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Yapısalcılığın bilinen ortak bir tutumuna koşut olarak söylersek, giysi de bir metin bir başka anlatımla, özel bir dildir. Bir metafor olarak, Rus Biçimcilerinden başlayan, Ferdinand de Saussure’ün Genel Dilbilim Dersleri’ndeki kavram çiftlerinden (dil/söz, eşsürem/artsürem, dizisellik/dizimsellik vd.) esinlenen, göstergebilimcilerce sürdürülen ortak bir tutuma göre moda da bir dildir. Roland Barthes, Moda Dizgesiadlı yapıtında özel bir dilsel biçim olarak moda dilini yapısalcılığın verilerine yaslanan yazınsalın kavramsal alanında kullanılan kavramlarla betimleyip tanımlamaya uğraşır. Bu çalışmada, R. Barthes’ın söz konusu yapıtındaki yönelimlerini bir yana bırakarak, göstergebilimsel bir tutumla, bir iletişim nesnesi, özel bir dil biçimi olarak modanın, dolayısıyla giysinin türsellik ve metinlerarasılık görüngüsünde özgüllüğünü betimlemeye çalışacağız. Metinlerarası bir yaklaşımın verilerini tüketirken göstergelerarası bir yöne kayarak değişik söylem biçimlerinde (burada moda ve giysi) kullanıma sokulan yazınsal gerecin disiplinlerarası bir çözümlemeye katkısını kısaca göstermeye uğraşacağız. Modanın, yazın olduğu kadar sinema, resim, mimari vb. alanlarla alışveriş içerisinde olduğunu göz önünde bulundurduğumuzda böyle bir yaklaşımın fazlasıyla geçerlilik kazandığı kolaylıkla görülebilecektir.
If we say as a result of a known common attitude of structuralism, clothing is also a text, with another narrative, a special language. As a metafor, starting with the Russian formats, the concept pairs in Ferdinand de Saussure's General Linguistics Lessons (language/word, equatorial/artsurial, dizisality/disciplinary, etc.) A common attitude, inspired by indicators, is also a fashion language. Roland Barthes, in his work called the Fashion Magazine, tries to describe and define the fashion language as a specific linguistic form with the concepts used in the conceptual field of writing, which is based on the data of structuralism. In this work, R. By removing Barthes’s directions in that structure, with an indicative attitude, we will try to describe the particularity of fashion as a communication object, as a specific language form, and therefore the appearance of clothes in the turbulence and intertext. When consuming the data of an intertext approach, we will try to briefly show the contribution to an interdisciplinary analysis of the written requirement used in various forms of speech (here fashion and clothing) by moving in an interindicator direction. Fashion, as in summer as in cinema, painting, architecture, etc. When we take into account that they are in shopping with the areas, it will be easy to see that such a approach is overwhelming.
In accordance with a common attitude adopted by the structuralists, we can argue that clothing is a text, to put it another way, it is seen as a specific language. As a metaphor, fashion is a languagebased on a common attitude inspired by the pairs of concepts (signifier/signified, language /speech, diachronic/ synchronic etc.) in the Course inGeneral Linguisticsby Ferdinand de Saussure, shared also by semiologists and Russian formalists. In the System of Fashion, Roland Barthes attempts to describe and define the language of fashion as a specific language form, making reference to concepts used in the conceptual field of the literary text. In this study, leaving aside the theoretical orientations of R. Barthes in his book, we will try instead to describe the specificity of fashion as a special language form, and therefore of clothing in an intertextual perspective. Drawing on the data of an intertextual approach, we will try to show briefly the contribution of the literary instrument used in different forms of discourse (including fashion and clothing) in an interdisciplinary direction. When we consider that fashion establishes close relations with literature, cinema, painting, architecture, etc., it is easy to see that such an approach is gaining validityincreasingly.
Field : Filoloji
Journal Type : Uluslararası
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