Her yazar, eserinin ve d\u00fcnya meselelerine kar\u015f\u0131 o eserde \u00fcretti\u011fi \u00e7\u00f6z\u00fcmlerin biricik olmas\u0131n\u0131 ister ku\u015fkusuz. Antik d\u00f6nem yazarlar\u0131ndan Shakespeare\u2019e, Goethe\u2019den g\u00fcn\u00fcm\u00fcz yazarlar\u0131na kadar b\u00fct\u00fcn b\u00fcy\u00fck ustalar bu gayretle kaleme sar\u0131lm\u0131\u015ft\u0131r hep. Hamletler, Faustlar ve daha niceleri, paha bi\u00e7ilemez m\u00fccevherler yani, yarat\u0131c\u0131lar\u0131n\u0131n zihinlerinden b\u00f6yle aktar\u0131lm\u0131\u015ft\u0131r insanl\u0131\u011f\u0131n ortak k\u00fclt\u00fcr hazinesine.<\/p>\n
Bununla birlikte, biricik olan\u0131 ortaya \u00e7\u0131karma iddia ve arzusundaki yazar, m\u00fcthi\u015f bir endi\u015fe duyar. Endi\u015fesinin temelinde, ba\u015fkalar\u0131n\u0131n yazd\u0131klar\u0131ndan etkilenme ve bu etkiyi a\u015fma gerilimi yatar. Yazar, kendine has y\u00f6ntem ve bak\u0131\u015f a\u00e7\u0131s\u0131yla s\u00f6z konusu gerilimi ba\u015far\u0131yla a\u015fsa bile, \u00f6ncekilerden bir iz kal\u0131r yazd\u0131klar\u0131nda. Ve okur birtak\u0131m sorularla izlerin pe\u015fine d\u00fc\u015fer. Ne diyordu \u00fcnl\u00fc kitab\u0131nda Harold Bloom: \u201cBir \u015fiirin anlam\u0131 yaln\u0131zca bir \u015fiir olabilir, ama ba\u015fka bir \u015fiir.\u201d (Harold Bloom, Etkilenme Endi\u015fesi: Bir \u015eiir Teorisi, \u00e7ev. Ferit Burak Aydar, Metis Yay\u0131nlar\u0131, 184 s.)<\/p>\n
<\/p>\n
Benden \u00d6nce Bir Ba\u015fkas\u0131<\/em><\/strong><\/p>\n \u201cBir eser kendinden \u00f6nce ortaya konmu\u015f problemlerle nas\u0131l bir ili\u015fki kurar? O problemin yerine kendi problemini nas\u0131l ge\u00e7irir? Ya da nas\u0131l o problemin gerisine d\u00fc\u015fer?\u201d<\/p>\n Son zamanlarda ele\u015ftirmen denildi\u011finde akla gelen ilk isimlerden biri olan Nurdan G\u00fcrbilek\u2019in yukar\u0131daki sorular etraf\u0131nda \u015fekillendirdi\u011fi yeni kitab\u0131 Benden \u00d6nce Bir Ba\u015fkas\u0131<\/em>, ge\u00e7en ay kitap\u00e7\u0131 raflar\u0131nda kendisine yer a\u00e7t\u0131. Bir yazara bir ba\u015fka yazar\u0131n, bir esere bir ba\u015fkas\u0131n\u0131n \u0131\u015f\u0131\u011f\u0131nda bakan ikili ve \u00e7apraz okumalardan do\u011fan kitab\u0131n temel tezi ise \u015fu: Hi\u00e7bir eser bo\u015flu\u011fa do\u011fmaz. Bir eser kendinden \u00f6ncekilerle yaln\u0131zca konu\u015fmaz, ayn\u0131 zamanda m\u00fccadele de eder.<\/p>\n G\u00fcrbilek, \u201cBir yazar\u0131 daha iyi anlayabilmek i\u00e7in, ona bir ba\u015fkas\u0131n\u0131n bak\u0131\u015f\u0131n\u0131 de\u011fdirmekten ka\u00e7\u0131nmayal\u0131m\u201d diyor giri\u015f yaz\u0131s\u0131nda. Kitapta yedi deneme var. Dostoyevski\u2019nin Su\u00e7 ve Ceza<\/em>\u2019s\u0131yla Kafka\u2019n\u0131n D\u00f6n\u00fc\u015f\u00fcm<\/em>\u2019\u00fc, Kafka\u2019n\u0131n Babama Mektup<\/em>\u2019uyla O\u011fuz Atay\u2019\u0131n \u201cBabama Mektup<\/em>\u201du, Tanp\u0131nar\u2019\u0131n g\u00fcnl\u00fckleriyle Dostoyevski\u2019nin Yeralt\u0131ndan Notlar<\/em>\u2019\u0131, Benjamin\u2019in Pasajlar<\/em>\u2019\u0131yla Tanp\u0131nar\u2019\u0131n Be\u015f \u015eehir<\/em>\u2019i, Peyami Safa\u2019n\u0131n \u201c\u015eark Nedir?<\/em>\u201diyle Cemil Meri\u00e7\u2019in Bu \u00dclke<\/em>\u2019si, Cemil Meri\u00e7\u2019in Bu<\/em> \u00dclke<\/em>\u2019siyle Edward Said\u2019in \u015earkiyat\u00e7\u0131l\u0131k<\/em>\u2019\u0131 ve Orhan Ko\u00e7ak\u2019\u0131n yaz\u0131lar\u0131yla Adorno\u2019nunkiler, metinler aras\u0131nda kurulan ili\u015fkiler \u00e7er\u00e7evesinde irdeleniyor<\/p>\n Hemen belirtelim, G\u00fcrbilek, niyeti art\u0131 veya eksi puan da\u011f\u0131tmak olmad\u0131\u011f\u0131ndan, ad\u0131 ge\u00e7en usta kalem ve eserleri yan yana koyup yar\u0131\u015ft\u0131rmay\u0131 do\u011fru bulmuyor. Bunun yerine, d\u00f6nemin ko\u015fullar\u0131n\u0131 da hesaba katarak, okuyucunun hayal g\u00fcc\u00fcn\u00fc kam\u00e7\u0131layan sorular arac\u0131l\u0131\u011f\u0131yla, bir eserin yarat\u0131c\u0131s\u0131n\u0131n akl\u0131nda nas\u0131l do\u011fmu\u015f olabilece\u011fi konusuna odaklanmay\u0131 tercih ediyor.<\/p>\n <\/p>\n B\u00f6cek, Hayali Paris bulu\u015fmas\u0131, \u015eark\u2026<\/em><\/strong><\/p>\n \u0130lk denemede Su\u00e7 ve Ceza <\/em>ile D\u00f6n\u00fc\u015f\u00fcm<\/em> kar\u015f\u0131la\u015ft\u0131r\u0131l\u0131yor. Dostoyevski\u2019nin neredeyse b\u00fct\u00fcn romanlar\u0131nda \u201cezilmi\u015f ve a\u015fa\u011f\u0131lanm\u0131\u015fl\u0131\u011f\u0131\u201d vurgulamak i\u00e7in kulland\u0131\u011f\u0131 b\u00f6cek mecaz\u0131n\u0131n, elli y\u0131l sonra bir Dostoyevski okuru olan Kafka\u2019n\u0131n D\u00f6n\u00fc\u015f\u00fcm<\/em>\u2019\u00fcnde v\u00fccut buldu\u011funa dikkat \u00e7eken G\u00fcrbilek, \u201cAncak, Kafka\u2019n\u0131n b\u00f6ce\u011fi olmasayd\u0131, onu \u00f6nceleyen Dostoyevski romanlar\u0131ndaki b\u00f6ceklerin fark\u0131na varamayacakt\u0131k\u201d derken hakl\u0131d\u0131r. Kafka ba\u015far\u0131y\u0131 selefinin mecaz\u0131na kendi damgas\u0131n\u0131 vurarak kazanm\u0131\u015f, ama onun farkl\u0131 bir g\u00f6zle tekrar okunmas\u0131na da imkan sa\u011flam\u0131\u015ft\u0131r.<\/p>\n Kitaptaki d\u00f6rd\u00fcnc\u00fc denemedeyse, \u201cTanp\u0131nar’la Benjamin Paris’te kar\u015f\u0131la\u015fsayd\u0131 e\u011fer, nas\u0131l bir fikir al\u0131\u015fveri\u015fi olurdu acaba aralar\u0131nda?\u201d sorusuna cevap aran\u0131yor. Her ikisinin de ortak noktalar\u0131 var. Ge\u00e7mi\u015fi, haf\u0131zay\u0131, hat\u0131rlamay\u0131, r\u00fcyalar\u0131 ve \u00e7ocukluklar\u0131n\u0131n ge\u00e7ti\u011fi \u015fehirleri \u00f6nemsedikleri i\u00e7in konu\u015facak \u00e7ok \u015feyleri olabilirdi. Peki s\u00f6z devrim ve isyan fikrine geldi\u011finde i\u015fin rengi de\u011fi\u015fir miydi? Yazar\u0131m\u0131z\u0131n cevab\u0131 gayet net: \u201cTanp\u0131nar Benjamin\u2019i fazla radikal, fazla isyankar, d\u00fcped\u00fcz kom\u00fcnist bulurdu. Benjamin’se Tanp\u0131nar\u2019\u0131 kendine d\u00f6neyim derken \u2018muhte\u015fem r\u00fcya\u2019ya kap\u0131lmakla, \u2018yaln\u0131z milli olan \u015feylerin pe\u015findeki darla\u015fmay\u0131\u2019 \u00f6vmekle, hepsinden \u00f6nemlisi k\u00fclt\u00fcre daima e\u015flik eden deh\u015fete g\u00f6zlerini kapamakla su\u00e7lard\u0131.\u201d<\/p>\n \u0130lgi \u00e7ekici b\u00f6l\u00fcmlerinden biri de, Cemil Meri\u00e7\u2019in Bu \u00dclke<\/em>\u2019siyle Edward Said\u2019in \u015earkiyat\u00e7\u0131l\u0131k<\/em>\u2019\u0131n\u0131n de\u011ferlendirildi\u011fi alt\u0131nc\u0131 deneme. \u015earkiyat\u00e7\u0131l\u0131k kavram\u0131n\u0131n, \u201cDo\u011fu\u201ddaki siyasal ve ekonomik s\u00f6m\u00fcr\u00fcy\u00fc s\u00fcrd\u00fcrmek isteyen \u201cBat\u0131\u201dl\u0131larca icat edildi\u011fini \u00f6ne s\u00fcren Said\u2019in kitab\u0131n\u0131n T\u00fcrk\u00e7e bask\u0131s\u0131na yazd\u0131\u011f\u0131 \u00f6ns\u00f6zde \u015f\u00f6yle soruyor Meri\u00e7: \u201cNeden Oryantalizm<\/em>\u2019e uzaktan veya yak\u0131ndan benzeyen bir kitab\u0131n alt\u0131nda bir T\u00fcrk\u2019\u00fcn imzas\u0131 yok?\u201d Ni\u00e7in yaz\u0131lamad\u0131\u011f\u0131n\u0131n cevab\u0131 iki yazar\u0131n bak\u0131\u015f a\u00e7\u0131lar\u0131 aras\u0131ndaki farkta sakl\u0131 asl\u0131nda. Said, Do\u011fuyu \u201cfethedilebilir bir di\u015fi\u201d gibi g\u00f6ren Bat\u0131y\u0131 ele\u015ftirirken, Meri\u00e7, do\u011fu halklar\u0131n\u0131, \u0131rz\u0131n\u0131 teslim edecek bir zorba arayan, \u201c\u00c7obans\u0131z rahat edemeyen bir kaz s\u00fcr\u00fcs\u00fc\u201dne benzetiyor.<\/p>\n Kitaptaki \u00f6teki denemeler de heyecan verici ve okunmaya de\u011fer. G\u00fcrbilek eseriyle, \u00fclkemizde yakla\u015f\u0131k 15 sene gibi k\u0131sa bir maziye sahip olan kar\u015f\u0131la\u015ft\u0131rmal\u0131 edebiyat literat\u00fcr\u00fcne \u00f6nemli bir katk\u0131 sunuyor.<\/p>\n","protected":false},"excerpt":{"rendered":" Her yazar, eserinin ve d\u00fcnya meselelerine kar\u015f\u0131 o eserde \u00fcretti\u011fi \u00e7\u00f6z\u00fcmlerin biricik olmas\u0131n\u0131 ister ku\u015fkusuz. Antik d\u00f6nem yazarlar\u0131ndan Shakespeare\u2019e, Goethe\u2019den g\u00fcn\u00fcm\u00fcz yazarlar\u0131na kadar b\u00fct\u00fcn b\u00fcy\u00fck ustalar bu gayretle kaleme sar\u0131lm\u0131\u015ft\u0131r hep. Hamletler, Faustlar ve daha niceleri, paha bi\u00e7ilemez m\u00fccevherler yani, yarat\u0131c\u0131lar\u0131n\u0131n zihinlerinden b\u00f6yle aktar\u0131lm\u0131\u015ft\u0131r insanl\u0131\u011f\u0131n ortak k\u00fclt\u00fcr hazinesine. Bununla birlikte, biricik olan\u0131 ortaya \u00e7\u0131karma iddia […]<\/p>\n","protected":false},"author":416,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[124,511],"tags":[275,668],"class_list":["post-10706","post","type-post","status-publish","format-standard","hentry","category-87-sayi","category-yayin-dunyasi","tag-edebiyat","tag-yayin-dunyasi"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/10706","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/users\/416"}],"replies":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=10706"}],"version-history":[{"count":0,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/10706\/revisions"}],"wp:attachment":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=10706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=10706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=10706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}