A\u015eKIN S\u00d6Z\u00dc K\u00d6RD\u00dcR:
\nBATININ A\u015eK PAZARI VE PARAD\u0130GMALARI \u00dcZER\u0130NE B\u0130R DENEME<\/p>\n
Yusuf Eradam<\/p>\n
Sadece\/Hava da olsa\/\u00f6l\u00fcms\u00fczd\u00fcr\/dilimdeki s\u00f6zc\u00fckler.
\n Sappho, Ad\u0131m Hi\u00e7 Unutulmayacak.<\/p>\n
Helena: A\u015fk g\u00f6zlerle de\u011fil, zihinle bakar;
\n Ve bu y\u00fczden i\u015fte kanatl\u0131 Cupid k\u00f6r resmedilir.
\n Shakespeare, Bir Yaz Gecesi R\u00fcyas\u0131 I, 1<\/p>\n
…a\u011f\u0131z Ven\u00fcst\u00fcr, \u00e7\u00fcnk\u00fc a\u015fk \u00f6p\u00fcc\u00fckleri ve s\u00f6zc\u00fckleri
\n oradan ge\u00e7mektedir.
\n Michel Foucault, Kelimeler ve \u015eeyler.<\/p>\n
A\u015fk \u201cfaili me\u00e7hul\u201d bir canidir.
\n Roguemont, A\u015fk \u0130li\u015fkisinin Y\u00fckselme, Gerileme ve Y\u0131k\u0131l\u0131\u015f Tarihi (1940) adl\u0131 yap\u0131t\u0131nda mutlu a\u015fk\u0131n yaz\u0131l\u0131 tarihi olmad\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. Yazmaya kalk\u0131\u015fsan\u0131z da insan\u0131 \u00e7eken bir taraf\u0131 olamaz, s\u0131k\u0131c\u0131d\u0131r. Bunun temel sebebi de, yine Antik Yunan\u2019dan beri sahne sanatlar\u0131na, daha sonra sinemay\u0131 k\u0131skac\u0131na alan katartik (Aristo) oyunlard\u0131r: Bir oyundan, bir filmden, bir \u00f6yk\u00fcden, romandan, \u015fiirden \u00e7\u0131kt\u0131\u011f\u0131m\u0131zda ba\u015fkas\u0131n\u0131n mutlu sonuna sevinmek yerine, ba\u015fkas\u0131n\u0131n ba\u015f\u0131na gelen trajik bir sonun bizim de ba\u015f\u0131m\u0131za gelme olas\u0131l\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcr ve \u00fcz\u00fcl\u00fcr\u00fcz. B\u00f6ylelikle de bu duygular\u0131m\u0131zdan ar\u0131n\u0131r\u0131z. Ba\u015fkas\u0131n\u0131n mutlu a\u015fk\u0131, sevinci \u00e7at\u0131\u015fma olmaks\u0131z\u0131n ilgi \u00e7ekmez. A\u015fkta anahtar s\u00f6zc\u00fck \u00e7at\u0131\u015fmad\u0131r. A\u015fk ile ilgili yarat\u0131lan ne varsa, yaz\u0131lan her \u015feyde \u00e7at\u0131\u015fma olmal\u0131\u00add\u0131r. Olay \u00f6rg\u00fcs\u00fc, merak \u00f6gesi, y\u00fckselen gerilim ve \u00e7o\u011funlukla da keder kayna\u011f\u0131, olanaks\u0131zl\u0131klar i\u00e7inde bocalayan \u00e2\u015f\u0131k\u00adlardan hi\u00e7 de\u011filse birini kan revan g\u00f6steren bir son. B\u00f6ylelikle diyebiliriz ki \u00f6l\u00fcm a\u015fk\u0131n izd\u00fc\u015f\u00fcm\u00fcd\u00fcr.
\n\u0130nsano\u011flunun hay\u00e2lg\u00fcc\u00fcn\u00fc \u00e7al\u0131\u015ft\u0131ran ilk ruh h\u00e2lleri aras\u0131nda \u00e2cizlik gelir; yani do\u011falc\u0131lar\u0131n temel insan d\u00fcrt\u00fcleri dedi\u011fi korku, a\u00e7l\u0131k ve seks itkilerini de i\u00e7ine alabilecek denli b\u00fcy\u00fck bir itici g\u00fc\u00e7t\u00fcr umars\u0131zl\u0131k. Bir\u00e7ok konuda oldu\u011fu gibi, Do\u011fu\u2019da da, Bat\u0131\u2019da da insan\u0131n ba\u015f\u0131na \u00e7oraplar \u00f6ren bir kolektif belle\u011fin yarat\u0131lmas\u0131n\u00addan umars\u0131zl\u0131k sorumludur. Teselli ararken a\u015fk \u00e7orab\u0131n\u0131 da icat etmi\u015ftir insa\u00adno\u011flu. Kesin belkilere, mitlere, efsanelere s\u0131ms\u0131k\u0131 sar\u0131l\u0131\u015f da bu y\u00fczdendir. \u0130nsan, umars\u0131zl\u0131ktan ahk\u00e2m kesmeye bay\u0131l\u0131r. A\u015fk hakk\u0131nda ne s\u00f6ylenirse ah\u00adk\u00e2md\u0131r. Konu a\u015fk oldu\u011funa g\u00f6re, burada benim de yapaca\u011f\u0131m budur.
\nAma a\u015fk\u0131n resmedildi\u011fi, dillendi\u011fi, imge ve simgeleriyle birlikte canlan\u00add\u0131r\u0131ld\u0131\u011f\u0131 metin ya da uzamlarda bir ideolojiye hizmet etti\u011fi, her \u015feyden \u00f6nce sava\u015f illetine \u00e7anak tuttu\u011fu miti Bat\u0131\u2019ya damgas\u0131n\u0131 vurmu\u015ftur. Homeros\u2019un \u0130lyada\u2019s\u0131 Bat\u0131\u2019daki en \u00f6nemli sunumlardan biridir. Tanr\u0131lar tanr\u0131s\u0131 diye ba\u015f tac\u0131 edilen Zeus \u00f6n\u00fcne gelen b\u00fct\u00fcn g\u00fczelleri i\u011ffal etmek ba\u015f g\u00f6reviymi\u015f gibi Europa\u2019dan Leda\u2019ya kadar iktidar\u0131n\u0131 kullanmad\u0131\u011f\u0131 kad\u0131n kalmam\u0131\u015ft\u0131r.
\nAnn Carson, Eros, the Bittersweet adl\u0131 kitab\u0131nda Sappho\u2019dan esinlenerek glukopikron (tatl\u0131-ac\u0131) yak\u0131\u015ft\u0131rmas\u0131n\u0131 yapar a\u015fka. Glucos (\u015feker), pikron (ac\u0131) birle\u015fmesinden ac\u0131-\u015fekerdir a\u015fk. A\u015fk, bu ba\u011flamda da sosyal bir ba\u011flant\u0131y\u0131 gereksinir, ku\u015fan\u0131r (philos) ve ayn\u0131 ileti\u015fimin (totemin mi?) iki philos\u2019u olan iki ki\u015fi birbirine \u00e2\u015f\u0131k oldu\u011funu san\u0131r.
\nMatthew Gumpert, Helen mitinden s\u00f6z ederken Ronsard\u2019\u0131n Sonets pour Helene\u2019e g\u00f6ndermesinde Ronsard\u2019\u0131n Ovidyen bir mit anlay\u0131\u015f\u0131 oldu\u011funa yani mitlerin erotik aray\u0131\u015f ve metamorfoz (d\u00f6n\u00fc\u015f\u00fcm) motiflerine d\u00f6nen anlat\u0131lar oldu\u011funa vurgu yapt\u0131ktan sonra mitlerin sadece \u015fairin sadece erotik fantezilerini doyurmak i\u00e7in de\u011fil, ayn\u0131 zamanda da \u015faire (g\u00fczellik timsali idol\u00fc elde etmek, ona sahip olmak arzusunu d\u0131\u015fa vurmaktan \u00e7ok) bu miti kullanarak, ya da yineleyerek ge\u00e7mi\u015f \u00fczerinde bir g\u00fc\u00e7 sahibi olmak (ge\u00e7\u00admi\u015ften kast\u0131 mitlerden olu\u015fma bellektir) ve\/ya da ge\u00e7mi\u015fi bug\u00fcne uygunla\u015ft\u0131r\u00admak oldu\u011funu savunuyor (en az\u0131ndan Ronsard i\u00e7in) ve Ronsard\u2019\u0131n mitlere ve \u00f6zellikle bir g\u00fczeli ka\u00e7\u0131rma mitlerini tekni\u011finin bir par\u00e7as\u0131 h\u00e2line getirme\u00adsini bu \u015fekilde a\u00e7\u0131kl\u0131yor. Gumpert\u2019\u0131n \u00f6nemli bir ba\u015fka iddias\u0131 da var ki o da mitlerin stratejik de\u011ferleri hakk\u0131nda: \u201cMit, bir yemdir, hem gizleyen hem de g\u00f6zler \u00f6n\u00fcne seren, g\u00f6zlerden \u0131rak olmas\u0131na \u00e7al\u0131\u015f\u0131lan konuya parmak basmak \u00fczere tasar\u0131mlanm\u0131\u015f bir ka\u00e7\u0131nma\u201d yolu (184). Gumpert\u2019a g\u00f6re, mitoslar\u0131n maskeledi\u011fi, asl\u0131nda \u201c\u015fairin\/\u00e2\u015f\u0131\u011f\u0131n\u201d d\u0131\u015fa vurmak istedi\u011fi \u015fiddetin birebir (literal) ifadesidir. Bu durumda da Danae mitine an\u0131\u015ft\u0131rma varsa, \u015fairin ken\u00addine k\u0131yas\u0131, Narcissus \u00f6yk\u00fcs\u00fcn\u00fc kullan\u0131yorsa \u00f6tekine k\u0131yas\u0131, Europa\u2019n\u0131n ma\u00adsum masum \u00e7i\u00e7ek koparmas\u0131n\u0131n da hi\u00e7 de \u00f6yle masumane bir eylem olmad\u0131\u00ad\u011f\u0131na i\u015faret etmektedir. Helen de, ya da Helen\u2019in bedeni de, h\u00e2l b\u00f6yle olunca, \u00f6l\u00fcsevicilik ile ilintilenebilmektedir (Gumpert, 187).<\/p>\n
A\u015eK NED\u0130R? A\u015eKIN DO\u011eASI, YAPISI NED\u0130R? <\/p>\n
Cesur Yeni D\u00fcnya (Huxley) benzeri (Equilibrium adl\u0131 filmde yinelendi\u011fi \u00fczere) distopya \u00fcr\u00fcnlerinde d\u00fcnyadan silinmeye \u00e7al\u0131\u015f\u0131lan varl\u0131kt\u0131r, hatt\u00e2 \u2018\u015feydir\u2019 (The Thing filmindeki yarat\u0131k anlam\u0131nda kulland\u0131m). K\u00f6t\u00fc, ya da k\u00f6t\u00fcc\u00fcl iktidar\u0131n ilk olarak kurtulmay\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc kar\u015f\u0131t\u0131d\u0131r, d\u00fc\u015fman\u0131d\u0131r. Bat\u0131 bu konuda \u00e7ok \u00fcr\u00fcn verir, yin-yang, beyaz-siyah, iyi-k\u00f6t\u00fc, Tanr\u0131-\u015feytan \u00e7at\u0131\u015fmas\u0131n\u0131 do\u011frulamak ve do\u011fada, evrenin \u00f6z\u00fcnde bu \u00e7at\u0131\u015fman\u0131n oldu\u011funu kan\u0131tlamak i\u00e7in. Empati kurulabilecek iyi ile iktidar\u0131 elinde tutan, ya da ele ge\u00e7irmeye \u00e7al\u0131\u015fan k\u00f6t\u00fc karakter aras\u0131nda bir \u00e7e\u015fit sava\u015f\u0131m ya da sava\u015f olur (Braveheart, Romeo-Juliet).
\nJohn Dryden Palamon ve Arcite\u2019de a\u015fk\u0131n hi\u00e7bir \u015fekilde zincire vurulamayaca\u011f\u0131n\u0131 s\u00f6yler; bunu bilmemek budalal\u0131kt\u0131r. Charles Lamb, a\u015fk\u0131n yap\u0131s\u0131nda bir bilinmezlik oldu\u011funu ve bilinmezi sevmenin iyi oldu\u011funu s\u00f6yler (b\u00f6ylece Tanr\u0131\u2019y\u0131 sevmek de onaylanm\u0131\u015f olur). Sir Walter Raleigh \u201cSessiz \u00c2\u015f\u0131k\u201dta, a\u015fk\u0131n\u0131 s\u00f6ze d\u00f6k\u00fcp \u00e7ok g\u00fcr\u00fclt\u00fc yapan \u00e2\u015f\u0131ktan daha \u00e7ok sessiz duran\u0131n dikkat \u00e7ekece\u011fini s\u00f6yler, \u00e7\u00fcnk\u00fc ahraz dilenci ac\u0131ma duygusunu daha \u00e7ok uyand\u0131r\u0131r, der. Shakespeare Venedik Taciri\u2019nde yery\u00fcz\u00fcndeki en tatl\u0131 \u015fey diye de nitelenen a\u015fka tutulanlar\u0131n \u201cne g\u00fczel hatalar i\u015flediklerini, kendi ba\u015flar\u0131na ne tatl\u0131 bel\u00e2lar getirdiklerini\u201d s\u00f6yler (II. Perde, 6. Sahne), \u00e7\u00fcnk\u00fc a\u015fk\u0131n g\u00f6z\u00fc k\u00f6rd\u00fcr.<\/p>\n
A\u015eK VE \u00c2RAF YA DA ACININ REJENERAT\u0130F G\u00dcC\u00dc<\/p>\n
Distopik olmas\u0131n d\u00fcnyam\u0131z diye de distopyalar\u0131n duygusuzlu\u011funa, kurulu\u011funa, \u00e7\u00f6lle\u015fmesine kar\u015f\u0131t bir d\u00fczen ve kurulum i\u00e7in a\u015fk ve ac\u0131 \u015fartt\u0131r Bat\u0131 belle\u011finde. Cesur Yeni D\u00fcnya\u2019daki vah\u015fi bunun i\u00e7in ac\u0131 istiyorum diye ba\u011f\u0131\u00adr\u0131r. Yoksa insan insanl\u0131ktan \u00e7\u0131kar, delta (k\u00f6le, makine) olur. Dryden, \u201cTyrannic Love\u201dda bu y\u00fczden a\u015fk\u0131n ac\u0131lar\u0131n\u0131n, zevklerinden daha tatl\u0131 oldu\u011funu s\u00f6yler (Sappho\u2019yu da an\u0131msayal\u0131m); \u0130sko\u00e7 romantizminin ustas\u0131 Sir Walter Scott \u201cLady of the Lake\u201dde g\u00fcl\u00fcn en g\u00fczel h\u00e2linin tomurcuk h\u00e2li ol\u00addu\u011funu, umudun korkulardan s\u0131yr\u0131ld\u0131\u011f\u0131nda en parlak d\u00f6nemde oldu\u011funu ve a\u015fk\u0131n da t\u0131pk\u0131 g\u00fcl\u00fcn \u00fcst\u00fcndeki sabah\u0131n \u00e7i\u011fleri gibi, g\u00f6zya\u015flar\u0131 ile \u0131sland\u0131\u011f\u0131nda en g\u00fczel h\u00e2lini ald\u0131\u011f\u0131n\u0131 s\u00f6yler. Francis Thompson\u2019un daha \u00f6nce dedi\u011fini bilmeden, bir arkada\u015f\u0131m \u00e2\u015f\u0131k oldu\u011funda \u015f\u00f6yle demi\u015fti kederini a\u00e7\u0131klamak i\u00e7in: \u201c\u00c2\u015f\u0131k oluyorum galiba, ac\u0131 \u00e7ekece\u011fim gene diye ac\u0131 \u00e7ekiyorum \u015fimdi.\u201d Evet, a\u015fk\u0131n geliyorum mu\u015ftusu ayn\u0131 zamanda bir yitimin de el\u00e7ili\u011fini yapar. Onu yitirme korkusu, a\u015fk\u0131n nesnesini yitirme korkusu da insan\u0131 yarat\u0131c\u0131 k\u0131lar ve enerji kayna\u011f\u0131d\u0131r. T\u0131pk\u0131 hayat\u0131n de\u011ferinin fark\u0131na hastal\u0131kta var\u0131\u015f\u0131m\u0131z gibi.<\/p>\n
A\u015eKIN TEZAH\u00dcR\u00dc, CAZ\u0130BES\u0130<\/p>\n
Sharon Stone (!) haks\u0131z yere idama gitmeden \u00f6nce, \u00e2\u015f\u0131k oldu\u011fu avukat\u0131na g\u00fcnde 23 saat \u00e7al\u0131\u015farak yapmay\u0131 ba\u015fard\u0131\u011f\u0131 Taj Mahal\u2019in karakalem resmini b\u0131rak\u0131r. A\u015fk geride bir eser b\u0131rakt\u0131ran g\u00fc\u00e7t\u00fcr, kendisini bu eserle belirtir ve yarat\u0131c\u0131s\u0131n\u0131n \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn\u00fc de sa\u011flar (geride bir \u015fey b\u0131rakmak okuyana, izleyene \u00f6l\u00fcms\u00fczl\u00fck ile e\u015f bir anlam zerkeder, Foucault\u2019nun imza atmaktan kast\u0131 da budur).
\nAbart\u0131l\u0131 \u015fiirler \u00e7ok okuduk: \u201cSeni anlatmaya d\u00fcnyalar yetmez, en, en en olan her \u015feyden daha bir \u015feysin sen\u201d diyen…Metafizik \u015fairler bu konuda daha sahici bana g\u00f6re. John Donne, \u201cA Valediction: Forbidding Mourning\u201d ba\u015f\u00adl\u0131kl\u0131 \u015fiirinde a\u015f\u0131k oldu\u011fu kad\u0131n ile kendisini bir pergele benzetirken, \u201cThe Flea\u201d ba\u015fl\u0131kl\u0131 bir ba\u015fka \u015fiirinde sevgili ile bir b\u00fct\u00fcn olmay\u0131, dolayl\u0131 bir abart\u0131 ile bir pirenin ikisinin de bedeninde emdi\u011fi kan ile ger\u00e7ekle\u015febilece\u011fini s\u00f6yler. Metafizik \u015fairler aras\u0131nda a\u015fk kisvesi alt\u0131nda g\u00f6z\u00fc oyna\u015fta olan sadece Donne de\u011fildir elbette; Andrew Marvell de \u201caman da \u015fairin\u201d \u201cNazl\u0131 Sevgilisine\u201d (To His Coy Mistress) ba\u015fl\u0131kl\u0131 \u015fiirinde sevgiliye hitaben kusursuz bir mant\u0131k sergileyerek hakl\u0131 oldu\u011funu abart\u0131l\u0131 \u00f6rneklerle kan\u0131tlar: Vaktim olsa d\u00fcnyalar kadar ey sevgili, her bir uzvunu anlatmak i\u00e7in bir y\u00fczy\u0131l ay\u0131r\u0131rd\u0131m, hatt\u00e2 Museviler din de\u011fi\u015ftirene kadar (ki olanaks\u0131zd\u0131r bellekte) sana olan a\u015fk\u0131m\u0131 kan\u0131tlamak \u00fczere g\u00fczelli\u011fini anlatmaya ay\u0131r\u0131rd\u0131m zaman\u0131m\u0131; gel g\u00f6r ki zaman\u0131m\u0131z k\u0131s\u0131tl\u0131; vaktimizi bo\u015fa ge\u00e7irmeyelim, nazlanma da sevi\u015felim,\u201d teklifini. A\u015fk de\u011fil, \u015fehvet bile deseniz, tezah\u00fcr\u00fc gereklidir bu arzunun, yani \u015fair \u00f6n\u00fcnde sonunda bir \u015fiir yazmak zorunda kalm\u0131\u015ft\u0131r, ya da ihtiyac\u0131n\u0131 duy\u00admu\u015ftur (ger\u00e7i bana g\u00f6re \u015fair, o g\u00fczeli elde etmi\u015f olsun ya da olmas\u0131n, bu \u015fiiri kendisi i\u00e7in yazar niha\u00ee olarak).
\nBir an \u00f6nce a\u015fk\u0131n\u0131z\u0131 ifade etmenizin gereklili\u011fi de, bu gen\u00e7li\u011fin g\u00fczelli\u011fin baki olmad\u0131\u011f\u0131 \u201cbeauty is skin deep\u201d benzeri deyi\u015flerle de peki\u015ftirilerek, aman vakit ge\u00e7meden a\u015fk\u0131 ya\u015fay\u0131n fikri a\u015f\u0131lan\u0131r, a\u015fk tedav\u00fclden kalkabilir, ya da pazardaki bir \u00fcr\u00fcn olarak son kullanma tarihi mutlaka vard\u0131r, ge\u00e7meden t\u00fc\u00adketmelidir (A\u015fk\u0131 d\u00f6n\u00fc\u015ft\u00fcrmek ve elde tutmak mutlu a\u015fk tarihini ilgilendirece\u011finden ve \u201cyoksa yitirirsin ha!\u201d tehdidi olmad\u0131\u011f\u0131ndan korku, anksiyete kayna\u011f\u0131 de\u011fildir). William Morris\u2019in \u201cOther Days\u201di de i\u015fte bu noktaya par\u00admak basar ve gen\u00e7ken ku\u015flar\u0131n s\u00f6yledi\u011fi \u015fark\u0131lar\u0131n daha tatl\u0131 oldu\u011funu belirtir, \u015fimdi a\u015fk olmad\u0131\u011f\u0131ndan \u015fark\u0131lar ayn\u0131 tad\u0131 vermemektedir.
\nMonster\u2019s Ball (Kesi\u015fen Yollar) finalindeki anlay\u0131\u015f: A\u015f\u00adk\u0131n\u0131 k\u00f6r g\u00f6z\u00fcne parmak sokar gibi belli etmiyordu adam. Sevdi\u011fi i\u00e7in \u015fiir yazmaktan intihara, m\u00fccevher benzeri pahal\u0131 hediyelerden el yap\u0131m\u0131 oyun\u00adcaklara kadar…vermek… \u00e2\u015f\u0131k oldu\u011funa bir \u015fey vermek ihtiyac\u0131 da Bat\u0131\u2019n\u0131n \u00f6\u011fretilmi\u015f g\u00fczelliklerindendir. Do\u011fu\u2019daki imge, simge ve geleneklerini el verdi\u011fi kadar\u0131 ile a\u015fk\u0131n\u0131 belli etmek (mendile lokum doldurup g\u00f6ndermek, sa\u00e7\u0131ndan bir tutam\u0131 gizlice ula\u015ft\u0131rmak, u\u011fruna yaralanmak benzeri eril ya da di\u015fil eylemler) yerine pazara ya da aya\u011fa d\u00fc\u015fm\u00fc\u015f vah\u015fi kapitalizm taktikleri ile bol oskarl\u0131 filmlerinden, The Simpsons gibi \u00e7izgi filmlerine, best seller romanlar\u0131ndan internet sevgililer g\u00fcn\u00fc sayfalar\u0131na varana kadar \u201cSevgilinizi ne kadar sevdi\u011finizi ona ald\u0131\u011f\u0131n\u0131z hediye belirler\u201d miti zerkedilir. A\u015fk ken\u00addini b\u00f6yle g\u00f6sterir denir. Oysa bir\u00e7ok yazar gibi John Updike, \u201cKar\u0131ma Kur Yapmak\u201d (Wife-Wooing) ba\u015fl\u0131kl\u0131 \u00f6yk\u00fcs\u00fcn\u00fcn finalinde \u201cBeklenen hediye vermeye de\u011fmez\u201d der. Bu \u00f6yk\u00fcde beklenmeyen hediye, yedi y\u0131ll\u0131k kar\u0131s\u0131n\u0131n \u00e7\u0131t\u0131r bir k\u0131zm\u0131\u015f gibi a\u011fz\u0131nda di\u015f macunu k\u00f6p\u00fckleri varken cap diye kocas\u0131n\u0131 \u00f6p\u00fcvermesidir, \u00e7ocuksu bir kendili\u011findelik.<\/p>\n
Onu g\u00f6rmek, sadece onu g\u00f6rmek sevmek demekti
\n Onu sevmek, sadece ve ebediyen onu sevmekti.
\n (Robert Burns, \u201cAe Fond Kiss\u201d)<\/p>\n
\u00c7\u00fcnk\u00fc Do\u011fa onu \u00f6yle yapm\u0131\u015f ki
\n Yoktur e\u015fi menendi.
\n (Burns, \u201cBonny Lesley\u201d)<\/p>\n
Bu hissin kendisi bir s\u00fcrprizdir. John Dryden\u2019\u0131n \u201cG\u00fczellik insan\u0131n kan\u0131n\u0131 ate\u015fledi\u011finde\/a\u015fk nas\u0131l da g\u00f6klere erdirir akl\u0131m\u0131!\u201d deyi\u015fi bundand\u0131r (Cymon and Iphigenia). B\u00f6yle durumlarda Bat\u0131 m\u00fcsrif beklentiler geli\u015ftirmeyi de \u00f6\u011fretir a\u015fk\u0131n taraflar\u0131na; sonra da \u201cAk\u015fama sana bir s\u00fcrprizim vaaar!\u201d diye s\u00fcrprizin s\u00fcrpriz olmamas\u0131n\u0131 sa\u011flatt\u0131r\u0131r, s\u00fcrpriz olmazsa, sevdi\u011finiz size tahamm\u00fcl eder. \u00c2\u015f\u0131k olunan ki\u015fi bak\u0131nca g\u00f6lgeler \u00e7eker gider; o par\u0131ldad\u0131\u011f\u0131nda karlar ya\u011fmura d\u00f6n\u00fc\u015f\u00fcr ve kalbi don tutmu\u015f olan a\u015fkla can bulur yeniden\u201d (Eyebright,\u00a0John Addington\u00a0Symonds).
\nJane Austen gibi yazarlar a\u015fk\u0131n tezah\u00fcr\u00fcnde, ifade bulmas\u0131nda iradeyi erke\u011fe b\u0131rak\u0131r. Bir kad\u0131n\u0131n, a\u015fk\u0131n\u0131 erkekten \u00f6nce ifade edip a\u00e7\u0131\u011fa vurmas\u0131 Austen\u2019a g\u00f6re yak\u0131\u015f\u0131k almaz. Bu, P\u00fcriten ya da Viktoryen ahl\u00e2k dizgelerine kar\u015f\u0131 olduklar\u0131n\u0131 s\u00f6yleyen yazarlarda bile kendini g\u00f6steren bir mitostur, kad\u0131n\u0131 metala\u015ft\u0131rmay\u0131, a\u015fk\u0131n ifade tekelinin bile yine erkekte olmas\u0131n\u0131 sa\u011flayan bir alt paradigmad\u0131r. Hawthorne da K\u0131z\u0131l Damga\u2019da Hester Prynne\u2019i hem azi\u00adzele\u015ftirir, hem de ona ac\u0131 \u00e7ektirterek cezas\u0131n\u0131 verir. Ayn\u0131 Hawthorne, kad\u0131n hak\u00adlar\u0131 sava\u015f\u00e7\u0131s\u0131 ve feminizmin Amerika\u2019daki ilk temsilcilerinden Margaret Fuller\u2019\u0131 sevmez, \u00e7\u00fcnk\u00fc Fuller kad\u0131n gibi zarif, k\u0131r\u0131lgan, inayetli de\u011fildir, \u00fcs\u00adtelik kad\u0131n\u0131n yola \u00e7\u0131kmas\u0131 bile yad\u0131rgan\u0131rken o bakire bakire yolculu\u011fa \u00e7\u0131kar, \u0130talya\u2019n\u0131n 1848 ayaklanmalar\u0131nda gazeteci olarak \u00e7al\u0131\u015f\u0131r ve evlenmeden elin \u0130talyan\u2019\u0131ndan hamile kal\u0131r. Ama, ayn\u0131 Hawthorne\u2019un K\u0131z\u0131l Damga\u2019y\u0131 yazar\u00adken kirada oturdu\u011fu evin sahibi Ralph Waldo Emerson ile arkada\u015fl\u0131ktan fazla bir ili\u015fkisi oldu\u011fu da bilinmektedir ki Emerson bu yan\u0131n\u0131 Walt Whitman\u2019\u0131n \u015fiirini y\u00fccelterek dolayl\u0131 da olsa d\u0131\u015fa vurmu\u015f diyebiliriz, ama Hawthorne, dolapta kalmay\u0131 s\u00fcrd\u00fcrm\u00fc\u015f, a\u015fk ve \u00f6zg\u00fcrl\u00fck ba\u011flam\u0131ndaki riya\u00adk\u00e2rl\u0131\u011f\u0131nda ne yaz\u0131k ki diretmi\u015ftir. Bu yazar\u0131n kitab\u0131 h\u00e2l\u00e2 kanondad\u0131r, oku\u00adtulmaktad\u0131r ve okutulmal\u0131d\u0131r da. Fakat, bellekteki a\u015fk ve cinsel kimliklere dair yan\u0131lg\u0131lar, tabular ya da mitlerin nas\u0131l \u015fekillendi\u011fi ya da alternatiflerinin de varolmas\u0131 gereklili\u011finin demokrasiyi savunanlar\u0131n kula\u011f\u0131na k\u00fcpe edin\u00admelerinin zaman\u0131n\u0131n gelip ge\u00e7ti\u011fi de bir ger\u00e7ektir; bu \u201ckanonize\u201d belle\u011fin bir korku ve t\u00fcketim pazar\u0131na kan ve can sa\u011flad\u0131\u011f\u0131 bir \u015fekilde mutlaka \u00f6\u011fretil\u00admelidir.<\/p>\n
A\u015eKIN G\u00dcC\u00dc<\/p>\n
\u201cAh a\u015fk, hi\u00e7bir urgan yok ki senin \u00e7ifte d\u00fc\u011f\u00fcml\u00fc halat\u0131n kadar g\u00fc\u00e7l\u00fc ve h\u0131zl\u0131 \u00e7eksin!\u201d (Robert Burton, Anatomy of Melancholy)
\nA\u015fk\u0131n g\u00fcc\u00fcn\u00fcn b\u00fcy\u00fckl\u00fc\u011f\u00fc i\u00e7in abart\u0131 sanat\u0131 m\u00fcsrif\u00e7e kullan\u0131lm\u0131\u015ft\u0131r, kul\u00adlan\u0131lmaktad\u0131r. Ayn\u0131 R. Burton \u201ca\u015fk\u0131n g\u00fcc\u00fcn\u00fc ve etkisini b\u00fcy\u00fcltmek ya da g\u00f6stermek g\u00fcne\u015fin alt\u0131nda bir mum yakmakt\u0131r\u201d da der. Lord Byron, \u00e7\u00f6llerde ikamet ediyor da olsa, ona yol g\u00f6steren bir g\u00fczel can varsa yan\u0131nda, b\u00fct\u00fcn insanl\u0131\u011f\u0131 unutabilece\u011finden, ve ba\u015fka kimseden nefret etmeden sadece onu sevece\u011finden dem vurur (Childe Harold\u2019s Pilgrimage). Ayn\u0131 Byron, Don Juan\u2019da\u00a0\u201cAh, o kad\u0131nlar\u0131n a\u015fk\u0131! Ne g\u00fczel ve ne \u00fcrk\u00fct\u00fcc\u00fc bir \u015feydir o\u201d da der. Thomas Moore ise The Light of the Harem\u2019de \u00e2\u015f\u0131klar\u0131n b\u00fct\u00fcn hastal\u0131klardan kurtulup \u00f6m\u00fcrlerinin sonuna de\u011fin a\u015fk i\u00e7inde ya\u015famaya muktedir olduklar\u0131n\u0131 iddia eder. Romeo ve Juliet\u2019te de Shakespeare hi\u00e7bir ta\u015f duvar\u0131n a\u015fk\u0131 d\u0131\u015farda tutamayaca\u011f\u0131, i\u00e7eri girmesine engel olmayaca\u011f\u0131n\u0131 belirtir. A\u015fk, Robert Southey gibi \u015fairler i\u00e7in cennetten \u00e7\u0131kmad\u0131r, cennet d\u00f6necektir; onun imhas\u0131 olanaks\u0131zd\u0131r ve kutsal ate\u015fi ilelebet yanacakt\u0131r (The Curse of Kehama). G\u00f6\u00adr\u00fcld\u00fc\u011f\u00fc gibi tanr\u0131sall\u0131\u011fa yak\u0131n bir g\u00fc\u00e7 atfedilmektedir a\u015fka. Ne onunla, ne de onsuz olmak pek de kolay bir ser\u00fcven de\u011fil iletisi de alttan alta verilmektedir.<\/p>\n
BATININ ON KL\u00c2S\u0130K A\u015eK \u015e\u0130\u0130R\u0130 <\/p>\n
(Internette de Bat\u0131 deyince rastlayaca\u011f\u0131n\u0131z girdilerin hemen hepsi Anglo-Sakson ve H\u0131ristiyan belle\u011fin \u00fcr\u00fcnleridir; kendine \u00e2\u015f\u0131k bir belle\u011fin dumur h\u00e2linin en b\u00fcy\u00fck kan\u0131t\u0131d\u0131r bu…yine sava\u015fa endeksli, emperyal ideolojiler ile k\u0131r\u0131\u015ft\u0131ran a\u015fk \u015fiirleridir bunlar).
\nB\u00f6yle bir liste yapsak, birincilik k\u00fcrs\u00fcs\u00fcne ku\u015fkusuz Shakespeare \u00e7\u0131k\u0131\u00adyor, Bat\u0131 belle\u011finde, standart ve be\u011feni kal\u0131plar\u0131nda:
\n1. \u201cShall I compare thee to a Summer\u2019s day?\u201d 18. nolu sone, W. Shake\u00adspeare: Bu sonede \u015fair, sevgilisini bir yaz g\u00fcn\u00fc ile k\u0131yaslar ve sevgilinin daha g\u00fczel oldu\u011funda \u0131srar eder. Bu sone de, bir\u00e7ok ba\u015fka a\u015fk \u015fiiri gibi sevgiliyi k\u0131yaslama\/kar\u015f\u0131la\u015ft\u0131rma y\u00f6ntemi ile y\u00fcceltme yolunu se\u00e7erken, son iki dizede \u015fairin kendi \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fc ile daha \u00e7ok ilgilendi\u011fi anla\u015f\u0131l\u0131r. Shakespeare, mevsimdir gelir ge\u00e7er, ama bu sone ya\u015fad\u0131k\u00e7a, sen de \u00f6l\u00fcms\u00fcz olacaks\u0131n, derken ilk okumada ilham perisi sevgilinin \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcd\u00fcr s\u00f6z konusu olan (John Donne\u2019\u0131n \u201cBo\u015fa Kostaklanma \u00d6l\u00fcm,\u201d diye ba\u015flayan sonesi ile ayn\u0131 iletidir bu) \u00f6l\u00fcm bile b\u00f6b\u00fcrlenemez \u00e7\u00fcnk\u00fc bu insanlar ya\u015fad\u0131k\u00e7a ve g\u00f6zler g\u00f6rd\u00fck\u00e7e, bu sone de ya\u015fayacakt\u0131r ve bu da sevgiliye hayat vermeyi s\u00fcrd\u00fcre\u00adcektir.
\nS\u0131ralama \u015f\u00f6yle devam eder: 2. Shakespeare, \u201cAh Sevgilim Benim\u201d (O Mistress Mine); 3. Samuel T. Coleridge, \u201cLove\u201d (ki bu \u015fiirde romantik \u0130ngiliz \u015fiirinin devi, \u00f6l\u00fcml\u00fc bu bedeni ayakta tutan b\u00fct\u00fcn d\u00fc\u015f\u00fcnceler, tutkular, zevklerin a\u015fk\u0131n yard\u0131mc\u0131lar\u0131 oldu\u011funu ve a\u015fk\u0131n kutsal alevini besledi\u011fini s\u00f6yledikten sonra bir \u015f\u00f6valye gibi kahramanl\u0131k yaparak sevgili Genevieve\u2019in kalbini nas\u0131l kazand\u0131\u011f\u0131n\u0131 anlat\u0131r; 4. Coleridge, \u201cDesire\u201d (Arzu); 5. P. B. Shelley, \u201cWhen the Lamp is Shattered\u201d (S\u00f6z yerine ses\u00adsizli\u011fin ye\u011flenmesi gerekti\u011fini savunan \u015fiirlerden biridir bu). 6. Shelley, \u201cA\u015fk\u0131n Felsefesi\u201d (Love\u2019s Philosophy). Bu \u015fiirde de Shelley, d\u00fcnyada hi\u00e7bir \u015feyin yaln\u0131z kalmak i\u00e7in yarat\u0131lmad\u0131\u011f\u0131n\u0131 s\u00f6ylerek sevgiliyi kendisiyle birlikte olmaya \u00e7a\u011f\u0131r\u0131r; romantiklerin al\u0131\u015fkanl\u0131\u011f\u0131 oldu\u011fu \u00fczre de Do\u011fa\u2019y\u0131 tan\u0131k olarak g\u00f6sterir, do\u011frusunu kan\u0131tlamak i\u00e7in: \u201cBak da\u011flar\u0131n ba\u015f\u0131 g\u00f6\u011fe eriyor, dal\u00adgalar birbirini kucakl\u0131yor, g\u00fcne\u015fin \u0131\u015f\u0131nlar\u0131 yery\u00fcz\u00fcn\u00fc kavr\u0131yor, ay\u0131n \u0131\u015f\u0131klar\u0131 ise denizi \u00f6p\u00fcyor; sen beni \u00f6pmezsen b\u00fct\u00fcn bunlar\u0131n ne de\u011feri var o zaman?\u201d diye de soruveriyor; 7. Keats, \u201cOde on a Grecian Urn\u201d. Bu \u00fcnl\u00fc \u015fiirin sonunda da yine romantik \u0130ngiliz \u015fair Keats, \u00fcnl\u00fc dizelerinde sevgilinin \u00f6l\u00fcms\u00fczle\u015fece\u011fini s\u00f6yledikten sonra insanl\u0131\u011fa a\u015fk\u0131n\u0131n g\u00fczelli\u011finin \u015fu mesaj\u0131 verece\u011fini mu\u015ftular: \u201cG\u00fczellik ger\u00e7ektir; ger\u00e7ek ise g\u00fczellik, -yery\u00fcz\u00fcnde \/Bildi\u011fimiz tek \u015fey budur, ve ba\u015fka da bir \u015fey bilmemize gerek yoktur; 8. Emily Dickinson, \u201cHope is a thing with feathers\u201d (Emily\u2019nin b\u00fcy\u00fck olas\u0131l\u0131kla, yengesi Sue\u2019ya a\u015fk\u0131n\u0131 ruhunun derinliklerine \u00e7\u00f6km\u00fc\u015f bir t\u00fcye benzetti\u011fi \u015fiiri, ki daha sonra Sylvia Plath\u2019\u0131n \u201cKaraa\u011fa\u00e7\u201d \u015fiirinde de t\u00fcy\u00fcn bir huzursuzluk imgesi olarak yeniden kullan\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz; 9. E. Dickinson, \u201cI Gave Myself to Him\u201d; E. Dickinson, \u201cIt\u2019s such a little thing to weep (a\u011flamak ve ah ederek yanman\u0131n ne kadar k\u0131sa ve eften p\u00fcften i\u015fler oldu\u011funa, ama yine de ayn\u0131 \u00f6nemsiz i\u015flerden kad\u0131nl\u0131 erkekli insanlar\u0131n nas\u0131l da telef olduklar\u0131na i\u015faret eden tek k\u0131tal\u0131k bir \u015fiirdir). 10. E. Dickinson, \u201cWild Nights\u201d (Ah seninle olsayd\u0131m \u015fimdi, vah\u015fi geceler l\u00fcks\u00fcm\u00fcz olurdu.
\nG\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere, belle\u011fin olu\u015fumunu sa\u011flayan bireysel sitelerde \u00f6znellik kendini hemen belli ediyor. Se\u00e7ilen \u015fairler Anglo-Sakson, \u00e7o\u011funlukla \u0130ngiliz ve biri de Amerikal\u0131.<\/p>\n
G\u0130ZL\u0130 A\u015eK<\/p>\n
\u201cYazg\u0131n\u0131z, sizinle Tanr\u0131 aras\u0131nda bir s\u0131rd\u0131r; t\u0131pk\u0131 a\u015fk\u0131n iki kalp aras\u0131nda bir s\u0131r oldu\u011fu gibi\u201d demi\u015ftir Balzac Seraphita\u2019da. A\u015fk \u00fc\u00e7geni i\u00e7inde de de\u011ferlendirebi\u00adlece\u011fimiz, Edmond Rostand\u2019\u0131n \u00fcnl\u00fc oyunu Cyrano de Bergerac, bu gizli a\u015f\u00adk\u0131n dramatik ironi ile bezenmi\u015f en g\u00fczel \u00f6rneklerindendir. Kuzinine \u00e2\u015f\u0131k Cyrano, hep yan\u0131nda durup korudu\u011fu a\u015fk\u0131n\u0131 hem s\u00f6ze d\u00f6ker ama \u00fc\u00e7genin \u00fc\u00e7\u00fcnc\u00fc k\u00f6\u015fesinin a\u011fz\u0131ndan dile gelir bu dizeler; biz biliriz Cyrano\u2019nun nas\u0131l yand\u0131\u011f\u0131n\u0131 ve yand\u0131k\u00e7a g\u00f6z\u00fcm\u00fczde, y\u00fcre\u011fimizde nas\u0131l y\u00fcceldi\u011fini. Ger\u00e7ek \u00e2\u015f\u0131k, s\u0131rr\u0131n\u0131 saklayarak b\u00fcy\u00fcr. Gizli a\u015fk bu, s\u00f6yleyemem derdimi hi\u00e7 kimseye der a\u015f\u0131klar\u0131n hemen hepsi. Sanat\u0131n b\u00fct\u00fcn t\u00fcrleri \u00e7a\u011flar boyu, ifade edilemeyen, a\u00e7\u0131\u011fa vurulamayan a\u015fk\u0131 daha de\u011ferli, ya da yine trajediye te\u015fne olsun diye, daha anlat\u0131las\u0131 bulmu\u015ftur.<\/p>\n
A\u015eK \u00dc\u00c7GEN\u0130 <\/p>\n
\u0130nsanlar zaman i\u00e7inde her anlamda evrim ge\u00e7irirken a\u015fk\u0131 ya\u015famay\u0131 da \u00f6\u011freniyor. Bir tek hedefe odaklanmaktansa, \u00f6nce \u00fc\u00e7gen yapmay\u0131 \u00f6\u011freniyor, sonra pluralite, beden ile birle\u015fen sevgi ise a\u015fk, bunu bir\u00e7ok ki\u015fiyle payla\u015fmay\u0131 \u00f6\u011freniyor (Cesur Yeni D\u00fcnya hep vard\u0131, Huxley zaten varolan bir d\u00fcnyay\u0131 distopyaym\u0131\u015f gibi yazd\u0131).
\n\u00dc\u00e7gen, Amerikan sinemas\u0131nda g\u00fc\u00e7 ya da g\u00fc\u00e7l\u00fc birlik anlamlar\u0131na geliyorsa da, Bat\u0131 yaz\u0131n\u0131nda insan\u0131n bir ba\u015fkas\u0131na da bel ba\u011flama gereksinimini g\u00f6sterir. \u0130nsan\u0131 \u00fc\u00e7gen, ya da \u00fc\u00e7l\u00fc bir ili\u015fki i\u00e7inde g\u00f6stermek, onun etki\u00adlenmeye ya da payla\u015f\u0131ma yatk\u0131n oldu\u011fu anlam\u0131na gelir. Ayn\u0131 zamanda da olumlanmay\u0131 bekledi\u011fi, ya da yerle\u015fik tabulardan ka\u00e7t\u0131\u011f\u0131na da dalalet eder. \u00dc\u00e7gen ayn\u0131 zamanda, ki\u015finin toplumla ba\u011f\u0131na (philos) ve bireysel iradesine de i\u015faret eden bir paradigmad\u0131r.
\nDaha \u00f6nce de de\u011findi\u011fimiz \u00e7at\u0131\u015fma olmazsa olmaz ko\u015fulunu en \u00e7ok bu paradigmada g\u00f6rebiliyoruz. Mitolojide, destan ya da efsanelerde, masallarda \u00f6rne\u011fi \u00e7oktur. Oedipus (\u00d6dip) ve Oresteia \u00fc\u00e7genlerini anne, baba ve o\u011ful olu\u015fturur. Bu \u00fc\u00e7gen kal\u0131b\u0131 baban\u0131n \u00f6ld\u00fcr\u00fclmesini ve anne ile o\u011flun ensest ili\u015fkisini gerektirir.
\nFeodal a\u015fk \u00fc\u00e7geninde g\u00fczel bir kad\u0131na (lady\/han\u0131m\/efendi) a\u015f\u0131k toprak a\u011fas\u0131 ya da derebeyi ve o derebeyinin vasal\u0131 (vassal) \u00e7at\u0131\u015f\u0131r. Bu \u00fc\u00e7gende genellikle en s\u0131k\u0131nt\u0131l\u0131 taraf vasald\u0131r \u00e7\u00fcnk\u00fc \u201cbeyi\u201d ona hizmetleri ve ba\u011fl\u0131l\u0131\u011f\u0131 kar\u015f\u0131l\u0131\u011f\u0131 toprak vermi\u015ftir, onun da bu durumda vefal\u0131 olmas\u0131 beklenir, \u00e7\u00fcnk\u00fc beyinin sevdi\u011fi kad\u0131n\u0131 onun elinden almak h\u0131yanet olacakt\u0131r. Bu da ne erkekli\u011fe s\u0131\u011far, ne de insanl\u0131\u011fa ama a\u015fk\u0131 ger\u00e7ekle\u015ftirmek de gerekir. \u0130kilem i\u00e7inde kal\u0131r ba\u015fo\u011flan. Bu durumda, okuyucuya ya da filmlerde izleyiciye o derebeyinin mutlak k\u00f6t\u00fc olarak yans\u0131t\u0131lmas\u0131 gerekir ki ihanet ya da h\u0131yaneti yak\u0131\u015ft\u0131rmayal\u0131m a\u015f\u0131ka. \u00dc\u00e7genin dengesini bozan eylemlerin hemen hepsi ya toplumsal, ya dini, ya da \u015f\u00f6valyelik, ya da kahramanl\u0131k kodlar\u0131na ayk\u0131r\u0131 d\u00fc\u015fer.
\nA\u015fk \u00fc\u00e7geninde taraflardan ikisi de kad\u0131nsa, yani iki kad\u0131n bir tek erkek i\u00e7in yar\u0131\u015f\u0131yorlarsa kurallarda de\u011fi\u015fiklik g\u00f6r\u00fcl\u00fcr. \u0130ki kad\u0131n k\u00f6r\u00fc k\u00f6r\u00fcne bir intikam sava\u015f\u0131 i\u00e7inde bulabilirler kendilerini. G\u00f6zleri d\u00f6n\u00fcnce Medea\u2019da oldu\u011fu gibi masum \u00e7ocuklar bile telef edilebilir. Tristan mitinde de ayn\u0131 ad\u0131 ta\u015f\u0131yan iki kad\u0131n \u00e7eki\u015fir. \u0130\u015f bilenin, k\u0131l\u0131\u00e7 ku\u015fanan\u0131n olunca da koca ve sevgilisi telef olur. Amerikal\u0131 yazar Amy Tan\u2019in roman\u0131 Talih Ku\u015fu\u2019nda (Joy Luck Club) da annelerden biri kocas\u0131 \u00fcst\u00fcne kad\u0131n getirince, intikam\u0131n\u0131 kocas\u0131n\u0131n en sevdi\u011fi yarat\u0131\u011f\u0131, biricik o\u011fullar\u0131n\u0131 y\u0131kad\u0131\u011f\u0131 suyun i\u00e7ine b\u0131rakarak al\u0131verir. Ama b\u00f6ylelikle de ku\u011fu t\u00fcy\u00fc ile simgelendi\u011fi \u00fczere ruhunu yitirir. Bu a\u015fk temas\u0131 daha sonra g\u00f6\u00e7e ve Amerikan h\u00fclyas\u0131 paradigmalar\u0131na ba\u011flan\u0131r ve Amerika\u2019ya g\u00f6\u00e7 ederken Ellis Adas\u0131\u2019nda karantinaya al\u0131nan \u00c7inlilerin hat\u0131ra diye getirdikleri ku\u011fu (ki kimliklerinin b\u00fct\u00fcnselli\u011fidir) t\u00fcy\u00fcn\u00fcn i\u00e7eri al\u0131nmay\u0131\u015f\u0131 g\u00f6\u00e7menlerin ruhlar\u0131n\u0131, kimliklerini giri\u015fte b\u0131rakt\u0131klar\u0131 ile ilintilenir ve art\u0131k tastamam olmayan bu yeni g\u00f6\u00e7menlerin sa\u011flam a\u015fklar ya\u015fay\u0131p mutlu olmalar\u0131 da e\u015fik karakterleri olduklar\u0131ndan olanakl\u0131 de\u011fildir. Ac\u0131-\u015feker ili\u015fkiler k\u0131s\u0131r d\u00f6ng\u00fcs\u00fc s\u00fcrecektir.
\nOn ikinci ve on be\u015finci y\u00fczy\u0131lda saray a\u015fk\u0131 i\u00e7inde \u00fc\u00e7gen pek reva\u00e7tad\u0131r. On alt\u0131nc\u0131 ve on yedinci y\u00fczy\u0131llarda tiyatroda hem trajedilerde, hem de komedilerde kullan\u0131l\u0131r, ku\u015fkusuz komedilerde mutlu son ko\u015fuluyla. Genesis\u2019ten Aeschylus\u2019un Oresteia\u2019s\u0131na, Sophocles\u2019in Kral \u00d6dip\u2019inden Kral Arthur efrsanesine, Tristan \u00fc\u00e7geninin Anglo-Norman versiyonlar\u0131ndan Milton\u2019un Yitik Cennet\u2019ine (1667) bu paradigma g\u00fcn\u00fcm\u00fcz a\u015fk kal\u0131plar\u0131 belle\u011fini olu\u015fturmak i\u00e7in yar\u0131\u015f\u0131r. Daha sonra, yani 18. y\u00fczy\u0131lda roman\u0131n \u00e7\u0131k\u0131\u015f\u0131 ile de \u00fc\u00e7genli a\u015fk belle\u011fimiz bu t\u00fcrde de yenilenir. On dokuzuncu y\u00fczy\u0131lda ise \u00fc\u00e7gen \u0130spanya saraylar\u0131ndan Rus saraylar\u0131na uzan\u0131r. Kate Chopin\u2019in Uyan\u0131\u015f (The Awakening) adl\u0131 roman\u0131ndaki Edna Pontellier gibi bir eli ya\u011fda, bir eli balda bir evli kad\u0131n \u201c\u00c7ocuklar\u0131m\u0131, kocam\u0131 \u00e7ok seviyorum, ama onlar i\u00e7in kendimi feda etmem,\u201d diyebilir. Hedonist\u00e7e davran\u0131p iki de sevgili edinebilir, ama hem cinselli\u011fine, hem de birey olarak kendindeli\u011fine uyan\u0131\u015f\u0131 onu intihara s\u00fcr\u00fckler, Madam Bovary\u2019i \u00f6rnek alarak. Fakat ahl\u00e2k kumkumac\u0131l\u0131\u011f\u0131 y\u00fcz\u00fcnden, a\u015fk s\u00f6zc\u00fc\u011f\u00fcnden \u00e7ok aile ve evlilik a\u011f\u0131rl\u0131k kazanm\u0131\u015ft\u0131r art\u0131k. Okuyucular (Fatih Ak\u0131n\u2019\u0131n \u201cDuvara Kar\u015f\u0131\u201d filmindeki gibi) vefay\u0131 ve aileyi, evlili\u011fi ye\u011fleyenleri sever hale getirilmi\u015flerdir. Koca, \u00fc\u00e7gendeki en \u00f6nemli k\u00f6\u015feyi olu\u015fturur. \u00d6yle ki, kar\u0131s\u0131n\u0131n her halinden sorumlu tek ki\u015fi odur. Simon de Beauvoir bu kocay\u0131 1949 y\u0131l\u0131nda yazd\u0131\u011f\u0131 \u0130kinci Cinsiyet (\u201cLe deuxi\u00e8me sexe\u201d) ba\u015fl\u0131kl\u0131 denemesinde \u201cgardiyan\u201d (jailer) diye tan\u0131mlar. Yirminci y\u00fczy\u0131l\u0131n yazarlar\u0131 da Freud\u2019un \u00d6dip \u00fc\u00e7genine dayanarak kendi \u00e7e\u015fitlemelerini sunarlar bize. Virginia Woolf\u2019un Mrs. Dalloway\u2019inde ellili y\u0131llar\u0131nda da g\u00f6r\u00fcl\u00fcr bu etiket. Gizd\u00f6k\u00fcmc\u00fc \u015fairlerden Sylvia Plath da kocas\u0131 Ted Hughes\u2019a yak\u0131\u015ft\u0131r\u0131r bu etiketi ve kendisini onun \u201cv\u0131c\u0131k v\u0131c\u0131k arzular\u0131n\u0131n manivelas\u0131\u201d olarak g\u00f6r\u00fcr.
\nAeschylus, gerek drama sanat\u0131n\u0131n, gerekse insan tan\u0131m\u0131n\u0131n \u00f6z\u00fcne adalet fikrini oturttu\u011fu i\u00e7indir ki karakterleri Apollo\u2019nun ve ana tanr\u0131\u00e7alar\u0131n birbiriyle \u00e7eli\u015fen talepleri aras\u0131nda tercih yapmak zorundad\u0131rlar. Oresteia \u00fc\u00e7lemesinde anne babay\u0131 \u00f6ld\u00fcr\u00fcnce, kocan\u0131n \u00f6l\u00fcm\u00fc ile kendisinin de \u00f6lmesi gerekti\u011fini bilir. Anne, kocay\u0131 \u00f6ld\u00fcrerek, k\u0131z\u0131n\u0131n \u00f6l\u00fcm\u00fcn\u00fcn intikam\u0131n\u0131 alm\u0131\u015ft\u0131r, fakat o\u011ful da baban\u0131n intikam\u0131n\u0131 alacakt\u0131r. Bu durumda, \u00f6l\u00fcmle fl\u00f6rt eden kal\u0131p gere\u011fi bir su\u00e7 ya da g\u00fcnah, ba\u015fka bir su\u00e7 ya da g\u00fcnaha te\u015fnedir. \u0130ntikam duygusu insan\u0131 hep yeni hatalar yapmaya itecektir. Bu kal\u0131p, \u0130ngiliz edebiyat\u0131n\u0131n Elizabeth d\u00f6nemi trajedilerinde de yinelenir ve Shakespeare\u2019in Hamlet\u2019i bu y\u00fczden \u201cbir ihtimal daha var, o da \u00f6lmek mi dersin\u201d diye u\u011funur durur ve delilik maskesi ard\u0131na saklar intikam emelini. Shakespeare, bu trajedisi ile hem Oresteia, hem de \u00d6dip \u00fc\u00e7genlerini ak\u0131ll\u0131ca an\u0131\u015ft\u0131rarak belle\u011fi tazelemeyi s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Bu bellekten, \u00f6zellikle Kral Oedipus oyunundan esinlenerek, Cehennem\u00ee Makine (La Machine infernal) adl\u0131 yap\u0131t\u0131nda Jean Cocteau\u2019da yararlanm\u0131\u015ft\u0131r, fakat antik Yunan oyun yazarl\u0131\u011f\u0131n\u0131n yerle\u015ftirdi\u011fi pop\u00fcler kabile anlay\u0131\u015f\u0131n\u0131 kom\u00fcnal-kent d\u00fc\u015f\u00fcnce dizgesi ile de\u011fi\u015ftirmi\u015ftir.
\nYerimin darl\u0131\u011f\u0131ndan s\u00f6z\u00fc uzatam\u0131yorum, fakat \u015furas\u0131 bilinmeli ki daha uzun yer ay\u0131rd\u0131\u011f\u0131m bu a\u015fk \u00fc\u00e7geni paradigmas\u0131, di\u011ferleri ile bir arada i\u015flev g\u00f6r\u00fcr. A\u015fk\u0131n gizlili\u011fi esas\u0131, do\u011fan\u0131n teselli sa\u011flamas\u0131, \u00f6l\u00fcm\u00fcn a\u015fk u\u011fruna g\u00f6ze al\u0131nmas\u0131 vb. hep birlikte a\u015fk\u0131n de\u011ferini art\u0131rmaktad\u0131r ve belle\u011fimizi olu\u015fturan kaynaklar a\u015fk ve t\u00fcm yan anlam ve ya\u015fant\u0131lar\u0131 olmazsa hayat\u0131n zehir z\u0131kk\u0131m olaca\u011f\u0131 ve bu durumda a\u015f\u0131k ki\u015finin, \u00f6lmese bile, yabanc\u0131la\u015f\u0131p meczupla\u015faca\u011f\u0131 tehlikesine hep dikkat \u00e7ekmektedir.<\/p>\n
A\u015eK VE \u00d6L\u00dcM<\/p>\n
Birbirlerinden hemen hemen hi\u00e7 ayr\u0131lmazlar, birbirlerinin antitezleri gibi yans\u0131t\u0131l\u0131rlar (Amerikan G\u00fczeli ve So\u011fuk Da\u011f filmlerinde de g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi). A\u015fk ol\u00admazsa \u00f6l\u00fcm gelecektir mesaj\u0131 a\u015fk\u0131n yaz\u0131l\u0131 tarihinin trajedi ve dram damarla\u00adr\u0131n\u0131 besler hep. Su\u00e7lusu antik Yunan literat\u00fcr\u00fc tabii ki. Robert Browning \u201cA Death in the Desert\u201d ba\u015fl\u0131kl\u0131 \u015fiirinde apa\u00e7\u0131k ortaya d\u00f6k\u00fclen a\u015fk\u0131n ger\u00e7ek a\u015fk olmad\u0131\u011f\u0131n\u0131 bir kez daha vurgularken, salt bu densiz ifade tarz\u0131ndan dolay\u0131 sevgiliyi kazanm\u0131\u015fken yitirdi\u011fini d\u00fc\u015f\u00fc\u00adn\u00fcr ve tek \u00f6l\u00fcm bu i\u015fte diye iddia eder. Bu Browning\u2019in saplant\u0131s\u0131d\u0131r da di\u00adyebiliriz. Onun sevgilileri gece kavu\u015fur, g\u00fcnd\u00fcz ne yaz\u0131k ki di\u011fer insanlara kar\u0131\u015fmak ve a\u015fk\u0131 bitirmek zorundad\u0131r.
\nYa da Helen\u2019i ka\u00e7\u0131ranlar \u00f6tekidir. Bizim olan\u0131 ka\u00e7\u0131ranlar\u0131n varl\u0131\u011f\u0131 bizim varl\u0131\u011f\u0131m\u0131za hakarettir ve h\u00e2l b\u00f6yle olunca da \u00f6tekinin katli vaciptir. Truva\u2019n\u0131n tarihten silinmesi \u00f6yk\u00fcs\u00fcn\u00fcn \u00f6z\u00fcnde de sava\u015fa alet edilen bir a\u015fk yatmaktad\u0131r. Hangi kad\u0131n\u0131 isterse i\u011ffal eden Zeus\u2019un \u015fiddet arzeden eylemi ile d\u00fcnyaya gelen Helen\u2019in g\u00fczelli\u011fi, Whitman\u2019\u0131n da d\u0131\u015far\u0131 vurmay\u0131 \u00f6nerdi\u011fi enerji sayesinde olur, ama bu enerji ile d\u00f6llenen Leda\u2019n\u0131n do\u011furaca\u011f\u0131 k\u0131z\u0131n tarihi nas\u0131l etkileyece\u011finden, bunun bilgisinden haberi yoktur (Leda ve Ku\u011fu ba\u015fl\u0131kl\u0131 \u015fiirinde Yeats\u2019in dedi\u011fi gibi).<\/p>\n
KAR\u015eILIKSIZ A\u015eK (UNREQUITED LOVE)<\/p>\n
Trubador gelene\u011finden, saray a\u015fklar\u0131na kadar Bat\u0131\u2019n\u0131n belkemi\u011finde ve mutsuz a\u015fklar tarihinde en \u00f6nemli yeri ku\u015fkusuz bu al\u0131r. Mazo\u015fist Bat\u0131l\u0131, kar\u015f\u0131l\u0131k bulunca da t\u0131pk\u0131 Browning gibi mutsuz olur. Joyce\u2019un The Dead\u2019inde ve Thomas Hardy\u2019nin Jude the Obscure adl\u0131 yap\u0131tlar\u0131nda oldu\u011fu gibi. Kar\u015f\u0131l\u0131k bulamayan a\u015fk\u0131n etraf\u0131n\u0131 bezeyen hep bir su\u00e7, su\u00e7luluk duygusu vard\u0131r. A\u015fk \u00fc\u00e7geni olay \u00f6rg\u00fcs\u00fcne kar\u015f\u0131l\u0131ks\u0131z a\u015fklarda yard\u0131mc\u0131 olur. Monogamik bir a\u015fk ili\u015fkisi ne \u00e7at\u0131\u015fma sunar, ne de heyecan. A\u015fk\u0131n kar\u015f\u0131l\u0131\u011f\u0131 olmad\u0131\u011f\u0131n\u0131 bilmekten \u00e7ok, g\u00f6rmek can yakar.<\/p>\n
Sappho, \u201cAfrodit\u2019e Yakar\u0131\u015f\u201d ba\u015fl\u0131kl\u0131 \u015fiirinde a\u015fk\u0131n\u0131n kar\u015f\u0131l\u0131k g\u00f6remeyi\u015fini dile getirdikten sonra (s. 113\u2019te) s\u00f6z\u00fcn\u00fc geri al\u0131yor ve Afrodit\u2019in \u00f6fkesini kazanmaktan korkuyor. Tanr\u0131lar onun istedi\u011fini (ki k\u0131z \u00f6\u011frencilerinden biridir) vermi\u015ftir, o da buna m\u00fcte\u015fekkirdir. Vefal\u0131 bir \u015fairdir kendisi. Elimizdeki tek kitab\u0131ndaki \u015fiirlerin s\u0131ralan\u0131\u015f\u0131ndan yola \u00e7\u0131karak ak\u0131l y\u00fcr\u00fctecek olursak, Sappho\u2019nun a\u015fk\u0131n evreleri \u015f\u00f6yledir: Genel olarak bekleyi\u015f; Yakar\u0131\u015f; Sevgiliyi (onu, ya da a\u015fk\u0131n\u0131n \u00f6znesini\/nesnesini) bekleyi\u015f; sevgilinin\/K\u0131br\u0131sl\u0131n\u0131n geli\u015fi; Sevgiliyi yitirme korkusu; Sevgiliyi daha o yan\u0131ndayken \u00f6zleme d\u00f6nemi; Korktu\u011funun ba\u015f\u0131na gelmesi\/sevgilinin gidi\u015fi; Yaln\u0131zl\u0131k; \u00d6l\u00fcm fikri; Yas; Yastan \u00e7\u0131k\u0131\u015f; \u015eiir ile varolu\u015f.
\n George Crabble Tales\u2019de kar\u015f\u0131l\u0131ks\u0131z sevmenin hi\u00e7 \u00e2\u015f\u0131k olmadan \u00f6lmekten daha iyi oldu\u011funu savunur. Tennyson da, Idylls of the King: Lancelot and Elaine\u2019de nafile verilen a\u015fk\u0131n tatl\u0131 oldu\u011funu ve bu ac\u0131ya son veren \u00f6l\u00fcm\u00fcn de tatl\u0131 ol\u00addu\u011funa dikkat \u00e7ekerek yine \u00f6l\u00fcm ile a\u015fk\u0131n iki sevgili olduklar\u0131n\u0131 s\u00f6yler.<\/p>\n
A\u015eK DA \u00d6L\u00dcML\u00dcD\u00dcR <\/p>\n
\u00d6l\u00fcmc\u00fcl oldu\u011fu kadar, \u00f6l\u00fcml\u00fcd\u00fcr de. Biter. S\u0131tk\u0131n\u0131z s\u0131yr\u0131ld\u0131 m\u0131 biter, yalan s\u00f6yledi mi biter, yaz bitti\u011fi i\u00e7in biter; ama bu biti\u015f (kopu\u015ftur ya) bir s\u00fcre\u011fenli\u011fin par\u00e7as\u0131d\u0131r da. Bu ger\u00e7ek bazen g\u00f6rmezden gelinir ve \u00e2\u015f\u0131k ba\u015fka m\u00e2\u015fuk istemez. Karasevda derler buna da.
\nByron \u201cG\u00fcnlerim sar\u0131 yapraklarda \u015fimdi\/A\u015fk\u0131n \u00e7i\u00e7ekleri de gitti, meyveleri de\u201d dedikten sonra (\u201cOn My Thirty-Sixth Year\u201d) ac\u0131 ve kedere gark oldu\u011funu s\u00f6ylerken Blake\u2019in \u201cHasta G\u00fcl\u201d \u015fiirinde de vurgulad\u0131\u011f\u0131 G\u00fcl-Kurt beraberli\u011fine de\u011finir. G\u00fcl\u00fcn k\u0131z\u0131l yata\u011f\u0131n\u0131n olmazsa olmaz misafiri, \u00e2\u015f\u0131\u011f\u0131d\u0131r kurt\u00e7uk ve bu birlikteliktir a\u015fk simgesi g\u00fcl\u00fc yiyip bitirecek olan. G\u00fcl\u00fcn \u00f6l\u00fcm\u00fc a\u015fktan olacakt\u0131r, bir ba\u015fka deyi\u015fle, ve bu y\u00fczden de k\u0131sad\u0131r. E. Allan Poe ise bir \u015fiirinde y\u0131llarca s\u00fcren bir a\u015fk\u0131n bir dakikada bitmesine dikkat \u00e7eker.<\/p>\n
EVL\u0130L\u0130K<\/p>\n
Bana g\u00f6re kurumdur, bir uygarl\u0131k illetidir ve a\u015fk\u0131n sosyal uzam\u0131nda dayat\u0131lan bir ko\u015fuldur ve Shakespeare The Merry Wives of Windsor\u2019da fazla samimiyetten maraz do\u011faca\u011f\u0131n\u0131 s\u00f6yleyerek beni destekliyor.<\/p>\n
A\u015eK VE DO\u011eA<\/p>\n
A\u015fk ve Do\u011fa ili\u015fkisi ka\u00e7\u0131n\u0131lmazd\u0131r. \u00d6zellikle romantik ya da a\u015fk\u0131nc\u0131 yaz\u0131nda Do\u011fa insan\u0131n tanr\u0131sall\u0131\u011f\u0131n\u0131 duyumsad\u0131\u011f\u0131 yer oldu\u011fundan bir insana duyulan a\u015fk da, kimi zaman, \u00f6rne\u011fin Byron\u2019un dedi\u011fi gibi do\u011faya duyulan a\u015fktan daha y\u00fcce olmayabilir (Child Harold\u2019s Pilgrimage). Kate Chopin\u2019in yukarda s\u00f6z\u00fcn\u00fc etti\u011fim roman\u0131nda Edna, i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc \u00e7\u0131kmaza \u00e7areyi do\u011fada bulur. \u00c7\u0131r\u0131l\u00e7\u0131plak soyunur ve denize girer, kula\u011f\u0131nda seslerle, g\u00f6z\u00fcne ili\u015fen kanad\u0131 k\u0131r\u0131k bir ku\u015fu izleyerek y\u00fczer de y\u00fczer. Do\u011faya kar\u0131\u015f\u0131r, do\u011fan\u0131n bir par\u00e7as\u0131 olur.<\/p>\n
A\u015eK VE D\u0130N<\/p>\n
\u0130ncil k\u00f6kenli Bat\u0131 belle\u011fi, daha \u00e7ok kar\u015f\u0131l\u0131ks\u0131z olsa bile, kay\u0131ts\u0131z \u015farts\u0131z sevgiyi a\u015fk diye g\u00f6sterir ki tasavvuf\u00ee bir yan\u0131 da yok de\u011fildir bu sevginin (ki\u015fi hamd\u0131r, pi\u015fer ve yanar…\u0130sa\u2019n\u0131n \u00e7ilesi, ac\u0131lar\u0131 insana duydu\u011fu a\u015fktan diye \u00f6\u011fretilir). A\u015fk, ya da sevgi, bu ba\u011flamda Tanr\u0131\u2019n\u0131n \u00f6z\u00fcd\u00fcr. Richard Gar\u00adnett\u2019in dedi\u011fi gibi, g\u00fc\u00e7 ise Tanr\u0131n\u0131n bir \u00f6zelli\u011fidir ki i\u015fte bu y\u00fczden Tanr\u0131n\u0131n sevgisi g\u00fcc\u00fcnden fazlad\u0131r. \u00d6l\u00fcm-sevicilikle de fl\u00f6rt eden bu inan\u0131\u015f, gene Byron taraf\u0131ndan \u201cTanr\u0131n\u0131n sevgili kullar\u0131 gen\u00e7 \u00f6l\u00fcr,\u201d \u015feklinde dile gelir Don Juan\u2019da.<\/p>\n
METAF\u0130Z\u0130K BOYUT <\/p>\n
Roland Barthes\u2019\u0131n da de\u011findi\u011fi \u201cBirlik\u201d a\u015fk\u0131n bu boyutunun en \u00f6nemli hede\u00adfidir. Barthes birli\u011fi \u201cSevilen varl\u0131kla tam birlik d\u00fc\u015f\u00fc\u201d diye tan\u0131mlarken (205). Barthes, Aristo, \u0130bni Hazm, Novalis, Musil ve Littr\u00e9\u2019ye g\u00f6nderme yapt\u0131\u011f\u0131n\u0131 da belirterek birli\u011fi \u015f\u00f6yle a\u00e7\u0131yor: <\/p>\n
Tam birli\u011fin adland\u0131r\u0131lmas\u0131: \u201ctek ve yal\u0131n haz\u201dd\u0131r, \u201clekesiz ve kat\u0131ks\u0131z sevin\u00e7, d\u00fc\u015flerinkusursuzlu\u011fu, b\u00fct\u00fcn umutlar\u0131n var\u0131\u015f noktas\u0131\u201d, \u201ctanr\u0131sal g\u00f6rkem\u201ddir, b\u00f6l\u00fcnmez dinleni\u015ftir. Ya da \u015f\u00f6yle: iyeli\u011fin son noktas\u0131; birbirimizden salt bir iyeli\u011fe g\u00f6re haz duymam\u0131z\u0131 d\u00fc\u015fl\u00fcyorum; haz dolu bir birlik bu, a\u015fk\u0131n \u201chazlan\u0131m\u201d\u0131\u2026bunu s\u00f6ylerken
\na\u011f\u0131z\u0131n i\u00e7inde bu birli\u011fin tad\u0131n\u0131 \u00e7\u0131kar\u0131yorum. (205)<\/p>\n
Laurence Kramer, kitab\u0131n\u0131n \u201cBir Asimetri\u201d ba\u015fl\u0131kl\u0131 b\u00f6l\u00fcm\u00fcnde (132-133) fallusu Lacan\u2019\u0131n betimlemesi ile niteledikten sonra feministlerin kad\u0131na yak\u0131\u015ft\u0131r\u0131lmas\u0131 ile k\u0131zd\u0131ran bir bo\u015fluktan s\u00f6z ediyor. Lacan fallusa eski Roma\u2019daki kap\u0131lar mabudu, ba\u015f\u0131 iki y\u00fczl\u00fc Janus-suratl\u0131 g\u00f6steren derken Kramer\u2019in fallusun tek ba\u015f\u0131na simgesel bir nesne olarak hem arzuyu ve \u00f6znelli\u011fi, hem de bu arzu ve \u00f6znelli\u011fin doyurulmad\u0131\u011f\u0131, tek ba\u015f\u0131na duru\u015funda bu bo\u015flu\u011fa da i\u015faret etti\u011fini belirtmektedir. Bu durumda, Foucault d\u00fcnyan\u0131n \u00fcsl\u00fbbunu anlat\u0131rken belirledi\u011fi rekabet bu bo\u015flu\u011fun doldurulmas\u0131 s\u0131ras\u0131nda da ya\u015fanacakt\u0131r ve e\u011fer bir k\u00f6le-efendi ili\u015fkisi yerle\u015femezse (simbiotik a\u015fk) taraflar bir a\u015fk \u00fc\u00e7genini en az\u0131ndan im\u00e2 edecekler\u00addir, \u00e7\u00fcnk\u00fc \u201crekabet \u015feylerin bir cins do\u011fal ikizli\u011fidir\u201d (Foucault, 46).
\nA\u015fk da, t\u0131pk\u0131 Velasquez\u2019in \u201cLas Meninas\u201d adl\u0131 tablosunda oldu\u011fu gibi, bedenin kar\u015f\u0131s\u0131ndaki aynadan g\u00f6rd\u00fc\u011f\u00fc bo\u015flu\u011fu doldurma gereksinimidir. Bir ba\u015fka deyi\u015fle, bu taraftaki bo\u015flu\u011fun kar\u015f\u0131ya y\u00fckledi\u011fimiz anlamlarla gerisin geri bize yans\u0131mas\u0131n\u0131 a\u015fkta sa\u011fl\u0131yor olabiliriz. Bir tabloya bak\u0131p tablodaki aynada bizim bakma y\u00f6n\u00fcm\u00fczde birilerinin daha hayalet gibi bulundu\u011funu g\u00f6rebiliriz, hatt\u00e2 tabloyu yapan ressam\u0131n da y\u00fcz\u00fcn\u00fc g\u00f6r\u00fcr\u00fcz ama tualin \u00fczerinde ne var g\u00f6remeyiz. Kim kime bak\u0131yor meselesine Rene Ma\u00adgritte de kafa yormu\u015ftur. A\u015fk s\u00f6zc\u00fcklerini sarfeden \u00e2\u015f\u0131klar, yazarlar, \u015fairler de o yap\u0131t\u0131n ama beden bulmu\u015f ama tamamen hay\u00e2l\u00ee nesnelerine s\u00f6z\u00fc yak\u0131\u015ft\u0131rmakla kar\u015f\u0131lar\u0131nda bir ayna bulmaktad\u0131rlar. Bu aynada Don Ki\u015fot\u2019un Aldonza\u2019da (Dulcinea) g\u00f6rd\u00fc\u011f\u00fc cenneti g\u00f6rme, yitirildi\u011fi \u00f6\u011fretilen o mek\u00e2n\u0131 bulma hasreti de gizlidir. Bu ayna ayn\u0131 zamanda Don Ki\u015fot\u2019u \u201cger\u00e7eklere\u201d ayd\u0131rmaya \u00e7al\u0131\u015fan Aynal\u0131 \u015e\u00f6valye gibi tehlikeli de olabilir. Bu anlamda da Foucault\u2019nun benzerlik ilkesi ge\u00e7erlilik kazanmaktad\u0131r (43). Ki\u015fi, hem \u00e2\u015f\u0131k oldu\u011fu ile hem de ger\u00e7ek ya da hayal\u00ee (kimi zaman da sadece kendisi ile) rekabet h\u00e2linde olmak durumundad\u0131r \u00e7\u00fcnk\u00fc aslolan a\u015fk\u0131n nesnesini yitirmemektir.
\nFoucault\u2019nun 16. y\u00fczy\u0131l\u0131n sonuna de\u011fin \u201cBat\u0131\u2019da yap\u0131c\u0131 bir rol oyna\u00adm\u0131\u015ft\u0131r\u201d dedi\u011fi benzerlik, insano\u011flunun bu \u00e7at\u0131\u015fmal\u0131 gereksiniminden, bir temsiliyet gereksinimi ya da bo\u015flu\u011fundan kaynaklanm\u0131\u015ft\u0131r ve onca imge, simge, an\u0131\u015ft\u0131rma, \u00e7a\u011fr\u0131\u015f\u0131m ve yan anlamlarla y\u00fckl\u00fc g\u00f6stergeler deposu h\u00e2line gelmi\u015f kolektif belle\u011fimiz Barthes\u2019\u0131n umdu\u011fu tam birli\u011fi de neredeyse olanaks\u0131z k\u0131lm\u0131\u015ft\u0131r \u00e7\u00fcnk\u00fc insan\u0131n kendi \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fcn\u00fc garanti alt\u0131na almak i\u00e7in yaratt\u0131\u011f\u0131 Tanr\u0131lar\u0131n \u00f6yk\u00fclerinde \u015fiddet hep vard\u0131r, \u00f6tekinin can\u0131na bir \u015fekilde okunur. Laing\u2019e g\u00f6re, \u00e2\u015f\u0131klar\u0131n cenneti ancak her \u015fey yitirildi\u011finde ger\u00e7ekle\u015febilir, \u00e7\u00fcnk\u00fc a\u015fk s\u00fcr\u00fcyor dedi\u011fimiz s\u00fcre boyunca taraflar Fou\u00adcault\u2019nun vurgulad\u0131\u011f\u0131 benzerlik semantik dokusu i\u00e7inde yer alan paradigma\u00adlar\u0131 bir bir i\u015fleme koyacakt\u0131r, hatt\u00e2 bu bir zaruret h\u00e2line gelecektir. Bir ba\u015fka deyi\u015fle, \u00e2\u015f\u0131k olan \u00f6teki ile benzerlik kuracak, \u00f6teki ile belle\u011findeki di\u011fer g\u00f6stergelerden gelen ideal ile benzerlikler kuracak, ayn\u0131 \u015fekilde k\u0131yas ya\u00adpacak, sempatiler (yak\u0131nla\u015fma ya da anlay\u0131\u015f) oyunu ya da oyunlar\u0131 geli\u015ftire\u00adcek (Osborne\u2019un \u00d6fke\u2019sindeki Jimmy ile Alison\u2019un birbirlerine hitaplar\u0131 gibi, \u201cay\u0131c\u0131\u011f\u0131m benim\/sincab\u0131m benim\u201d) -daha sonra bu sempati oyunlar\u0131 a\u015fk\u0131n \u00fczerine cenazelerdeki matem g\u00fclleri gibi y\u0131k\u0131l\u0131verecek ki a\u015fk\u0131n gerileme d\u00f6nemine girdi\u011fini taraflar b\u00f6ylelikle anlayacakt\u0131r. Sempati bu y\u00fczden, yine Foucault\u2019nun da belirtti\u011fi gibi (52) antipati ile tel\u00e2fi edilecek ve bir hafta \u00f6nce evlenmi\u015f arkada\u015f\u0131n\u0131z, siz ona \u201cevlilik nas\u0131l bir \u015fey?\u201d diye sor\u00addu\u011funuzda, \u201cEvlilik, bir d\u00fckk\u00e2ndan bir \u00e7ift ayakkab\u0131 al\u0131r almaz yandaki d\u00fck\u00adkanda daha iyisinin daha ucuza oldu\u011funu g\u00f6rmek gibi bir \u015fey,\u201d diyebilecek\u00adtir. Evlili\u011finin ilk haftas\u0131nda bu saptamay\u0131 yapan arkada\u015f\u0131n\u0131z ile yirmi be\u015f y\u0131l sonra kar\u015f\u0131la\u015fabilirsiniz ve h\u00e2l\u00e2 ayn\u0131 koca ile \u201cantipatik\u201d zemin \u00fczerine gel\u00adi\u015ftirdi\u011fi nas\u0131l bir semantik dizge ise bunu s\u00fcrd\u00fcrd\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcr \u015fa\u015far ka\u00adl\u0131rs\u0131n\u0131z, \u00e7\u00fcnk\u00fc bence b\u00f6yle bir ili\u015fkiyi s\u00fcrd\u00fcrmek ya da ba\u015fka bir \u015feylere d\u00f6n\u00fc\u015ft\u00fcrmek de m\u00fcthi\u015f bir dirayet, yarat\u0131c\u0131l\u0131k, sab\u0131r ve ho\u015fg\u00f6r\u00fc paradigmalar\u0131n\u0131n devreye girmesi gerekir. Ama bu benzerlikler yan\u0131lsamas\u0131 ile ba\u015flayan birli\u011fe do\u011fru gidi\u015f yolculu\u011funda antipati \u00f6z\u00fcmlenmeyi engelleyecekken ve taraflardan birinin bu a\u015fk\u0131 bitirmeyi g\u00f6ze almas\u0131 ya da kendisini soyutlamas\u0131 an meselesiyken a\u015fk\u0131n taraflar\u0131 bir imza (evlilik defterindeki de\u011fil) atmay\u0131 ye\u011flerler. Bu genellikle bir \u00e7ocuktur. \u00c7ocuk bu a\u015fk\u0131n meyvesidir, toplum taraf\u0131ndan bu anlamda onay al\u0131r, olumlan\u0131r. Ama bu meyveyi olu\u015fturan, yaratan iki tarafa g\u00f6re \u00e7ocu\u011fun anlam\u0131 imzad\u0131r, benzerlikler dizgesine at\u0131lan imzad\u0131r. Foucault, \u201cimzas\u0131z benzerlik yoktur. Benzerin d\u00fcnyas\u0131 ancak i\u015faretlenmi\u015f bir d\u00fcnya olabilir,\u201d diyor. Annemin \u00e7ocuklar\u0131na \u201cbedenimden t\u00fcreyen\u201d demesi ve kendisini salt bu anlamda dahi olsa babamdan \u00fcst\u00fcn g\u00f6rmesinin sebebi de budur. Babalar bedenlerinden t\u00fcretemezler, bu da kad\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131ndan erke\u011fin bo\u015flu\u011fudur. Belki, do\u011fum yapt\u0131ktan sonra kimi kad\u0131nlardaki par\u00e7alanm\u0131\u015fl\u0131k, bir par\u00e7as\u0131 kopmu\u015fluk duygusu da hamileyken gelen tanr\u0131sall\u0131\u011f\u0131n, erkin ellerinden gitmi\u015f ve yeniden fallosantrik d\u00fczene\u011fin nesnesi oldu\u011funa inanmak \u00e7\u0131kmaz\u0131d\u0131r. A\u015fkla ba\u015flayan beraberli\u011fin, evlilik olsun olmas\u0131n, antipatik \u00e7at\u0131\u015fmaya d\u00f6n\u00fc\u015fmeye ba\u015flad\u0131\u011f\u0131n\u0131 sezen taraflar (ki annemle babam i\u00e7in bu zifaf gecesinde ba\u00ad\u015flam\u0131\u015f), daha yolun ba\u015f\u0131nda olu\u015fan bo\u015flu\u011fu \u00e7ocuk do\u011furarak gidermeye ba\u00ad\u015flarlar\u2026Taraflar birliktelikleri boyunca k\u0131s\u0131r d\u00f6ng\u00fcselle\u015fen bir bo\u015fluk olu\u015fturma ve bo\u015fluk doldurma yar\u0131\u015f\u0131 i\u00e7ine girerler, \u201cAnnesine benziyor, babas\u0131na benziyor,\u201d tart\u0131\u015fmalar\u0131n\u0131n \u00f6z\u00fcnde de bu vard\u0131r; kendisi ba\u015fl\u0131 ba\u015f\u0131na bir imza olan \u00e7ocuk, asl\u0131nda annenin, ya da baban\u0131n imzas\u0131 olmal\u0131d\u0131r. S\u00f6zc\u00fcklerle ikizlenen sessiz bir yans\u0131ma gibidir uyuyan bir bebek. A\u015fk\u0131n iki taraf\u0131n\u0131 birbirlerine yeniden yap\u0131\u015fmaya iten o bebektir. Arzu elindekinden yoksun olmaksa, evli \u00e7iftlerin arzuyu ayn\u0131 ki\u015fiye (sahip oldu\u011funu sand\u0131\u011f\u0131 ki\u015fiye) y\u00f6neltmesi olanaks\u0131z g\u00f6r\u00fcnmektedir, \u00e7\u00fcnk\u00fc Barthes\u2019\u0131n belirtti\u011fi gibi \u201cA\u015fk alan\u0131nda, en keskin ac\u0131lar bilinenden \u00e7ok g\u00f6r\u00fclenden gelir\u201d (122). Albert\u2019in Charlotte\u2019un beline sar\u0131l\u0131nca Werther bu y\u00fczden y\u0131k\u0131l\u0131r. \u00c2\u015f\u0131k oldu\u011funuz ki\u015finin ba\u015fkas\u0131na, ya da ba\u015fkalar\u0131na \u201c\u00e2it oldu\u011funu\u201d bilmek ba\u015fkad\u0131r, g\u00f6r\u00fcp anlamak ba\u015fkad\u0131r. \u00c7\u00fcnk\u00fc \u201cg\u00f6r\u00fcnt\u00fc, nesnenin kendisi\u2019dir. \u00d6yleyse \u00e2\u015f\u0131k ki\u015fi sanat\u00e7\u0131 ki\u015fidir ve d\u00fcnyas\u0131 ger\u00e7ekten tersine d\u00f6nm\u00fc\u015f bir d\u00fcnyad\u0131r, burada her g\u00f6r\u00fcnt\u00fc kendi sonu oldu\u011funa g\u00f6re (g\u00f6r\u00fcnt\u00fcn\u00fcn \u00f6tesinde hi\u00e7bir \u015fey)\u201d (Barthes, 123).
\nBu uslamlama sonucunda da Foucault\u2019nun benzerlikler semanti\u011fine dayanarak kurulan bir a\u015fk ili\u015fkisi \u00f6n\u00fcnde sonunda kendi sonunu getirecektir. A\u015fk\u0131n \u00f6mr\u00fc \u00fczerine tahminlerin ilgi g\u00f6rmesi ve bu konuda yaz\u0131lan kitaplar\u0131n \u00e7ok satmas\u0131 da bu y\u00fczdendir, sonu g\u00f6rmeden bilme gereksinimidir.
\n\u015eimdiki s\u0131\u011f a\u015fk umudu prologlar\u0131nda, diyelim bir chat-line\u2019da ilk t\u00fcmce \u00e7o\u011funlukla \u201cBana biraz kendinden bahsetsene\u201d oluyor. Bat\u0131\u2019da a\u015fk\u0131n geli\u015fimini ve y\u0131k\u0131l\u0131\u015f\u0131n\u0131 Tristan ve \u0130solde \u00f6yk\u00fcs\u00fcndeki trajediye dayand\u0131ran Rougement bug\u00fcn neler yazard\u0131 merak ediyorum do\u011frusu. A\u015fk\u0131n d\u00fc\u015f\u00fc\u015f\u00fcnden sonra hangi evre gelir? A\u015fk\u0131n yerin dibine batmas\u0131 m\u0131? Yerin dibine batas\u0131ca a\u015fk tanr\u0131lar bitti de mi bitti? Bat\u0131\u2019n\u0131n k\u00fcreselle\u015fmeye a\u015fk d\u00fczleminde katk\u0131s\u0131 buysa vay h\u00e2limize.
\nA\u015fk s\u00fcjesini kendi yarat\u0131r denir, do\u011fru olabilir, ama ben bunu \u00e2\u015f\u0131k s\u00fcjesini kendi yarat\u0131r diye de\u011fi\u015ftirmek isterim. A\u015fk\u0131 ki\u015file\u015ftirmek sadece sanat\u0131n i\u015fidir. Topu faili me\u00e7hul bir caniye atmak gelmiyor mant\u0131kl\u0131 d\u00fc\u015f\u00fcnd\u00fc\u00ad\u011f\u00fcmde.
\nWalt Whitman, Song of Myself\u2019in 28. ve 38. b\u00f6l\u00fcmlerinde cinsel enerjinin mast\u00fcrbasyonla bile sal\u0131verilmesinin yeniden tazelenme (regeneration) i\u00e7in \u00f6nemli oldu\u011funu s\u00f6yl\u00fcyor ve bunun bedenin kendini yenilemesi kadar toplumda demokrasi i\u00e7in de yararl\u0131 oldu\u011funu iddia ediyor. Ne tuhaft\u0131r, Amerikan\u2019\u0131n ulusal yaz\u0131n kimli\u011finde ilk \u00f6nemli \u015fair kabul edilen \u201ctipik Ameri\u00adkan\u201d bilinen Whitman orgazm ve \u015fiddetin yeni ba\u015flang\u0131\u00e7lara gebe olduklar\u0131n\u0131 ve sava\u015f\u0131n da bir illet olmaktansa yepyeni bir ba\u015flang\u0131ca te\u015fne bir s\u00fcre\u00e7 ol\u00addu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc yorumlanan dizeler yazm\u0131\u015ft\u0131r.
\nHasan B\u00fclent Kahraman\u2019\u0131n \u201cHerkes \u0130\u00e7in \u0130nsan Haklar\u0131\u201d sempozyumunda yapt\u0131\u011f\u0131 konu\u015fmada da kulland\u0131\u011f\u0131 gibi \u201ca\u015fk\u0131n hikmeti devleti\u201d insan\u0131n biraz da erginli\u011fe ula\u015f\u0131p ula\u015fmam\u0131\u015f olmas\u0131yla da ilgilidir. Benim tezim, Bat\u0131\u2019n\u0131n a\u015fk pazar\u0131 paradigmalar\u0131 daha \u00e7ok erginli\u011fe eri\u015fmemi\u015f ki\u015filer \u00fczerinde etkili oldu\u011fudur. Bireyin iradesi toplumu, hatt\u00e2 devletin bekas\u0131n\u0131 bi\u00e7imlendirece\u011fi yerde egemen ideoloji bireyi s\u00f6m\u00fcrgen ve t\u00fcketen \u201cdeltalar\u201d h\u00e2line getirmek i\u00e7in insan\u0131n a\u015fk gereksinmesini end\u00fcstri h\u00e2line getirmi\u015ftir ve bu end\u00fcstri de kendi mitoslar\u0131n\u0131, do\u011fru ve yanl\u0131\u015flar\u0131n\u0131, iyi ve k\u00f6t\u00fclerini olu\u015fturmu\u015f, insan\u0131 bu tasar\u0131mlanm\u0131\u015f kal\u0131plara g\u00f6re oynamaya mahkum etmi\u015ftir. Mutlu k\u00f6lelerin bundan haberleri yoktur, \u00e7\u00fcnk\u00fc ayn\u0131 ideoloji a\u015fk ac\u0131s\u0131 \u00e7ekerken de varoldu\u011funu s\u00f6ylemektedir ki\u015fiye. Bu ideolojinin bir yan\u0131lsamalar ideolojisi oldu\u011funu s\u00f6yleyecek olsan\u0131z, size kar\u015f\u0131 geleceklerin ba\u015f\u0131nda bu mutlu k\u00f6leler olacakt\u0131r. T\u0131pk\u0131 bir distopik bir g\u00fclistanda ya\u015fad\u0131\u011f\u0131na inanan bireylerin bir\u00adileri taraf\u0131ndan uyand\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131ld\u0131klar\u0131nda tepki g\u00f6sterip, var olan hu\u00adzurlar\u0131n\u0131 bozmak riskini g\u00f6ze almay\u0131 istemeyecekleri gibi. \u0130mparatorluk ideas\u0131n\u0131n temelinde (Thoreau\u2019nun bile yads\u0131mad\u0131\u011f\u0131, hatt\u00e2 \u00c7inli filozoflar\u0131n bile fark\u0131nda oldu\u011funu \u00f6nyarg\u0131 ile ve \u00f6nemle vurgulad\u0131\u011f\u0131) bireyin raison d\u2019etat\u2019s\u0131n\u0131n yatt\u0131\u011f\u0131 Bat\u0131\u2019da hep vurgulan\u0131r. Bireyin, birey oldu\u011funu ve im\u00adparatorlu\u011fa giden yolda da hikmeti devletini g\u00f6sterebilmesi yolunda da a\u015fk paradigmalar\u0131 b\u00fcy\u00fck rol oynar.<\/p>\n
ASALET\u0130N BEDEL\u0130<\/p>\n
Don Ki\u015fot\u2019ta oldu\u011fu gibi, ger\u00e7ek bir \u015f\u00f6valye d\u00fc\u015fman\u0131n yaralar\u0131n\u0131 sarmal\u0131d\u0131r. (Amerika\u2019n\u0131n istila etti\u011fi \u00fclkelerin yaralar\u0131n\u0131 sarmaya gitti\u011fi mitosuna inananlar\u0131n say\u0131s\u0131 az m\u0131d\u0131r?). Dulcinea, bu y\u00fczden Don Ki\u015fot\u2019a yak\u0131nl\u0131k duymaya ba\u015flar. Don Ki\u015fot da, \u201cSen benim Dulcinea\u2019ms\u0131n,\u201d diyerek bir yan\u0131lsamay\u0131 ger\u00e7ek ile kar\u0131\u015ft\u0131rarak komik de olsa y\u00fcreklerimize hitap eden bir kahramanl\u0131k sergiler. Herkes olanaks\u0131z\u0131 hay\u00e2l etmek ister, herkes ba\u015fka birisi olmak ister, herkes \u00f6mr\u00fcn\u00fcn son anlar\u0131nda onca s\u0131k\u0131nt\u0131ya, zorlu\u011fa g\u00f6\u011f\u00fcs germesinin, b\u00fct\u00fcn hayat\u0131n\u0131n bir \u00e2raf olmas\u0131na kar\u015f\u0131n, hi\u00e7 de\u011filse bir kez ger\u00e7ek a\u015fk\u0131 ya\u015fad\u0131\u011f\u0131n\u0131 sanmak, sevdi\u011fine, sevdi\u011fi u\u011fruna saf\u00e7a her \u015feyi yapabildi\u011fine inanmak ister. A\u015fk\u0131 ger\u00e7ekle\u015ftirmeye \u00e7al\u0131\u015fmak, bu ama\u00e7tan vazge\u00e7memek de \u201colanaks\u0131z olan\u0131 hay\u00e2l etmek, cesurlar\u0131n gidemedi\u011fi yere gitmek, ula\u015f\u0131lmas\u0131 olanaks\u0131z y\u0131ld\u0131za varmak\u201d demektir. Bu ideal, \u0130ncil ile desteklenir ve do\u011fru sand\u0131\u011f\u0131m\u0131z i\u00e7in sava\u015fmak kutsanm\u0131\u015f bir ama\u00e7t\u0131r, Tan\u00adr\u0131n\u0131n inayetini kazanm\u0131\u015f bir aray\u0131\u015ft\u0131r; d\u00fcnya ancak b\u00f6yle daha g\u00fczel olacak\u00adt\u0131r. \u00dctopik bir yoldur bu ve bir a\u015fk ya da dayan\u0131\u015fma \u00fc\u00e7geni \u015fartt\u0131r bu yolda ba\u015far\u0131l\u0131 olmak i\u00e7in. Don Ki\u015fot\u2019ta bu voltran\u0131 Dulcinea, Don Ki\u015fot ve San\u00e7o Panza olu\u015fturur.
\nBellekteki metinler aras\u0131 ili\u015fki, yeni ak\u0131l y\u00fcr\u00fctmeler, uslamlamalar yap\u00admam\u0131z\u0131 sa\u011flar. Analojiler, an\u0131\u015ft\u0131rmalar sayesinde kolektif belle\u011fimizdeki h\u00fccreler uyan\u0131r ve Helen belki de bin y\u0131l daha hayatta kalmam\u0131z\u0131 sa\u011flayacak su ya da petrol k\u0131l\u0131\u011f\u0131nda g\u00f6r\u00fcnebilir k\u00fcresel imparatorluk d\u00fc\u015flerimizde.
\nYukardaki paradigmalar da kendi aralar\u0131nda metinleraras\u0131 bir i\u015fbirli\u011fi i\u00e7indedir. \u00d6yle ki, bu i\u015fbirli\u011fi bu paradigmalar\u0131n hi\u00e7 ara verilmeksizin tek\u00adrar\u0131n\u0131 gerektirir (replikasyon mitosu).
\nMoby Dick\u2019te Kaptan Ahab\u2019\u0131n beyaz balinaya haddini bildirme saplant\u0131s\u0131 (monomani) ile bir a\u015f\u0131\u011f\u0131n a\u015fk\u0131n\u0131n nesnesini \u201cseni ba\u015fka kimseye yar etmem\u201d diyerek okul kantininde \u00f6ld\u00fcrmesi aras\u0131nda hi\u00e7 fark yoktur. A\u015fk, marazi de olsa, b\u00f6yle trajik sonlarda da tezah\u00fcr etse, y\u00fcreklerde yer eder, hatt\u00e2 kimilerince onaylan\u0131r. Hemingway\u2019e Nobel \u00f6d\u00fcl\u00fcn\u00fc getiren \u0130htiyar Bal\u0131k\u00e7\u0131 ve Deniz roman\u0131nda, bal\u0131k\u00e7\u0131 ile k\u0131l\u0131\u00e7 bal\u0131\u011f\u0131 aras\u0131nda kovalamacay\u0131 Erich Fromm\u2019un terminolojisi ile \u201csimbiyotik bir a\u015fk ili\u015fkisi\u201d diye de okuyabiliriz. Taraflardan birisi telef olacakt\u0131r. Roman\u0131n sonunda, kumsaldaki bal\u0131k iskeletine bakan turistler bunun bir k\u00f6pek bal\u0131\u011f\u0131 iskeleti oldu\u011funu san\u0131rlar (ironi). Herkes, a\u015fk\u0131n\u0131n nesnesi sand\u0131\u011f\u0131na m\u0131 inan\u0131r? \u0130htiyar bal\u0131k\u00e7\u0131, \u00f6mr\u00fcn\u00fcn son deminde bir kez daha kahramanca bir edimde bulunurken, ve yakalad\u0131\u011f\u0131 bal\u0131\u011f\u0131 k\u00f6pek bal\u0131klar\u0131na kapt\u0131rd\u0131ktan sonra, sadece asla vazge\u00e7medi\u011fi i\u00e7in t\u0131pk\u0131 Don Ki\u015fot gibi g\u00f6z\u00fcm\u00fczde y\u00fccelir.
\nEfsanelerin, mitoslar\u0131n, simge ve imgelerin olu\u015fturdu\u011fu arketipler (ilk\u00f6rnekler) belle\u011fi yinelendik\u00e7e, daha \u00f6nce \u201ckesin belkiler\u201d dedi\u011fim ka\u00adl\u0131plar mutlak ger\u00e7ekler yerine ge\u00e7er. Adem elmay\u0131 bunun i\u00e7in yemi\u015f ve be\u00addelini cennetten kovulmakla \u00f6demi\u015f olsa da, o memnu meyveden \u0131s\u0131rm\u0131\u015f olman\u0131n anlam\u0131 bilgiye eri\u015fmi\u015f olmas\u0131d\u0131r. Bunun i\u00e7in de bir bilgisayar mar\u00adkas\u0131d\u0131r di\u015flenmi\u015f elma (g\u00f6rd\u00fc\u011f\u00fcm en k\u00f6t\u00fc ba\u015fyap\u0131t dedi\u011fim Forrest Gump filminde bile bu saf adam, ayn\u0131 bilgisayar \u015firketinin orta\u011f\u0131yd\u0131, bundan haberi olmasa da).
\nArketipler, stereotiple\u015fmeyi dayat\u0131r; yinelendik\u00e7e de yarat\u0131lan prototip kendisini \u00f6zg\u00fcn, ya da biricik san\u0131r. Bu y\u00fczden yery\u00fcz\u00fcnde herkes sevgi\u00adlisine \u201cSeni seviyorum,\u201d derken daha \u00f6nce bunu, b\u00f6yle hi\u00e7 kimsenin s\u00f6yle\u00admedi\u011fine inan\u0131r, inanmak da zorundad\u0131r. Bu y\u00fczdendir ki a\u015fk\u0131n taraflar\u0131 bir\u00adbirlerinin bedenini bir \u015feyleri payla\u015facaklar\u0131 ya da bir \u015feyleri saklayacaklar\u0131, ya da bir \u015feylerden saklanacaklar\u0131 uzamlar olarak da kullan\u0131rlar (Cem Aka\u015f\u2019tan sonra; s. 70).
\nOla\u011fan ya da ola\u011fand\u0131\u015f\u0131, a\u015fk\u0131n b\u00fct\u00fcn tezah\u00fcrleri \u00f6l\u00fcme kar\u015f\u0131, \u00f6l\u00fcms\u00fczl\u00fck olas\u0131l\u0131\u011f\u0131na do\u011fru at\u0131lm\u0131\u015f bir ad\u0131md\u0131r ve bir ya\u015fant\u0131sal bilgiyi edinme gerek\u00adsinimi g\u00f6sterir. Herkes bu y\u00fczden \u00e2\u015f\u0131k olmal\u0131d\u0131r, \u00e2\u015f\u0131k olmayan, olamayan\u0131n da yaz\u0131l\u0131 tarihi olmad\u0131\u011f\u0131ndan, bu t\u00fcr ki\u015filer \u201cGaliba ben aseks\u00fcelim\u201d derler. Af\u015far Timu\u00e7in\u2019in alan dedi\u011fi a\u015fk\u0131 ben uzam diye nitelendirmek isterim. Bu y\u00fczden k\u00fclt\u00fcrel bir uzamd\u0131r, bir de\u011ferler uzam\u0131d\u0131r a\u015fk. Baudelaire gibi \u00f6l\u00fcms\u00fcz putlar\u0131n kar\u015f\u0131s\u0131nda kendimize bakarak \u00f6l\u00fcms\u00fczl\u00fc\u011fe melankoliyle has\u00adretin a\u00e7\u0131klamas\u0131 da b\u00f6yle gelebilir.
\n\u0130nsano\u011flu \u00f6l\u00fcme, faniyyete kar\u015f\u0131 a\u015fk\u0131 umars\u0131zl\u0131\u011fa kar\u015f\u0131 deva niyetine kullanm\u0131\u015ft\u0131r, Bat\u0131\u2019da da, Do\u011fu\u2019dan \u00f6\u011frendi\u011fi \u00fczere. Sonra da narsisist kimli\u011finin bir \u00f6nko\u00ad\u015fulu olarak kendi yaratt\u0131\u011f\u0131 canavara, bu faili me\u00e7hul c\u00e2niye, \u00e2\u015f\u0131k olmu\u015ftur.<\/p>\n","protected":false},"excerpt":{"rendered":"
A\u015eKIN S\u00d6Z\u00dc K\u00d6RD\u00dcR: BATININ A\u015eK PAZARI VE PARAD\u0130GMALARI \u00dcZER\u0130NE B\u0130R DENEME Yusuf Eradam Sadece\/Hava da olsa\/\u00f6l\u00fcms\u00fczd\u00fcr\/dilimdeki s\u00f6zc\u00fckler. Sappho, Ad\u0131m Hi\u00e7 Unutulmayacak. Helena: A\u015fk g\u00f6zlerle de\u011fil, zihinle bakar; Ve bu y\u00fczden i\u015fte kanatl\u0131 Cupid k\u00f6r resmedilir. Shakespeare, Bir Yaz Gecesi R\u00fcyas\u0131 I, 1 …a\u011f\u0131z Ven\u00fcst\u00fcr, \u00e7\u00fcnk\u00fc a\u015fk \u00f6p\u00fcc\u00fckleri ve s\u00f6zc\u00fckleri oradan ge\u00e7mektedir. Michel Foucault, Kelimeler ve … <\/p>\n