he comprehensively adopts this world and life. We can see that his perspective of love, beloved, nature and God is occurred through affirming the life. It is obvious that he has a conception of actualist woman (as an entity, in person), love and beauty which are "subjected to genesis and corruption" and come true in this real world. This is some love and beauty conception to be searched in reality of world and combined with eroticism from place to place. Nature has a decisive role herein. We see that nature, in view of travelling poet Karacaoğlan, is a realm of authenticity which contains love, beauty and beloved within itself. Besides, the themes like religion or God do not have any decisive role in his poetry, although he has a rich metaphysical insight. Thusly he goes counter to any conception which glorifies the death. [ABSTRACT FROM AUTHOR]

The tradition of minstrelsy is not only the representation of the social memory of Anatolia but also its cultural diversity and richness. This art, which was shaped through the experiences of hundreds of years with a unique tradition, reflected the life of the time, its perspective on life, ethic and aesthetic values, appealing to large communities. In this context, the tradition of Minstrelsy brought up hundreds of minstrels who attempted to produce a work of art on their own fields. Develili Âşık Seyrânî is one of them. Âşık Seyrânî, who was born in Develi (formerly named as Everek) district of Kayseri province in 1800 (H. 1215), is one of the leading figures in folk poetry. In his poems, he sometimes described a beloved one or yearnings for her, and sometimes he reflected the unlawfulness in the society. Seyrânî also wrote poems that particularly glorify the spiritual personalities of famous religious figures. Therefore, having a wide content in his poems, Seyrânî sang pleasantly all of this mentality in poems that were written in syllabic meter and aruz prosody. Although his poems written in aruz prosody are problematic concerning the rhythm, rhyme, and redif, they have a large content. Additionally, his poems compiled in aruz prosody were not kept off the aesthetic pleasure and arts, and he enriched his poems through referencing the verses of the Qur'an in sufistic subjects he handled. In this regard, the poet demonstrated his artistry through combining the common grounds of folk poetry and Ottoman poetry. In this paper, initially the personality and life of Âşık Seyrânî will be examined and his verse quotations will be discussed in his poems written in aruz prosody. [ABSTRACT FROM AUTHOR]

In this article, different approaches which are focusing on the relationship between society and literature and providing perspectives on using literary works in social studies creatively has been examined. Using literary work as a document and and collect information for social studies may lead us some short cut and false conclusions. Sociology of literature as a discipline aims to clarify the aspects of the relation between society and literature. According to this discipline exploring the transformative potential of art is a more efficient way. For this reason, the aim of this paper is to evaluate the types of aesthetic transformation by viewing different approaches exploring the relationship beetween "literature and psychology" and "literature and ideology". [ABSTRACT FROM AUTHOR]