TOWARD THE FORMULATION OF A FOLKLORISTIC THEORY OF MIND: THE ROLE OF PSYCHOANALYSIS AND SYMBOLIST APPROACHES TO TRADITION

Yirmi birinci yüzyılda, folklor ve özellikle halk sanatı alanında gerçekleştirilen çalışmalar, geleneğin aktarımını sağlayan bir araç olarak bireye özel bir önem atfetmekle birlikte kültür pratiğinin bilişsel kaynaklarını saptamak üzere psikolojik yaklaşımlardan ve özellikle psikanalitik yorumlama- dan uzak durmuştur. Psikanalitik yorumlamanın değerini ön plana çıkaran söylemin kökenleri Er- nest Jonesun 1928 yılında Folklor Cemiyetinde (1878 yılında Londrada kurulan ve folklor çalışmaları alanında önemli yeri olan bilimsel bir kuruluş ) gerçekleştirdiği sunumuna kadar uzansa da, folklorik sanatın endişe/arzuların somut ifade biçimlerine yansıtılması olarak algılanması yirminci yüzyılın so- nuna kadar yaygınlık kazanmamıştır. Bu çalışma, folklorik sanatın ve sanatçının el sanatları ya da elle yarattıkları dokunuş-odaklı dünyayı sembolize edişlerini tanımlamakla kalmayıp, söz konusu sanat ve sanatçıların derinlikli bir açıklama çerçevesinde ele alınabilmesi için yirminci yüzyılda psikolojik etnolojiye daha çok önem verilmesi gerektiğini savunmaktadır. Bu çalışma, topaçlar ve oymalı ahşap zincirler örneğinde, insanın çare bulma ve uyum sağlama stratejileri olarak oyun ve sanata yönelik gelişimsel fikirler üzerine odaklanan sembolist bir zihin kuramı oluşturulması konusundaki ihtiyacı gerekçelendirmeye çalışmaktadır. Böyle bir kuram; çerçeve, pratik ve tasarım kavramlarının bireysel halk sanatçılarının çalışmalarıyla bağdaştırılmasına olanak tanıyacaktır.

Folklora Özgü Bir Zihin Kuramı Tanımlamasına Doğru: Geleneğe Yönelik Psikanaliz ve Sembolist Yaklaşımların Rolü

ABSTRACT In the twenty-first century, the study of folklore and particularly folk art has given increasing attention to the individual as an agent of tradition, but has avoided psychological approaches, and especially psychoanalytic interpretation, to locate cognitive sources for cultural practices. Discourse on the value of psychoanalytic interpretation is traced to Ernest Joness 1928 presentation to the Folklore Society (the major international learned organization for folklore study founded in London in 1878), but the consideration of folk art as a projection of anxieties onto expressive material forms did not become prevalent until the late twentieth century. This essay argues for more of a psychological ethnology in the twenty-first century to achieve more insightful explanation, rather than mere description, of folk art and artists with their symbolization of the touch-oriented world aroused by the hand and handi- work. Using examples of whirligigs and carved wooden chains as examples, the essay proposes the need for a goal to address a symbolist theory of mind centered on developmental ideas of play and art as human strategies of coping and adapting. Such a theory would incorporate concepts of frame, practice, and projection in work with individual folk artists.

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