{"id":9563,"date":"2009-03-01T13:22:05","date_gmt":"2009-03-01T11:22:05","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=9563"},"modified":"2017-05-19T13:23:56","modified_gmt":"2017-05-19T10:23:56","slug":"kitapci-rafi","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2009\/03\/01\/kitapci-rafi","title":{"rendered":"Kitap\u00e7\u0131 Raf\u0131"},"content":{"rendered":"

Adam Smith Pekin’de : 21. Y\u00fczy\u0131l\u0131n Soyk\u00fct\u00fc\u011f\u00fc\u00a0<\/strong><\/p>\n

Giovanni Arrighi, <\/a>\u00c7ev. \u0130brahim Y\u0131ld\u0131z, Yordam<\/a> Kitap, \u015eubat 2009, 416 s.
\nT\u00fcrkiye\u2019de daha \u00e7ok Uzun Yirminci Y\u00fczy\u0131l<\/em> kitab\u0131yla tan\u0131nan Arrighi, bu yeni kitab\u0131nda temelde iki geli\u015fme \u00fczerinde duruyor: Birincisi, Yeni Amerikan Y\u00fczy\u0131l\u0131 Projesi’nin y\u00fckseli\u015fi ve \u00e7\u00f6k\u00fc\u015f\u00fc; ikincisi ise, \u00c7in’in Do\u011fu Asya’da ya\u015fanan iktisad\u00ee r\u00f6nesans\u0131n lideri olarak ortaya \u00e7\u0131k\u0131\u015f\u0131. Bu iki geli\u015fmeye katk\u0131da bulunan bir\u00e7ok devlet ile devlet d\u0131\u015f\u0131 akt\u00f6re de gerekli dikkat g\u00f6steriliyor, fakat \u00e7\u00f6z\u00fcmlemenin ana ilgi oda\u011f\u0131n\u0131 k\u00fcresel d\u00f6n\u00fc\u015f\u00fcme yol veren ba\u015f akt\u00f6rler olarak ABD ve \u00c7in devletleri olu\u015fturuyor.<\/p>\n

Kitab\u0131n amac\u0131, k\u00fcresel ekonomi politi\u011fin merkez \u00fcss\u00fcn\u00fcn Kuzey Amerika’dan Do\u011fu Asya’ya kay\u0131\u015f\u0131n\u0131 Adam Smith’in iktisadi geli\u015fme teorisi \u0131\u015f\u0131\u011f\u0131nda yorumlamak oldu\u011fu kadar, Adam Smith’in \u00fcnl\u00fc eseri Uluslar\u0131n Zenginli\u011fi<\/em>‘nin bir yorumunu da sunmakt\u0131r. Arrighi, ABD’nin k\u00fcresel imparatorluk yaratma y\u00f6n\u00fcndeki giri\u015fimlerinin \u00c7in’in 1990’lardan bu yana sergiledi\u011fi iktisadi ba\u015far\u0131lar\u0131 bo\u015fa \u00e7\u0131karma amac\u0131 ta\u015f\u0131d\u0131\u011f\u0131n\u0131 ve gene ABD’nin Irak’ta bata\u011fa saplanmas\u0131n\u0131n \u00c7in’i ABD’nin “Ter\u00f6re Kar\u015f\u0131 Sava\u015f”\u0131n\u0131n as\u0131l galibi yapt\u0131\u011f\u0131n\u0131 dayanaklar\u0131yla ileri s\u00fcrmektedir.<\/p>\n

 <\/p>\n

Sanat Sosyolojisine Giri\u015f\u00a0<\/strong><\/p>\n

S\u0131tk\u0131 M. Erin\u00e7, \u00dctopya<\/a> Yay\u0131nlar\u0131, \u015eubat 2009, 128 s.<\/p>\n

Sanat, belli bir sosyal yap\u0131n\u0131n, hem d\u00fcn\u00fcyle, hem bug\u00fcn\u00fcyle, hem de yar\u0131n\u0131yla do\u011frudan ilintilidir. Yani sanat, bir anlamda toplumlar\u0131n kimli\u011fidir. Bu nedenle sanat\u0131 irdelemek i\u00e7in, hem var edildi\u011fi, hem de ya\u015fad\u0131\u011f\u0131 toplumu tan\u0131mak gerekir.<\/p>\n

Sosyoloji ba\u011flamda politik, k\u00fclt\u00fcrel, ekonomik ko\u015fullarla sanat aras\u0131ndaki ba\u011f, sanat\u0131n hem niteli\u011fi, hem de niceli\u011fi bak\u0131m\u0131ndan son derece \u00f6nemlidir. Bir toplumda ni\u00e7in senfonik m\u00fczik bestelenmez, bestelense bile be\u011fenilmez? Ni\u00e7in bale sanat\u0131 sadece uyarlama d\u00fczeyinde kal\u0131r? Ya da ni\u00e7in resim evrensel bir boyuta ula\u015famaz? Bu ve buna benzer sorgulamazlarda do\u011fru yan\u0131t, sosyal yap\u0131 ara\u015ft\u0131rmalar\u0131ndan ge\u00e7er.<\/p>\n

Bu kitap, sanata sosyolojik a\u00e7\u0131dan bakma gerek\u00e7elerini ve yollar\u0131n\u0131 g\u00f6steren bir giri\u015f kitab\u0131d\u0131r.<\/p>\n

 <\/p>\n

Ortak Hayat\u00a0<\/strong><\/p>\n

Tzvetan Todorov, \u00c7ev. Mehmet Emin \u00d6zcan<\/a>, Dost Kitabevi<\/a>, \u015eubat 2009, 149 s.
\nDilbilim, poetika, yap\u0131salc\u0131l\u0131k gibi kapal\u0131 sistemlerle ge\u00e7irdi\u011fi \u00f6mr\u00fcn\u00fcn son deminde, Todorov, kurmaca ile ger\u00e7eklik ili\u015fkisindeki kilidin anahtar\u0131n\u0131 bu sistemlerin d\u0131\u015f\u0131nda ke\u015ffeder. Todorov’un “genel antropoloji” denemesi sosyal bilimlere yeni de\u011ferlendirme kategorileri eklerken ayn\u0131 zamanda yeni bir h\u00fcmanizmin bu bilimlerin ufkunda beliri\u015fini de g\u00f6steriyor. L\u00e9vi-Strauss’un H\u00fcz\u00fcnl\u00fc D\u00f6nenceler<\/em>‘de birbirine eklemledi\u011fi benlik (imago) ile nesnesi (logos) aras\u0131ndaki ili\u015fkiyi ve eylemle\u015fmeyi Ortak Hayat<\/em>‘\u0131n daha da ileri g\u00f6t\u00fcrd\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcr\u00fcz. Todorov’un hayat\u0131n\u0131 adad\u0131\u011f\u0131 s\u00f6ylem kuram\u0131 devasa bir logos olarak arkada kal\u0131r ve art\u0131k bir t\u00fcr bilgeli\u011fe ula\u015fm\u0131\u015f ya\u015fl\u0131 yazar\u0131n benli\u011fi bilginin kayna\u011f\u0131 ve hedefi olur. Todorov’un bir R\u00f6nesans bilgesi, bir yeni-h\u00fcmanist olarak nitelendirilmesinin en b\u00fcy\u00fck nedeni belki de budur.<\/p>\n

 <\/p>\n

K\u0131y\u0131daki Adam<\/strong><\/p>\n

Sel\u00e7uk Demirel – John Berger, \u00c7ev. Cevat \u00c7apan<\/a>, Yap\u0131 Kredi Yay\u0131nlar\u0131, 2009 (2. Bask\u0131), 104 s.<\/p>\n

Masan\u0131n ba\u015f\u0131na oturmu\u015f, k\u0131y\u0131y\u0131 d\u00fc\u015f\u00fcnen bir adam… K\u0131y\u0131n\u0131n \u00f6tesine, denize, ufka, g\u00f6ky\u00fcz\u00fcne bak\u0131yor: Y\u0131ld\u0131zlarla el ele veriyor, g\u00f6ky\u00fcz\u00fcne resimler \u00e7iziyor. Kitaplarla \u00e7evrili k\u00fc\u00e7\u00fck odas\u0131ndan, d\u00fc\u015flerinin evrenine uzan\u0131yor.
\n\u00dclkemizin yeti\u015ftirdi\u011fi ve uluslararas\u0131 alanda ad\u0131n\u0131 duyuran ill\u00fcstrat\u00f6r Sel\u00e7uk Demirel, \u00e7izgileriyle John Berger\u2019in metnini zengin bir izlenime d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor. K\u0131y\u0131daki Adam<\/em> \u00f6zg\u00fcn metin ve Cevat \u00c7apan\u2019\u0131n \u00e7evirisiyle birlikte okuyucuyla bulu\u015fuyor.<\/p>\n

 <\/p>\n

Saturnin <\/strong>
\nZden\u011bk Jirotka, \u00c7ev. Hakan G\u00fcr, Dost Yay\u0131nevi, 2008, 238 s.
\n\u00c7ek edebiyat\u0131n\u0131n Aslan Asker \u015evayk<\/em>‘la bir tutulan kara mizah klasiklerinden biri art\u0131k T\u00fcrk\u00e7e’de. Jirotka’n\u0131n ba\u015far\u0131l\u0131 bir film uyarlamas\u0131 da yap\u0131lan, d\u00fcnyan\u0131n belli ba\u015fl\u0131 dillerine \u00e7evrilen ba\u015fyap\u0131t\u0131, bir asilzadenin Saturnin adl\u0131 bir u\u015fak tutmas\u0131n\u0131 ve ard\u0131ndan bir\u00e7ok ba\u015f d\u00f6nd\u00fcr\u00fcc\u00fc ser\u00fcven ya\u015famas\u0131n\u0131 konu ediniyor. Kaynaklar\u0131 Goldoni’ye ve commedia dell’arte gelene\u011fine kadar uzanan bir efendi-u\u015fak hik\u00e2yesinin renkli ve usta i\u015fi anlat\u0131m\u0131 Saturnin<\/em>.
\n\u0130\u015fgal alt\u0131ndaki \u00c7ek Cumhuriyeti’nde, o zamanki ad\u0131yla \u00c7ekoslovakya’da, Jan Drda ve Eduard Bass’la birlikte \u00fcr\u00fcn vermeyi s\u00fcrd\u00fcrerek \u00c7ek edebiyat\u0131n\u0131n soluk almas\u0131n\u0131 sa\u011flayan Jirotka, bu kara mizah ba\u015fyap\u0131t\u0131n\u0131 da i\u015fgal y\u0131llar\u0131nda yay\u0131nlad\u0131. D\u00fcnya edebiyat\u0131nda P.G. Wodehouse ve Jerome K. Jerome ile bir tutulan Jirotka’n\u0131n bu yap\u0131t\u0131, d\u00fcnyaca tan\u0131nm\u0131\u015f \u00c7ek ill\u00fcstrat\u00f6r Adolf Born’un desenleriyle bir arada sunuluyor.
\nTheodicee ya da Tanr\u0131n\u0131n Hakl\u0131 K\u0131l\u0131nmas\u0131\u00a0<\/strong><\/p>\n

G.W. Leibniz,<\/a> \u00c7ev. Levent \u00d6z\u015far, Biblos<\/a> Yay\u0131nevi, \u015eubat 2009, 186 s.<\/p>\n

Tanr\u0131 varsa k\u00f6t\u00fcl\u00fck nereden geliyor, yoksa iyilik nereden geliyor?<\/p>\n

K\u00f6t\u00fcl\u00fc\u011f\u00fc tanr\u0131sal kayraya kar\u015f\u0131 bir kan\u0131t olarak g\u00f6sterenleri \u00e7\u00fcr\u00fctmek \u00fczere yaz\u0131lan Theodicee’de Leibniz d\u00fcnyam\u0131z\u0131n m\u00fcmk\u00fcn d\u00fcnyalar\u0131n en iyisi oldu\u011funu ileri s\u00fcrer.<\/p>\n

Ayr\u0131ca Theodicee, Leibniz felsefesinin b\u00fct\u00fcn y\u00f6nlerini bar\u0131nd\u0131ran biricik yap\u0131tt\u0131r. \u0130nan\u00e7 ile usun do\u011fruluk bak\u0131m\u0131ndan sorgulanmas\u0131, insan \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn tart\u0131\u015f\u0131lmas\u0131, tanr\u0131sal adaletin irdelenmesi, \u00e7a\u011f\u0131n \u00f6nde gelen felsefe sorunlar\u0131yla, filozoflar\u0131yla hesapla\u015fmalar, monadlar \u00f6\u011fretisi, \u00f6nceden kurulmu\u015f uyum d\u00fc\u015f\u00fcncesi bu yap\u0131t\u0131n i\u00e7erdi\u011fi konulardan baz\u0131lar\u0131.<\/p>\n

 <\/p>\n

Hukuk Ahlak ve Siyaset \u00dczerine\u00a0<\/strong><\/p>\n

Arthur Schopenhauer, \u00c7ev. Ahmet Aydo\u011fan, Say<\/a> Yay\u0131nc\u0131l\u0131k, \u015eubat 2009, 127 s.<\/p>\n

Bir insan\u0131n hayata daha ad\u0131m atar atmaz kendisini i\u00e7inde buldu\u011fu maskeli balodan haberdar edilmesi \u00e7ok \u00f6nemlidir. Aksi halde kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda anlayamayaca\u011f\u0131 ve tahamm\u00fcl edemeyece\u011fi, hatta \u015fa\u015fk\u0131nl\u0131ktan donup kalaca\u011f\u0131 bir\u00e7ok \u015fey vard\u0131r; ve asl\u0131nda en uzun \u00f6m\u00fcrl\u00fc olanlar onlar olacakt\u0131r. Al\u00e7akl\u0131\u011f\u0131n g\u00f6rd\u00fc\u011f\u00fc himaye, erdemin \u00e7ekti\u011fi ald\u0131rmazl\u0131k, hakikate ve b\u00fcy\u00fck yeteneklere tahamm\u00fcls\u00fczl\u00fck hatta garazk\u00e2rl\u0131k, bilim adamlar\u0131n\u0131n kendi sahas\u0131ndaki cehaleti, halis mamullerin neredeyse her zaman a\u015fa\u011f\u0131lanmas\u0131 ve sadece sahtelerinin ba\u015f tac\u0131 edilmesi b\u00f6yle bir \u015feydir s\u00f6zgelimi. O y\u00fczden gen\u00e7ler bu maskeli baloda elmalar\u0131n balmumundan, \u00e7i\u00e7eklerin ipekten, bal\u0131klar\u0131n mukavvadan yap\u0131lma ve istisnas\u0131z her \u015feyin oyun ve oyuncaktan ibaret oldu\u011funu mutlaka \u00f6\u011frensinler. Birbirleriyle ciddi ciddi i\u015f yapma azmi i\u00e7erisindeki iki insandan birinin sahte mallar tedarik etti\u011fini, di\u011ferinin de bunun kar\u015f\u0131l\u0131\u011f\u0131nda ona kalp paralar \u00f6dedi\u011fini onlara zaman\u0131nda s\u00f6ylemek gerekir.<\/p>\n

 <\/p>\n

Su Mitoslar\u0131\u00a0<\/strong><\/p>\n

Deniz Gezgin<\/a>, Sel<\/a> Yay\u0131nc\u0131l\u0131k, \u015eubat 2009, 136 s.<\/p>\n

Mitolojide su, yarat\u0131l\u0131\u015f\u0131n ayr\u0131lmaz bir par\u00e7as\u0131d\u0131r. \u00c7e\u015fitli k\u00fclt\u00fcrlerin mitoslar\u0131nda birbirinden farkl\u0131 \u00f6zelliklere sahip olsalar da ba\u015flang\u0131\u00e7ta yaln\u0131zca su oldu\u011fu ve ilk canl\u0131lar\u0131n bu su arac\u0131l\u0131\u011f\u0131yla yarat\u0131ld\u0131\u011f\u0131 kabul edilir.<\/p>\n

Bu \u00e7al\u0131\u015fma suyun mitolojideki dolay\u0131s\u0131yla insan ya\u015fam\u0131ndaki \u00f6nemini vurgulamak i\u00e7in haz\u0131rlanm\u0131\u015ft\u0131r. Kitapta yer alan Yunan ve Roma, M\u0131s\u0131r, Mezopotamya, T\u00fcrk, Japon, Kuzey Avrupa, \u0130ran, Hitit, G\u00fcney Amerika gibi k\u00fclt\u00fcrlerin mitoslar\u0131 suya farkl\u0131 k\u00fclt\u00fcrlerde atfedilen de\u011ferlerin g\u00f6zlenmesi a\u00e7\u0131s\u0131ndan kaynak olu\u015fturmaktad\u0131r.<\/p>\n

Bug\u00fcn yery\u00fcz\u00fcndeki su kaynaklar\u0131n\u0131n t\u00fckenme noktas\u0131na gelmesi kar\u015f\u0131s\u0131nda do\u011fayla daha do\u011fru ili\u015fki kurabilmek i\u00e7in mitolojiyi kaynak edinmek bir \u00e7are de\u011filse de bir yol olabilir.<\/p>\n

 <\/p>\n

Benjamin Button\u2019un Tuhaf Hik\u00e2yesi<\/strong><\/p>\n

Scott F. Fitzgerald<\/a>, \u00c7ev. Zeynep Ertan, Profil Yay\u0131nc\u0131l\u0131k, Zeynep Ertan, Mart 2009 (3. bask\u0131), 80 s.
\nRoman ve hik\u00e2ye yazar\u0131 Scott F. Fitzgerald Amerikan edebiyat\u0131nda yirminci y\u00fczy\u0131l\u0131n en \u00f6nemli isimlerinden biri olarak kabul edilir. \u00c7al\u0131\u015fmalar\u0131nda kendisinin Birinci D\u00fcnya Sava\u015f\u0131 Sonras\u0131 1918-1924 y\u0131llar\u0131 aras\u0131ndaki d\u00f6neme verdi\u011fi isimle, Caz \u00c7a\u011f\u0131\u2019n\u0131n esintileri g\u00f6r\u00fcl\u00fcr. Benjamin Button 1860 y\u0131l\u0131nda d\u00fcnyaya gelir. Ama herkes bebek<\/a> olarak do\u011farken, o gizemli bir \u015fekilde ya\u015fl\u0131 olarak do\u011far ve gen\u00e7le\u015fmeye ba\u015flar. Ya\u015fl\u0131l\u0131ktan gen\u00e7li\u011fe do\u011fru ilerlerken hayat<\/a>\u0131n cilveleriyle kar\u015f\u0131la\u015f\u0131r. S\u0131ras\u0131yla sava\u015f<\/a>a kat\u0131l\u0131r, i\u015f hayat<\/a>\u0131na at\u0131l\u0131r, a\u015f\u0131k olur, evlenir ve \u00e7oluk \u00e7ocu\u011fa kar\u0131\u015f\u0131r. Daha sonra \u00fcniversiteye, ard\u0131ndan liseye gider. Anaokulundan sonra, iyice k\u00fc\u00e7\u00fcl\u00fcr ve sonunda hem\u015firenin kollar\u0131na d\u00f6ner.
\nAyr\u0131ca David Fincher taraf\u0131ndan filme \u00e7ekilen ve ba\u015frollerinde Brad Pitt ile Cate Blanchett\u2019\u0131n oynad\u0131\u011f\u0131 \u201cBenjamin Button\u2019\u0131n Tuhaf Hik\u00e2yesi\u201d ge\u00e7ti\u011fimiz ay \u00fclkemizde g\u00f6sterime girmi\u015fti.<\/p>\n

 <\/p>\n

Foucault ve Derrida : Akl\u0131n \u00d6teki Y\u00fcz\u00fc\u00a0<\/strong><\/p>\n

Roy Boyne<\/a>, \u00c7ev. \u0130smail Y\u0131lmaz, Bilgesu Yay\u0131nc\u0131l\u0131k, 2009, 256 s.
\nBu kitap \u00e7a\u011fda\u015f felsefe<\/a>ye damgas\u0131n\u0131 vurmu\u015f d\u00fc\u015f\u00fcn\u00fcrlerden Michel\u00a0Foucault<\/a> ile Jacques Derrida’n\u0131n, modern felsefe<\/a>nin kurucusu say\u0131lan Descartes<\/a> hakk\u0131nda giri\u015ftikleri akademik nitelikteki bir tart\u0131\u015fmayla ba\u015flay\u0131p Bat\u0131 k\u00fclt\u00fcr<\/a>\u00fcn\u00fcn al\u00e2met-i farikas\u0131 olagelmi\u015f kavramlar ile kurumlar\u0131n s\u0131n\u0131rlar\u0131na dek uzanan, uzun soluklu d\u00fc\u015f\u00fcnsel bir m\u00fccadelenin<\/a> \u00f6yk\u00fcs\u00fcd\u00fcr.<\/p>\n

Roy Boyne, okuyucuyu, \u00e7a\u011fda\u015f felsefenin bu iki b\u00fcy\u00fck ustas\u0131n\u0131n \u00e7a\u011fc\u0131l akl\u0131n s\u0131n\u0131rlar\u0131na yapt\u0131klar\u0131 tehlikeli ama bir o kadar da verimli ge\u00e7en d\u00fc\u015f\u00fcnsel yolculu\u011fun g\u00f6rg\u00fc tan\u0131\u011f\u0131 olmaya davet ediyor.<\/p>\n

 <\/p>\n

Venedik Taciri<\/strong><\/p>\n

William Shakespeare<\/a>, \u00c7ev. Fatma \u00c7olak, Antik Yay\u0131nlar\u0131, 2009, 168 s.
\nB\u00fct\u00fcn gemileri a\u00e7\u0131k deniz<\/a>lerde dola\u015fan ve nakit s\u0131k\u0131nt\u0131s\u0131nda olan Antonio, Venedik\u2019teki itibar\u0131n\u0131 kullanarak, arkada\u015f\u0131 Bassanio\u2019yu sevgi<\/a>lisi Portia\u2019ya g\u00f6nderebilmek i\u00e7in Yahudi<\/a> tefeci Shylock\u2019tan \u00fc\u00e7 bin d\u00fcka bor\u00e7 al\u0131r. Antonio\u2019nun bir zamanlar hakaretleri ya\u011fd\u0131rd\u0131\u011f\u0131 Shylock, bu f\u0131rsat\u0131 iyi de\u011ferlendirir ve imzalad\u0131klar\u0131 senette Antonio\u2019nun borcu \u00f6deyememesi halinde v\u00fccudundan bir par\u00e7a etini kesmeyi \u015fart ko\u015far. Antonio\u2019nun i\u015fleri k\u00f6t\u00fc gider, gemileri batar ve i\u015fler d\u00fc\u011f\u00fcmlenir.<\/p>\n

Adalet sisteminin, hukuk<\/a> felsefe<\/a>sinde kanunlar\u0131n yorumlanmas\u0131 mevzusunun mizah<\/a>i mercekten incelendi\u011fi bir oyundur Venedik Taciri. Beklenmedik anlar, \u015fa\u015f\u0131rtan diyaloglarla trajikomik bir hikaye<\/a>si olan bu Shakespeare<\/a> komedisi, \u00fcnl\u00fc yazar\u0131n en sevilen eserlerindendir. Bu eser, Fatma \u00c7olak\u2019\u0131n \u0130ngilizce asl\u0131ndan yapt\u0131\u011f\u0131 yetkin \u00e7evirisiyle dilimize kazand\u0131r\u0131ld\u0131.<\/p>\n

\u00a0<\/strong><\/p>\n

\u0130klimler <\/strong><\/p>\n

Nuri Bilge Ceylan<\/a>, Norgunk Yay\u0131nc\u0131l\u0131k, 2009, 251 s.<\/p>\n

K\u0131rkl\u0131 ya\u015flar\u0131nda, \u00fcniversitede tarih dersleri veren \u0130sa ile kendisinden olduk\u00e7a gen\u00e7 olan sevgilisi, televizyon dizilerinde sanat y\u00f6netmenli\u011fi yapmakta olan Bahar\u2019\u0131n birlikteli\u011fi\u2026 \u0130sa\u2019n\u0131n a\u015f\u0131k oldu\u011funu sand\u0131\u011f\u0131 ba\u015fka bir kad\u0131n ile yak\u0131nla\u015fmas\u0131\u2026 \u0130sa\u2019n\u0131n A\u011fr\u0131 da\u011f\u0131n\u0131n karla kapl\u0131 eteklerinde Bahar\u2019\u0131 aray\u0131\u015f\u0131\u2026 \u201cS\u0131k\u0131ld\u0131n m\u0131? Tamam, kestik.\u201d \u0130\u015fte bu iki c\u00fcmle aras\u0131nda u\u011fuldayan bir film \u2018\u0130klimler\u2019; \u00f6nce g\u00fcneyden kuzeye sert bir kayd\u0131rma, oradan do\u011fuya, do\u011funun en ucuna akl\u0131na esti\u011fince, \u201cb\u00fct\u00fcn m\u00fcmk\u00fcnlerin k\u0131y\u0131s\u0131ndan\u201d gerisin geri d\u00f6nmeyi iyi biliyor \u0130sa. Ayr\u0131ca Domenico Scarlatti\u2019nin K466 no.lu F min\u00f6r piyano sonat\u0131 \u2018\u0130klimler\u2019in atmosferine e\u015flik ediyor.<\/p>\n

\u2018May\u0131s S\u0131k\u0131nt\u0131s\u0131\u2019nda, \u2018Uzak\u2019ta, \u2018Kasaba\u2019da olageldi\u011fi \u00fczere, \u2018\u0130klimler\u2019in senaryosunu da \u00e7ekimden \u00f6nceki haliyle yay\u0131nlanm\u0131\u015f. Kitapta ayr\u0131ca film \u00fczerine yaz\u0131lm\u0131\u015f ele\u015ftirilerden al\u0131nt\u0131lar, y\u00f6netmen ve oyuncularla yap\u0131lm\u0131\u015f s\u00f6yle\u015filer, yap\u0131m s\u0131ras\u0131nda tutulan g\u00fcnl\u00fckler de yer al\u0131yor. B\u00f6ylece bir k\u00fclliyata d\u00f6n\u00fc\u015f\u00fcyor \u2018\u0130klimler\u2019.<\/p>\n

Mekik\u00a0<\/strong><\/p>\n

Enis Batur, Norgunk Yay\u0131nevi, Ocak 2009, 68 s.<\/p>\n

D\u00f6n\u00fc\u015f yolu uzun say\u0131lmaz, bu nedenle de, bir y\u0131lan gibi k\u0131vr\u0131la k\u0131vr\u0131la, uzatabilirim onu. Topografyan\u0131n bir y\u00fcz\u00fcndedir Co\u011frafya, s\u0131rt\u0131n\u0131 Zaman olu\u015fturur, i\u015fler. Y\u0131llard\u0131r, iki tarafta dokuyorum.<\/p>\n

Gitgide b\u00fcy\u00fcyen kapkara bir a\u011f\u0131z h\u0131zla yakla\u015f\u0131yor kar\u015f\u0131dan.<\/p>\n

 <\/p>\n

Bir Deliler Evinin Yalan Yanl\u0131\u015f Anlat\u0131lan K\u0131sa Tarihi\u00a0<\/strong><\/p>\n

Ayfer Tun\u00e7, Can Yay\u0131nlar\u0131, \u015eubat 2009, 482 s.<\/p>\n

Mek\u00e2n ve zaman s\u0131n\u0131r\u0131 tan\u0131mayan, bir ucu 19. y\u00fczy\u0131lda, bir ucu g\u00fcn\u00fcm\u00fczde, yaz\u0131nsal bir T\u00fcrkiye panoramas\u0131. \u015ea\u015f\u0131rt\u0131c\u0131 bir \u00f6yk\u00fcn\u00fcn bitti\u011finin san\u0131ld\u0131\u011f\u0131 yerde, okuru sarsan bir “insan manzaralar\u0131” kitab\u0131.<\/p>\n

Ayfer Tun\u00e7, bu roman\u0131nda, Karadeniz’in k\u00fc\u00e7\u00fck bir kentinde denize s\u0131rt\u0131n\u0131 d\u00f6nm\u00fc\u015f bir ak\u0131l hastanesinden yola \u00e7\u0131karak, yakla\u015f\u0131k y\u00fcz y\u0131ll\u0131k bir kesitte, siyasal ve toplumsal d\u00f6n\u00fcm noktalar\u0131n\u0131n insanlar\u0131n ya\u015famlar\u0131nda b\u0131rakt\u0131\u011f\u0131 izleri s\u00fcr\u00fcyor.<\/p>\n

 <\/p>\n

Piano Piano Bacaks\u0131z\u00a0<\/strong><\/p>\n

Kemal Demirel, Pupa Yay\u0131nevi, Ocak 2009, 117 s.<\/p>\n

\u0130kinci D\u00fcnya Sava\u015f\u0131 \u00f6ncesinin karanl\u0131k g\u00fcnlerinde, \u0130stanbul’da, eski zamanlar\u0131n harap konaklar\u0131n\u0131n sakinleri, yoksulluk, korku ve g\u00fcvensizlik i\u00e7inde birbirlerine sar\u0131l\u0131rlar. Piano Piano Bacaks\u0131z’da<\/em>, k\u00fc\u00e7\u00fck bir \u00e7ocu\u011fun hayal g\u00fcc\u00fcyle geni\u015fleyen d\u00fcnyas\u0131, bu kuru ve renksiz, ac\u0131 dolu d\u00fcnyay\u0131 yutar, masumiyetiyle dipsiz kuyulardan yukar\u0131ya umut \u0131\u015f\u0131klar\u0131 \u00e7eker. Yazar Kemal Demirel’in ger\u00e7ek ya\u015fam\u00f6yk\u00fcs\u00fcnden esinlenerek yazd\u0131\u011f\u0131 Piano Piano Bacaks\u0131z<\/em>, g\u00fcc\u00fcn\u00fc i\u015fte bu umut \u0131\u015f\u0131klar\u0131n\u0131, kendi \u00e7ocuklu\u011fundan, g\u00fcn\u00fcm\u00fcz\u00fcn \u00e7ocuklar\u0131na aktarabilmesinden al\u0131yor.<\/p>\n

Ku\u015faklar boyu renkli karakterlerinden, s\u00fcr\u00fckleyici hik\u00e2yesinden ve samimiyetinden bir \u015fey kaybetmeyen Piano Piano Bacaks\u0131z<\/em>, bir T\u00fcrk Edebiyat\u0131 klasi\u011fidir. Bu klasik yap\u0131ttan sinemaya uyarlanan ayn\u0131 adl\u0131 film de, T\u00fcrk Sinemas\u0131’n\u0131n klasikleri aras\u0131nda yerini alm\u0131\u015f; Oscar \u00f6d\u00fcllerine aday aday\u0131 olan ikinci T\u00fcrk filmi olmu\u015ftur.<\/p>\n

Avrupa E\u011fitim Tarihi<\/strong><\/p>\n

Avrupa E\u011fitim Tarihi -Genel Bir Bak\u0131\u015f-, Kemal Ayta\u00e7, Do\u011fu Bat\u0131 Yay\u0131nlar\u0131, Ocak 2009, 303 s.<\/p>\n

Bu kitapta, ayr\u0131nt\u0131lara inilmeden fakat e\u011fitim tarihiyle ilgili olarak genel ve b\u00fct\u00fcnl\u00fckl\u00fc bir fikir sunulmaktad\u0131r. Kemal Ayta\u00e7\u2019\u0131n \u00fcniversitede Avrupa E\u011fitim Tarihi derslerinde \u00f6\u011frencilerine dersinde okuttu\u011fu bu kitap, Avrupa e\u011fitim d\u00fc\u015f\u00fcncesinin Antik \u00c7a\u011fdan 19. y\u00fczy\u0131l\u0131n sonlar\u0131na kadarki d\u00f6nemleri kapsamaktad\u0131r.<\/p>\n

Kitaptaki b\u00f6l\u00fcm ba\u015fl\u0131klar\u0131 \u015f\u00f6yle: Antik \u00c7a\u011fda E\u011fitim, Antik H\u0131ristiyanl\u0131k ile Orta \u00c7a\u011fda E\u011fitim, R\u00f6nesans Devrinde E\u011fitim, Metod \u00c7a\u011f\u0131nda E\u011fitim, Ayd\u0131nlanma Devrinde E\u011fitim, Alman Klasik ve \u0130dealistlerinde E\u011fitim, End\u00fcstrile\u015fme \u00c7a\u011f\u0131nda E\u011fitim.<\/p>\n

Antikler, e\u011fitimi beden ve ruhun kusursuz bir uyumu olarak g\u00f6r\u00fcrlerdi. Plutarch\u2019a g\u00f6re iyi yetenekler, ciddi olarak i\u015flenmezse, bozulur. 17. y\u00fczy\u0131lda F\u00e9nelon, e\u011fitime erken ya\u015flarda ba\u015flanmas\u0131n\u0131n \u00f6nemi \u00fczerinde durur. Montaigne, geleneksel ukala \u00f6\u011fretmen tipi ile \u00f6\u011fretim sistemini ele\u015ftirir. \u0130nsan okul i\u00e7in, ya\u015fam i\u00e7in \u00f6\u011frenmelidir der. Ona g\u00f6re insan\u0131n ahl\u00e2ken iyi olmas\u0131, bilgili olmas\u0131ndan daha \u00f6nemlidir. \u0130nsan Latince ve Yunanca \u00f6\u011frenmek yerine, bilge olmaya \u00e7al\u0131\u015fmal\u0131d\u0131r.<\/p>\n

Ayd\u0131nlanma, pratik y\u00f6nden topluma yararl\u0131, akla uygun bilgileri esas almakta ve buna uygun d\u00fc\u015fen yeni bir e\u011fitim ideali tespit etmek istemektedir. Buna g\u00f6re herkes, mensup oldu\u011fu sosyal ve ekonomik men\u015feye bak\u0131lmadan, e\u011fitim ve \u00f6\u011fretimde e\u015fit haklara sahip k\u0131l\u0131nm\u0131\u015f olmal\u0131d\u0131r. Kar\u015f\u0131t bir g\u00f6r\u00fc\u015f olarak ise Rousseau, mevcut k\u00fclt\u00fcr gibi geleneksel e\u011fitimi de hi\u00e7 be\u011fenmemektedir.<\/p>\n

Eric J. Hobsbawm<\/a>, \u00c7ev. Osman Ak\u0131nhay, Agora Kitapl\u0131\u011f\u0131, 2009, 384 s.<\/p>\n

Bu kitap bir dizi b\u00fct\u00fcnl\u00fckl\u00fc ve birbiriyle ilintili problem \u00fczerinde durmakta olan makalelerden olu\u015fuyor. Birincisi, Hobsbawm, tarih<\/a>in gerek toplum nezdinde gerekse siyaset<\/a> alan\u0131nda hangi yollarla kullan\u0131ld\u0131\u011f\u0131na (veya k\u00f6t\u00fcye kullan\u0131ld\u0131\u011f\u0131na); bunun yan\u0131 s\u0131ra, d\u00fcnyan\u0131n anla\u015f\u0131l\u0131p kavranmas\u0131 ve yeniden \u015fekillendirilmesine ne \u00f6l\u00e7\u00fcde katk\u0131da bulunabilece\u011fine e\u011filmektedir. \u0130kincisi, bu makaleler, tarih<\/a>\u00e7iler ile ge\u00e7mi\u015fteki olaylar\u0131 inceleyen ba\u015fka disiplinlerden ara\u015ft\u0131rmac\u0131lar aras\u0131ndaki ili\u015fkileri; yani, \u00e7e\u015fitli alanlardaki tarih<\/a>sel e\u011filimler, modalar ve m\u00fcdahalelerle ilgili de\u011ferlendirmeleri kapsamaktad\u0131r. \u00dc\u00e7\u00fcnc\u00fcs\u00fc, bu kitap ba\u015ftan sona kendi deyimiyle Hobsbawm\u2019\u0131n tarih<\/a> anlay\u0131\u015f\u0131n\u0131 ortaya koymaktad\u0131r.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Adam Smith Pekin’de : 21. Y\u00fczy\u0131l\u0131n Soyk\u00fct\u00fc\u011f\u00fc\u00a0 Giovanni Arrighi, \u00c7ev. \u0130brahim Y\u0131ld\u0131z, Yordam Kitap, \u015eubat 2009, 416 s. T\u00fcrkiye\u2019de daha \u00e7ok Uzun Yirminci Y\u00fczy\u0131l kitab\u0131yla tan\u0131nan Arrighi, bu yeni kitab\u0131nda temelde iki geli\u015fme \u00fczerinde duruyor: Birincisi, Yeni Amerikan Y\u00fczy\u0131l\u0131 Projesi’nin y\u00fckseli\u015fi ve \u00e7\u00f6k\u00fc\u015f\u00fc; ikincisi ise, \u00c7in’in Do\u011fu Asya’da ya\u015fanan iktisad\u00ee r\u00f6nesans\u0131n lideri olarak ortaya \u00e7\u0131k\u0131\u015f\u0131. […]<\/p>\n","protected":false},"author":672,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[99,510,511],"tags":[210],"class_list":["post-9563","post","type-post","status-publish","format-standard","hentry","category-61-sayi","category-surekli-bolumler","category-yayin-dunyasi","tag-kitap"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/9563","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\/672"}],"replies":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=9563"}],"version-history":[{"count":0,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/9563\/revisions"}],"wp:attachment":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=9563"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=9563"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=9563"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}