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Türk Sineması’nda büyük seyirci kitlelerine ulaşan filmlerin önemli bir kısmını güldürü türündeki filmler oluşturmaktadır. 2000 sonrasında üretilen bu filmlerde yapımcıların seyirciye lümpen olarak adlandırılabilecek tiplerin anlatısını sunmayı tercih ettiği görülmektedir. Araştırmanın amacı, Marx’ın toplumsal bir grubu tanımlamak amacıyla ortaya attığı lümpen kavramı üzerinden oluşturulan mizahın, yerli güldürü sinemasındaki yansımasını incelemektir. Araştırmada amaçlı örneklem yöntemi doğrultusunda hem ana hem de yardımcı kahramanları lümpen tipler olan Geniş Aile: Yapıştır (2015) ve Geniş Aile 2: Her Türlü (2016) filmleri seçilmiş, bu filmler anlatı analizi yöntemiyle incelenmiştir. Filmlerdeki lümpen tipler üzerinden yapılan çözümlemeler, lümpenliğin filmlerin anlatılarında bir mizah unsuru olarak kullanıldığına işaret etmekte, lümpen tiplerin ise mizahın Üstünlük, Uyumsuzluk ve Rahatlama Kuramları aracılığıyla kurgulandığı görülmektedir., Comedies occupy a significant place among Turkish films that reach a large audience. Considering those produced after 2000, one may not that film makers have favored the narratives of people with characteristics best described as “lumpen.” This article examines the humor created through Marx’s concept of “lumpen,” the term he used to identify this social group. The film series Geniş Aile: Yapıştır (2015) and Geniş Aile 2: Her Türlü (2016) are selected for the purposive sampling method, because they feature primary and secondary characters who are both lumpen and flat. It is also pointed out that the analyzed characters are consistent with Superiority, Incongruity and Relief theories of humor. Findings of the analysis show that lumpenism is used as an important element of humor in the narratives of the sampled films.

Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and where the flows of Russian equipment, weapons, ammunition, soldiers, officers and even where the killed Russian soldiers are buried come from.That is why films about the Donbass war help the mass audience to understand who is actually fighting in Eastern Ukraine. An article is devoted to this topic, which analyzes feature films about the Russian-Ukrainian war that lasts in Donbass. In particular, Oleksiy Shapariev’s series "The Guard", films of Akhtem Seitablaiev "Cyborgs. Heroes never die", Serhiy Loznytsia "Donbass", Zaza Buadze "Call sign ‘Banderas’", Ivan Tymchenko "Ilovaisk 2014. Battalion ‘Donbass’", Valentyn Vasyanovych "Atlantis", Volodymyr Tykhyi "Our cats".In the context of world cinematography and peculiarities of the national character, it is presented how modern Ukrainian cinema develops the comedic traditions of war films. The reaction to films about the war by Ukrainian spectators, critics, Russian politicians and public officials, film awards at film festivals are shown., Російська влада не визнає своєї участі у війні на Донбасі. Приховування участі у військових конфліктах — давня російська політична традиція. Радянський Союз, який був модернізованою Росією, не визнавав, що воював у Кореї, В’єтнамі, Анголі, Огадені. Сучасна Росія, яка ввела свої війська на Донбас, на офіційному рівні переконує світову спільноту та росіян, що ця війна — внутрішній громадянський конфлікт України. Хоча в інтернеті доступна вся інформація про те, які російські підрозділи воюють на Донбасі, хто ними керує і звідки йдуть потоки російської техніки, зброї, боєприпасів, солдатів, офіцерів і навіть де ховають убитих російських вояків.Тому фільми про війну на Донбасі допомагають зрозуміти масовій аудиторії, хто насправді воює в Східній Україні. Цій темі присвячена стаття, у якій аналізуються ігрові фільми про російсько-українську війну, яка триває на Донбасі. Зокрема, серіал Олексія Шапарева «Гвардія», фільми Ахтема Сеїтаблаєва «Кіборги. Герої не вмирають», Сергія Лозниці «Донбас», Зази Буадзе «Позивний „Бандерас”», Івана Тимченка «Іловайськ 2014. Батальйон „Донбас”», Валентина Васяновича «Атлантида», Володимира Тихого «Наші котики».У контексті світового кінематографу та особливостей національного характеру подається, як сучасне українське кіно розвиває комедійні традиції фільмів про війну. Показано реакцію на фільми про війну українських глядачів, критиків, російських політиків і державних службовців та нагороди фільмів на кінофестивалях.

Russian authorities do not recognize their participation in the Donbass war. Participation concealment in military conflicts is a long-standing Russian political tradition. The Soviet Union, which was modernized by Russia, did not recognize that it had fought in Korea, Vietnam, Angola, and Ogaden. Modern Russia, which has deployed its forces to Donbass, is officially convincing the world community and Russians that this war is an internal civil conflict in Ukraine. Although all information is available on the Internet about which Russian units are fighting in Donbass, who controls them and where the flows of Russian equipment, weapons, ammunition, soldiers, officers and even where the killed Russian soldiers are buried come from. That is why films about the Donbass war help the mass audience to understand who is actually fighting in Eastern Ukraine. An article is devoted to this topic, which analyzes feature films about the Russian-Ukrainian war that lasts in Donbass. In particular, Oleksiy Shapariev’s series "The Guard", films of Akhtem Seitablaiev "Cyborgs. Heroes never die", Serhiy Loznytsia "Donbass", Zaza Buadze "Call sign ‘Banderas’", Ivan Tymchenko "Ilovaisk 2014. Battalion ‘Donbass’", Valentyn Vasyanovych "Atlantis", Volodymyr Tykhyi "Our cats". In the context of world cinematography and peculiarities of the national character, it is presented how modern Ukrainian cinema develops the comedic traditions of war films. The reaction to films about the war by Ukrainian spectators, critics, Russian politicians and public officials, film awards at film festivals are shown.

Nowadays the Ukrainian crisis society directs man to the creative realization of the individual, but at the same time does not provide specific resources for it. At the present stage of the development of philosophy in the era of the global, social and spiritual crisis, it is becoming important the formation of a new ideological paradigm of a marginal personality that requires research in the field of philosophy and cultural studies. New models of life, moral values, and different worldview emerge through marginality, that’s why the phenomenon of margin is always relevant. The marginal personality is important for any society at all stages of its development and in various forms of its manifestation. The social contradictions are compounded by the growing scale of margin in the society. They form the basis for the deployment of global crises, which consequences are unpredictable from the standpoint of modern science. Perhaps, marginality is a condition, which produces the changes of the social and cultural sphere. The article doesn`t emphasize the nature of these changes, but it should be taken into account both inner (at the level of the value core) and outer; both positive, promoting the development, and negative, leading to the destruction. The accent is made on the activity oriented nature of the marginality, which is able to provoke changes and force a subject to innovations. The marginality has also a certain demonstrative (indicative) character. If the essence and increase of the marginal entities in the social and cultural sphere are captured, we can prove the inevitable changes, the acceleration of the social dynamic. That`s why the marginality is able to provoke social and cultural changes but also be an indicator of the social and cultural sphere state. The above defined updates the socio-philosophical analysis of the peculiarities of margin in the context of globalization, determinants and mechanisms of social transit of the marginalized communities into the integrated socio-cultural space.

Resumen Este artículo analiza el cuento “Las fieras”, del argentino Roberto Arlt, como producto final de una investigación académica dirigida por el sistema de posgrado de literatura latinoamericana de la Universidad de Costa Rica. Se llevó a cabo un estudio de los diversos recursos estilísticos que este autor emplea para deconstruir la imagen de la sociedad bonaerense de los años 30: lenguaje, abordaje de una temática marginal, juego de oposiciones. Los principales aspectos analizados son el ingreso en el lumpen, silencio como lenguaje, lumpen como despojo de la máscara y condición de las mujeres en el lump en. Abstract Between ferocity and boredom: an approach to the short story “las fieras”, by roberto arlt This paper is an analysis of the short story “Las fieras”, by the Argentinean author Roberto Arlt, as a result of academic research in the postgraduate program in Latin American Literature of the Universidad de Costa Rica. The stylistic resources which this author uses to deconstruct the image of the Buenos Aires society of the 30’s, the approach of a marginal theme, and play of opposites are studied. The main analyzed aspects are the becoming part of the lumpen (underclass), silence as language, the lumpen as the removal of masks and the situation of women in the lumpen.

Mizah; dramatik, fonetik ve görsel sanat alanlarının hepsinde varlık gösterebilen sinema sanatının da tür ayırt etmeksizin kullandığı ya da başvurduğu kaynaklardan biridir. Öyle ki komedi türü, üretim ve izlenirlik açısından sinemanın ortaya çıkışından günümüze dek dünya genelinde popüler film türlerinden biri olmuştur. Komedi, dünya sinemasının genelinde olduğu gibi Türk Sineması'nda da başlangıcından günümüze dek her dönem popüler film türlerinin başında gelmiştir. Özellikle son dönem Türk Sineması'nda gösterime giren ve büyük seyirci kitlelerine ulaşan filmlerin önemli bir kısmını komedi türündeki filmler oluşturmaktadır. Türk komedi sinemasında 2000 sonrasında üretilen filmlere bakıldığında film yapımcılarının yoğun bir biçimde seyirciye lümpen olarak adlandırılabilecek tiplerin anlatısını sunmayı tercih ettiği görülmektedir. Araştırmanın amacı, Marks'ın toplumsal bir grubu tanımlamak amacıyla ortaya attığı lümpen kavramı üzerinden oluşturulan mizahın 2000 sonrası yerli komedi sinemasındaki yansımasını incelemektir. Araştırmada yöntem olarak anlatı analizi ve betimsel analiz yöntemleri tercih edilmiştir. Araştırmada amaçlı örneklem yöntemi doğrultusunda anlatısında en az bir lümpen tipin bulunduğu 2000-2015 yılları arasında gösterime girmiş toplamda sekiz komedi filmi örneklem olarak seçilmiştir. Bu filmler; G.O.R.A.(2004), Organize İşler (2005), Maskeli Beşler: İntikam Peşinde (2005), Recep İvedik (2008), Kolpaçino (2009), Çalgı Çengi (2011), Geniş Aile: Yapıştır (2015) ve Ali Kundilli (2005)'dir. Filmlerdeki lümpen tipler üzerinden yapılan çözümleme sürecinde elde edilen bulgular, lümpenliğin filmlerin anlatılarında mizahın üstünlük, uyumsuzluk ve rahatlama kuramları aracılığıyla bir mizah unsuru olarak kullanıldığını ortaya koymaktadır. Humor can be present in all dramatic, phonetic and visual art fields, and is one of the sources which the art of cinema uses or refers to without taking its genre into account. So much so that comedy type humor has been one of the movie types that has become popular worldwide in terms of production and rating ever since the emergence of cinema. Comedy films constitute an important part among the recently released Turkish cinema films that have reached a large group of audiences. Looking at the comedy films produced after 2000, it is seen that filmmakers have preferred to intensely present the narrative of the kind of people that can be called lumpen. The aim of the study is to examine the reflections of the humor created through Marx's concept of lumpen, which he had come up with in order to identify a social group, in post-2000 Turkish comedy films. In the study, narrative analysis and descriptive analysis methods have been preferred as research methods. In the study, using the purposive sampling method, a total of eight comedy films have been selected as samples from filmss released between the years 2000-2015 that have a narrative of at least one lumpen person. These films are; G.O.R.A. (2004) Organize Isler (2005), Maskeli Besler: Intikam Pesinde (2005), Recep Ivedik (2008), Kolpacino (2009), Calgi Cengi (2011), Genis Aile: Yapistir (2015) and Ali Kundilli (2005). The findings obtained from the analysis process of the lumpen people in the films reveal that lumpenism is used as an element of humor in the narrative of the films through utilizing the Superiority, Incongruity and Relief theories of humor. The lumpen people in these films cause the act of laughing to occur due to their absurd behaviors as well as causing the audience to have a feeling of superiority to these lumpen people and thus leads them to relief. 214

El presente trabajo se propone dar cuenta de la emergencia de una nueva estructura de sentir en la denominada “poesía de los 90”. Centrando el análisis en Punctum, de Martín Gambarotta, vamos a rastrear la recuperación de un yo lírico de larga tradición en la literatura argentina y que se hará frecuente en las líneas posteriores de la poesía, el héroe lumpen. Brevemente se intentará mostrar algunos de los factores sociales que posibilitan la apropiación de estas voces por parte de los nuevos escritores., Facultad de Periodismo y Comunicación Social

Slutord Nå, Rektorns ord den gången i gymnasiet åstadkom att jag nästan tvångsmässigt ägnar mig åt ställningstaganden där jag väljer med baktanken att inte låta Rektorn få rätt när han menar att eftersom jag inte anpassar mig kommer jag att få ångra det i hela mitt liv. Han tycker jag var feg som smet från lektionerna. Själv tycker jag att jag tar strid för min sak och lyckas hantera min omdömesförmåga och att jag växer med det, men det är lite jobbigt att inte få vara lite feg ibland för då kommer han fram den där Rektorn, som gubben i lådan, med sin sura min och överlägsna attityd. Kanske bör jag träna på att fly och vara lite feg. För ett tag sedan ställde jag in tre möten som jag skulle hålla i och som jag varken orkar eller vill vara med om. Det gick bra men Rektorn ser så opassande glad ut och det gillar jag inte, men det är kanske något som jag behöver lära mig att leva med… Jag har med denna essä velat undersöka praktisk kunskap så som den ter sig för mig, och jag har genom att identifiera ett dilemma använt detta som en forskarfråga och applicerat denna på några situationer för att studera hur min egen tysta praktiska kunskap hanterar dilemmat i fråga. I min berättelse finns dilemmat på flera plan. Dels att inte kunna skriva får sin lösning i just skrivandets förlösande praktik. Jag har velat åskådliggöra detta genom den egna skrivarprocessen och vad den behöver i form av näring för att tankegods ska transporteras från hjärna till händer och fingrar för att sedan landa på ett stycke papper. Dels i den tysta kunskap som processen att skriva ska utmynna i en berättelse om. Eller annorlunda uttryckt – processen att skriva blir en tyst kunskap och grunden för den berättelse den är resultatet av. Dilemmat att välja rätt väg får inte sin lösning men väl sin förklaring genom en händelses starka påverkan där rätt väg speglas i ljuset av att inte vilja vara feg och att rättfärdiga det val jag gjort för att gå stärkt ur denna händelse. Utkomsten av detta dilemma har bildat en kunskap som jag har med mig varthän jag går. Om denna kunskap används på rätt sätt låter jag vara osagt men den är en viktig del vid valet av åtgärd och där jag står med viljan att göra rätt och att göra upp med ett gammalt dilemma. Stockholms dramatiska högskola

Birinci bölümde lümpen kelimesinin anlamı tartışılmıştır. Bu tartışmada lümpen sözcüğünün sosyal bilimler ve felsefede ilk önce ne zaman ve kim tarafından kullanıldığı anlatılıp tarihsel süreç içerisinde anlamındaki değişme irdelenmeye çalışılmıştır.Daha sonra kelimenin bu gün bizim dilimizde aldığı anlam üzerindeki düşünceler karşılaştırılmış ve anlam içerisinde kullanılan çeşitli sıfatların da ne demek olduğu incelenmiştir. Bunlar sırasıyla erkeklik, milliyetçilik, dindarlık ve muhafazakarlık, taraftarlık, hemşerilik... Toplumda böyle olduğunu düşündüğüm insanları son analizde bir araya geldiklerinde toplumumuzda görülen rahatsızlığı psikoloji biliminden bir hastalığı ödünç alarak açıklamaya çalıştım.Dünya ve Türk sinemasından lümpenin örnekleri verilmiş ve bu ülkelerde lümpen algısının nasıl farklılaştığı açıklanmıştır. Bu bölüm içerisinde ayrıca üslup olarak benzeyen ve bu tezin yazarını etkileyen filmlere de değinilmiştir.Bir sonraki bölümde daha önce açıklanan kavramlar ışığında filmin üç ana karakterinin toplumdaki statüleri ve o statü içindeki rolleri açıklanmıştır. Bu rollerin icrasındaki görünen genel hal ve tavırlar karakterlerimizin hem iç dünyasını anlatmış hem de daha önce bahsettiğim kavramlara ne kadar uyumlu olup olmadığını göstermiştir.Tezin son bölümünü ise çekilmiş filmin senaryosu oluşturmaktadır. In the first section the term ?lumpen? had been discussed. When the term was introduced for thr first time and by who in the social sciences and philosophy was the main subject as well as its change of meaning troughout the history.The the thoughts were compared about the meaning of the term in our language today and the adjectives in the description of the term were analyzed one by one. These in order are masculinity, nationalism, religion and conservatism, being a fan, being from the same place as another? I also tried to explain this group of people in the final analyisi with the help of a psycological term since I stated it as a sickness.The following chapter contains the explanation of characters? social status and roles with the guidance of previously discussed concepts. The different states and behaviours during the application of these roles showed how they were in accordance with those concepts and also helped us to understand the their iner world.Examples of lumpen have been given both from world and turkish cinema and thyen has been explained how in each country how perception of lumpen differs. This cahpter also contains the explanation of the films which are look alike in style . Speacially the ones that had influenced this director.The last part of tesis includes the script. 97

Este trabajo trata de las transformaciones ocurridas en el Centro Histórico de Salvador de Bahia, en Brasil, desde el siglo XVI a la actualidad, y sus consecuencias sociales y urbanísticas. El centro de la ciudad, que albergaba casi todas las funciones hasta inicios del siglo XX, pasa por un proceso de migración centrífuga y cambio de población que lleva a su degradación física y social, hasta que en el último cuarto de ese siglo empiezan las tentativas de su regeneración, incluida la discusión sobre el perfil de la población pobre, residente en condiciones de precariedad y caracterizada como lumpen, con todo lo que eso implica para la protección patrimonial y el destino de esa gente. Sin querer agotar el asunto, el trabajo trata de las acciones del poder público para rehabilitar el casco antiguo y los reflejos en ese tejido social e urbano, que de una parte desarrolla la "operación deportación" de la población marginada, y de otra, reincorpora el centro histórico de la ciudad al uso y frecuencia de los ciudadanos a través de cambios de ocupación, mejoras infraestructurales y de seguridad., This article deals with the transformations occurred in the historical center of Salvador, Bahia, in Brasil from the XVIth century to the present time, and its social and urban consequences. The downtown area, that was sheltering nearly all the functions until beginning of XXth century, goes through a centrifugal migration process and change of population that carries to physical and social degradation, until when in the last quarter of this century it began some attempts of regeneration, which include the discussion on the poor population profile, resident in precarious conditions and characterized as lumpen, whith that implies for the patrimonial protection and the destination of this people. Unwillingly to exhaust the matter, it discuss the government actions for rehabilitation of the historical city and the reflexes in social and urban tissue. On one hand developing the "operation deportation" of the marginalized population, and on the other hand, reinstating the historical center of the city to the use and frequency of citizens through settlement changes, infrastructure improvements and safety.