{"id":44759,"date":"2011-09-01T13:46:33","date_gmt":"2011-09-01T10:46:33","guid":{"rendered":"https:\/\/bilimvegelecek.com.tr\/?p=44759"},"modified":"2020-06-09T14:03:39","modified_gmt":"2020-06-09T11:03:39","slug":"20-yuzyil-edebiyati-ya-da-fransanin-asirlik-yayinevi-gallimard","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2011\/09\/01\/20-yuzyil-edebiyati-ya-da-fransanin-asirlik-yayinevi-gallimard","title":{"rendered":"20. y\u00fczy\u0131l edebiyat\u0131 ya da Fransa\u2019n\u0131n as\u0131rl\u0131k yay\u0131nevi: Gallimard"},"content":{"rendered":"

Claudel, Proust, Malraux, Aragon, Faulkner, Queneau, Sartre, Camus, Hemingway, Borges, Yourcenar, Duras gibi 20. y\u00fczy\u0131l edebiyat\u0131n\u0131n \u00f6ne \u00e7\u0131kan isimlerini b\u00fcnyesinde toplayan Gallimard Yay\u0131nlar\u0131, y\u00fcz\u00fcnc\u00fc kurulu\u015f y\u0131l\u0131nda, yazarlar\u0131n eserlerinin elyazmalar\u0131n\u0131, yay\u0131nevi edit\u00f6rlerinin eserler \u00fczerindeki okuma notlar\u0131n\u0131, yazarlarla-yay\u0131nevi aras\u0131ndaki yaz\u0131\u015fmalar\u0131 vs. i\u00e7eren ar\u015fivini ziyarete a\u00e7t\u0131. <\/em><\/p>\n

Dergicilikten yay\u0131nc\u0131l\u0131\u011fa, Gallimard Yay\u0131nlar\u0131, bug\u00fcn zengin i\u00e7eri\u011fiyle entelekt\u00fcel ya\u015fam\u0131n y\u00fczy\u0131ll\u0131k haf\u0131zas\u0131n\u0131 olu\u015fturuyor. Kuruldu\u011fu g\u00fcnden bu yana ba\u011f\u0131ms\u0131z anlay\u0131\u015f\u0131n\u0131 s\u00fcrd\u00fcren yay\u0131nevi, 22 Mart-3 Temmuz tarihleri aras\u0131nda Frans\u0131z Ulusal K\u00fct\u00fcphanesi\u2019nde (BnF) bir sergi \u00e7er\u00e7evesinde, ar\u015fivini ilk kez ziyarete a\u00e7t\u0131. 40.000\u2019i a\u015fk\u0131n eseri i\u00e7eren yay\u0131nevi katalogunun b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fcn\u00fc 20. y\u00fczy\u0131l edebiyat\u0131n\u0131n \u00f6ne \u00e7\u0131kan isimleri olu\u015fturuyor: Claudel, Proust, Malraux, Faulkner, Queneau, Sartre, Camus, Hemingway, Borges, Yourcenar, Duras…<\/p>\n

Serginin ilk b\u00f6l\u00fcm\u00fc bir eserin bas\u0131m\u0131ndan \u00f6nceki s\u00fcrece odaklan\u0131rken, ikinci b\u00f6l\u00fcm\u00fc yay\u0131na haz\u0131rlanan kitaplarla ilgili edit\u00f6rl\u00fck \u00e7al\u0131\u015fmalar\u0131na ayr\u0131lm\u0131\u015ft\u0131. Yay\u0131nevi bir yandan, teknik ve mali, di\u011fer yandan edebi yaz\u0131\u015fmalar\u0131n\u0131 ziyaret\u00e7ileriyle payla\u015ft\u0131. Zamanla unutulmu\u015f ya da hi\u00e7 an\u0131lmam\u0131\u015f baz\u0131 anekdotlar ise g\u00fcndemde kalmaya devam ediyor.<\/p>\n

Tek bir katalogda 20. y\u00fczy\u0131l yazarlar\u0131
\n<\/strong>Andr\u00e9 Gide ve Jean Schulumberger taraf\u0131ndan kurulan Yeni Frans\u0131z Rev\u00fcs\u00fc <\/em>(NRF) Yay\u0131nlar\u0131,<\/em> 31 May\u0131s 1911\u2019de \u00f6ncelikle kendi edebiyat anlay\u0131\u015flar\u0131n\u0131 savunma amac\u0131yla ortaya \u00e7\u0131kar. Baudelaire, Mallarm\u00e9, Viel\u00e9-Griffin, Verhaeren gibi \u015fairleri kaynak olarak g\u00f6r\u00fcrler. Bir yay\u0131nevine do\u011fru evrilirken, kendi yak\u0131nlar\u0131 Claudel, Fargue, Larbaud ve Suar\u00e8s ilk isimler olur. K\u0131sa bir s\u00fcre sonra hayran olduklar\u0131 isimleri de kendilerine \u00e7ekmeyi ba\u015far\u0131rlar: Alexis Leger, Val\u00e9ry, Duhamel, P\u00e9guy, Romains; daha sonra NRF\u2019e yak\u0131n hissettikleri Martin du Grand, Rivi\u00e8re, Proust, Paulhan, Vildrac, Jouve\u2026 Zaman i\u00e7inde bu isimlere yenileri kat\u0131l\u0131r: Aragon, Kessel, Giono, Aym\u00e9, Morand, Maurois, Giraudoux, Audiberti, Drieu, Saint-Exup\u00e9ry, Camus, Sartre, Eluard, Duras, Genet, Malraux, Queneau, C\u00e9line, Yourcenar, Ionesco, Butor, Tournier, Modiano, Le Cl\u00e9zio, Quignard, Sollers, Pr\u00e9vert, Pennac, 20. y\u00fczy\u0131l edebiyat\u0131nda uzun bir listenin sadece birka\u00e7 temsilcisidir. Peki, b\u00fct\u00fcn bu 20. y\u00fczy\u0131l yazarlar\u0131n\u0131n tek bir katalogda toplanm\u0131\u015f olmas\u0131 tesad\u00fcf m\u00fcd\u00fcr?<\/p>\n

\u0130lk b\u00f6l\u00fcmde, yazarlar ile edit\u00f6rleri aras\u0131ndaki yaz\u0131\u015fmalar, yazarlar\u0131n elyazmalar\u0131n\u0131n kaderini belirleyen okuma notlar\u0131 ve kuruldan ge\u00e7erek bug\u00fcn\u00fcn \u00fcnl\u00fc eserlerini olu\u015fturmu\u015f elyazmalar\u0131 ile yazarlarla yap\u0131lan s\u00f6yle\u015fileri i\u00e7eren Ulusal G\u00f6rsel-\u0130\u015fitsel Enstit\u00fcs\u00fc (INA) ar\u015fivinden videolar yer al\u0131yordu. \u0130lk olarak BnF taraf\u0131ndan muhafaza edilen elyazmalar\u0131 sunulmu\u015ftu: Jean-Paul Sartre\u2019dan Bulant\u0131<\/em>, Andr\u00e9 Malraux\u2019dan \u0130nsanl\u0131k Durumu<\/em>, Marcel Proust\u2019dan Swann\u2019lar\u0131n Taraf\u0131<\/em>. Di\u011fer yandan, mektuplara yer veriliyordu: Val\u00e9ry Larboud, L\u00e9on-Paul Fargue, Jean Giono, Jean- Marie Gustave Le Cl\u00e9zio, Claude Roy ile arkada\u015f\u00e7a mektupla\u015fmalara ve Camus ile samimi tondaki yaz\u0131\u015fmalara\u2026 Yazarlarla s\u00f6yle\u015fi videolar\u0131ndan 10-15\u2019er dakikal\u0131k al\u0131nt\u0131lar g\u00f6steriliyordu. Bunlardan birinde, Quignard bireysel isyan\u0131n \u00f6nemi \u00fczerinde dururken, 17. y\u00fczy\u0131l Fransa\u2019s\u0131n\u0131n iki \u00f6nemli \u00e7ellistini, Sainte- Colombe ve Marin Marais\u2019yi konu ald\u0131\u011f\u0131 roman\u0131 D\u00fcnyan\u0131n B\u00fct\u00fcn Sabahlar\u0131<\/em>\u2019na de\u011finiyor, edebiyatta kar\u015f\u0131t fig\u00fcrlerin ilgisini \u00e7ekti\u011fini s\u00f6yl\u00fcyordu. Bir di\u011fer videoda ise \u00e7alan, yakalanan, tekrar \u00e7alan ve tekrar yakalanan; Patti Smith\u2019in deyimiyle \u201ck\u00f6t\u00fc bir h\u0131rs\u0131z\u201d olan Genet, \u201cSerseriden, h\u0131rs\u0131zdan ba\u015fka bir \u015fey olamazd\u0131m\u201d diyerek kendini ele veriyordu. Beat hareketinin ba\u015fl\u0131ca fig\u00fcrlerinden William Burroughs, yak\u0131n arkada\u015f\u0131 Kerouac\u2019\u0131n yazma tutkusundan bahsediyordu. C\u00e9line Sokrates\u2019ten al\u0131nt\u0131lad\u0131\u011f\u0131 \u201cyaz\u0131 dili daima k\u00f6t\u00fcd\u00fcr\u201d s\u00f6z\u00fcyle kendi edebi anlay\u0131\u015f\u0131n\u0131 \u00f6rnekliyordu; C\u00e9line\u2019in g\u00fcndelik dil ve argo \u00fczerine kurulu, s\u00f6zdizimi ve noktalama kurallar\u0131yla oynayarak geli\u015ftirdi\u011fi \u00fcslubu, onu \u00e7a\u011fda\u015flar\u0131ndan ay\u0131rm\u0131\u015f ve 20. y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck bi\u00e7imcilerinden say\u0131lmas\u0131na neden olmu\u015ftu. Le Cl\u00e9zio ise paranoyay\u0131 insan\u0131n normal geli\u015fiminin sonucu olarak niteliyordu: \u201cZek\u00e2 ve akl\u0131selimlik, delili\u011fe varabilir ve bunlar\u0131n insan\u0131n kendisinin efendisi olmad\u0131\u011f\u0131n\u0131 g\u00f6steren her \u015fey ile sars\u0131ld\u0131\u011f\u0131 s\u00f6ylenebilir.\u201d<\/p>\n

Yay\u0131n kurulunda fikir ayr\u0131l\u0131klar\u0131
\n<\/strong>Serginin okuma notlar\u0131na ayr\u0131lm\u0131\u015f b\u00f6l\u00fcm\u00fcnde, yay\u0131nevine gelen eserlerin incelenmesi, s\u00fcz\u00fclmesi ve yay\u0131n komitesinde okunan eserlere dair notlar bulunuyordu: Roger Caillois\u2019n\u0131n Jorge Louis Borges\u2019yi ve Julio Cort\u00e0zar\u2019\u0131; Malraux\u2019nun Steinbeck\u2019i ve Faulkner\u2019i; Dominique Aury ve Michel Mohrt\u2019un Henry Miller\u2019\u0131 okuyup, eserler \u00fczerine d\u00fc\u015f\u00fcncelerini yazd\u0131klar\u0131 kartlar\u2026 Baz\u0131 eserlerin yay\u0131mlanmas\u0131 konusunda fikir birli\u011fi sa\u011flamak her zaman kolay olmam\u0131\u015f; sergi organizat\u00f6rlerinden Alban Cerisier yay\u0131n kurulu i\u00e7indeki ayr\u0131l\u0131klara dair, \u201cOkurlar kimi zaman eserleri tamamen kar\u015f\u0131t bi\u00e7imde alg\u0131layabiliyor. Bir ki\u015finin bir elyazmas\u0131n\u0131 reddederken, di\u011fer bir ki\u015finin ayn\u0131 elyazmas\u0131n\u0131 co\u015fkuyla savunabiliyor olmas\u0131 bizi edebi de\u011ferler istikrars\u0131zl\u0131\u011f\u0131na g\u00f6t\u00fcr\u00fcyor. Bu da bize de\u011ferlerin zaman i\u00e7inde olu\u015ftu\u011funu hat\u0131rlat\u0131yor\u201d diyor. Kay\u0131p Zaman\u0131n \u0130zinde<\/em>\u2019nin yay\u0131n ser\u00fcveni, bunu \u00f6rnekleyen anekdotlardan sadece biri: 1909 bahar\u0131nda, Proust, \u00f6ncelikle irade d\u0131\u015f\u0131nda geli\u015fen bir an\u0131n\u0131n roman\u0131n\u0131 yazmay\u0131 tasarlar. Kay\u0131p Zaman\u0131n \u0130zinde<\/em> serisinin elyazmas\u0131 ilk cildi Swann\u2019lar\u0131n Taraf\u0131<\/em>, 1912\u2019de Yeni Frans\u0131z Rev\u00fcs\u00fc<\/em>\u2019ne (NRF) teslim edilir. Yay\u0131n edit\u00f6rlerinden Schulumberg, 700 sayfal\u0131k elyazmas\u0131n\u0131 reddeder. Gide\u2019in roman \u00fczerine yorumu ise, \u201cD\u00fc\u015feslerle dolu, bize g\u00f6re de\u011fil\u201d olur. Proust\u2019un bas\u0131m maliyetini kendi kar\u015f\u0131lad\u0131\u011f\u0131 eseri 1913\u2019te Bernard Grasset taraf\u0131ndan bas\u0131l\u0131r. Gide, \u00e7ok ge\u00e7meden bu hatan\u0131n sorumlulu\u011funu yay\u0131nevi ad\u0131na \u00fcstlenerek telafisi i\u00e7in \u00e7al\u0131\u015f\u0131r, ancak alt\u0131 y\u0131l sonra Grasset raz\u0131 edilir ve kalan serinin yay\u0131n haklar\u0131 1919\u2019dan itibaren Gallimard\u2019\u0131n eline ge\u00e7er. \u201cBu kitab\u0131n reddi NRF\u2019in en b\u00fcy\u00fck hatas\u0131 olarak kalacak\u201d diyerek pi\u015fmanl\u0131\u011f\u0131n\u0131 dile getirir Gide.<\/p>\n

D\u00fcnden bug\u00fcne Gallimard
\n<\/em><\/strong>Yeni Frans\u0131z Rev\u00fcs\u00fc <\/em>kurucular\u0131, inand\u0131klar\u0131 edebiyat\u0131n yay\u0131nc\u0131l\u0131\u011f\u0131n\u0131 yapma imk\u00e2n\u0131 veren kal\u0131c\u0131 bir yap\u0131 olu\u015fturmay\u0131 istiyordu. Bu nedenle, Andr\u00e9 Gide ve Jean Schulumberger, 1910\u2019da Gaston Gallimard\u2019a inand\u0131klar\u0131 yay\u0131nevinin i\u015fletmecili\u011fini \u00fcstlenmesini \u00f6nerdiler. Arkada\u015flar\u0131n\u0131n yazd\u0131klar\u0131n\u0131 basmay\u0131 ama\u00e7layan bu topluluk, \u00f6nceleri yay\u0131nevi b\u00fct\u00e7esine e\u015fit ama fazla y\u00fckl\u00fc olmayan bir miktarda katk\u0131da bulunmaktayd\u0131. 1919\u2019a kadar zorlukla ayakta kalan ve yay\u0131n\u0131n\u0131 s\u00fcrd\u00fcrmek d\u0131\u015f\u0131nda kazan\u00e7 sa\u011flad\u0131\u011f\u0131 s\u00f6ylenemeyen i\u015fletme, Gaston Gallimard\u2019\u0131n New York seyahati d\u00f6n\u00fc\u015f\u00fcnde getirdi\u011fi \u00f6neriyle, ticari bir topluluk yaratma s\u00fcrecine girdi ve NRF 26 Temmuz 1919\u2019da Gallimard Kitabevi ad\u0131n\u0131 ald\u0131.<\/p>\n

Serginin ikinci b\u00f6l\u00fcm\u00fcnde yay\u0131nc\u0131l\u0131k ile ilgili ayr\u0131nt\u0131l\u0131 \u00e7al\u0131\u015fmalara yer verilmi\u015fti: tipografi, monogram, \u2026 vb. gibi yay\u0131na haz\u0131rlanan kitap \u00fczerindeki uzun soluklu edit\u00f6rl\u00fck \u00e7al\u0131\u015fmas\u0131; yeniden okuma-d\u00fczeltme s\u00fcreci, seri olu\u015fturma, tematik \u00e7al\u0131\u015fmalarda kitaplar\u0131n yazarlara \u0131smarlanmas\u0131\u2026 Gallimard yay\u0131nc\u0131lar\u0131 i\u00e7in estetik; yaz\u0131 tipi, sayfa ve bask\u0131 kalitesine g\u00f6sterilen \u00f6zen yazma tutkusu kadar \u00f6nemlidir. Zamanla edit\u00f6rl\u00fc\u011f\u00fcn teknolojik geli\u015fmelerle birlikte farkl\u0131 alanlara a\u00e7\u0131lmas\u0131 serilerin zenginle\u015fmesine olanak sa\u011flar. 1972\u2019de yarat\u0131lan cep serisi ile kitaplar pop\u00fclerle\u015ftirilir ve en ucuzundan en pahal\u0131s\u0131na ayn\u0131 kitab\u0131n farkl\u0131 kalitede bask\u0131lar\u0131n\u0131 bulmak m\u00fcmk\u00fcn hale gelir.\"\"<\/p>\n

\u015eimdi, Frans\u0131z edebiyat\u0131n\u0131 \u00f6zg\u00fcn dilinden okuma heveslileri i\u00e7in, kendi kendinize yapabilece\u011finiz k\u00fc\u00e7\u00fck bir sondaj \u00f6neriyorum: K\u00fct\u00fcphanenizdeki kitaplar\u0131n y\u00fczde ka\u00e7\u0131n\u0131 Gallimard bask\u0131lar\u0131 olu\u015fturuyor? \u00c7\u00fcnk\u00fc sergi d\u00f6n\u00fc\u015f\u00fc ilk yapt\u0131\u011f\u0131m \u015fey, alt\u0131 ayl\u0131k bir s\u00fcrede olu\u015fturdu\u011fum kitapl\u0131\u011f\u0131n kar\u015f\u0131s\u0131na ge\u00e7ip, kitaplar\u0131m\u0131n hangi yay\u0131nevlerine ait olduklar\u0131na bakmakt\u0131. O ana kadar dikkatimden ka\u00e7m\u0131\u015f; farkl\u0131 yay\u0131nevlerinden \u00e7\u0131kt\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm bir\u00e7ok kitab\u0131n yaln\u0131zca Gallimard\u2019\u0131n farkl\u0131 serilerine ait oldu\u011funu g\u00f6rd\u00fcm. Farkl\u0131 yay\u0131nevlerinden \u00e7\u0131kan bask\u0131lar\u0131 mevcut olmas\u0131na ra\u011fmen, kitap se\u00e7imimde, Gallimard\u2019lar \u00f6ncelikli gelmi\u015f. Yine de sadece tek bir yay\u0131nevinin, di\u011fer t\u00fcm yay\u0131nevleri aras\u0131ndan s\u0131yr\u0131larak, zengin say\u0131lamayacak bir kitapl\u0131kta bile bu derece yay\u0131lma g\u00f6stermi\u015f olmas\u0131n\u0131n sevimli oldu\u011funu s\u00f6ylemek g\u00fc\u00e7.<\/p>\n

80\u2019li y\u0131llardan bug\u00fcne Gallimard Yay\u0131nlar\u0131\u2019n\u0131n kitap sat\u0131\u015flar\u0131nda hissedilir bir d\u00fc\u015f\u00fc\u015f ya\u015fan\u0131yor. Bunun nedeni Frans\u0131z d\u00fc\u015f\u00fcncesindeki b\u00fcy\u00fck fig\u00fcrlerin kaybolmas\u0131na ba\u011flan\u0131yor. Edebiyata yaln\u0131zca bir prestij i\u015fi g\u00f6z\u00fcyle bak\u0131lmad\u0131\u011f\u0131ndan, pop\u00fcler edebiyat, bug\u00fcne kadar ancak yarat\u0131m\u0131n devam\u0131n\u0131 sa\u011flad\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde Gallimard raflar\u0131ndaki yerini bulmu\u015f. Gallimard\u2019\u0131n belki de en \u00f6nemli \u00f6zelli\u011finden biri de kendi zevklerini b\u00fct\u00fcnleyecek insanlar\u0131 se\u00e7mi\u015f olmalar\u0131. Ba\u015flang\u0131\u00e7taki, b\u00fct\u00fcn bir y\u00fczy\u0131l\u0131n yazarlar\u0131n\u0131n tek bir yay\u0131nevini s\u0131\u011f\u0131nak bellemi\u015f olmas\u0131n\u0131n tesad\u00fcf olup olmad\u0131\u011f\u0131 sorusuna geri d\u00f6nersek, belki yan\u0131ta biraz yakla\u015fm\u0131\u015f oldu\u011fumuzu d\u00fc\u015f\u00fcnebiliriz. Yay\u0131nevi, e\u015fine nadir rastlanan bu yay\u0131nc\u0131l\u0131k politikas\u0131n\u0131, kendini piyasa kurallar\u0131na ve modaya teslim etmeden y\u00fczy\u0131ld\u0131r s\u00fcrd\u00fcrebiliyor. Bug\u00fcn\u00fcn edebiyat tarih\u00e7ileri \u201cNRF ruhu\u201dnu klasik, ama ayn\u0131 zamanda modernli\u011fe a\u00e7\u0131k bir be\u011feni olarak tan\u0131ml\u0131yorlar.<\/p>\n","protected":false},"excerpt":{"rendered":"

Claudel, Proust, Malraux, Aragon, Faulkner, Queneau, Sartre, Camus, Hemingway, Borges, Yourcenar, Duras gibi 20. y\u00fczy\u0131l edebiyat\u0131n\u0131n \u00f6ne \u00e7\u0131kan isimlerini b\u00fcnyesinde toplayan Gallimard Yay\u0131nlar\u0131, y\u00fcz\u00fcnc\u00fc kurulu\u015f y\u0131l\u0131nda, yazarlar\u0131n eserlerinin elyazmalar\u0131n\u0131, yay\u0131nevi edit\u00f6rlerinin eserler \u00fczerindeki okuma notlar\u0131n\u0131, yazarlarla-yay\u0131nevi aras\u0131ndaki yaz\u0131\u015fmalar\u0131 vs. i\u00e7eren ar\u015fivini ziyarete a\u00e7t\u0131. Dergicilikten yay\u0131nc\u0131l\u0131\u011fa, Gallimard Yay\u0131nlar\u0131, bug\u00fcn zengin i\u00e7eri\u011fiyle entelekt\u00fcel ya\u015fam\u0131n y\u00fczy\u0131ll\u0131k haf\u0131zas\u0131n\u0131 olu\u015fturuyor. […]<\/p>\n","protected":false},"author":486,"featured_media":44765,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[128,38,510,511],"tags":[6807,275,6805,6808,6806],"class_list":["post-44759","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-91-sayi","category-dergi-sayilari","category-surekli-bolumler","category-yayin-dunyasi","tag-claudel","tag-edebiyat","tag-gallimard","tag-proust","tag-yayincilik"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/44759","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\/486"}],"replies":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=44759"}],"version-history":[{"count":0,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/44759\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media\/44765"}],"wp:attachment":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=44759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=44759"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=44759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}