{"id":1185,"date":"2023-04-29T02:59:55","date_gmt":"2023-04-29T02:59:55","guid":{"rendered":"https:\/\/ziyagurel.com\/?p=1185"},"modified":"2023-04-29T03:01:24","modified_gmt":"2023-04-29T03:01:24","slug":"gercegin-birlestiremedigimiz-parcalari-ve-ahmet-cemalin-secimi","status":"publish","type":"post","link":"https:\/\/ziyagurel.com\/index.php\/2023\/04\/29\/gercegin-birlestiremedigimiz-parcalari-ve-ahmet-cemalin-secimi\/","title":{"rendered":"Ger\u00e7e\u011fin Birle\u015ftiremedi\u011fimiz Par\u00e7alar\u0131 ve Ahmet Cemal’in Se\u00e7imi"},"content":{"rendered":"

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>G\u00fcn\u00fcm\u00fcz\u00fcn anlat\u0131m\u0131nda ger\u00e7ekli\u011fin vurgulanmas\u0131 ad\u0131na yap\u0131lan \u015fey, olgular\u0131n ayn\u0131 an\u0131n darac\u0131k h\u00fccresi i\u00e7inde \u00fcst \u00fcste y\u0131\u011f\u0131lmas\u0131 marifetidir. Bu aldatmacaya giri\u015fmek i\u00e7in zaman\u0131n olmad\u0131\u011f\u0131 bir boyutta geziniyormu\u015f gibi davranmak, \u00e7aresiz kal\u0131n\u0131nca g\u00f6ze al\u0131nan ba\u015fl\u0131ca cambazl\u0131klardan biridir.\u00a0 \u00c7a\u011fda\u015f roman\u0131n \u00f6\u011felerinden, anakronizm, bilin\u00e7alt\u0131 ak\u0131m\u0131, i\u00e7 sesle s\u00fcr\u00fcp giden, \u00f6n\u00fcne katt\u0131\u011f\u0131n\u0131 s\u00fcr\u00fckleyen bir \u0131rma\u011f\u0131 an\u0131msatan anlat\u0131m, bug\u00fcn, ya\u015fan\u0131lan\u0131 ya da kurgulanan\u0131 dile d\u00f6kmek yerine, yaz\u0131nsall\u0131ktan kopar\u0131lan bir ger\u00e7ekli\u011fi, yo\u011funla\u015ft\u0131r\u0131lm\u0131\u015f kat\u0131 par\u00e7ac\u0131klara b\u00f6lmek i\u00e7in kullan\u0131l\u0131r olmu\u015ftur. G\u00fcndelik ya\u015fant\u0131n\u0131n bile b\u00f6ylesine fragmanlara b\u00f6l\u00fcnmesi, okuyucuyu, izleyiciyi ilk anda, g\u00f6zden ka\u00e7\u0131r\u0131lan ayr\u0131nt\u0131lar\u0131 yakalad\u0131\u011f\u0131na inand\u0131rarak b\u00fcy\u00fclese de, onu gittik\u00e7e bilin\u00e7siz bir kolayc\u0131l\u0131\u011f\u0131n i\u00e7ine s\u00fcr\u00fckleyerek d\u00fc\u015f\u00fcnme, kurgulama yetisinden yoksun b\u0131rakmaktad\u0131r. Okur, form\u00fcllere dayal\u0131 bir anlat\u0131m yap\u0131s\u0131na ko\u015fulland\u0131r\u0131ld\u0131\u011f\u0131nda, d\u00fc\u015f g\u00fcc\u00fcyle ad\u0131m atamayaca\u011f\u0131na; kendisinin herhangi bir kurgulama yetene\u011finin, yorum yapma yetkisinin olmad\u0131\u011f\u0131na inanmaya ba\u015flar. Oysa bir sanat bi\u00e7imlendirmesinin sanatseverce payla\u015f\u0131lmas\u0131, o yap\u0131ta \u00e7a\u011fr\u0131\u015f\u0131mlarla, k\u0131\u015fk\u0131rt\u0131lan yepyeni imgelerle ola\u011fan\u00fcst\u00fc bir evrensel vars\u0131ll\u0131k yarat\u0131r. Ne var ki, d\u00fc\u015flemeyi yorucu ve bo\u015funa bir gayret saymaya ba\u015flayan okur, art\u0131k olgu-olay \u00f6rg\u00fcs\u00fcn\u00fcn d\u0131\u015f\u0131na \u00e7\u0131kamay\u0131p, t\u00fcm d\u00fc\u015fsel, d\u00fc\u015f\u00fcnsel etkinlikleri kendisinin yerine yery\u00fcz\u00fc egemeni olan g\u00fcc\u00fcn masalc\u0131lar\u0131n\u0131n yapmas\u0131n\u0131 istiyor. Sanki yap\u0131t\u0131n yan\u0131nda bir kullanma k\u0131lavuzu vermek gerekiyor. G\u00f6rme duyusu \u00e7ok \u00f6nem kazan\u0131nca, yaz\u0131l\u0131 anlat\u0131m\u0131n ya sinemaya aktar\u0131lmas\u0131, ya da internette g\u00f6rsel betimlemelerle \u00f6zetlenmesi beklenmeye ba\u015fland\u0131.<\/p>\n

Bireyin \u00f6ne \u00e7\u0131kar\u0131lmas\u0131 savlar\u0131 ise, b\u00fcy\u00fck bir aldatmaca de\u011fil midir? \u00c7\u00fcnk\u00fc uzamla zaman yok edildi\u011finde, bireyselli\u011fin \u00fcst\u00fc, bireyci bencilli\u011fin dert yanan o verimsiz topra\u011f\u0131yla \u00f6rt\u00fcl\u00fcr. Birey de, korkun\u00e7 bir terk edilmi\u015fli\u011fin i\u00e7inde durmadan m\u0131z\u0131ldanan garip bir yarat\u0131\u011fa d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015f olur. Niteli\u011fin bo\u015f verildi\u011fi bu ortamda, eski deyimle \u201croman kahramanlar\u0131n\u0131n\u201d yerini, nicelik s\u0131ralamas\u0131na g\u00f6re tek \u201ckahraman\u201d al\u0131r; o da parad\u0131r. B\u00fct\u00fcn sanat, bilim, bar\u0131\u015f \u00f6d\u00fclleri, bu ak\u00e7al\u0131 d\u00fczen i\u00e7inde anlamlar\u0131n\u0131, ama\u00e7lar\u0131n\u0131 yava\u015f\u00e7a yitirirler.<\/p>\n

Tan\u0131t\u0131m\u0131 pompalayan para g\u00fcc\u00fc, b\u00fct\u00fcn iletilerini sanat etkinli\u011fi ad\u0131 alt\u0131nda yapmaya ba\u015flar; t\u00fcketimi azg\u0131nl\u0131k haline getirdi\u011fi i\u00e7in yads\u0131namayan bir yoz k\u00fclt\u00fcr\u00fc b\u00f6ylelikle bilin\u00e7lere yerle\u015ftirir. G\u00fcncel s\u0131radanl\u0131\u011f\u0131n ikonlar\u0131yla bunlar\u0131n yan \u00fcr\u00fcnleri, yat\u0131r\u0131mc\u0131 ve \u201cdestekleyici\u201d i\u00e7in birer kazan\u00e7 kayna\u011f\u0131d\u0131r art\u0131k. Kitapevleri, sonradan edit\u00f6r kesilen sermayedar\u0131n se\u00e7ti\u011fi raf \u00f6mr\u00fc k\u0131sa, \u2018en \u00e7ok satan\u2019 etiketli kitaplar doldurulunca, \u00f6nce \u015fiir \u00f6lm\u00fc\u015ft\u00fcr. Asl\u0131nda,\u00a0 \u015fiirsellik ve \u00f6znellik ya\u015fant\u0131m\u0131zdan \u00e7ok \u00f6nceleri silindi\u011finden, \u015fiirin yok olu\u015funu bug\u00fcn pek umursam\u0131yoruz.<\/p>\n

De\u011ferli d\u00fc\u015f\u00fcn\u00fcr, deneme yazar\u0131, e\u011fitmen, \u00e7evirmen Ahmet Cemal<\/strong>\u2019in yaz\u0131n\u0131m\u0131za ayd\u0131nlanmac\u0131 d\u00fc\u015f\u00fcnsel katk\u0131s\u0131 \u00e7ok \u00f6nemlidir; \u00e7al\u0131\u015fmalar\u0131, \u00f6yk\u00fcnmelerin \u00f6zg\u00fcn olan kar\u015f\u0131s\u0131nda tutunamayaca\u011f\u0131n\u0131n s\u00f6ylemini olu\u015ftururlar. Y\u0131llard\u0131r b\u00fcy\u00fck emek vererek T\u00fcrk\u00e7eye kazand\u0131rd\u0131\u011f\u0131 yap\u0131tlar\u0131 okuduk\u00e7a, onun \u00e7evirisini yapt\u0131\u011f\u0131 bu kitaplar\u0131, bir sanat tarih\u00e7isi \u00f6zeniyle se\u00e7ti\u011fine iyice inand\u0131m. George Luk\u00e0cs\u2019\u0131n \u201cMarksist Estetik\u201d, Schiller, Goethe, Nietzche, R. M. Rilke, \u0130ngeborg Bachman, Elias Canetti, Kafka, W. Benjamin<\/p>\n

(Pasajlar), Ernst Fischer, Remarque, Zweig, Joseph Beuys, E.H. Gombrich, M\u00e1nes Sperber (Par\u00e7alanm\u0131\u015f Ger\u00e7eklik), K. Hamsun, P. Celan, Robert Musil. Hermann Broch \u00e7evirileri, bu \u00e7al\u0131\u015fmalar\u0131n yay\u0131ld\u0131\u011f\u0131 s\u00fcre; \u00e7o\u011funun hi\u00e7bir yay\u0131neviyle anla\u015fma yapmadan giri\u015fti\u011fi zorlu i\u015fler olmas\u0131, yazar\u0131n \u00e7evirmenli\u011fi nas\u0131l da bir ya\u015fam bi\u00e7imi edindi\u011finin g\u00f6stergesidir. Ahmet Cemal, Anadolu \u00dcniversitesinde verdi\u011fi \u00c7evirmenlik Derslerinin bir eylemli \u00e7al\u0131\u015fmas\u0131ym\u0131\u015f\u00e7as\u0131na, \u00e7evirilerinde hem yazara, hem de okura duydu\u011fu sayg\u0131y\u0131 her sat\u0131rda \u00f6ne \u00e7\u0131kararak, yazar\u0131n bi\u00e7emini, yap\u0131t\u0131n bi\u00e7imini T\u00fcrk\u00e7ede yeniden canland\u0131rmak i\u00e7in u\u011fra\u015fm\u0131\u015f, b\u00f6ylece \u00f6\u011frencilerine de \u00f6rnek olmu\u015ftur.<\/p>\n

Avusturyal\u0131 yazar, \u015fair, felsefeci Hermann Broch\u2019un<\/strong> (1886-1951) \u201cVergilius\u2019un \u00d6l\u00fcm\u00fc\u201d<\/strong> roman\u0131, uluslararas\u0131 yaz\u0131n \u00e7evrelerinde \u2018\u00e7evirisi yap\u0131lamaz\u201d, diye an\u0131lan bir metin. Bug\u00fcne dek ancak yedi dile \u00e7evrilmi\u015f. Roman\u0131n ilk t\u00fcmcesinin neredeyse yar\u0131m sayfa tuttu\u011funu d\u00fc\u015f\u00fcn\u00fcrsek, okunmas\u0131 da g\u00fc\u00e7l\u00fcklerle dolu.<\/p>\n

Kitaba \u201cBir \u00c7evirinin Hik\u00e2yesi\u201d ba\u015fl\u0131\u011f\u0131yla yazd\u0131\u011f\u0131 \u00f6ns\u00f6zde Ahmet Cemal iyice ar\u0131 bir i\u00e7tenlikle \u201cele\u015ftirel akla\u201d ula\u015f\u0131rken izledi\u011fi yolu da anlat\u0131r. Hukuk Fak\u00fcltesini bitirdikten sonra, ge\u00e7imini sa\u011flamak i\u00e7in bol gelir getirecek avukatl\u0131k mesle\u011finin yerine, en az \u00fccrete de\u011fer bulunan yeminli \u00e7evirmenli\u011fi se\u00e7erek, noterliklerin lo\u015f arka odalar\u0131nda, eski daktilolar\u0131n ba\u015f\u0131nda bu i\u015fe ba\u015flad\u0131\u011f\u0131n\u0131 dile getirir. Yetmi\u015fli y\u0131llar\u0131n ba\u015f\u0131nda Goethe, Schiller \u00e7evirileri \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn ilk ad\u0131mlar\u0131 olur. \u2018Vergilius\u2019un \u00d6l\u00fcm\u00fc\u201dn\u00fcn \u00e7evirisini yapmaya 1972 y\u0131l\u0131nda ba\u015flarken duygular\u0131n\u0131, tedirginli\u011fini \u015f\u00f6yle dile getirir:<\/p>\n

\u201cVergilius\u2019un \u00d6l\u00fcm\u00fc\u201d roman\u0131yla o \u00e7evirmenlik y\u0131llar\u0131m\u0131n hemen ba\u015f\u0131nda tan\u0131\u015ft\u0131m. Roman\u0131n ilk b\u00f6l\u00fcm\u00fcnde yer alan ve Latin \u015fairi Vergilius\u2019u tasvir eden \u015fu pasaj\u0131 okudu\u011fumda o roman art\u0131k benim kaderim olmu\u015ftu: \u201c\u2026., yery\u00fcz\u00fc hayat\u0131n\u0131n huzurunu seven biriydi; topra\u011fa ba\u011fl\u0131 bir toplumda ge\u00e7ecek, sade ve g\u00fcven dolu bir \u00f6mre uygun bir insan; k\u00f6kleri gere\u011fi yerle\u015fip kalmas\u0131na izin verilmi\u015f, dahas\u0131 yerle\u015fmeye zorlanm\u0131\u015f biri; ayn\u0131 zamanda da, daha y\u00fcce bir kader gere\u011fi, yurdundan ne kopabilmi\u015f, ne de orada kalabilmi\u015f biri; bu kader onu \u00f6telere, toplumun d\u0131\u015f\u0131na s\u00fcr\u00fcklemi\u015f, kalabal\u0131klar i\u00e7erisinde d\u00fc\u015f\u00fcn\u00fclebilecek en \u00e7\u0131plak, en k\u00f6t\u00fc, en vah\u015fi yaln\u0131zl\u0131\u011f\u0131n i\u00e7ine atm\u0131\u015ft\u0131; onu k\u00f6keninin yal\u0131nl\u0131\u011f\u0131ndan koparm\u0131\u015f, u\u00e7suz bucaks\u0131zl\u0131\u011fa, gittik\u00e7e b\u00fcy\u00fcyen bir \u00e7e\u015fitlili\u011fe do\u011fru kovalam\u0131\u015ft\u0131; b\u00f6ylece b\u00fcy\u00fcyen, s\u0131n\u0131rs\u0131zl\u0131\u011fa a\u00e7\u0131lan, sadece ger\u00e7ek hayat ile aras\u0131ndaki uzakl\u0131k olmu\u015ftu; evet ger\u00e7ekten de yaln\u0131zca bu uzakl\u0131kt\u0131 b\u00fcy\u00fcyen: Vergilius, hep kendi tarlalar\u0131n\u0131n s\u0131n\u0131rlar\u0131nda gezinmi\u015f, kendi hayat\u0131n\u0131n s\u0131n\u0131r boylar\u0131nda kalm\u0131\u015ft\u0131; huzur nedir bilmeyen bir insan; \u00f6l\u00fcmden ka\u00e7arken \u00f6l\u00fcm\u00fc arayan, eser vermek isterken eserden ka\u00e7an biri; bir \u00e2\u015f\u0131k, ama hep kovalanmaya yarg\u0131l\u0131, gerek i\u00e7 gerekse d\u0131\u015f d\u00fcnyan\u0131n tutkular\u0131 aras\u0131nda yolunu kaybetmi\u015f, kendi hayat\u0131na sadece konuk olabilmi\u015f biri\u2026\u2019 \u00a0\u00a0<\/strong>Bu sat\u0131rlardaki ki\u015fi, benim i\u00e7in bir \u00f6teki-ben de\u011fil miydi? Sevgiden yoksun bir \u00e7ocukluk d\u00f6neminde, sade ve g\u00fcven dolu bir hayat\u0131, s\u0131rf \u00e7ocuk olmam nedeniyle hak etti\u011fim bir hayat\u0131 aramam\u0131\u015f m\u0131yd\u0131m? O kader t\u0131pk\u0131 Vergilius gibi beni de k\u00f6kenimin hep \u00f6zlemini \u00e7ekti\u011fim yal\u0131nl\u0131\u011f\u0131ndan kopar\u0131p u\u00e7suz bucaks\u0131zl\u0131\u011fa, bilinmeyenin \u00fclkesine, gittik\u00e7e b\u00fcy\u00fcyen, s\u0131n\u0131rs\u0131zl\u0131\u011fa a\u00e7\u0131lan, korkutucu bir \u00e7e\u015fitlili\u011fe do\u011fru kovalamam\u0131\u015f m\u0131yd\u0131?(\u2026\u2026\u2026\u2026.)\u00a0\u00a0 Ben de o zamana kadar kendi tarlalar\u0131m\u0131n s\u0131n\u0131rlar\u0131nda gezinebilmi\u015f, ama o topra\u011f\u0131 bir t\u00fcrl\u00fc g\u00f6nl\u00fcmce ekememi\u015f biri de\u011fil miydim? Her zaman kendi hayat\u0131m\u0131n s\u0131n\u0131r boylar\u0131nda, benim olmas\u0131n\u0131 istedi\u011fim, ama asla benim olmas\u0131na izin verilmemi\u015f b\u00fct\u00fcn hayatlar\u0131n s\u0131n\u0131r boylar\u0131nda dolan\u0131p durmam\u0131\u015f m\u0131yd\u0131m?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bundan k\u0131rk y\u0131l \u00f6nce \u201cVergilius\u2019un \u00d6l\u00fcm\u00fc\u2019n\u00fc benim i\u00e7in neredeyse bir t\u00fcr kader k\u0131lan d\u00fc\u015f\u00fcnceler, i\u015fte bunlard\u0131.\u201d<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ahmet Cemal bundan k\u0131rk y\u0131l \u00f6nce, bu d\u00fczeydeki bir dil an\u0131t\u0131n\u0131 \u00e7evirmeye yetecek denli birikime, Almanca ile T\u00fcrk\u00e7eyi bir k\u00fclt\u00fcr dili olarak kullanma ustal\u0131\u011f\u0131na ve bilgisine sahip olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmesine kar\u015f\u0131n, bu \u00e7al\u0131\u015fmay\u0131 ertelemedi. Bu konuda \u015f\u00f6yle der: \u201c\u2026.\u00f6yle bir \u00e7al\u0131\u015fma i\u00e7inde oldu\u011fumu bu kadar uzun s\u00fcre i\u00e7inde en yak\u0131nlar\u0131ma bile a\u00e7mad\u0131m. \u00c7\u00fcnk\u00fc \u201cVergilius\u2019un \u00d6l\u00fcm\u00fc\u201d benim hayat\u0131m\u0131n neredeyse en \u00f6zel, en mahrem alan\u0131yd\u0131; yaln\u0131zca ve yaln\u0131zca bana aitti. Onu yaln\u0131zca kendim i\u00e7in \u00e7evirdim. (\u2026.)\u00a0 Bu \u00e7eviri \u00e7al\u0131\u015fmam\u0131n bitmesini hi\u00e7 istemedim (\u2026) Eserleriyle hal\u00e2 Roma antik \u00e7a\u011f\u0131n\u0131n en b\u00fcy\u00fck \u015fairi say\u0131lan Publius Vergilius Maro\u2019nun\u00a0 (M.\u00d6. 70-19) bu romanda Hermann Broch\u2019un kalemiyle dile getirilen, sanatla, sanat\u00e7\u0131l\u0131kla, sanat eseriyle bir \u00f6m\u00fcr boyu s\u00fcrm\u00fc\u015f hesapla\u015fmas\u0131, ve sava\u015f\u0131m\u0131, bir direni\u015f modeli<\/strong> olarak benim hayat\u0131ma da ge\u00e7ti, daha do\u011frusu hayat\u0131m\u0131n \u00f6rg\u00fcs\u00fcne yerle\u015fti.(\u2026\u2026.) Ayr\u0131ca, insanlar\u0131n b\u00fcy\u00fck \u00e7o\u011funlu\u011funun \u00f6l\u00fcmden anlams\u0131zca korktuklar\u0131 bir d\u00fcnyada, \u00f6l\u00fcm olgusuyla derinli\u011fine ve d\u00fc\u015f\u00fcnce d\u00fczleminde hesapla\u015fmaks\u0131z\u0131n hayat\u0131n da yeterince de\u011ferlendirilemeyece\u011fine hep son derece \u00f6nemsedi\u011fim bilgiyi de bu romana bor\u00e7luyum.\u201d<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/em>\u015eair, Atina\u2019dan Augustus\u2019un buyru\u011fuyla ve onunla birlikte ayr\u0131lmaktan bin pi\u015fmand\u0131r. Brendisium liman\u0131na gemiler ba\u011flan\u0131rken hastal\u0131\u011f\u0131 iyice a\u011f\u0131rla\u015fm\u0131\u015f, y\u00fcr\u00fcyemeyecek haldedir. Roman, bu andan ba\u015flayarak, Vergilius\u2019un, ertesi g\u00fcn \u00f6\u011fleden sonra Sezar Augustus\u2019un saray\u0131nda \u00f6l\u00fcm\u00fcne kadar, o on sekiz saati anlat\u0131r.\u00a0 Anlat\u0131m\u0131 \u00fc\u00e7\u00fcnc\u00fc ki\u015finin \u00fcstlenmesine kar\u015f\u0131n, Vergilius\u2019un kendi kendine konu\u015fan i\u00e7 sesi okuyucuyla ba\u011flant\u0131y\u0131 beklenen sona kadar hi\u00e7 kesmez. Bu ses, onlar\u0131 Brendisium\u2019a ta\u015f\u0131yan gemilerdeki forsalardan, k\u00f6lelikten s\u00f6z eder. Taht\u0131revanla saraya g\u00f6t\u00fcr\u00fcl\u00fcrken kentli halk\u0131n yoksullu\u011funu ve \u0130mparator onuruna da\u011f\u0131t\u0131lan bedava \u015farap i\u00e7in birbirini \u00e7i\u011fneyen sefih durumunu izler. Y\u00f6netimi ele ge\u00e7iren bundan \u00f6nceki ve \u015fimdiki Sezar i\u00e7in yazd\u0131\u011f\u0131 mersiyeler, \u00f6vg\u00fcler, art\u0131k ona birer yalakal\u0131k s\u00f6ylemi olarak g\u00f6r\u00fcnmektedir. Ya\u015fam\u0131n ahl\u00e2k a\u00e7\u0131s\u0131ndan do\u011frulu\u011funa, sanat\u0131n yerindeli\u011fine, \u015fiirin ya\u015fama katk\u0131s\u0131n\u0131n ne oldu\u011funa ili\u015fkin ac\u0131mas\u0131z bir sorgulamayla anlat\u0131m s\u00fcrer. Onu limandan saraya de\u011fin izleyen, yeni \u0130mparatoru kar\u015f\u0131layan esrik kalabal\u0131ktan korunmas\u0131 i\u00e7in yol g\u00f6steren k\u00fc\u00e7\u00fck o\u011flan, k\u0131v\u0131rc\u0131k sa\u00e7lar\u0131yla \u00e7ocuk Vergilius\u2019un ta kendisi de\u011fil midir? Son yap\u0131t\u0131 \u2018Aeneis Destan\u0131\u2019 yan\u0131ndan ay\u0131rmad\u0131\u011f\u0131 torbas\u0131ndad\u0131r; bu torbay\u0131 ad\u0131 Lysanias olan bu \u00e7ocuktan ba\u015fkas\u0131na emanet edememi\u015ftir. Destan, Troya yak\u0131l\u0131p y\u0131k\u0131ld\u0131ktan sonra Aeneas\u2019\u0131n \u0130talya\u2019ya d\u00f6n\u00fc\u015f yolculu\u011funu anlatmaktad\u0131r. Aeneis Destan\u0131\u2019 n\u0131n yetersizli\u011fini; bir \u00f6yk\u00fcnmeden \u00f6teye ge\u00e7emedi\u011fini d\u00fc\u015f\u00fcnmeye ba\u015flayan Vergilius, elyazmas\u0131 rulolar\u0131 yakmaya karar vermi\u015ftir. H. Broch \u015fairi \u015f\u00f6yle konu\u015fturur:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201c \u2026..ah evet, \u00a0o insan ki, g\u00fcl\u00fcmsemesinde her \u015feye ra\u011fmen tanr\u0131sal bir yan vard\u0131 ve bu sayede insan, o g\u00fcl\u00fcmseme arac\u0131l\u0131\u011f\u0131yla yan\u0131 ba\u015f\u0131ndaki ruhu, hemen yan\u0131 ba\u015f\u0131ndaki insan\u0131 tanr\u0131sal bir varl\u0131k olarak kavrayabiliyordu- insandan insana ileti\u015fim denilen, g\u00fcl\u00fcmseme olgusundan insana \u00f6zg\u00fc bir dilin do\u011fmas\u0131 diye nitelendirilen, i\u015fte buydu. Ama buna dair hi\u00e7bir \u015fey yaz\u0131lmam\u0131\u015ft\u0131, onun yerine Homeros \u00f6rne\u011finin ancak \u015f\u00f6yle b\u00f6yle ba\u015far\u0131ld\u0131\u011f\u0131 s\u00f6ylenebilecek, basmakal\u0131p bir kopyas\u0131 meydana gelmi\u015fti, ve bu bombo\u015f bir hi\u00e7ti, Homeros\u2019un \u00fcslubunu ta\u015f\u0131yan tanr\u0131larla ve kahramanlarla doldurulmu\u015ftu, ve bunlar\u0131n ger\u00e7eklikten yoksunlu\u011fuyla kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda, Aenas\u2019\u0131n \u015fimdi kar\u015f\u0131mda oturan torununun (Sezar Augustus-Z.G:) yorgunlu\u011fu bile bir g\u00fc\u00e7l\u00fcl\u00fck anlam\u0131na geliyordu-\u2026.\u201d (Sayfa:314) (1)<\/em><\/strong><\/p>\n

Ahmet Cemal\u2019in uzun y\u0131llara yayd\u0131\u011f\u0131 bir ba\u015fka \u00e7al\u0131\u015fmas\u0131 da, Robert Musil\u2019in<\/strong> \u201cNiteliksiz Adam\u201d<\/strong> ciltleridir. Roman\u0131n ikinci cildinden y\u0131llar sonra \u00fc\u00e7\u00fcnc\u00fc cildinin \u00e7evirisinin tamamland\u0131\u011f\u0131n\u0131 duymak beni sevindirdi. \u0130lk iki kitab\u0131 notlar alarak okudu\u011fum i\u00e7in okuma ser\u00fcvenimde bir kopukluk ya\u015famayaca\u011f\u0131m\u0131n d\u00fc\u015f\u00fcn\u00fcrken, d\u00f6rd\u00fcnc\u00fc cildin yay\u0131mlanmas\u0131n\u0131 sab\u0131rs\u0131zl\u0131kla bekledi\u011fimi belirtirken; Luc\u00e1ks\u2019\u0131n \u201cMarksist Esteti\u011finin d\u00f6rd\u00fcnc\u00fc cildine ne zaman kavu\u015faca\u011f\u0131m\u0131z\u0131 merak etmekteyim.<\/p>\n

Robert Musil (1880-1942), <\/em><\/strong>Avusturya- Macaristan \u0130mparatorlu\u011fu\u2019nun y\u0131k\u0131lmas\u0131n\u0131n yakla\u015ft\u0131\u011f\u0131 d\u00f6nemleri konu alarak ba\u015flayan \u201cNiteliksiz Adam\u201d roman\u0131nda anlat\u0131m\u0131n\u0131, bir \u00e7a\u011f\u0131n kapand\u0131\u011f\u0131n\u0131, bir ba\u015fka zaman diliminin kap\u0131s\u0131n\u0131n araland\u0131\u011f\u0131n\u0131 sezmenin tedirginli\u011fi ile g\u00fcr\u00fcldeyen bir \u0131rmak gibi s\u00fcrd\u00fcr\u00fcr. Duyarl\u0131 bir okuyucu, Ahmet Cemal\u2019in yap\u0131t\u0131 asl\u0131na uygun bi\u00e7imde T\u00fcrk\u00e7eye kazand\u0131rmas\u0131yla g\u00f6nenirken, di\u011fer yandan bu \u00e7eviriyle dilimizin ne denli g\u00f6rkemle daha da vars\u0131lla\u015ft\u0131\u011f\u0131n\u0131 g\u00f6rerek k\u0131van\u00e7 duyar. Romanda Ulrich, donand\u0131\u011f\u0131 t\u00fcm niteliklere kar\u015f\u0131n, bir aya\u011f\u0131yla ge\u00e7mi\u015fte kalarak monar\u015finin geleneklerine basarken, di\u011fer aya\u011f\u0131yla yeni\u00e7a\u011fda ad\u0131mlar atmak isteyen biridir. Sava\u015flara s\u00fcr\u00fcklenen Avrupal\u0131 ayd\u0131n\u0131 temsil eder. Bu iki arada kalma durumu, onu karars\u0131z k\u0131lmaktan \u00f6te, verimsiz, g\u00fcvensiz, eylemsiz bir duruma sokmu\u015ftur. Musil\u2019in bu ge\u00e7i\u015f d\u00f6nemini ya\u015fayan kad\u0131nlar\u0131, k\u00f6t\u00fc evlilikler yapm\u0131\u015f, mutsuz, cinsel bask\u0131 alt\u0131nda tatminsiz ki\u015filerdir. Roman\u0131n ki\u015fileri, ayn\u0131 bug\u00fcn\u00fcn insanlar\u0131 gibi \u00e7ok sa\u00e7ma d\u00fczenleme ve kurgulara bel ba\u011flarlar, bu saplant\u0131larla aristokrat devleti ve geleceklerini kurtarabileceklerini umut ederler. \u201cSonsuz Eylem Plan\u0131\u201d ad\u0131n\u0131 verdikleri, bir tasar\u0131 \u00e7evresinde, ne ama\u00e7la bir araya gelindi\u011fi anla\u015f\u0131lmayan; askeri, politik, aristokrat \u00e7evreden bir\u00e7ok ki\u015finin kat\u0131ld\u0131\u011f\u0131 toplant\u0131larda yiyip i\u00e7erler; bulu\u015fur sevi\u015firler… \u00a0\u201cNiteliksiz Adam\u201d\u0131n anlat\u0131m\u0131na tanr\u0131lar\u0131n tanr\u0131s\u0131 Zeus\u2019un ruhu sinmi\u015ftir. Zeus onca g\u00fcc\u00fcne kar\u015f\u0131n, engelleyemedi\u011fi tutkular\u0131n\u0131n, cinsel hazlar\u0131n pe\u015finde savrulurken gitti\u011fi her yer bir s\u00fcrg\u00fcne d\u00f6n\u00fc\u015fm\u00fc\u015f,\u00a0 Olympos yama\u00e7lar\u0131na u\u011frayamaz olmu\u015ftur. Bir ku\u011fuya d\u00f6n\u00fc\u015ferek \u00a0Leda\u2019ya tecav\u00fcz\u00fc; Miken kral\u0131n\u0131n evli k\u0131z\u0131n\u0131 onun kocas\u0131n\u0131n g\u00f6r\u00fcn\u00fcm\u00fcne b\u00fcr\u00fcnerek i\u011ffal etmesi, \u00fcrpertici korku \u00f6yk\u00fclerine benzer.<\/p>\n

Dante Alighieri\u2019ye (1265-1321), \u2018La Divina Comedya\u2019n\u0131n Cehenneminde yol g\u00f6steren Vergilius\u2019tur. Vergilius nas\u0131l k\u00f6klerinden kopar\u0131lm\u0131\u015f bir toprak adam\u0131 ise, Dante de siyaseten ve yap\u0131tlar\u0131yla hem kilise taraf\u0131ndan, hem de aristokratlarca su\u00e7lanm\u0131\u015f, \u00f6ld\u00fcr\u00fclmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015f bir s\u00fcrg\u00fcnd\u00fcr. Hermann Broch Nazilerce kovalanm\u0131\u015f bir yazar, Robert Musil de ayn\u0131 sava\u015f\u0131n cehennem\u00ee cephelerine s\u00fcrg\u00fcn edilmi\u015f; kulland\u0131klar\u0131 k\u00fclt\u00fcr dili Almancan\u0131n d\u0131\u015f\u0131nda yazamad\u0131klar\u0131 i\u00e7in, W. Benjamin, Brecht, S. Zweig ve niceleri gibi, kitaplar\u0131 okunmamaya yarg\u0131l\u0131 k\u0131l\u0131narak yay\u0131mlanmam\u0131\u015f, b\u00f6ylelikle ba\u015fka bir yoklu\u011fun i\u00e7inde terk edilmi\u015f direni\u015f\u00e7ilerdir. Yaratarak, d\u00fc\u015fleyerek direnmeyi umutla s\u00fcrd\u00fcrd\u00fckleri gibi; \u00f6l\u00fcmlerine de anlam y\u00fcklemekle yery\u00fcz\u00fcn\u00fcn birikimini ve canl\u0131l\u0131\u011f\u0131n\u0131 kucaklayarak perdeyi kapatm\u0131\u015flard\u0131r. Ahmet Cemal\u2019in<\/strong> Broch\u2019u 40 y\u0131l boyunca bir direni\u015f modeli olarak benimsemesi \u00e7ok yerinde bir se\u00e7im olmu\u015ftur. \u00c7\u00fcnk\u00fc bug\u00fcn sanat\u0131n, sanat yap\u0131t\u0131n\u0131n sorgulanmas\u0131, yery\u00fcz\u00fc canl\u0131l\u0131\u011f\u0131n\u0131n gelece\u011fini bar\u0131\u015f i\u00e7inde kurgulamak amac\u0131yla bir ilk ad\u0131m olacakt\u0131r. \u00c7\u00fcnk\u00fc klonlanm\u0131\u015f\u00e7as\u0131na ki\u015filiksizli\u011fe, tek-tipli\u011fe do\u011fru evrilmekteyiz. Gittik\u00e7e insanl\u0131\u011f\u0131 bilin\u00e7sizli\u011fe ve d\u00fc\u015f\u00fcn yoklu\u011funa s\u00fcr\u00fckleyen; dayatmalarla, yan\u0131lsamay\u0131, g\u00f6z boyamay\u0131 sanat olarak sunan para g\u00fcc\u00fcne \u201cDur\u201d, demenin zaman\u0131d\u0131r. (2)<\/em><\/strong><\/p>\n

Zamandan, gecikmekten s\u00f6z ederken Enis Batur\u2019un kaleme ald\u0131\u011f\u0131 bir an\u0131s\u0131n\u0131 an\u0131msad\u0131m: Ahmet Cemal\u2019in \u201cVergilius\u2019un \u00d6l\u00fcm\u00fcn\u00fc\u201d \u00e7evirmeye ba\u015flad\u0131\u011f\u0131 1972\u2019de, Batur\u2019un, \u201cNiteliksiz Adam\u201d\u0131 okumaya karar verdi\u011fini Bilge Karasu\u2019ya s\u00f6ylemesi \u00fcst\u00fcne :\u201c Daha erken,\u201d demi\u015f Karasu. \u201cNe yani,\u201d diye kar\u015f\u0131l\u0131k veren Enis Batur, \u201cBu kitab\u0131 anlamak i\u00e7in yeterli olmad\u0131\u011f\u0131m\u0131 m\u0131 s\u00f6ylemek istiyorsunuz?\u201d deyince, Bilge Karasu b\u00fct\u00fcn i\u00e7tenli\u011fiyle, \u201cHay\u0131r\u201d, demi\u015f, \u201cher kitab\u0131n bir okunma ya\u015f\u0131 vard\u0131r da ondan\u2026\u201d \u00a0Enis Batur, bu yan\u0131t\u0131, tekrar okumalara giri\u015ftikten hi\u00e7 g\u00fccendirici bulmad\u0131\u011f\u0131n\u0131 a\u00e7\u0131kl\u0131yor zaten…<\/p>\n

Ahmet Cemal, roman\u0131 yaz\u0131ld\u0131\u011f\u0131 \u00f6zg\u00fcn dilinden T\u00fcrk\u00e7eye aktard\u0131\u011f\u0131 40 y\u0131l i\u00e7inde ya\u015f al\u0131rken, biz okuma olgunlu\u011fu ya\u015f\u0131m\u0131za eri\u015fti\u011fimizde o kitab\u0131, \u00e7evirmenin g\u00fczel T\u00fcrk\u00e7esinden okudu\u011fumuzda daha da olgunla\u015ft\u0131k. 1947\u2019liyim. \u201968 y\u0131llar\u0131ndan ba\u015flayarak bizim ku\u015fak, hepimiz kendi \u00e7ap\u0131nda birer Zeus idik; iyi ahl\u00e2kl\u0131, masum ba\u015f tanr\u0131lard\u0131k; d\u00fcnya \u00fclkelerinin ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131yla e\u011fitimde e\u015fitlikten, \u00f6zg\u00fcrl\u00fcklerden ba\u015fka istekleri olmayan birer Zeus\u2026 Bug\u00fcn\u00fcn gen\u00e7lerinin yeniden \u00fclke sorunlar\u0131yla ilgilenmeye ba\u015flamalar\u0131, \u00fcst\u00fcm\u00fczdeki buhurdanl\u0131klar\u0131yla \u00f6d a\u011fac\u0131 kokusu yayan \u00f6l\u00fc topra\u011f\u0131ndan s\u0131yr\u0131laca\u011f\u0131m\u0131z umudunu, dahas\u0131 mu\u015ftusunu veriyor\u2026<\/p>\n

Bu s\u00f6yle\u015fimize son noktay\u0131 koymadan \u00f6nce ayn\u0131 ba\u011flamda s\u00f6z\u00fcn\u00fc etmek istedi\u011fim iki \u0131rmak anlat\u0131m daha var:<\/p>\n

Bunlar\u0131n ilki: \u201cDirenmenin Esteti\u011fi\u201d. <\/em><\/strong>\u015eair, tiyatro kuramc\u0131s\u0131, oyun ve roman yazar\u0131, tiyatro-film y\u00f6netmeni, ressam, felsefeci Peter Weiss<\/em><\/strong>\u2019in (1916-1982) roman\u0131.\u00a0 Bu yazar da ikinci B\u00fcy\u00fck Sava\u015f s\u0131ras\u0131nda yerinden-yurdundan edilen s\u00fcrg\u00fcnlerdendir. \u00a0Yery\u00fcz\u00fcn\u00fcn \u00e7ok uzak co\u011frafyalar\u0131nda, birbirinden y\u00fczy\u0131llarca ba\u015fka zaman dilimlerinde ya\u015fanm\u0131\u015f, olu\u015fturulmu\u015f k\u00fclt\u00fcr, sanat, bilgi birikimleri, y\u00f6nlendirici kolajlar olarak anlat\u0131ma sindirilmi\u015f. Okuduk\u00e7a bu birikimden insanl\u0131\u011f\u0131n ders \u00e7\u0131karamamas\u0131n\u0131n; yirminci y\u00fczy\u0131l\u0131n o iki b\u00fcy\u00fck didi\u015fmesinden sonra, g\u00fcn\u00fcm\u00fczde de cana k\u0131ymalar\u0131n, yarg\u0131s\u0131z infazlar\u0131n, soyk\u0131r\u0131mlar\u0131n s\u00fcrd\u00fcr\u00fcl\u00fcyor olmas\u0131n\u0131n, y\u00fcre\u011fe ac\u0131 salan b\u00fcy\u00fck utanc\u0131na kap\u0131l\u0131yorsunuz.<\/p>\n

\u201cDirenmenin Esteti\u011fi\u201dnin 820 sayfas\u0131n\u0131n hi\u00e7birinde yer almayan \u201cdirenme\u201d s\u00f6zc\u00fc\u011f\u00fc, yaln\u0131zca kapa\u011f\u0131nda kitaba ad olmu\u015f. Yazar\u0131n bu yakla\u015f\u0131m\u0131, fa\u015fizme teslim olmu\u015f bir Avrupa\u2019da sol d\u00fc\u015f\u00fcncenin yeniden canlanarak, d\u00fc\u015f\u00fcnsel boyutta geli\u015ftirilen yeni direnme y\u00f6ntemlerini ya\u015fama ge\u00e7irmesinin \u00f6zlemini vurgular. \u201cEstetik\u201de ba\u015fvurma gereksinmesi, diren\u00e7 g\u00f6sterme eyleminin alg\u0131lan\u0131\u015f\u0131nda bir kez daha yan\u0131lg\u0131lara d\u00fc\u015f\u00fclmemesi i\u00e7in y\u00f6ntembilimin g\u00fcvencesine s\u0131\u011f\u0131nmak iste\u011finin s\u00f6ylemidir. Estetik, yaln\u0131zca g\u00fczelli\u011fe ula\u015fma yollar\u0131n\u0131 g\u00f6stermez; alg\u0131n\u0131n imgeye, kavrama, dile, nesnelli\u011fe d\u00f6n\u00fc\u015fme s\u00fcrecini de ara\u015ft\u0131r\u0131r.<\/p>\n

Weiss\u2019in bu roman\u0131n\u0131n \u00e7evirmenleri, iki gen\u00e7 dilbilimci: \u00c7a\u011flar Tanyeri ve Turgay Kurultay<\/strong>, yazd\u0131klar\u0131 \u00f6ns\u00f6zde bu \u00e7eviri \u00e7al\u0131\u015fmalar\u0131nda izledikleri y\u00f6ntemi \u015f\u00f6yle sloganla\u015ft\u0131r\u0131yorlar:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201c\u2026\u00a0 ne ileti\u015fimi t\u0131kayan bir \u2018kaynak odakl\u0131\u011f\u0131na\u2019, ne de metnin estetik \u00f6zelliklerini indirgeyen bir \u201cerek odakl\u0131\u011f\u0131na\u201d y\u00f6neldik. \u201cEksiksiz \u00e7eviri\u201d ile \u201canla\u015f\u0131l\u0131r \u00e7eviri\u201d genellikle kar\u015f\u0131t etkenler gibi alg\u0131lan\u0131r ve her somut \u00e7evirinin bu g\u00f6sterge \u00e7izelgesi \u00fczerinde belli bir yerde karar k\u0131ld\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Bizim i\u00e7in \u00f6nemli olan, metnin inceliklerini verirken anla\u015f\u0131l\u0131rl\u0131\u011f\u0131 da g\u00f6zetmekti.\u201d <\/em><\/p>\n

Zeus\u2019un Miken Kral\u0131n\u0131n k\u0131z\u0131ndan olan o\u011flu yar\u0131 tanr\u0131 Herkules\u2019in t\u00fcm g\u00fcc\u00fcne, sava\u015f oyunlar\u0131ndaki bilgisine kar\u015f\u0131n gerek zenperest babas\u0131n\u0131n, gerekse onun k\u0131skan\u00e7 kar\u0131s\u0131 Hera\u2019n\u0131n y\u00fcz\u00fcnden \u00e7ok g\u00fc\u00e7 bir ya\u015fam s\u00fcrd\u00fcrd\u00fc\u011f\u00fcn\u00fc biliriz. Peter Weiss, anlat\u0131m\u0131nda Herkules\u2019in, daha kundaktayken Hera\u2019n\u0131n onu bo\u011fdurmak i\u00e7in g\u00f6nderdi\u011fi iki b\u00fcy\u00fck y\u0131lan\u0131 par\u00e7alamas\u0131, Zeus\u2019un buyru\u011fuyla Miken Kral\u0131n\u0131n verdi\u011fi 12 g\u00f6revi yerine getirmek i\u00e7in diyardan diyara dola\u015ft\u0131\u011f\u0131 \u00f6yk\u00fcler, g\u00fc\u00e7l\u00fc ve iyi olan\u0131n i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc tinsel y\u0131lg\u0131nl\u0131k sonucu yenilebilece\u011fini, s\u00fcrg\u00fcn edilebilece\u011fini anlat\u0131r. Yunan Roma mitolojilerinde, ayn\u0131 bizim O\u011fuz Destan\u0131ndaki gibi kahraman Herk\u00fcl do\u011far do\u011fmaz b\u00fcy\u00fcr; acelesi varm\u0131\u015f gibi, Hera\u2019n\u0131n \u00e7\u0131ld\u0131rtmas\u0131 sonucu e\u015fini, \u00e7ocuklar\u0131n\u0131 \u00f6ld\u00fcr\u00fcr ve at-adamla sava\u015f\u0131rken, ate\u015fin i\u00e7ine atlayarak kendini de \u00f6ld\u00fcr\u00fcr. Oysa Weiss b\u00f6yle bir acullu\u011fa kap\u0131lamaz! \u00c7\u00fcnk\u00fc onun roman ki\u015filerinin \u00e7o\u011funlu\u011fu erken ya\u015flarda \u00f6ld\u00fcr\u00fclseler de, ac\u0131mas\u0131zl\u0131k; Nazi y\u00f6netiminin, Gestapo\u2019nun g\u00fc\u00e7lenmesi, koskoca bir halk\u0131n deste\u011fiyle sinsice ve yava\u015f\u00e7a geli\u015fen birer olgudur. Bu cehennem d\u00f6ng\u00fcs\u00fc, Bat\u0131 Uygarl\u0131\u011f\u0131n\u0131n t\u00fcm de\u011ferleri sava\u015f y\u0131k\u0131nt\u0131lar\u0131n\u0131n alt\u0131nda kal\u0131ncaya dek s\u00fcrecektir. (3)<\/em><\/strong><\/p>\n

Vergilius\u2019un son on sekiz saatini anlat\u0131rken Broch, nas\u0131l ge\u00e7mi\u015fin s\u0131k dokulu \u00f6rg\u00fcs\u00fcn\u00fcn i\u00e7inde \u00e7a\u011f\u0131n\u0131n insan\u0131n\u0131n t\u00fcm y\u00f6neli\u015flerinin kayna\u011f\u0131n\u0131 anlatm\u0131\u015fsa; James Joyce <\/strong>da (1882-1941)<\/strong>, Ulysses\u2019<\/em><\/strong>inde orta s\u0131n\u0131ftan insanlar\u0131n 1904 y\u0131l\u0131n\u0131n Haziran\u0131n\u0131n ba\u015f\u0131nda ya\u015fad\u0131klar\u0131 24 saati 844 sayfada bir zamans\u0131zla\u015fm\u0131\u015f masala d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Yazar bu roman\u0131nda bilin\u00e7 ak\u0131m\u0131yla sava\u015flar y\u00fczy\u0131l\u0131n\u0131n, modern zamanlar\u0131na ko\u015far ad\u0131m al\u0131nan yolun \u00f6yk\u00fcs\u00fcn\u00fc de dillendirir. (4)<\/em><\/strong><\/p>\n

Ulysses\u2019in anlat\u0131m\u0131nda, sava\u015ftan ka\u00e7arken kendisini y\u0131larca s\u00fcren Troya ate\u015finin i\u00e7inde bulan Odysseus\u2019un, kent ele ge\u00e7irildikten sonra eve d\u00f6n\u00fc\u015f\u00fcn\u00fcn \u00f6yk\u00fcs\u00fcn\u00fcn ger\u00e7ek\u00fcst\u00fc \u00e7evresini \u00e7a\u011fr\u0131\u015ft\u0131ran bir uzamda okuyucu da gezintiye \u00e7\u0131kar\u0131lm\u0131\u015f olur. S\u0131n\u0131flar aras\u0131 toplumsal, ekonomik u\u00e7urumlar\u0131n derinle\u015fmeye ba\u015flad\u0131\u011f\u0131 bu d\u00f6nem, modernle\u015fmenin gelece\u011fe ili\u015fkin vaatlerini yerine getiremedi\u011fi i\u00e7in kitleleri s\u00fcr\u00fckleyece\u011fi d\u00fc\u015f k\u0131r\u0131kl\u0131klar\u0131n\u0131n g\u00f6stergeleriyle doludur. Vergilius\u2019un \u201cAeneis Destan\u0131\u201dda, Ulysses\u2019 roman\u0131 da Homeros\u2019u yatt\u0131\u011f\u0131 g\u00f6m\u00fct\u00fcnde birka\u00e7 kez d\u00f6nd\u00fcrm\u00fc\u015f olmal\u0131. Ne var ki, S\u00fcmerlerden, eski ahitten bu \u00e7a\u011fa de\u011fin s\u00fcren anlatma tutkumuzun dayand\u0131\u011f\u0131 bu kaynaklar, varolu\u015f tarihimizin y\u00fczlerce ser\u00fcveninden anlama kavu\u015fturulmu\u015f yaln\u0131zca birka\u00e7\u0131 de\u011fil midir? Her anakarada ya\u015fanm\u0131\u015fl\u0131ktan, olu\u015fmu\u015f k\u00fclt\u00fcrlerden kaynaklanan binlerce anlat\u0131m, y\u00fczlerce inan\u00e7, y\u00fcz binlerce ser\u00fcven var. Ama bunlar\u0131n aras\u0131nda evrenselli\u011fe ula\u015fanlar elbette ki say\u0131l\u0131\u2026<\/p>\n

Modernin \u00f6tesine ad\u0131m atamad\u0131\u011f\u0131m\u0131z g\u00fcn\u00fcm\u00fcze geldi\u011fimizde: Modern roman anlat\u0131m\u0131 de\u011fi\u015fime u\u011frat\u0131lm\u0131\u015ft\u0131r. Ge\u00e7mi\u015fe ili\u015fkin bilginin daha da derinle\u015fmesinden midir, yoksa metala\u015ft\u0131\u011f\u0131 i\u00e7in bilgi de par\u00e7alara ayr\u0131ld\u0131\u011f\u0131ndan m\u0131d\u0131r, gittik\u00e7e daha kapsaml\u0131 genellemelerle birileri, ya\u015famakta oldu\u011fumuz an\u0131n her mikro milimetrik par\u00e7as\u0131n\u0131 yakalamaktan ba\u015fka u\u011fra\u015f\u0131m\u0131z\u0131n olamayaca\u011f\u0131na bizi inand\u0131rmaya \u00e7al\u0131\u015f\u0131yor; bu giri\u015fim, bilin\u00e7leri zaman kavram\u0131n\u0131n gereksizli\u011fi anlay\u0131\u015f\u0131na s\u00fcr\u00fcklemekte. Ernst Fischer (1899-1972), <\/em><\/strong>yaz\u0131n tarihinde ortaya \u00e7\u0131kan iki olgudan s\u00f6z eder: \u0130lki \u201cger\u00e7ekli\u011fin par\u00e7alanmas\u0131\u201d<\/strong> (fragmentation)., ikincisi ise, \u201cGizemleme\u201ddir (mystification).\u00a0 Par\u00e7alara ay\u0131rma gere\u011fini duymak, bence Protogoras<\/strong>\u2019\u0131n (M\u00d6. 481-420)<\/strong> ger\u00e7ekli\u011fin g\u00f6receli oldu\u011fu d\u00fc\u015f\u00fcncesinde ilk dayana\u011f\u0131n\u0131 bulur. Sanatta da ger\u00e7ek, par\u00e7alara ayr\u0131ld\u0131ktan sonra, ba\u015fka bir bi\u00e7im elde etmek i\u00e7in yeniden birle\u015ftirilecektir. Yaz\u0131nda, modernle\u015fme geleneksel \u015fiirin y\u0131k\u0131m\u0131yla ba\u015flar. Art\u0131k imge \u00f6ne \u00e7\u0131kar\u0131lmaktad\u0131r. \u201cRimbaud\u2019yu, Mayakovski\u2019yi birer bi\u00e7im y\u0131k\u0131c\u0131 olarak belirler \u201cdiyen Fischer, par\u00e7alama iste\u011finin nas\u0131l bir saplant\u0131ya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc, Arthur Miller\u2019\u0131n<\/strong> Amerikan tiyatrosu i\u00e7in s\u00f6yledi\u011fi s\u00f6zleri aktararak anlat\u0131r: \u201c \u2018Amerika\u2019da bir geli\u015fmenin sonuna geldi\u011fimizi d\u00fc\u015f\u00fcn\u00fcyorum, \u00e7\u00fcnk\u00fc her y\u0131l durmadan kendimizi tekrar ediyoruz. Kimse de fark\u0131nda de\u011fil bunun.\u2019 <\/em>\u00a0Bir g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131 daralmas\u0131ndan, \u2018kavramada gev\u015femeden\u2019, \u2018b\u00fct\u00fcn d\u00fcnyay\u0131 sahneye getirip, b\u00fcy\u00fck oyun yazarl\u0131\u011f\u0131n\u0131n her zaman ama\u00e7lad\u0131\u011f\u0131 gibi, onu sars\u0131p, temeline oturtma g\u00fcc\u00fcnden yoksun olu\u015ftan s\u00f6z ediyor Arthur Miller<\/em><\/strong>\u201d, <\/em>diye durumu anlat\u0131r Fischer. Hollywood sinemas\u0131n\u0131n bug\u00fcnk\u00fc k\u0131s\u0131r d\u00f6ng\u00fcs\u00fc i\u00e7inde, anlatacak \u00f6yk\u00fcs\u00fc kalmad\u0131\u011f\u0131 halde durmadan \u00e7ok say\u0131da filmi g\u00f6sterime sokarak kekelemesi de bu yabanc\u0131la\u015fman\u0131n bir g\u00f6stergesidir.<\/p>\n

\u201cGizemleme\u201d <\/strong>ise, klasik d\u00f6nemde bi\u00e7imsel olarak \u201cmit\u201dlere, \u201cefsane\u201dlere ba\u015fvurulmas\u0131yla ba\u015flayan bir ak\u0131md\u0131r. \u201cRomantik sanat, burjuva toplumunun yavanl\u0131\u011f\u0131na ba\u015fkald\u0131r\u0131rken \u2018salt tutkuyu\u2019, a\u015f\u0131r\u0131, \u00f6zg\u00fcn ve de\u011fi\u015fik olan\u0131 anlatmak i\u00e7in mit\u2019lerden yararlanmay\u0131 se\u00e7ti. Ger\u00e7ekte ge\u00e7erli olan bu y\u00f6ntemin sak\u0131ncas\u0131(\u2026.) \u2018zamanla ko\u015fullu olan\u2019\u0131n \u00a0yerine, \u2018de\u011fi\u015fmez\u2019i \u00e7\u0131karmas\u0131d\u0131r.<\/em><\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00c7a\u011fda\u015f kentsoylu d\u00fcnyas\u0131ndaki gizemleme ve mit yaratma, toplumsal kararlardan az \u00e7ok bir i\u00e7 rahatl\u0131\u011f\u0131 i\u00e7inde ka\u00e7may\u0131 sa\u011fl\u0131yor. Toplumsal ko\u015fullar, zaman\u0131m\u0131zda olup biten <\/em><\/strong>baya\u011f\u0131l\u0131klar, her t\u00fcrl\u00fc \u00e7eli\u015fme, zaman d\u0131\u015f\u0131, ger\u00e7ek d\u0131\u015f\u0131, s\u00fcresiz, uydurulmu\u015f de\u011fi\u015fmez bir \u2018varolu\u015f\u2019 d\u00fczeyine aktar\u0131l\u0131yordu. Toplumla ko\u015fullu d\u00fcnya, evren i\u00e7inde ko\u015fulsuz bir d\u00fcnya olarak tan\u0131mlan\u0131yordu. B\u00f6ylece yabanc\u0131la\u015fan ki\u015fi, yaln\u0131zca toplumsal s\u00fcrece kat\u0131lma \u00f6devinden s\u0131yr\u0131lmakla kalm\u0131yor, \u2018baya\u011f\u0131\u2019 insanlar\u0131n aras\u0131ndan kurtulup, \u2018benzerleri\u2019 aras\u0131na y\u00fckseliyor ve \u2019\u00f6dev sorumlulu\u011funu\u2019 benimsemi\u015f olan karde\u015flerinin beceriksiz \u00e7abalar\u0131na alayc\u0131 bir \u00fcst\u00fcnl\u00fckle tepeden bak\u0131yordu.<\/em>\u201d<\/strong> Fischer, gizemleme \u00f6rt\u00fcs\u00fcn\u00fcn alt\u0131ndan beliren ku\u015fkulu belirsizlik g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc, yaz\u0131nsal a\u00e7\u0131dan \u015f\u00f6yle de\u011ferlendirir:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cHi\u00e7bir insan yaln\u0131zca toplumsal ki\u015fili\u011finin bir d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fc de\u011fildir. Ama insan\u0131 evrensel gizlerle dolu bir oyun i\u00e7indeki bir hiyeroglife d\u00f6nd\u00fcrmek, bireysel y\u00fcz\u00fcyle birlikte toplumsal y\u00fcz\u00fcn\u00fc de gizemci bir sis perdesi i\u00e7inde yok etmek e\u011filimi, insan\u0131 hi\u00e7li\u011fe ve bo\u015flu\u011fa g\u00f6t\u00fcr\u00fcr. Hi\u00e7bir topluma ba\u011fl\u0131 olmayan insan b\u00fct\u00fcn kimli\u011fini yitirir, hi\u00e7lik i\u00e7inde s\u00fcr\u00fcnen bir yarat\u0131k olur<\/em><\/strong>.\u201d (5)<\/strong><\/em><\/p>\n

Ge\u00e7mi\u015fin \u00f6yk\u00fcleri \u015fablon edinilerek, bunun \u00fcst\u00fcne avant\u00fcr, polisiye, cinsellik kol\u00e2jlar\u0131yla ak\u0131l tutulmas\u0131na s\u00fcr\u00fcklenen okurlar\u0131m\u0131z, se\u00e7ici kurul \u00fcyelerimiz, ele\u015ftirmenlerimiz bu y\u00fczden t\u00fcredi. Oysa M. Proust, J. Joyce, Faulkner, H. Broch, R. Musil, P. Weiss, O\u011fuz Atay, zamans\u0131zl\u0131\u011f\u0131, bilin\u00e7 ak\u0131m\u0131n\u0131, s\u00f6z\u00fcn sonu yokmu\u015f\u00e7as\u0131na s\u00fcr\u00fcp giden bir anlat\u0131m bi\u00e7imini kullanarak kendilerine \u00f6zg\u00fc bi\u00e7emlerle, yap\u0131tlar ortaya koydular. Bu yolu se\u00e7melerinin nedeni, olgu ya\u011fmuru alt\u0131nda bo\u011fulmaktan kurtulmakt\u0131; modern zamanlar\u0131n sonundaki aldatmacay\u0131 g\u00f6stermek istiyorlard\u0131. Bu \u00f6rneklerden sonra, \u201cAhmet geldi\u201d, \u201cVeli gitti\u201d, diye kalem oynatmak yasakland\u0131 m\u0131? Hay\u0131r! \u00d6zg\u00fcn d\u00fc\u015f\u00fcnceyi, ele\u015ftirel yorumu sunmak i\u00e7in; sanat\u0131n ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131, direnci (de\u011fillemeleri) ad\u0131na burada bir kez daha s\u00f6ylemeliyim: Sanat yarat\u0131m\u0131 hi\u00e7bir kal\u0131ba sokulamaz; bir denklem ya da form\u00fcle indirgenemez. Ahmet Cemal\u2019in ve \u00f6rnek oldu\u011fu sanat insanlar\u0131n\u0131n direni\u015flerini, se\u00e7imlerini kutsuyorum. B\u00f6ylelikle \u00e7a\u011fda\u015f yaz\u0131n\u0131 ve \u00f6zg\u00fcn yap\u0131tlar\u0131n\u0131 tan\u0131d\u0131k; \u00f6yk\u00fcnmecili\u011fin, yan\u0131lsatmaya dayal\u0131 \u201cmodac\u0131\u201d, \u201dtrendci\u201d \u00e7\u0131karc\u0131l\u0131\u011f\u0131n ve sorumsuz kolayc\u0131l\u0131\u011f\u0131n maskelerini d\u00fc\u015f\u00fcrd\u00fck.<\/p>\n

Nisan 2023<\/strong><\/p>\n

 <\/p>\n

(1) \u201cVergilius\u2019un \u00d6l\u00fcm\u00fc\u201d, Hermann Broch-\u00c7ev.: Ahmet Cemal-\u0130thaki Y.- 2.Bask\u0131-2012<\/p>\n

(2)- \u201cNiteliksiz Adam-1-2\u201d Robert Musil , YKY<\/p>\n

(3) \u201cDirenmenin Esteti\u011fi\u201d Peter Weiss-\u00a0 \u00c7ev:\u00c7a\u011flar Tanyeri-Turgay Kurultay- YKY- 2005<\/p>\n

(4) \u201cUlysses\u201d James Joyce, \u00c7ev.: Nevzat Erkmen, YKY.\u00a0 \u2013 14 bask\u0131<\/p>\n

(5) \u201cSanat\u0131n Gereklili\u011fi\u201d Ernst Fischer-\u00a0 \u00c7ev.: Cevat \u00c7apan-S\u00f6zc\u00fckler Yay\u0131nlar\u0131-2012.<\/p>\n

Ahmet Cemal\u2019in \u00e7evirdi\u011fi, M. Sperber\u2019in\u00a0 \u201cGer\u00e7ekli\u011fin Par\u00e7alanmas\u0131\u201d adl\u0131 kitab\u0131 konuyu \u00f6\u011frencisi oldu\u011fu Adler\u2019in anlay\u0131\u015f\u0131n\u0131 savunarak ruhbilimsel a\u00e7\u0131dan ele al\u0131rken Ernst Fischer, \u201cSanat\u0131n Gereklili\u011fi\u201d ba\u015fl\u0131kl\u0131 deneme kitab\u0131nda 114-128 sayfada toplumsalc\u0131 bir yorumla, k\u00fcresel\u00a0 aldatmacan\u0131n bir unsuru olarak ger\u00e7eklik duygusunun yok edilmesini anlat\u0131r.<\/p>\n

(*)<\/strong> \u0130ki okuma \u00f6nerisi; \u201cLanetlenmi\u015f A\u011fustosb\u00f6cekleri- Denemeler\u201d Ahmet Cemal- 2012 Sedat Simavi Edebiyat \u00d6d\u00fcl\u00fc-Can Yay\u0131nlar\u0131-<\/p>\n

\u201cG\u00f6rmezlikten Gelmenin Ac\u0131nas\u0131 K\u00fclt\u00fcr\u00fc\u201d \u2013Ahmet Cemal – Cumhuriyet Gazetesi- 7\/Aral\u0131k\/2012- Cuma<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 G\u00fcn\u00fcm\u00fcz\u00fcn anlat\u0131m\u0131nda ger\u00e7ekli\u011fin vurgulanmas\u0131 ad\u0131na yap\u0131lan \u015fey, olgular\u0131n ayn\u0131 an\u0131n darac\u0131k h\u00fccresi i\u00e7inde \u00fcst \u00fcste y\u0131\u011f\u0131lmas\u0131 marifetidir. Bu aldatmacaya giri\u015fmek i\u00e7in zaman\u0131n olmad\u0131\u011f\u0131 bir boyutta geziniyormu\u015f gibi davranmak, \u00e7aresiz kal\u0131n\u0131nca g\u00f6ze al\u0131nan ba\u015fl\u0131ca cambazl\u0131klardan biridir.\u00a0 \u00c7a\u011fda\u015f roman\u0131n \u00f6\u011felerinden, anakronizm, bilin\u00e7alt\u0131 ak\u0131m\u0131, i\u00e7 sesle s\u00fcr\u00fcp giden, \u00f6n\u00fcne katt\u0131\u011f\u0131n\u0131 s\u00fcr\u00fckleyen bir \u0131rma\u011f\u0131 an\u0131msatan anlat\u0131m, bug\u00fcn, ya\u015fan\u0131lan\u0131 ya da kurgulanan\u0131 dile d\u00f6kmek yerine, yaz\u0131nsall\u0131ktan kopar\u0131lan bir ger\u00e7ekli\u011fi, yo\u011funla\u015ft\u0131r\u0131lm\u0131\u015f kat\u0131 par\u00e7ac\u0131klara b\u00f6lmek i\u00e7in kullan\u0131l\u0131r olmu\u015ftur. G\u00fcndelik ya\u015fant\u0131n\u0131n bile b\u00f6ylesine fragmanlara b\u00f6l\u00fcnmesi, okuyucuyu, izleyiciyi ilk anda, g\u00f6zden ka\u00e7\u0131r\u0131lan ayr\u0131nt\u0131lar\u0131 yakalad\u0131\u011f\u0131na inand\u0131rarak b\u00fcy\u00fclese de, onu gittik\u00e7e bilin\u00e7siz bir kolayc\u0131l\u0131\u011f\u0131n i\u00e7ine s\u00fcr\u00fckleyerek d\u00fc\u015f\u00fcnme, kurgulama yetisinden yoksun … <\/p>\n","protected":false},"author":1,"featured_media":1118,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1185","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-yazilari"],"_links":{"self":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/1185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/comments?post=1185"}],"version-history":[{"count":3,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/1185\/revisions"}],"predecessor-version":[{"id":1188,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/posts\/1185\/revisions\/1188"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/media\/1118"}],"wp:attachment":[{"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/media?parent=1185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/categories?post=1185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziyagurel.com\/index.php\/wp-json\/wp\/v2\/tags?post=1185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}