{"id":62821,"date":"2024-08-02T09:32:22","date_gmt":"2024-08-02T06:32:22","guid":{"rendered":"https:\/\/bilimvegelecek.com.tr\/?p=62821"},"modified":"2024-08-02T09:32:22","modified_gmt":"2024-08-02T06:32:22","slug":"paris-2024-acilis-toreni-ve-pandoranin-kutusu","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2024\/08\/02\/paris-2024-acilis-toreni-ve-pandoranin-kutusu","title":{"rendered":"Paris 2024 a\u00e7\u0131l\u0131\u015f t\u00f6reni ve Pandora\u2019n\u0131n Kutusu"},"content":{"rendered":"

Ender Helvac\u0131o\u011flu<\/strong><\/p>\n

Paris Olimpiyat\u0131n\u0131n a\u00e7\u0131l\u0131\u015f t\u00f6renini ba\u015ftan sona heyecanla izledim. \u00c7ok be\u011fendim; ama i\u00e7eri\u011fini birazdan tart\u0131\u015faca\u011f\u0131m. 2008 Pekin Olimpiyat\u0131n\u0131n a\u00e7\u0131l\u0131\u015f\u0131n\u0131 ise izlememi\u015ftim. \u00c7ok methedildi\u011fi i\u00e7in internetten baz\u0131 b\u00f6l\u00fcmlerini bulup izledim. Bu konulardaki de\u011ferlendirmelerine g\u00fcvendi\u011fim arkada\u015f\u0131m Haldun \u00c7ubuk\u00e7u, a\u00e7\u0131l\u0131\u015flarda bir numaraya 2008 Pekin\u2019i, iki numaraya da 2024 Paris\u2019i koymu\u015f; yani Paris a\u00e7\u0131l\u0131\u015f\u0131n\u0131 da \u00e7ok be\u011fenmi\u015f.<\/p>\n

Ama iki a\u00e7\u0131l\u0131\u015f\u0131n iki farkl\u0131 d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc yans\u0131tt\u0131\u011f\u0131 kan\u0131s\u0131nday\u0131m. Genel de\u011ferlendirmemi ba\u015ftan s\u00f6yleyeyim: Bence 2008 Pekin \u201cdirenen modernite\u201dyi, 2024 Paris ise \u201cda\u011f\u0131lmaya y\u00fcz tutmu\u015f burjuva modernitesi\u201dni temsil ediyor. Elbette Frans\u0131zlar burjuva modernitesini ele\u015ftirmek amac\u0131yla kurgulamam\u0131\u015flar bu g\u00f6steriyi; ama ortaya \u00e7\u0131kan \u00fcr\u00fcn bir da\u011f\u0131lmay\u0131 ve \u00e7\u00f6z\u00fclmeyi g\u00f6zler \u00f6n\u00fcne seriyor. Neden?<\/p>\n

Paris Olimpiyat\u0131 a\u00e7\u0131l\u0131\u015f t\u00f6renini izlerken, bir orta\u00e7a\u011f halk festivalini, hatta baz\u0131 yanlar\u0131yla bir pagan rit\u00fcelini izliyormu\u015f hissine kap\u0131ld\u0131m. \u00d6rne\u011fin, metal m\u00fczik e\u015fli\u011finde kafas\u0131 kesik Marie Antoinette\u2019in g\u00f6sterildi\u011fi kesit, bir Frans\u0131z Devrimi temas\u0131 hissiyat\u0131 vermedi bana.<\/p>\n

Frans\u0131z Devrimi ve Frans\u0131z ayd\u0131nlanmac\u0131lar\u0131, sadece Frans\u0131z modernitesinin de\u011fil t\u00fcm modernite tarihinin en \u00f6nde gelen simgeleridir. Ama a\u00e7\u0131l\u0131\u015f t\u00f6reninde ne devrimin liderleri Robespierre, Danton, Marat, Babeuf gibi isimlerden ne Bastille bask\u0131n\u0131ndan ne de Voltaire, Diderot, Rousseau gibi isimlerden eser vard\u0131. T\u00fcm d\u00fcnyaya esin kayna\u011f\u0131 olmu\u015f bir devrimin sadece krali\u00e7enin kesik kafas\u0131yla simgelenmesi, devrimci ve ayd\u0131nlanmac\u0131 bir vurgudan \u00e7ok anar\u015fizan ve pagan bir g\u00f6nderme gibi geldi bana.<\/p>\n

\u00d6te yandan, \u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fc\u011f\u00fcn ve farkl\u0131 kimliklerle bir arada olman\u0131n bu kadar \u00f6ne \u00e7\u0131kar\u0131ld\u0131\u011f\u0131 bir g\u00f6steride 68 Paris\u2019inden hi\u00e7 s\u00f6z edilmemesi de (belki de ben ka\u00e7\u0131rm\u0131\u015f\u0131md\u0131r) garipti.<\/p>\n

Modernitenin, ayd\u0131nlanman\u0131n ve demokratik devrimin ba\u015fkentinde, tarihsel ve k\u00fclt\u00fcrel simgelere bu denli g\u00f6nderme yap\u0131lan bir a\u00e7\u0131l\u0131\u015f t\u00f6reninde, burjuva modernitesinin Frans\u0131z simgelerinin \u00f6ne \u00e7\u0131kmas\u0131n\u0131 beklersiniz de\u011fil mi? Ama \u00f6yle olmam\u0131\u015f. \u00c7\u00fcnk\u00fc Paris ayn\u0131 zamanda post-modernizmin de ba\u015fkenti.<\/p>\n

A\u00e7\u0131l\u0131\u015f g\u00f6sterisinde ana tema olarak kimlik\u00e7i \u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fck, cinsel-\u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fck, ultra-\u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fck vurgusu \u00f6ne \u00e7\u0131km\u0131\u015f. Her \u015fey olabilir, her \u015feye yer vard\u0131r, her \u015feye \u00f6zg\u00fcrl\u00fck! Bu \u201c\u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fck\u201d ak\u0131mlar\u0131 i\u00e7inde a\u00e7\u0131l\u0131\u015fta \u00f6zellikle vurgulanan LGBT ve feminizm temas\u0131n\u0131n fraksiyonlar\u0131na vak\u0131f de\u011filim. Bilgi sahibi arkada\u015flar, bu alanda \u00e7ok ciddi tart\u0131\u015fmalar\u0131n ve \u00e7at\u0131\u015fmalar\u0131n da ya\u015fand\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyorlar. Bu i\u015fin detaylar\u0131n\u0131 bilemiyorum. Daha ku\u015fbak\u0131\u015f\u0131 yakla\u015farak, a\u00e7\u0131l\u0131\u015f\u0131n burjuva modernitesinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fc ve da\u011f\u0131l\u0131\u015f\u0131n\u0131 g\u00f6sterdi\u011fini d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n

***<\/p>\n

O halde, niye heyecanla ve be\u011fenerek izledim bu a\u00e7\u0131l\u0131\u015f\u0131? Birbirine z\u0131t temalar i\u015flenmesine kar\u015f\u0131n, neden hem 2008 Pekin hem de 2024 Paris a\u00e7\u0131l\u0131\u015flar\u0131n\u0131n ikisini de be\u011fendim? \u00c7\u00fcnk\u00fc bu iki e\u011filim de \u00e7a\u011f\u0131n ruhunu ve -i\u00e7eriklerinden ba\u011f\u0131ms\u0131z olarak- gelece\u011fe a\u00e7\u0131lan (a\u00e7\u0131labilecek) kap\u0131lar\u0131 yans\u0131t\u0131yorlar.<\/p>\n

Modernitenin direnmesi k\u00f6t\u00fc bir \u015fey mi? Hele 2008 Pekin\u2019inde oldu\u011fu gibi kolektivizmin ve sosyalizan modernitenin savunulmas\u0131 k\u00f6t\u00fc bir \u015fey mi? Elbette hay\u0131r. Bu direni\u015f ve savunu gelece\u011fe bir k\u00f6pr\u00fcd\u00fcr. Gelece\u011fin kendisi olmayabilir, ama bir k\u00f6pr\u00fcd\u00fcr. \u00c7in\u2019in temsil etti\u011fi ve izledi\u011fi yolla bu k\u00f6pr\u00fc in\u015fa edilebilir mi? Tart\u0131\u015f\u0131l\u0131r; kesin h\u00fck\u00fcmler i\u00e7in hen\u00fcz erken. Ama \u015fu da bir ger\u00e7ek ki, d\u00fcnyada -burjuva veya sosyalizan anlamda- modernite kazan\u0131mlar\u0131n\u0131 savunan \u00c7HC\u2019den ba\u015fka bir b\u00fcy\u00fck odak kalm\u0131\u015f m\u0131d\u0131r?<\/p>\n

Peki burjuva modernitesinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fc k\u00f6t\u00fc bir \u015fey mi? \u00c7o\u011fu arkada\u015f\u0131n aksine onun da hay\u0131rl\u0131 bir geli\u015fme oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. Daha do\u011frusu iyi-k\u00f6t\u00fc olmas\u0131n\u0131n \u00f6tesinde \u00f6n\u00fcne ge\u00e7ilemez bir s\u00fcre\u00e7 oldu\u011funu…<\/p>\n

T\u00fcrkiye\u2019den pek g\u00f6z\u00fckmeyebilir ama semavi dinsel ideolojilerin ve ataerkil ideolojinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fc ya\u015f\u0131yoruz (Asl\u0131nda T\u00fcrkiye\u2019de de daha derine olta atan sosyolojik ara\u015ft\u0131rmalar benzer tespitler yap\u0131yorlar). Yerine ne geliyor? \u015eimdilik yerine gelen bizim gibi klasik modernite \u00e7ocuklar\u0131n\u0131n ve bilimsel sosyalistlerin ho\u015funa gitmeyebilir. Ama konuya daha geni\u015f s\u00fcre\u00e7leri ele alarak yakla\u015fal\u0131m. \u00d6rne\u011fin Bat\u0131 Roma\u2019n\u0131n \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcnden ve \u00e7\u00f6k\u00fc\u015f\u00fcnden sonra ba\u015flayan s\u00fcre\u00e7, birka\u00e7 y\u00fczy\u0131l s\u00fcren \u201cKaranl\u0131k \u00c7a\u011f\u201d diye nitelenen barbarl\u0131k d\u00f6nemi, uygar Roma kal\u0131nt\u0131lar\u0131n\u0131n ve Do\u011fu Roma\u2019n\u0131n hi\u00e7 ho\u015funa gitmemi\u015fti herhalde. Ama sonu\u00e7? \u00d6nce benzersiz Avrupa feodalizminin, sonras\u0131nda benzersiz Avrupa kapitalizminin yolunu a\u00e7m\u0131\u015ft\u0131r o karanl\u0131k \u00e7a\u011f. Tarihin gidi\u015fat\u0131 kaotiktir ve \u00f6ng\u00f6r\u00fclemez. \u201cGeriye d\u00fc\u015f\u00fc\u015f\u201d olarak nitelenen bir geli\u015fme, birka\u00e7 y\u00fczy\u0131l sonra bir bakm\u0131\u015fs\u0131n\u0131z, \u00e7ok daha ileri bir at\u0131l\u0131m\u0131n d\u00f6l yata\u011f\u0131ym\u0131\u015f. Roma topraklar\u0131n\u0131n \u00fcst\u00fcnden ge\u00e7en o vah\u015fi-barbar kavimler \u00f6nce feodalizmin sonra kapitalizmin \u00f6nc\u00fcleri oluvermi\u015f.<\/p>\n

\u00c7\u00f6z\u00fclenin ve \u00e7\u00f6kenin yerine daha ileri bir toplumsal sistem gelebilirse ne \u00e2l\u00e2. Ama hen\u00fcz gelemiyorsa dahi \u00e7\u00f6k\u00fc\u015f ve \u00e7\u00f6z\u00fcl\u00fc\u015f yine de olumludur. Devrim olmuyorsa kaos ye\u011fdir! \u00c7\u00fcnk\u00fc yeni, ba\u015fka t\u00fcrl\u00fc ye\u015feremez. Burjuva modernitesi \u00e7\u00f6z\u00fclmeden yeni bir modernite anlay\u0131\u015f\u0131, yeni bir b\u00fcy\u00fck anlat\u0131 ye\u015feremez. Arada pek \u00e7ok karanl\u0131\u011f\u0131n ve gerili\u011fin ya\u015fanmas\u0131 da bu ba\u015f\u0131bo\u015f \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn bedeli olacakt\u0131r.<\/p>\n

B\u00fcy\u00fck bir sistem \u00e7\u00f6z\u00fcl\u00fcrken, en ba\u015fta onun a\u015ft\u0131klar\u0131 (ge\u00e7mi\u015fi) hortlar. R\u00f6nesans d\u00f6nemi arifesinde de ya\u015fanm\u0131\u015ft\u0131r b\u00f6ylesi bir s\u00fcre\u00e7. Mistik, pagan ve aristokrat hortlaklar\u2026 Olsun; hortlaklar korkutur ama devrim yapamazlar.<\/p>\n

Burjuva modernitesi \u00e7\u00f6z\u00fcl\u00fcrken d\u00fcnya \u00e7ap\u0131nda birbirine z\u0131t gibi g\u00f6z\u00fcken iki e\u011filim ortaya \u00e7\u0131k\u0131yor: 1) Ultra \u00f6zg\u00fcrl\u00fck\u00e7\u00fcl\u00fck, anar\u015fizm, neoliberalizm, post-modernizm ile 2) Otoriterizm, etnik milliyet\u00e7ilik, dincilik. Bu iki e\u011filim de pre-modern niteliktedir. Belli ki insanl\u0131k b\u00f6yle bir d\u00f6nemden ge\u00e7ecek.<\/p>\n

\u201cPandora\u2019n\u0131n Kutusu\u201d efsanesindeki gibi: Kutu a\u00e7\u0131l\u0131r ve t\u00fcm k\u00f6t\u00fcl\u00fckler d\u00fcnyaya sa\u00e7\u0131l\u0131r. Kutu tam kapanacakken i\u00e7inden en son, hen\u00fcz c\u0131l\u0131z olan ama t\u00fcm k\u00f6t\u00fcl\u00fcklerle ba\u015f edebilecek \u201cumut\u201d \u00e7\u0131kar. Kutu a\u00e7\u0131l\u0131p ortal\u0131k darmaduman olmadan umut da ortaya \u00e7\u0131kam\u0131yor demek ki\u2026<\/p>\n

Dolay\u0131s\u0131yla burjuva modernitesinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fc \u201cyeni orta\u00e7a\u011f\u201d olarak nitelemiyorum; \u015fimdilik \u00f6yleymi\u015f gibi g\u00f6z\u00fckse de.<\/p>\n

Her zaman \u00f6nce \u201cy\u0131k\u0131c\u0131lar\u201d arz-\u0131 endam eder. S\u0131ras\u0131yla \u201cen yap\u0131c\u0131 olmayan y\u0131k\u0131c\u0131\u201ddan \u201cen yap\u0131c\u0131 y\u0131k\u0131c\u0131\u201dya do\u011fru bir tarihsel resmige\u00e7ittir bu. \u0130nsano\u011flunun akl\u0131 sonradan ba\u015f\u0131na geliyor. \u0130lle musibetler ya\u015fanacak\u2026 Akl\u0131m\u0131z b\u00f6yle \u201cilkel\u201d bir ak\u0131l. Do\u011fay\u0131 ak\u0131ll\u0131la\u015ft\u0131ramayaca\u011f\u0131m\u0131za g\u00f6re (korkun\u00e7 bir distopya olurdu bu) akl\u0131 \u201cdo\u011falla\u015ft\u0131rmak\u201d zorunday\u0131z (yapay zek\u00e2 m\u0131 do\u011fal zek\u00e2 m\u0131?). Ama o d\u00fczeye gelene dek musibet \u00fcst\u00fcne musibet ya\u015fayaca\u011f\u0131m\u0131z kesin gibi.<\/p>\n

Neyse, fazla uzatt\u0131k, da\u011f\u0131tt\u0131k\u2026 Sonu\u00e7 olarak Paris 2024 Olimpiyat\u0131n\u0131n a\u00e7\u0131l\u0131\u015f g\u00f6sterisini \u00e7ok be\u011fendim. Modernitenin ba\u015fkentinde, burjuva modernitesinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fc ve da\u011f\u0131l\u0131\u015f\u0131n\u0131 son derece estetik bir bi\u00e7imde g\u00f6zler \u00f6n\u00fcne serdi\u011fi i\u00e7in.<\/p>\n

Ne devrim kal\u0131yor ne ayd\u0131nlanma ne toplum s\u00f6zle\u015fmesi ne din ne de ataerkillik\u2026 Haydi bakal\u0131m insano\u011flu, sil ba\u015ftan\u2026 Ama s\u0131f\u0131rdan ba\u015flamayaca\u011f\u0131z elbette. Ciddi bir musibet birikimimiz var. Umudumuz da var.<\/p>\n

NOT 1) T\u00fcrkiye, bir zamanlar hayal edildi\u011fi gibi \u201cK\u00fc\u00e7\u00fck Amerika\u201d olmad\u0131 (olamazd\u0131 zaten), ama \u00fclkemiz \u201cK\u00fc\u00e7\u00fck D\u00fcnya\u201d olarak nitelenebilecek birka\u00e7 \u00fclkeden biridir. Yani T\u00fcrkiye, d\u00fcnya \u00e7ap\u0131ndaki temel \u00e7eli\u015fmelerin \u00e7o\u011funun minyat\u00fcr kapsamda ya\u015fand\u0131\u011f\u0131 nadir \u00fclkelerden biri. Dolay\u0131s\u0131yla burjuva modernitesinin \u00e7\u00f6z\u00fcl\u00fc\u015f\u00fcn\u00fcn ve toplumsal da\u011f\u0131lman\u0131n en net g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fclkelerden biriyiz. Umar\u0131m gelecekte toparlanman\u0131n da ba\u015f\u0131n\u0131 \u00e7ekenlerden oluruz.<\/p>\n

NOT 2) Asl\u0131nda son 100-120 y\u0131lda d\u00fcnya \u00e7ap\u0131nda ya\u015fananlar \u201cmodernitenin k\u00fcreselle\u015fmesi\u201d s\u00fcrecidir (genel anlamda moderniteden s\u00f6z ediyorum, burjuva modernitesi bu s\u00fcrecin bir alt a\u015famas\u0131, sosyalizm de\u2026). Bu \u00e7aptaki geli\u015fmeler uygun ad\u0131m olamaz, kaotiktir. Ama yine de baz\u0131 genel tan\u0131mlar geli\u015ftirebiliriz. Bu da ba\u015fka bir yaz\u0131n\u0131n konusu olsun.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ender Helvac\u0131o\u011flu Paris Olimpiyat\u0131n\u0131n a\u00e7\u0131l\u0131\u015f t\u00f6renini ba\u015ftan sona heyecanla izledim. \u00c7ok be\u011fendim; ama i\u00e7eri\u011fini birazdan tart\u0131\u015faca\u011f\u0131m. 2008 Pekin Olimpiyat\u0131n\u0131n a\u00e7\u0131l\u0131\u015f\u0131n\u0131 ise izlememi\u015ftim. \u00c7ok methedildi\u011fi i\u00e7in internetten baz\u0131 b\u00f6l\u00fcmlerini bulup izledim. Bu konulardaki de\u011ferlendirmelerine g\u00fcvendi\u011fim arkada\u015f\u0131m Haldun \u00c7ubuk\u00e7u, a\u00e7\u0131l\u0131\u015flarda bir numaraya 2008 Pekin\u2019i, iki numaraya da 2024 Paris\u2019i koymu\u015f; yani Paris a\u00e7\u0131l\u0131\u015f\u0131n\u0131 da \u00e7ok be\u011fenmi\u015f. Ama […]<\/p>\n","protected":false},"author":493,"featured_media":62822,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[19,2313],"tags":[5247,1178,9823],"class_list":["post-62821","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bilim-gundemi","category-degirmen","tag-ender-helvacioglu","tag-modernite","tag-paris-olimpiyatlari"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t