Ferdi anne duy sesimi dinle

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By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. To browse Academia. In this thesis, the importation, transformation and distribution of French popular music in Turkey during the 20th century have been investigated as a case study of cultural transfer. By using theories and methods within a cognitive semiotic framework, this study provides an overview of the phenomenon of French pop music remakes in Turkey by accounting for the initial situation of communication of remade pop music through recorded materials, and by providing an analysis of the changes made to the songs when transformed from French to Turkish, as well as the linguistic meanings that were made available to the Turkish public in this process. Meaning making procedures in connection to pop music have been considered by analyzing components of pop music, the cognitive capacities of human beings to understand pop music, and procedures of cultural communication enabling the integration of new artefacts in a culture. According to the results of this thesis, Turkish language remakes of songs originally performed in French have been produced and distributed in Turkey between

Ferdi anne duy sesimi dinle

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The expression of music is both directly experienced and in focus. This however, occurs in some of the replacement texts in section 7.

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Ferdi Tayfur - Sevgili Yarim. Ferdi Tayfur - Almanya Treni. Ferdi Tayfur - Beddua. Ferdi Tayfur - Kaderimsin. Ferdi Tayfur - Son Sabah.

Ferdi anne duy sesimi dinle

Sana Kaderimsin Dedim Dur Dinle Sevgilim Ne Bilirdimki Garip Doldurdum Kadehimi Sevgili Yarim

Sicily.rose

The English translations of gendered pronouns are based on clues given in the Turkish and French song lyrics. Before the appearance of French pop music remakes in Turkey, Western songs were first popularized in Turkey without any transformation of the lyrics. Research questions It has not been possible to trace the business developments of the record industry and their conditions of product selection within the limits of this thesis, but a mention and an overview has given an idea of which producers are involved in the production and distribution of Turkish remakes of French songs in Turkey. In Table 13 above the song titles, the English translations of the song titles and database numbers can be found. The producers involved in the communication of Turkish remakes of French songs to the Turkish public are among others, the singers and record companies playing an important role in the communication of French pop music remakes to a Turkish consumer. As was mentioned in Chapter 2, original foreign songs were popular in Turkey before the trend of adapting lyrics to Turkish grew strong. A similar nostalgic aspect is present in the Turkish version of the song. Casatchok Casatchok! Thereafter, cultural communication, involving the exchange and transformation of information and materials between cultures, is discussed. In most cases this has resulted in practical choices of replacing the French song lyrics with new Turkish lyrics that do not account for the original linguistic meanings of the French text, and in some cases, it has resulted in different acts of transformation of the lyrics such as song translation and adaptation. According to DeNora language scaffolds both cognition and emotion, in the sense that words can engender emotion. Ramesh Krishnamurti. Based on political economy approach, this study used cultural analysis to clarify the examples.

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Even-Zohar further explains that: The people who read or watch these texts not only get conceptions and coherent images of reality, but can also extract from them practical instructions for daily behavior. Lai, Francis comp. It is probable and even most likely that the linguistic meanings presented to the Turkish listener of French pop music remakes already existed in Turkey before the import of French songs. Research questions In Chapter 6 I present the results of the quantitative analysis, giving an overview of the context of communication of the songs in question. Songs produced in one culture, imported or invented, can hence be considered as goods holding a certain value or asset for individuals and groups, or as active and passive tools for understanding and acting in life. The repertoire of a culture continuously evolves as artefacts are invented or imported to a culture Even-Zohar, As a result of this process, a new product is made available for participants of a culture to be used as valuable goods or as tools for understanding and acting in social life. However, since only the years were investigated in this chapter, further investigations of all song lyrics from should be done in order to make a generalization. In Table 13 above the song titles, the English translations of the song titles and database numbers can be found. In cases where gender has not been indicated in the French and Turkish lyrics, I have taken a heteronormative approach in the English translations, based on the gender of the performer. Before foreign songs with Turkish lyrics were being reproduced in Turkey to a greater extent, Western music was popular on the Turkish market and musicians were frequently performing Western songs with their original foreign lyrics Stokes, All but two adaptations listed below are produced in during which a total of 24 Turkish songs were remade from French songs and distributed in Turkey. The Turkish song remakes are performed by singers who each have their own musical persona and official image through which the listener will interpret the song. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses.