Bilge Liderlik: Ahmet Ziylan’ın Hayatına İlişkin Nitel Bir Analiz

Abstract

Objectives: The leader's narrative and biography are important resources for understanding leadership. This study, in the context of a biographical approach to leadership, explores the narrative of Ahmet Ziylan, which is at the center of a leadership story extending from shoemaker apprenticeship to industry leadership. Methods: Research design is Ahmet Ziylan's biography with his own narrative. Data sources are the interview conducted by the researcher, Ziylan's 137 articles containing his memoir, and separate statements made by him on the Internet. The content was analyzed with descriptive and content analysis methods and then three themes that emerged were exemplified and interpreted.Results: The three themes formed from the analysis of the stories and the narrative of the leader are moral principles, personal development method and relationships with people. The common meaning of these three themes is a deep and holistic understanding of wisdom about life that goes beyond classical leadership patterns.Originality: This research, which reveals the importance of stories and leader narrative as a meaning production, shows that the main motives for the success of a leader can be better understood with qualitative leader methods and especially content analysis. Research suggests that leadership work should go beyond certain success story patterns and that we need more holistic sets of meanings to experience a social reality.

An Inside Look at Yüksel Arslan's Outsider Practice, 1955–64

“…In his memoirs, the artist recalled that he would visit the historical cemetery in his native district of Eyüp, spending hours observing the crawling and crazed mating of insects that he found under lifted tombstones. 75 In weaving an argument which attributed to Arslan a unique and artistically privileged status, Eyüboğlu credited the artist's development of an unconventional painting technique employing natural pigments, instead of artificial paint, which critics considered unprecedented. Around 1954 Arslan started mixing his own 'earthen pigment' [toprak boya] through a concoction of 'soil, honey, egg white, grease, blood and piss' to achieve the ochre tone that he applied in broad, uneven swathes to the background, before scratching the figures on its surface.…”

“…115 The artist recalled that his time in the military was characterized by a voracious consumption of intellectual material, but also by experimentation with excessive self-eroticism and, conversely, with celibacy: in particular, Arslan stated that after reading the writings of the French Antonin Artaud, he stopped all sexual activities for a period. 116 The army was a traditional environment for art-making. From the eighteenth century, drawing had been an integral part of the curriculum of Ottoman military schools, as part of the reformist spirit of the Tanzimat; military artists were taught drawing by copying models from books and lithographs.…”