{"id":67025,"date":"2026-01-31T00:00:14","date_gmt":"2026-01-30T21:00:14","guid":{"rendered":"https:\/\/bilimvegelecek.com.tr\/?p=67025"},"modified":"2026-01-30T00:35:08","modified_gmt":"2026-01-29T21:35:08","slug":"venezuelada-yuzyillik-yalnizligin-yeni-bolumu-ve-yuruyen-bellek","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2026\/01\/31\/venezuelada-yuzyillik-yalnizligin-yeni-bolumu-ve-yuruyen-bellek","title":{"rendered":"Venezuela\u2019da y\u00fczy\u0131ll\u0131k yaln\u0131zl\u0131\u011f\u0131n yeni b\u00f6l\u00fcm\u00fc ve y\u00fcr\u00fcyen bellek"},"content":{"rendered":"

Nihat Ate\u015f<\/strong><\/p>\n

\u00a0<\/strong>Modern d\u00fcnya d\u00fczeni, bir cam k\u00fcre gibi ince bir hukuki zemin \u00fczerinde duruyor. Trump\u2019\u0131n Venezuela\u2019ya y\u00f6nelik \u201cMutlak Kararl\u0131l\u0131k\u201d operasyonu, bu cam k\u00fcreye inen a\u011f\u0131r bir balyoz darbesidir. G\u00fcc\u00fcn esteti\u011fi, \u00e7o\u011fu zaman adaletin sessizli\u011finden beslenir. Petrol kuyular\u0131n\u0131n g\u00f6lgesinde \u015fekillenen bu yeni jeopolitik ger\u00e7eklikte, \u201chukuk\u201d art\u0131k bir s\u0131\u011f\u0131nak de\u011fil, bir silaht\u0131r. Fizi\u011fin entropi yasas\u0131 gibi siyasi d\u00fczen de d\u00fczensizli\u011fe ve kaosa meyillidir; ancak bu sefer kaos, planl\u0131 bir iradenin sonucudur. Bu sald\u0131r\u0131; fiili bir i\u015fgalden \u00e7ok, askeri tehdit, ekonomik abluka ve diplomatik bo\u011fma tekniklerinin birle\u015fti\u011fi yeni t\u00fcrden bir m\u00fcdahaledir.<\/p>\n

Bu sat\u0131rlar sadece bug\u00fcn\u00fcn bir foto\u011fraf\u0131 de\u011fil, Latin Amerika\u2019n\u0131n be\u015f y\u00fcz y\u0131ld\u0131r bitmeyen filminin yeni bir karesidir. Bug\u00fcn Caracas\u2019a inen Amerikan askerleri, sadece bir rejimi de\u011fi\u015ftirmek i\u00e7in orada de\u011filler; onlar, Potosi madenlerine giren \u0130spanyol fatihlerinin, kau\u00e7uk baronlar\u0131n\u0131n ve United Fruit Company\u2019nin modern \u00fcniformal\u0131 hortlaklar\u0131d\u0131r. 20. y\u00fczy\u0131l boyunca bu hortlaklar, bu kez tanklar ve \u201ckom\u00fcnizm tehdidi\u201d k\u0131l\u0131f\u0131yla geri gelmi\u015fti.<\/p>\n

Latin Amerika\u2019n\u0131n kesik damarlar\u0131 h\u00e2l\u00e2 kan\u0131yor
\n<\/strong>Eduardo Galeano, o \u00f6l\u00fcms\u00fcz eseri Latin Amerika\u2019n\u0131n Kesik Damarlar\u0131<\/em>\u2019nda \u015f\u00f6yle der: \u201cAzgeli\u015fmi\u015flik, bir a\u015fama de\u011fildir; geli\u015fmi\u015fli\u011fin bir sonucudur.\u201d Latin Amerika, y\u00fczy\u0131llard\u0131r Avrupa ve Kuzey Amerika\u2019n\u0131n \u201ckalk\u0131nmas\u0131\u201d i\u00e7in kendi kan\u0131n\u0131 ak\u0131tan bir don\u00f6r olmu\u015ftur. D\u00fcn g\u00fcm\u00fc\u015f ve alt\u0131nd\u0131, sonra \u015feker ve kau\u00e7uk oldu, bug\u00fcn ise petrol. Trump\u2019\u0131n \u201cPetrol\u00fc biz y\u00f6netece\u011fiz\u201d c\u00fcmlesi, Galeano\u2019nun tezinin 2026 y\u0131l\u0131ndaki en vah\u015fi kan\u0131t\u0131d\u0131r. K\u0131ta, kaynaklar\u0131 u\u011fruna lanetlenmi\u015ftir; ancak tarih sadece s\u00f6m\u00fcr\u00fcn\u00fcn de\u011fil, ayn\u0131 zamanda boyun e\u011fmeyen bir direni\u015fin de tarihidir.<\/p>\n

Mobil bellek: Develerin s\u0131rt\u0131ndan yerlilerin kalbine
\n<\/strong>Galeano, Ve G\u00fcnler Y\u00fcr\u00fcmeye Ba\u015flad\u0131<\/em> adl\u0131 kitab\u0131nda, 10. y\u00fczy\u0131lda Fars veziri Abd\u00fcl Kas\u0131m \u0130smail\u2019in, k\u00fct\u00fcphanesini sava\u015flardan ve yang\u0131nlardan korumak i\u00e7in 400 deveden olu\u015fan bir kervanla yan\u0131nda ta\u015f\u0131d\u0131\u011f\u0131n\u0131 anlat\u0131r. Develer, kitaplar\u0131n harf s\u0131ras\u0131na g\u00f6re dizildi\u011fi \u201cy\u00fcr\u00fcyen bir bellek\u201dtir.<\/p>\n

Latin Amerika halklar\u0131 da t\u0131pk\u0131 o vezir gibi, kendi belleklerini y\u00fczy\u0131llard\u0131r s\u0131rtlar\u0131nda, zihinlerinde ve kalplerinde ta\u015f\u0131d\u0131. \u0130spanyol k\u0131l\u0131\u00e7lar\u0131 ve Katolik misyonerlerin \u201ccehennem ate\u015fi\u201d tehditleri kar\u015f\u0131s\u0131nda, yerli halklar inan\u00e7lar\u0131n\u0131 yok etmediler; onlar\u0131 d\u00f6n\u00fc\u015ft\u00fcrd\u00fcler. H\u0131ristiyan azizlerinin maskesi alt\u0131na kendi tanr\u0131lar\u0131n\u0131 saklad\u0131lar. Guadalupe Meryemi\u2019nin pelerininde asl\u0131nda toprak ana Tonantzin\u2019i ya\u015fatt\u0131lar. Bu, tarihin g\u00f6rd\u00fc\u011f\u00fc en estetik ve en inat\u00e7\u0131 k\u00fclt\u00fcrel gerilla sava\u015f\u0131yd\u0131. K\u00fct\u00fcphaneleri yak\u0131lsa da (Maya kodeksleri gibi), haf\u0131zalar\u0131 \u201cmobil\u201ddi; \u015fark\u0131larda, desenlerde ve sessiz bak\u0131\u015flarda bug\u00fcne kadar ta\u015f\u0131nd\u0131. Bug\u00fcn Venezuela sokaklar\u0131ndaki diren\u00e7, sadece Maduro\u2019yu veya bir ideolojiyi savunmak de\u011fil; bu \u201cmobil belle\u011fin\u201d d\u0131\u015far\u0131dan gelen m\u00fcdahaleye kar\u015f\u0131 verdi\u011fi kadim bir reflekstir.<\/p>\n

Petrol\u00fcn dili: Yeralt\u0131ndan yery\u00fcz\u00fcne \u00e7\u0131kan gramer<\/strong>
\nPetrol yaln\u0131zca bir enerji kayna\u011f\u0131 de\u011fildir; kendi s\u00f6zdizimi, fiilleri ve suskunluklar\u0131 olan bir dildir. Bu dilde \u201cistikrar\u201d, genellikle sessizle\u015ftirme anlam\u0131na gelir; \u201cpiyasa\u201d, a\u00e7l\u0131kla e\u015fanlaml\u0131d\u0131r; \u201cm\u00fcdahale\u201d ise \u00e7o\u011fu zaman haritalarda \u00e7izilmeyen bir i\u015fgaldir. Venezuela \u00f6rne\u011finde konu\u015fan \u015fey tanklar ya da u\u00e7aklar de\u011fil, kuyular\u0131n etraf\u0131nda kurulan c\u00fcmlelerdir. Bu c\u00fcmleler, topra\u011f\u0131n alt\u0131ndan yukar\u0131 do\u011fru yaz\u0131l\u0131r.<\/p>\n

Petrol dili \u00f6znesizdir. Kim \u00e7\u0131kar\u0131r, kim \u00f6l\u00fcr, kim yerinden edilir; bunlar c\u00fcmlenin y\u00fcklemi de\u011fildir. \u00d6zne hep gizlidir, \u00e7o\u011fu zaman da yoktur. \u201cPiyasa gere\u011fi\u201d, \u201ck\u00fcresel denge ad\u0131na\u201d, \u201cenerji g\u00fcvenli\u011fi i\u00e7in\u201d gibi edilgen yap\u0131lar, insan\u0131 c\u00fcmlenin d\u0131\u015f\u0131na iter. Bu y\u00fczden petrol b\u00f6lgelerinde konu\u015fulan dil, insan\u0131n ad\u0131n\u0131 silmeye meyillidir.<\/p>\n

Latin Amerika edebiyat\u0131n\u0131n direnci tam da burada ba\u015flar; \u00e7\u00fcnk\u00fc bu edebiyat, petrol\u00fcn soyutla\u015ft\u0131rd\u0131\u011f\u0131 her \u015feyi yeniden somutla\u015ft\u0131r\u0131r. Topra\u011f\u0131n kokusunu, suyun tad\u0131n\u0131, annenin kayg\u0131s\u0131n\u0131, \u00e7ocu\u011fun bedenini c\u00fcmleye geri \u00e7a\u011f\u0131r\u0131r. Petrol dili \u201cvaril\u201dle konu\u015fur; edebiyat \u201cyarayla\u201d. Petrol dili gelece\u011fi vaat eder; edebiyat bug\u00fcn\u00fcn hasar\u0131n\u0131 kayda ge\u00e7irir. Bu y\u00fczden b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ilik, \u00e7o\u011fu zaman bir estetik tercih de\u011fil, petrol diline kar\u015f\u0131 geli\u015ftirilmi\u015f bir kar\u015f\u0131-dildir: Yeralt\u0131ndan gelen buyru\u011fa kar\u015f\u0131, yery\u00fcz\u00fcn\u00fcn \u015fark\u0131s\u0131.<\/p>\n

Haritan\u0131n dili: \u00c7izgilerle b\u00f6l\u00fcnen hayatlar<\/strong>
\nHaritalar tarafs\u0131z de\u011fildir, hi\u00e7bir zaman da olmad\u0131lar. Bir harita, yaln\u0131zca neyin nerede oldu\u011funu g\u00f6stermez; neyin \u00f6nemli, neyin silinebilir oldu\u011funu da s\u00f6yler. Latin Amerika, y\u00fczy\u0131llard\u0131r ba\u015fkalar\u0131n\u0131n masas\u0131nda \u00e7izilen haritalar\u0131n sonu\u00e7lar\u0131n\u0131 ya\u015fayan bir co\u011frafya oldu. Da\u011flar s\u0131n\u0131r oldu, nehirler b\u00f6l\u00fcnd\u00fc, halklar \u00e7izgilerin aras\u0131na s\u0131k\u0131\u015ft\u0131r\u0131ld\u0131.<\/p>\n

Haritan\u0131n dili d\u00fcz \u00e7izgileri sever, oysa hayat k\u0131vr\u0131ml\u0131d\u0131r. Harita dili karma\u015fay\u0131 sevmez; bu y\u00fczden k\u00fclt\u00fcr\u00fc, belle\u011fi ve direni\u015fi \u201cdetay\u201d sayar. Bir \u00fclke, bir renkle boyan\u0131r; i\u00e7indeki binlerce hik\u00e2ye tek bir tona indirgenir. Venezuela da bug\u00fcn k\u00fcresel haritalarda \u00e7o\u011fu zaman ya \u201ckriz\u201d ya da \u201ckaynak\u201d olarak i\u015faretlenir. \u0130nsan, bu \u00f6l\u00e7eklerde g\u00f6r\u00fcnmez hale gelir.<\/p>\n

Edebiyat ise haritan\u0131n susturdu\u011fu yerleri konu\u015fur. Resmi haritalarda ad\u0131 olmayan kasabalar\u0131, s\u0131n\u0131r \u00e7izgilerinin b\u00f6ld\u00fc\u011f\u00fc aileleri, \u201cstratejik olarak \u00f6nemsiz\u201d ilan edilen hayatlar\u0131 kayda ge\u00e7irir. Bu y\u00fczden Latin Amerika anlat\u0131lar\u0131 s\u0131k s\u0131k y\u00f6n duygusunu kaybetmi\u015f gibidir; karakterler yollar\u0131n\u0131 \u015fa\u015f\u0131r\u0131r, zaman b\u00fck\u00fcl\u00fcr, mek\u00e2n bulan\u0131kla\u015f\u0131r. Bu bir estetik oyun de\u011fil, harita diline kar\u015f\u0131 bilin\u00e7li bir itaatsizliktir; \u00e7\u00fcnk\u00fc bu co\u011frafyada do\u011fru yolu bulmak, \u00e7o\u011fu zaman \u00e7izilmi\u015f yollardan sapmay\u0131 gerektirir. Petrol\u00fcn ve haritalar\u0131n, insan\u0131 c\u00fcmleden sildi\u011fi yerde, ger\u00e7eklik ba\u015fka bir dille konu\u015fmak zorundayd\u0131.<\/p>\n

Ger\u00e7e\u011fin kendisi b\u00fcy\u00fcl\u00fc oldu\u011funda: B\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ilik
\n<\/strong>\u0130\u015fte tam bu noktada, edebiyat devreye girer. Bat\u0131 d\u00fcnyas\u0131 i\u00e7in \u201cb\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ilik\u201d egzotik bir edebi ak\u0131md\u0131r; oysa Latin Amerikal\u0131 i\u00e7in bu, hayat\u0131n ta kendisidir. Gabriel Garc\u00eda M\u00e1rquez, Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/em>\u2019\u0131 yazd\u0131\u011f\u0131nda hayal kurmuyordu; sadece mant\u0131\u011f\u0131n iflas etti\u011fi bir co\u011frafyay\u0131 tasvir ediyordu. Bu \u201cb\u00fcy\u00fc\u201d, akl\u0131n yoklu\u011fu de\u011fil; Bat\u0131 akl\u0131n\u0131n bu co\u011frafyada i\u015flemez hale gelmesidir.<\/p>\n

Bir generalin \u00fclkesinin denizini Amerikal\u0131lara satmas\u0131 (M\u00e1rquez – Ba\u015fkan Babam\u0131z\u0131n Sonbahar\u0131<\/em>), bug\u00fcn Trump\u2019\u0131n Venezuela petrol\u00fcne el koymas\u0131yla \u201ckurgu\u201d olmaktan \u00e7\u0131k\u0131p \u201chaber\u201de d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Alejo Carpentier\u2019in Bu D\u00fcnyan\u0131n Krall\u0131\u011f\u0131<\/em>\u2019nda anlatt\u0131\u011f\u0131, Haiti\u2019de bir tiran\u0131n gidip di\u011ferinin gelmesi ve tarihin o ac\u0131mas\u0131z d\u00f6ng\u00fcs\u00fc, bug\u00fcn \u201cMaduro sonras\u0131 senaryolar\u0131n\u0131\u201d anlatan analizlerde kar\u015f\u0131m\u0131za \u00e7\u0131kan \u201ckaosun tekerr\u00fcr\u00fc\u201dd\u00fcr. Mario Vargas Llosa\u2019n\u0131n Teke \u015eenli\u011fi<\/em>\u2019ndeki diktat\u00f6r Trujillo\u2019nun yaratt\u0131\u011f\u0131 korku imparatorlu\u011fu, bug\u00fcn modern teknolojilerle yeniden in\u015fa edilmektedir.<\/p>\n

Sar\u0131 kelebeklerden zehirli topraklara: G\u00fcn\u00fcm\u00fcz kad\u0131nlar\u0131n\u0131n edebiyat\u0131
\n<\/strong>M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc d\u00fcnyas\u0131, 21. y\u00fczy\u0131l\u0131n kad\u0131n yazarlar\u0131nda yerini daha karanl\u0131k, tekinsiz ve \u201ctoksik\u201d bir ger\u00e7ekli\u011fe b\u0131rakm\u0131\u015ft\u0131r. Bug\u00fcn\u00fcn Latin Amerika\u2019s\u0131n\u0131 anlamak i\u00e7in Samanta Schweblin\u2019in Kurtarma Mesafesi<\/em>\u2019ne bakmak gerekir. Schweblin, topra\u011fa s\u0131zan tar\u0131m ila\u00e7lar\u0131n\u0131n ve g\u00f6r\u00fcnmez bir tehlikenin, anneler ve \u00e7ocuklar\u0131 aras\u0131ndaki o g\u00f6r\u00fcnmez \u201ckurtarma ipini\u201d nas\u0131l kopard\u0131\u011f\u0131n\u0131 anlat\u0131r. Bug\u00fcn Venezuela\u2019da uygulanan ekonomik yapt\u0131r\u0131mlar da benzer bi\u00e7imde g\u00f6r\u00fcnmezdir; etkisi \u00e7ocuk bedenlerinde, mutfaklarda ve sessizlikte \u00f6l\u00e7\u00fcl\u00fcr. Bu, bug\u00fcn Venezuela veya Arjantin topraklar\u0131na s\u0131zan emperyalist politikalar\u0131n en g\u00fc\u00e7l\u00fc metaforudur; art\u0131k d\u00fc\u015fman sadece \u00fcniformal\u0131 askerler de\u011fil, havaya, suya ve ruha kar\u0131\u015fan, \u201cb\u00fcy\u00fcy\u00fc\u201d bir sanr\u0131ya d\u00f6n\u00fc\u015ft\u00fcren g\u00f6r\u00fcnmez bir zehirdir.<\/p>\n

Benzer \u015fekilde Selva Almada, \u00d6l\u00fc K\u0131zlar<\/em> ve di\u011fer eserlerinde, Galeano\u2019nun bahsetti\u011fi o \u201ckesik damarlar\u0131\u201d, ta\u015fran\u0131n \u0131ss\u0131zl\u0131\u011f\u0131nda katledilen kad\u0131nlar\u0131n hik\u00e2yeleriyle birle\u015ftirir. Almada ve \u00e7a\u011fda\u015flar\u0131nda (Mariana Enriquez gibi), Latin Amerika\u2019n\u0131n kaderi art\u0131k egzotik bir macera de\u011fil, bir \u201ck\u0131rsal gotik\u201dtir. Onlar, b\u00fcy\u00fck nutuklar atan erkek diktat\u00f6rlerin de\u011fil, o diktat\u00f6rlerin ve s\u00f6m\u00fcr\u00fc d\u00fczeninin arkas\u0131nda b\u0131rakt\u0131\u011f\u0131 enkaz\u0131n, kuruyan nehirlerin ve \u015fiddet g\u00f6ren bedenlerin \u00e7etelesini tutar. Direni\u015f bug\u00fcn bu kad\u0131nlar\u0131n kaleminde, unutulmaya kar\u015f\u0131 verilen adli bir t\u0131p m\u00fccadelesine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Erkek yazarlar iktidar\u0131n mimarisini yazm\u0131\u015ft\u0131r, kad\u0131n yazarlarsa o mimarinin alt\u0131nda kalanlar\u0131.<\/p>\n

Sonu\u00e7: g\u00f6ky\u00fcz\u00fc h\u00e2l\u00e2 ayn\u0131
\n<\/strong>Venezuela\u2019da ya\u015fananlar, Galeano\u2019nun \u201ckesik damarlar\u0131ndan\u201d s\u0131zan kan\u0131n hen\u00fcz p\u0131ht\u0131la\u015fmad\u0131\u011f\u0131n\u0131 g\u00f6steriyor; ancak ayn\u0131 Galeano\u2019nun hat\u0131rlatt\u0131\u011f\u0131 o \u201cy\u00fcr\u00fcyen k\u00fct\u00fcphane\u201d metaforu, bize umudu da f\u0131s\u0131ld\u0131yor: \u0130mparatorluklar gelir, k\u00fct\u00fcphaneleri yakar (Ba\u011fdat\u2019ta veya \u0130skenderiye\u2019de oldu\u011fu gibi), kaynaklar\u0131 s\u00f6m\u00fcr\u00fcr; ama halklar\u0131n belle\u011fi, develerin s\u0131rt\u0131nda ya da bir yerlinin duas\u0131nda, \u00e7\u00f6l\u00fc a\u015fmay\u0131 mutlaka ba\u015far\u0131r.<\/p>\n

Bug\u00fcn edebiyat, bu mobil belle\u011fin en hafif ama en dayan\u0131kl\u0131 formudur, bug\u00fcn edebiyat okumaksa, bir ka\u00e7\u0131\u015f de\u011fil; bu sars\u0131c\u0131 ger\u00e7ekli\u011fin k\u00f6klerine inen bir arkeolojidir. Latin Amerika edebiyat\u0131 bize, en fantastik olaylar\u0131n bile asl\u0131nda en ac\u0131mas\u0131z siyasi ger\u00e7eklerin yans\u0131mas\u0131 oldu\u011funu \u00f6\u011fretti. \u015eimdi Venezuela semalar\u0131nda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz sava\u015f u\u00e7aklar\u0131, M\u00e1rquez\u2019in \u201csar\u0131 kelebekleri\u201d kadar ger\u00e7ek\u00fcst\u00fc; ancak Llosa\u2019n\u0131n \u201ci\u015fkence odalar\u0131\u201d kadar somuttur. Bizler, \u201cb\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ilik\u201d ak\u0131m\u0131n\u0131n okurlar\u0131yd\u0131k; \u015fimdi ise \u201cpolitik ger\u00e7ek\u00e7ili\u011fin\u201d bizzat tan\u0131klar\u0131y\u0131z. Ger\u00e7eklik, hayal g\u00fcc\u00fcn\u00fcn grotesk bir taklidine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcnde, edebiyat bir ka\u00e7\u0131\u015f de\u011fil, tek s\u0131\u011f\u0131nakt\u0131r; \u00e7\u00fcnk\u00fc Latin Amerika\u2019da \u201cb\u00fcy\u00fc\u201d, ger\u00e7e\u011fin tahamm\u00fcl edilemez a\u011f\u0131rl\u0131\u011f\u0131na kar\u015f\u0131 geli\u015ftirilmi\u015f en g\u00fc\u00e7l\u00fc savunma sanat\u0131d\u0131r. Edebiyat d\u00fcnyay\u0131 kurtarmaz; ama yalan\u0131n tek hakikat oldu\u011fu anlarda, ger\u00e7e\u011fin izini kaybettirmez.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nihat Ate\u015f \u00a0Modern d\u00fcnya d\u00fczeni, bir cam k\u00fcre gibi ince bir hukuki zemin \u00fczerinde duruyor. Trump\u2019\u0131n Venezuela\u2019ya y\u00f6nelik \u201cMutlak Kararl\u0131l\u0131k\u201d operasyonu, bu cam k\u00fcreye inen a\u011f\u0131r bir balyoz darbesidir. G\u00fcc\u00fcn esteti\u011fi, \u00e7o\u011fu zaman adaletin sessizli\u011finden beslenir. Petrol kuyular\u0131n\u0131n g\u00f6lgesinde \u015fekillenen bu yeni jeopolitik ger\u00e7eklikte, \u201chukuk\u201d art\u0131k bir s\u0131\u011f\u0131nak de\u011fil, bir silaht\u0131r. Fizi\u011fin entropi yasas\u0131 gibi […]<\/p>\n","protected":false},"author":4365,"featured_media":67026,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10405,38,513,510,511],"tags":[10436,10435],"class_list":["post-67025","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-262-sayi","category-dergi-sayilari","category-kitapcil","category-surekli-bolumler","category-yayin-dunyasi","tag-nihat-ates","tag-yuzyillik-yalnizlik"],"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