Zafer Gunduz

This study endeavors to undertake a philosophical and sociological critical evaluation of the fear of aging and old age (gerontophobia) within the context of the life course concept, which is utilized to encompass all processes of human life. In this context, the philosophical underpinnings of fear are rooted in the sentiment of uncertainty surrounding the future, the experience of aging, and the reality of mortality. The study posits that the fundamental human drive to survive is ontologically rooted, and the trepidation associated with aging and old age emanates from the endeavors to preserve the ontological integrity of the self. In this context, Heidegger's concepts of “availableness,” “being-towardsdeath,” and Levinas' concept of “the Other” come to the fore. The sociological underpinnings of this phenomenon are elucidated through an examination of shifts in societal values and norms, economic instability, reliance on others for health and care, transformations in media and cultural portrayals, communication and social isolation, elder discrimination and social exclusion, and the incapacity of the elderly to adapt to technological advancement. In summary, the study endeavors to demonstrate the necessity of a philosophical and sociologically based holistic perspective that encompasses both individual and social foundations in understanding and interpreting aging and fear of old age throughout the life course.

Bu çalışmada, Roman sanatçı Sead Kazanxhiu’nun Yuva (The Nest) adlı eseri, Martin Heidegger’in ontoloji merkezli felsefesi ile ilişkilendirilmiştir. Bu bağlamda Kazanxhiu’nun “Yuva” adlı enstalasyonu, Heidegger’in felsefesi ve kavramları üzerinden analiz edilmiştir. Kazanxhiu’nun multidisipliner eserlerinde karşımıza çıkan kimlik, aidiyet, ikamet, varoluş, sınır ve yapı temaları; Heidegger’in “mekân”, “ikamet etmek”, “imal edilmiş olan” kavramlarıyla ilişkilidir. Sanatçının Roman kimliği üzerinden kurduğu ötekileştirilme eleştirisi, “mekân” ve “yeryüzü” arasındaki gerilimin estetik bir yansıması olarak okunabilir. Heidegger sanat eserinin bir sembol olduğunu ve her ne kadar imal edilmiş bir şey olsa da bir araç rolü bulunduğunu ifade eder. Sanat eseri bir araç rolünde hakikati açığa çıkarmaktadır. Böylece varolmaya ve aidiyetini kurmaya çalışanın, kendisine yer açacağı temsili bir kavram ortaya çıkmış olur. Eser bir dünyanın kurulumuna aittir ve mimari olarak kendisini dünyaya açımlar. Kazanxhiu’nun Yuva adlı eseri, Roman kimliğinin kendini inşa etme ve kendisine yer açma çabasının göstergesidir. Bu noktada Heidegger’in felsefesi ile uyumludur. Sead Kazanxhiu’nun Yuva adlı çalışması Heidegger’in felsefesi bağlamında değerlendirilmiştir.

Nesnesini deneyimin yanında tarihsellikten de alan hafıza, insanın eylemlerini bir amaç doğrultusunda biçimlendiren ve ben bilincini oluşturan özel bir olanaktır. Bu açıdan sosyal, kültürel, bilimsel ve düşünsel alanda gerçekleşen değişimler, ahlaki bir varlık olduğu öne sürülen insanın yaşadığı yer ve başkası ile ilişkisini, aidiyetini kuran hafızasını da fazlası ile etkilemektedir. Nitekim mevcut gelişmelere yönelik bir eleştiri mahiyetinde, dönüştürülmeye çalışılan insanın, ontolojik bir zeminde kalacak şekilde bütünlüğünün ön plana çıkarılması ve ahlaki bir varlık olduğuna sürekli vurgu yapılması gerekmektedir. Bu bağlamda bir öneri olarak Sarıoğlu’nun, varlığın ontolojik temellerini dikkate alarak savunmaya çalıştığı ahlaki tutum, hem insanın hafızasına dair kurucu bir analizi içermekte hem de günümüzün şekillenişinde insanın yönelimine bir cevap olmaktadır. Dolayısıyla bu çalışmada Sarıoğlu’nun ontolojik-ahlaki zeminde eleştirisine konu olan insanın, özne (üst/ün/-insan) olarak kendi varlığına dair başlangıç arayışında unuttuğu ya da unutturmaya çalıştığı bütünlüklü yapısı, yine onun ahlaki bir içerik ile hem emanet alma, hem birlikte-olma, hem de aklın kullanımına dair değerlendirmeleri ele alınmaktadır.

The point that is stressed by definitions of culture, which rely on its authenticity and considerations that it entails individuality (diversity), is its diversity. Being diverse and acknowledgement of authenticity of the diversity, involves forwardness in itself. Though the acknowledgement of diversity and the impression of integrity formed by the acknowledgement seem to pose a coherence, yet it bears a negative aspect internally. Despite so-called acknowledgement of diversity, coherence and integrity formation seem to be more important. Since coherence of the integrity is based on measures of the seeking subject, forwardness aims to preserve things that are available or to simply fill the gaps. Hence complexity and diversity bear a negative meaning for available things. Because of centered approach which basically is putting familiar things into a closer circle while putting others aside. It brings concretization to the culture. To the extent of concretization endeavor, it leads us to study culture as belonging to a society (the privatization aim here even breaks down culture to a subculture level). Concretization of culture itself might seem as understanding and acknowledgement of culture, however, the aim for making a definition involves detaching the existent from existence forms and from the environment that it exists in. This article is to discuss, with philosophical terms, how different cultures embrace sincerity in exposing themselves while interacting with other cultures given our definitions of culture and eeking for multiculturalism. Thanks to developments in transportation and means of technology, different cultures and societies meet and interact easily. Though we have a heritage of drawing borders, these borders hardly preserve their existence. The issues under discussion have evolved from the endeavor to build a common identity-culture-society to acknowledgement of diversity and difference.

The purpose of this article is to explore Heidegger’s approach to how educa- tion and reflection endeavor, which have been experienced through a vast variety of both regional and universal approaches, should be experienced. Hence, I’ll start with explaining Heidegger’s problematics. “Why he takes all philosophical problems into one question?”, “What is the meaning of be- ing?”, and then I will explain what we should understand by education and reflection process. Heidegger links it to an exploration process, investigation of the truth. He believes that the primary responsibility in this process lies on universities and rulers. The process should be centered on reflection and individuals should be reflecting by challenging their own and other individ- uals’ existence. This leads us to two concepts: Being-in-the-world (In-der-Welt- sein) and co-existence (being-with, Mitsein). The most remarkable ability of Dasein, as he calls, is the reflection, and it facilitates challenge. Through its capabilities, the individual (Dasein) will turn out to be self-conscious of its existence. Grounding on being-in-the-world and co-existence concepts, Das- ein can challenge the existence and starts exploring the being. This leads to reflection and questioning, which together form an educational and learning process. Education and learning are the two technical parts of exploring Da- sein’s existence. Due to scientific methods and methodological approaches of education, cultural, regional and local attributes are ignored. Heidegger believes that the individual coexists, which requires considering all the dif- ferences around it. Heidegger stresses the importance of reflection and says that the West has a flawed approach. Criticizing that flawed approach which is solely centered on the subject, Heidegger asserts an educational model which reckons many differences such as culture, challenge, etc.