{"id":577,"date":"2012-11-27T14:24:21","date_gmt":"2012-11-27T14:24:21","guid":{"rendered":"http:\/\/www.karasite.com\/blog\/?p=577"},"modified":"2012-11-27T14:24:21","modified_gmt":"2012-11-27T14:24:21","slug":"batililasmanin-golgesinde-suregiden-iki-olgu-huzursuzluk-ve-tutunamamak","status":"publish","type":"post","link":"https:\/\/www.karasite.com\/index.php\/2012\/11\/27\/batililasmanin-golgesinde-suregiden-iki-olgu-huzursuzluk-ve-tutunamamak\/","title":{"rendered":"Bat\u0131l\u0131la\u015fman\u0131n G\u00f6lgesinde S\u00fcregiden \u0130ki Olgu: “Huzursuzluk” ve “Tutunamamak”"},"content":{"rendered":"

Huzur ve Tutunamayanlar’\u0131 “Bat\u0131l\u0131la\u015f(t\u0131r)ma” sorunsal\u0131 a\u00e7\u0131s\u0131ndan inceleme denemesi. Nuray K\u00fc\u00e7\u00fckler’den.<\/em><\/p>\n

Huzur ve Tutunamayanlar’\u0131n “Bat\u0131l\u0131la\u015fma” sorunsal\u0131 etraf\u0131nda inceleme denemesi, beraberinde D\u00fcnya Sisteminin(1) i\u00e7inde bulundu\u011fu d\u00f6nemselli\u011fi de incelemeyi gerektirmektedir.<\/p>\n

Bunu da merkez ve \u00e7evre \u00fclkelerde “Modernite” kavram\u0131na bakarak yapabiliriz. D\u00fcnya ekseninde 20.yy. \u00e7a\u011f\u0131 h\u0131zl\u0131 toplumsal d\u00f6n\u00fc\u015f\u00fcmlerin ve k\u00fclt\u00fcrel devrimlerin ya\u015fand\u0131\u011f\u0131 bir \u00e7a\u011fd\u0131r. Bu d\u00f6n\u00fc\u015f\u00fcm\u00fcn h\u0131zl\u0131 ve evrensel bir \u015fekilde ya\u015fand\u0131\u011f\u0131 mutlakt\u0131r fakat merkez ve \u00e7evre \u00fclkelerin hangi eksende ya\u015fad\u0131\u011f\u0131 \u00f6nem kazanmaktad\u0131r.(2)<\/p>\n

Orta ve Bat\u0131 Avrupa de\u011fi\u015fimi zaten al\u0131\u015f\u0131k oldu\u011fu bir olgu \u015feklinde ya\u015farken, geriye kalan \u00fclkeler yani d\u00fcnya n\u00fcfusunun %80’i, 1950’lerde ans\u0131z\u0131n sona eren bir Orta\u00e7a\u011f ile kar\u015f\u0131la\u015ft\u0131.<\/p>\n

1910’larla ba\u015flayan s\u00fcre\u00e7 bat\u0131l\u0131 toplumlarda modernizmin kendini geni\u015f \u00f6l\u00e7\u00fcde ifade etme olanaklar\u0131n\u0131 buldu\u011fu bir s\u00fcre\u00e7ti. Bunun edebiyattaki g\u00f6r\u00fcnt\u00fcs\u00fc kendini gelenekten koparma \u015feklinde idi. Bu olguyu \u00dc\u00e7\u00fcnc\u00fc D\u00fcnya \u00dclkeleri kapsam\u0131nda ele ald\u0131\u011f\u0131m\u0131zda, hem geleneksel de\u011ferlerin yan\u0131nda saf alanlar\u0131n hem de bat\u0131c\u0131lar\u0131n ba\u015fl\u0131ca g\u00f6revinin kendi halklar\u0131n\u0131n \u00e7a\u011fda\u015f ger\u00e7ekli\u011fini ke\u015ffetmek oldu\u011funu s\u00f6yleyebiliriz.<\/p>\n

Yukarda bahsedilenleri D\u00fcnya Sisteminin i\u00e7inde bulundu\u011fu d\u00f6nemin \u00f6nc\u00fclleri olarak kabul edersek, T\u00fcrkiye Cumhuriyeti’nin ulus-in\u015fa s\u00fcrecinde nas\u0131l bir yol izledi\u011fi daha kolay anla\u015f\u0131lacakt\u0131r. B\u00f6ylece Tanzimat’la birlikte bahsedilmeye ba\u015flanan “Bat\u0131l\u0131la\u015fma” sorunsal\u0131n\u0131n \u00e7at\u0131s\u0131 belirecektir.<\/p>\n

Berna Moran T\u00fcrk Roman\u0131n\u0131n ana sorunsal\u0131n\u0131 “Bat\u0131l\u0131la\u015fma” n\u0131n olu\u015fturdu\u011funu s\u00f6yler ve roman\u0131n i\u015flevini, kurulu\u015funu ve tiplerini de \u00f6nemli \u00f6l\u00e7\u00fcde bu sorunsala dayand\u0131r\u0131r.(3) Bu sorunsal\u0131n k\u00f6klerini Tanzimat’ tan ba\u015flat\u0131r.Bizde roman, Bat\u0131daki gibi feodalizmden kapitalizme ge\u00e7i\u015f s\u00fcrecinde do\u011fmam\u0131\u015ft\u0131r. Burjuva s\u0131n\u0131f\u0131n\u0131n yani bireycili\u011fin ortaya \u00e7\u0131kt\u0131\u011f\u0131 bir s\u00fcrecin anlat\u0131s\u0131 de\u011fildir. Bat\u0131l\u0131la\u015fma hareketinin taklit bir \u00fcr\u00fcn\u00fc olarak do\u011fmu\u015ftur.(4)<\/p>\n

Peki o zaman “Bat\u0131l\u0131la\u015fma” ad\u0131yla an\u0131lan \u015fey nedir? As\u0131l olarak 1839’daki G\u00fclhane Hatt-\u0131 H\u00fcmayu’nu ile ba\u015flat\u0131lan bu reformlar silsilesinin y\u00fcz\u00fcn\u00fcn halka d\u00f6n\u00fck olmamas\u0131 nelere yol a\u00e7t\u0131? Daha do\u011frusu T\u00fcrk Roman\u0131ndaki g\u00f6r\u00fcnt\u00fcleri neler oldu? Tanzimat D\u00f6nemi yazarlar\u0131n\u0131n edindi\u011fi misyonlar a\u00e7\u0131s\u0131ndan olaya bakarsak, yazarlar\u0131n iki y\u00f6nl\u00fc bir s\u00fcre\u00e7ten ge\u00e7ti\u011fini s\u00f6yleyebiliriz. Birincisi Bat\u0131’da yarat\u0131lm\u0131\u015f yeni t\u00fcrleri \u00fclkeye sokmak, ikincisi da bu t\u00fcrleri-\u00f6zellikle roman\u0131-e\u011fitici bir ama\u00e7 do\u011frultusunda kullanmak.<\/p>\n

Tanzimat’ta “Bat\u0131l\u0131la\u015fma” sorunsal\u0131n\u0131n bir \u00fcr\u00fcn\u00fc olarak do\u011fan roman\u0131n Cumhuriyet D\u00f6nemi’nde nas\u0131l ser\u00fcvenlerden ge\u00e7ti\u011fini anlayabilmek i\u00e7in, Cumhuriyet’in ilan\u0131ndan sonra ya\u015fanan s\u00fcreci incelemek gerekmektedir:<\/p>\n

Cumhuriyet’in ilan\u0131yla olu\u015fturulan devletin ne gibi hedefleri vard\u0131? “Muass\u0131r Medeniyetler seviyesine ula\u015fmak” ve “ulus” olmak. Bu durumu yukarda bahsedilen “D\u00fcnya Sistemi” ekseninde d\u00fc\u015f\u00fcn\u00fcrsek, \u00fc\u00e7\u00fcnc\u00fc d\u00fcnyada olu\u015fmu\u015f yeni devletlerin kendilerini uluslararas\u0131 alana yele\u015ftirme \u00e7abas\u0131 olarak de\u011ferlendirebiliriz. Yani “Bat\u0131l\u0131la\u015fma” ve “Ulusla\u015fma” s\u00fcre\u00e7lerinin birbirinden ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcn\u00fclemeyece\u011fi a\u015fikard\u0131r. \u0130ki politika da Cumhuriyet D\u00f6nemi ideolojisinin olu\u015fmas\u0131nda stratejik bir rol oynar. Yeni olu\u015fturulan T\u00fcrkiye Cumhuriyeti’nin Osmanl\u0131 miras\u0131nda kendi ideolojisinin n\u00fcvelerini bulamamas\u0131 O’nu yeni bir k\u00fclt\u00fcr\u00fcn in\u015fas\u0131na y\u00f6neltmi\u015ftir. Bu icad\u0131n “Bat\u0131l\u0131l\u0131la\u015fma” ve “Ulusla\u015fma” olarak ikili bir s\u00fcre\u00e7te devam etmi\u015f olmas\u0131, Tanzimat’ta roman\u0131n ana ekseni haline gelen “Bat\u0131l\u0131la\u015fma” Sorunsal\u0131n\u0131n, Cumhuriyetin ilan\u0131yla sona ermedi\u011fini daha da derinle\u015ferek devam etti\u011fini g\u00f6sterir. Yaln\u0131z Burada 1950’lerle ba\u015flayan s\u00fcrecin sorunsall\u0131k a\u00e7\u0131s\u0131ndan farkl\u0131l\u0131k ta\u015f\u0131d\u0131\u011f\u0131 parantezini a\u00e7mak gerekmektedir. Berna Moran 1950’lere kadar olan s\u00fcre\u00e7te, “Bat\u0131l\u0131la\u015fma” as\u0131l sorunken; 1950 sonras\u0131 s\u00fcre\u00e7te as\u0131l sorunsal\u0131n “S\u0131n\u0131fl\u0131l\u0131k”oldu\u011funu s\u00f6yler.(5) K\u0131saca, “Modernizm”i as\u0131l olarak 1950 sonras\u0131 s\u0131n\u0131fl\u0131l\u0131k d\u00f6nemine oturtmu\u015ftur.<\/p>\n

O halde “Modernizm” in tan\u0131m\u0131n\u0131 yapmak ve bu tan\u0131m do\u011frultusunda d\u00f6nemselli\u011finin k\u00f6\u015felerini \u00e7izmek gerekmektedir: Orhan Pamuk, edebiyatta “Modernizm” den yaln\u0131zca geleneksel olana bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f de\u011fil; genel olarak toplumun ruhundan, cemaat havas\u0131ndan uzakla\u015fmay\u0131 anlad\u0131\u011f\u0131n\u0131 s\u00f6yler.(6) Modernist anlat\u0131lar i\u00e7inde \u00fcretildikleri toplumun \u00fcr\u00fcnleri de\u011fildirler. Kendi i\u00e7e d\u00f6n\u00fckl\u00fckleri ile ortaya \u00e7\u0131karlar. Hangi teknikleri kullan\u0131r Modernist Roman? Bilin\u00e7 ak\u0131\u015f\u0131, anlat\u0131c\u0131 denen merkezin da\u011f\u0131lmas\u0131, zamanda s\u0131\u00e7ramalar, hat\u0131rlayan bilincin \u00e7\u00f6z\u00fclmesi… gibi teknikleri s\u0131ralar Orhan Pamuk. Peki Huzur ne kadar modernisttir Orhan Pamuk’a g\u00f6re?<\/p>\n

S\u00fcha O\u011fuzertem “Modernizm”in d\u00f6nemsel bir tarifini yapmak isterken; onu as\u0131l olarak 1950’lerden sonraya yerle\u015ftirir ve O\u011fuz Atay \u00f6ncesi modernist bir roman olarak Huzur’u bir istisna olarak koyar.(7) Peki Orhan Pamuk? O’nun g\u00f6r\u00fc\u015flerinden \u00f6zetle Tanp\u0131nar’\u0131n bir cemaat insan\u0131 oldu\u011fu \u00e7\u0131kart\u0131labilir. Temel olarak, Tanp\u0131nar modernist bir roman \u00fcreticisi de\u011fildir.<\/p>\n

Tanp\u0131nar’\u0131n “Bat\u0131l\u0131la\u015fma” kar\u015f\u0131s\u0131nda tak\u0131nd\u0131\u011f\u0131 tutuma ve bir cemaat adam\u0131 olarak tavr\u0131na a\u015fa\u011f\u0131da de\u011finilece\u011fini g\u00f6z \u00f6n\u00fcne alarak, Huzur’da ve Tutunamayanlar’da “Bat\u0131l\u0131la\u015fma” sorunsal\u0131n\u0131 incelemeye \u00e7al\u0131\u015fal\u0131m:<\/p>\n

Huzur’da Tanp\u0131nar’\u0131n as\u0131l derdinin bir tak\u0131m de\u011ferler aras\u0131nda s\u00fcregiden \u00e7at\u0131\u015fmay\u0131 sergilemek ve \u00e7at\u0131\u015fman\u0131n yaratt\u0131\u011f\u0131 bunal\u0131m\u0131 M\u00fcmtaz’da g\u00f6stermek oldu\u011funu s\u00f6yleyebiliriz. Tanp\u0131nar’\u0131n “Bat\u0131l\u0131la\u015fma”ya dair g\u00f6r\u00fc\u015flerini vermesi a\u00e7\u0131s\u0131ndan romandaki di\u011fer bireyleri de incelemek gerekir. Fakat bunal\u0131m\u0131n as\u0131l g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn M\u00fcmtaz \u00fczerinden olmas\u0131 bizi M\u00fcmtaz karakterini daha derinlikli olarak incelemeye iter.<\/p>\n

M\u00fcmtaz’\u0131n bunal\u0131m\u0131 ya\u015fad\u0131\u011f\u0131 i\u00e7 d\u00fcnyas\u0131n\u0131n sergilenmesi Tanp\u0131nar’\u0131n anlat\u0131m tekni\u011fini de belirler. Roman 3.tekil \u015fah\u0131sla anlat\u0131lan bir romand\u0131r. Fakat 3.tekil anlat\u0131c\u0131n\u0131n bilinci, roman\u0131n temel kahraman\u0131n\u0131n bilincine \u00e7ok yak\u0131nd\u0131r. Hangisinin d\u00fc\u015f\u00fcn\u00fcyor, hangisinin ifade ediyor oldu\u011fu zaman zaman birbirine kar\u0131\u015f\u0131r. Roman\u0131n tekni\u011fine dair bu notu roman\u0131n sonunda M\u00fcmtaz’\u0131n bunal\u0131m\u0131na yol a\u00e7an nedenler, de\u011ferler \u00e7at\u0131\u015fmas\u0131 roman\u0131n tekni\u011fine de yans\u0131r \u015feklinde \u00f6zetledikten sonra M\u00fcmtaz’a geri d\u00f6nelim.<\/p>\n

Berna Moran, yukar\u0131da ad\u0131 ge\u00e7en de\u011ferler \u00e7at\u0131\u015fmas\u0131n\u0131n romandaki g\u00f6r\u00fcnt\u00fcs\u00fcn\u00fcn M\u00fcmtaz’\u0131n ki\u015fisel mutlulu\u011fu ile toplumsal sorumlulu\u011funun \u00e7at\u0131\u015fmas\u0131 oldu\u011funu s\u00f6yler.(8) Genel anlam\u0131yla estetik de\u011ferler ile sosyo-politik de\u011ferlerin \u00e7at\u0131\u015fmas\u0131.<\/p>\n

Roman\u0131n birinci b\u00f6l\u00fcm\u00fcnde \u00e7e\u015fitli sava\u015f imleriyle kendisini g\u00f6steren toplumsal sorun, daha sonra ikinci ve \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcmlerde kar\u015f\u0131m\u0131za \u00e7\u0131kacak olan estetizm kayg\u0131lar\u0131yla kar\u015f\u0131t durmaktad\u0131r ve roman\u0131n son b\u00f6l\u00fcm\u00fcnde bu kar\u015f\u0131tl\u0131k bir \u00e7at\u0131\u015fmaya d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Roman\u0131n birinci b\u00f6l\u00fcm\u00fcnde \u00e7e\u015fitli sava\u015f i\u015faretleri( gazete haberleri,telefon konu\u015fmalar\u0131 vb.), dilenciler, yoksul mahalleler s\u0131k\u0131nt\u0131l\u0131 bir atmosfer yarat\u0131r. M\u00fcmtaz’\u0131n neden s\u0131k\u0131nt\u0131l\u0131 bir ruh halinde oldu\u011funun i\u015faretleridirler.<\/p>\n

Roman\u0131n ikinci b\u00f6l\u00fcm\u00fcnde, M\u00fcmtaz’\u0131n estetik de\u011ferlerle ilgili g\u00f6r\u00fc\u015fleri ile kar\u015f\u0131la\u015f\u0131r\u0131z. M\u00fcmtaz’a g\u00f6re -ayn\u0131 zamanda de\u011ferler \u00e7at\u0131\u015fmas\u0131n\u0131n bir ucunu olu\u015fturan estetik de\u011ferlere g\u00f6re- insan her an\u0131na sanat\u00e7\u0131 duygularla yakla\u015fmal\u0131, her yerde g\u00fczeli kavrayarak yo\u011fun bir duygu hayat\u0131 ya\u015famal\u0131d\u0131r.<\/p>\n

Roman’\u0131n \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm\u00fcn\u00fcn sonunda ise Do\u011fu-Bat\u0131 sorununa de\u011finilir. Bu b\u00f6l\u00fcmde Tanp\u0131nar, \u0130hsan’\u0131n a\u011fz\u0131ndan kendi g\u00f6r\u00fc\u015flerini dile getiriyor gibidir. ( Bu konuya \u0130hsan karakteri \u00f6zelinde ve Tanp\u0131nar’\u0131n “Bat\u0131l\u0131la\u015fma” sorunsal\u0131 kar\u015f\u0131s\u0131ndaki konumu a\u00e7\u0131s\u0131ndan a\u015fa\u011f\u0131da de\u011finilecektir.)<\/p>\n

D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcmde M\u00fcmtaz art\u0131k, toplumsal sorumlulu\u011fu ile ki\u015fisel mutlulu\u011funun \u00e7at\u0131\u015fmas\u0131n\u0131n yaratt\u0131\u011f\u0131 bunal\u0131m\u0131 derin bir \u015fekilde ya\u015famaktad\u0131r. Berna Moran birinci b\u00f6l\u00fcmde s\u0131k\u0131nt\u0131l\u0131 atmosferi yaratan bir tak\u0131m i\u015faretlerin bu b\u00f6l\u00fcmde art\u0131k kar\u015f\u0131lar\u0131nda tav\u0131r almay\u0131 gerektiren olgulara d\u00f6nd\u00fc\u011f\u00fcne dikkati \u00e7eker.(9) Daha \u00f6nce kendi ki\u015fisel mutlulu\u011funun pe\u015finde oldu\u011funu g\u00f6rd\u00fc\u011f\u00fcm\u00fcz M\u00fcmtaz bu b\u00f6l\u00fcmde mesuliyet fikriyle i\u00e7i\u00e7edir ve bu fikri bir saplant\u0131 halinde ya\u015famaya ba\u015flar. M\u00fcmtaz i\u00e7inde bulundu\u011fu bunal\u0131m\u0131 sonuna kadar ya\u015far. \u00d6yleki, \u00f6l\u00fcm O’na olduk\u00e7a \u00e7ekici gelmektedir.<\/p>\n

Huzur roman\u0131na bakt\u0131\u011f\u0131m\u0131zda; Tanp\u0131nar’\u0131n, \u0130hsan’\u0131n a\u011fz\u0131ndan kendi g\u00f6r\u00fc\u015flerini aktard\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliriz. Tanzimat ile ba\u015flayan “Bat\u0131l\u0131la\u015fma” hareketi 1923’den sonra daha da h\u0131zlanm\u0131\u015f ve bir k\u00fclt\u00fcr ve uygarl\u0131k buhran\u0131yla sonu\u00e7lanm\u0131\u015ft\u0131r.<\/p>\n

Berna Moran’\u0131n belirtti\u011fi \u00fczere, Tanp\u0131nar’a g\u00f6re sorun kendi ya\u015fam bi\u00e7imlerimizi terketmi\u015f olmakta yatar.(10) Sorunun a\u015f\u0131lmas\u0131 toplumun ve yeni hayat \u015fekillerimizin kendimize g\u00f6re yeniden yarat\u0131lmas\u0131yla olacakt\u0131r.<\/p>\n

Tanp\u0131nar’\u0131n Bat\u0131y\u0131 ele al\u0131\u015f\u0131 da bu eksendedir. Bat\u0131da ya\u015fanan de\u011fi\u015fimler ve orada var olan k\u00fclt\u00fcr kendilerine has olan \u015feylerdir. Bir b\u00fct\u00fcnl\u00fck te\u015fkil ederler. Yani onlar i\u00e7in hakikidir ve bizde ayn\u0131 \u015fekilde ya\u015fanamaz. Taklitlerden ibaret kal\u0131r. Tanp\u0131nar \u00e7a\u011fda\u015fla\u015fmaya kar\u015f\u0131 de\u011fildir, bu olgunun k\u00f6ks\u00fcz bir zemine oturtulmas\u0131na kar\u015f\u0131d\u0131r.<\/p>\n

\u015eimdi bu durumun O’nun roman tekni\u011fine nas\u0131l yans\u0131d\u0131\u011f\u0131na ve modernist roman a\u00e7\u0131s\u0131ndan g\u00f6r\u00fcnt\u00fclerine de\u011finmeye \u00e7al\u0131\u015fal\u0131m:<\/p>\n

Yukarda da anlat\u0131ld\u0131\u011f\u0131 \u00fczere romanda anlat\u0131c\u0131n\u0131n dili \u00fc\u00e7\u00fcnc\u00fc tekil \u015fah\u0131st\u0131r ve anlat\u0131c\u0131n\u0131n bilinciyle roman\u0131n temel kahraman\u0131n\u0131n bilinci zaman zaman birbirine olduk\u00e7a fazla yak\u0131nla\u015f\u0131r. Uzakla\u015fma anlar\u0131nda Tanp\u0131nar’\u0131n bir “Biz” den bahsetti\u011fi g\u00f6r\u00fcl\u00fcr. Yani bu anlarda Tanp\u0131nar kahraman\u0131 ile kendisi aras\u0131na bir s\u0131n\u0131r koyar. \u0130\u00e7erisinde ya\u015fad\u0131\u011f\u0131 toplumun sorumlulu\u011funu \u00fczerinde hisseder. Yine de bu sorumlulu\u011fu \u00fczerine al\u0131rken kendi bilgisinden kati suretle emin de\u011fildir. Hatta ku\u015fkulu oldu\u011fu, bu nedenle otoriter bir sese sahip olmad\u0131\u011f\u0131 s\u00f6ylenebilir. Tanzimat romanc\u0131s\u0131n\u0131n baba otoritesi ile modernist anlat\u0131c\u0131n\u0131n \u00f6zerkli\u011fi aras\u0131nda bir yerde durmaktad\u0131r.<\/p>\n

Huzur’dan sonra “Bat\u0131l\u0131la\u015fma” sorunsal\u0131 etraf\u0131nda incelenecek ikinci kitap Tutunamayanlar’a ge\u00e7ti\u011fimizde kitab\u0131n kurgulan\u0131\u015f\u0131na, hikaye edili\u015fine dair s\u00f6yleyebilece\u011fimiz \u015feyler bizi yine ayn\u0131 kitab\u0131n tekni\u011fine g\u00f6t\u00fcr\u00fcr. Bu teknik etraf\u0131nda; T\u00fcrk Roman\u0131n\u0131n modernite-postmodernite ser\u00fcveni ve bu ser\u00fcven i\u00e7inde yazar\u0131n konumu da incelenmelidir.<\/p>\n

Peki Tutunamayanlar’\u0131n karma\u015f\u0131k yap\u0131 ve anlat\u0131m y\u00f6ntemlerini olu\u015fturan hikayesi nas\u0131l bir metin olu\u015fturur? Berna Moran bunu bir t\u00fcr \u00e7er\u00e7eve i\u00e7ine al\u0131nm\u0131\u015f \u00e7e\u015fitli metinler olarak koymaktad\u0131r.(11) Gazetecinin \u00f6ns\u00f6z\u00fc ve Turgut’un mektubu d\u0131\u015f \u00e7er\u00e7eveyi yani Tutunamayanlar kitab\u0131n\u0131n \u00f6yk\u00fcs\u00fcn\u00fc olu\u015fturur. Tutunamayanlar’\u0131n da iki \u00f6yk\u00fcs\u00fc ve bu iki \u00f6yk\u00fcn\u00fcn iki ayr\u0131 ba\u015f ki\u015fisi vard\u0131r. Turgut \u00d6zben arkada\u015f\u0131 Selim I\u015f\u0131k’\u0131n intihar nedenini ara\u015ft\u0131r\u0131rken kendi ruhsal ser\u00fcvenini ya\u015far. Bu \u00f6yk\u00fcn\u00fcn \u00e7er\u00e7evesinin i\u00e7inde ise Selim I\u015f\u0131k’\u0131n \u00f6yk\u00fcs\u00fc yer al\u0131r.<\/p>\n

Kitab\u0131n \u00f6yk\u00fcleni\u015fini bu \u015fekilde a\u00e7\u0131klamaya \u00e7al\u0131\u015ft\u0131ktan sonra karakterlerin “Bat\u0131l\u0131la\u015fma” sorunsal\u0131 etraf\u0131nda nas\u0131l bir ser\u00fcven ge\u00e7irdiklerini incelersek Turgut ve Selim’in birbirinden \u00e7ok ayr\u0131 tutulamayaca\u011f\u0131n\u0131 belirtmek gerekir. Turgut’un, Selim’le \u00f6zde\u015fle\u015fme ser\u00fcvenini ya\u015fad\u0131\u011f\u0131n\u0131 s\u00f6ylersek bu daha da a\u00e7\u0131kl\u0131k kazanacakt\u0131r.(12) Bu durumda izlenecek yol, Turgut’u anlatmaya \u00e7al\u0131\u015fmak ve bu ser\u00fcven i\u00e7eresinde Selim’e de de\u011finmek olabilir.<\/p>\n

Turgut Selim olman\u0131n pe\u015findedir, yani “Tutunamayan” olman\u0131n. Peki kimdir Selim? Bir “Disconnectus Erectus” olmas\u0131 T\u00fcrkiye’nin “Bat\u0131l\u0131la\u015f(t\u0131r) ma” ser\u00fcveninde nas\u0131l bir yere tekab\u00fcl eder? Selim’in oyunlarla olan iyi ili\u015fkisi O’nun burjuva s\u0131n\u0131f\u0131n\u0131n de\u011fer yarg\u0131lar\u0131ndan uzak bir yere konumlanmas\u0131na yard\u0131m etmektedir. Edebiyat ve sanat burjuva mant\u0131\u011f\u0131na uymad\u0131\u011f\u0131 i\u00e7in bunlar Selim’e g\u00f6re ya\u015fama anlam veren \u015feylerdir. Yukar\u0131da bahsi ge\u00e7en “Bat\u0131l\u0131la\u015f(t\u0131r)ma” ve “Ulusla\u015f(t\u0131r) ma” s\u00fcre\u00e7lerinden ge\u00e7erek 1950’lerde kendi s\u0131n\u0131fl\u0131 toplumunu olu\u015fturmu\u015f T\u00fcrkiye i\u00e7in burjuva s\u0131n\u0131f\u0131n\u0131n de\u011fer yarg\u0131lar\u0131 art\u0131k olduk\u00e7a \u00f6nemli bir yerde durmaktad\u0131r. Selim ve O’nun ser\u00fcveni pe\u015findeki Turgut i\u00e7inse bu de\u011fer yarg\u0131lar\u0131n\u0131n ve sahte ya\u015fam\u0131n kar\u015f\u0131s\u0131nda bir diren\u00e7 noktas\u0131 yaratmak “Tutunamamak” olmakta yatar. Bu diren\u00e7 noktas\u0131 Selim’in \u00f6yk\u00fcs\u00fcnde sanat ve mitosla olmaktad\u0131r.(13) O halde Turgut’un ser\u00fcveni de bu boyuta yak\u0131n bir yerlerde s\u00fcr\u00fcyor olmal\u0131d\u0131r. Turgut, Selim’in mektubunu almadan \u00f6nce, k\u00fc\u00e7\u00fck burjuva s\u0131n\u0131f\u0131n\u0131n de\u011fer yarg\u0131lar\u0131yla \u00f6zde\u015fle\u015fmi\u015f bir bireydir. Yani “Bat\u0131l\u0131la\u015fma” sorunsal\u0131n\u0131n beraberinde getirdi\u011fi s\u0131n\u0131fl\u0131l\u0131k toplumunun dayatt\u0131\u011f\u0131 de\u011fer yarg\u0131lar\u0131na kar\u015f\u0131 \u00e7eli\u015fik de\u011fildir. Bu mektup Turgut’un “Tutunamayan” olmay\u0131 se\u00e7i\u015fi ve Selim olmaya do\u011fru ad\u0131m at\u0131\u015f\u0131n\u0131n bir ba\u015flang\u0131c\u0131d\u0131r.(14) Turgut art\u0131k “Tutunamamak” a ve yazar olmaya ad\u0131m atm\u0131\u015ft\u0131r. Roman\u0131n\u0131n ilerleyen b\u00f6l\u00fcmlerinde ortaya \u00e7\u0131kan ve Turgut’un ikinci beni olan Olric O’nu kitab\u0131 yazmaya ikna eder. Ser\u00fcven Turgut’un g\u00f6revini ke\u015ffetti\u011fi noktada son bulur, ya da belki de hi\u00e7 sonlanmaz. Turgut hala ser\u00fcveninin pe\u015findedir.<\/p>\n

Tam bu noktada durup, M\u00fcmtaz’\u0131n i\u00e7inde kalarak \u00e7eli\u015fkisini ya\u015fad\u0131\u011f\u0131 sorunsal\u0131 Selim’in ve Turgut’un reddederek onun d\u0131\u015f\u0131nda kalmay\u0131 se\u00e7tiklerini s\u00f6yleyebiliriz. Peki Selim ve Turgut’un d\u0131\u015f\u0131nda kalmay\u0131 se\u00e7tikleri \u015fey sadece Bat\u0131l\u0131la\u015f(t\u0131r)mayla gelmi\u015f olan burjuva s\u0131n\u0131f\u0131 ve O’nun de\u011fer yarg\u0131lar\u0131 m\u0131d\u0131r? Berna Moran, Selim’in temsil etti\u011fi de\u011ferlerin sadece sanatla ilgili olamayaca\u011f\u0131na ve bu de\u011ferlerin kar\u015f\u0131s\u0131na konan \u015feyin k\u00fc\u00e7\u00fck burjuva s\u0131n\u0131f\u0131na indirgenemeyece\u011fine dikkati \u00e7eker.(15)<\/p>\n

Turgut ve Selim karakterlerinin yard\u0131m\u0131yla “Bat\u0131l\u0131la\u015fma” sorunsal\u0131n\u0131n g\u00f6r\u00fcnt\u00fclerine de\u011finmeye \u00e7al\u0131\u015ft\u0131ktan sonra kitab\u0131n yazar\u0131n\u0131n ve dolay\u0131s\u0131yla kitab\u0131n bu sorunsal\u0131n neresinde durdu\u011funu a\u00e7\u0131klamaya \u00e7al\u0131\u015fal\u0131m:<\/p>\n

Atay’\u0131n T\u00fcrkiye’nin “Bat\u0131l\u0131la\u015f(t\u0131r)ma” ve “Modernite” ser\u00fcvenindeki yerini a\u00e7\u0131klaman\u0131n yolu kitab\u0131nda kulland\u0131\u011f\u0131 tekniklere de\u011finmekten de ge\u00e7er. Berna Moran, Atay’\u0131n \u00e7e\u015fitli metinlere g\u00f6ndermeler yaparak, 19.y\u00fczy\u0131l ger\u00e7ekli\u011fine s\u0131rt\u0131n\u0131 d\u00f6nm\u00fc\u015f bir roman yazma kayg\u0131s\u0131 da oldu\u011funu belirtir.(16) Atay sald\u0131rmak istedi\u011fi zihniyetin yerle\u015fmi\u015f de\u011ferlerine yazd\u0131\u011f\u0131 roman\u0131n tekni\u011fiyle de sald\u0131rmaktad\u0131r. Nitekim Atay’\u0131n kurmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 oyunlar post-modern roman\u0131n s\u0131kl\u0131kla ba\u015fvurdu\u011fu tekniklerden birisidir. \u00d6ns\u00f6zler ve mektupla kurulmaya \u00e7al\u0131\u015f\u0131lan \u015fey bir yandan kendinden \u00f6nceki roman\u0131n verili de\u011ferlerini de y\u0131kmaktad\u0131r. Yine \u015fark\u0131lar ve a\u00e7\u0131klama b\u00f6l\u00fcmleri post-modern roman tekniklerinde g\u00f6r\u00fclen b\u00f6l\u00fcmler gibidir. Jale Parla, Atay’\u0131n kulland\u0131\u011f\u0131 bu teknikler a\u00e7\u0131s\u0131ndan okuru \u00f6zg\u00fcrle\u015ftirme \u00e7abas\u0131nda oldu\u011funa dikkati \u00e7eker.(17) Mizah da bu y\u00f6n do\u011frultusunda kurulan tekniklerden bir tanesidir. Mizaha, Atay’\u0131n bu olguyu hangi eksen etraf\u0131nda kulland\u0131\u011f\u0131na de\u011finmek bizi O’nun yerle\u015fik de\u011ferlerin kar\u015f\u0131s\u0131na neyi koydu\u011funu sorgulamaya iter. Atay mizah\u0131 salt yerle\u015fik d\u00fczenin verili de\u011ferleriyle alayda kullanmaz. Bu de\u011ferlerle alay etmektedir fakat kendisiyle de \u00f6zele\u015ftiriyi a\u015fan bir \u00f6zalay ili\u015fkisi kurmaktad\u0131r. Verili de\u011ferlerin kar\u015f\u0131s\u0131na neyi koydu\u011fu sorusuna cevap olarak akla ilk gelen “Tutunamamak” olur. Fakat O’nun kahramanlar\u0131n\u0131n sonlar\u0131n\u0131n intihar ya da \u015fizofreniyle bitiyor olmas\u0131, Atay’\u0131n “Tutunamamak”\u0131n da alt\u0131n\u0131 oydu\u011funu g\u00f6sterir.<\/p>\n

Huzur’da “Huzursuzluk” M\u00fcmtaz’\u0131n kaderiydi.Tutunamayanlar’da da Turgut’un kaderi romanlar yazmak, bir “Tutunamayan” olmakt\u0131r. Her iki roman\u0131n kahramanlar\u0131 da kendilerini s\u00fcregiden bir olgunun i\u00e7inde bulduklar\u0131 – “Huzursuzluk” ve “Tutunamamak” – i\u00e7in belki de bir y\u00f6nleriyle benze\u015fmektedirler. Fakat yazarlar\u0131n bulunduklar\u0131 konum ve bu olgunun \u00e7\u00f6z\u00fcm\u00fcn\u00fc biliyor olmak etraf\u0131nda d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde Tanp\u0131nar ve Atay’\u0131n olduk\u00e7a farkl\u0131 yerlerde durduklar\u0131n\u0131 s\u00f6yleyebiliriz. Tanp\u0131nar, M\u00fcmtaz’\u0131n i\u00e7inde bulundu\u011fu \u00e7eli\u015fkili durumun \u00e7\u00f6z\u00fcm\u00fcn\u00fc – M\u00fcmtaz ‘\u0131 toplumsal sorumluluklar\u0131n\u0131 bilen bir kahraman d\u00f6n\u00fc\u015ft\u00fcrmese de – kendisi bilmektedir. Atay ise ya\u015fan\u0131lan bu ikili\u011fin ve bunal\u0131m\u0131n kar\u015f\u0131s\u0131na “Tutunamamak” \u0131 koyuyor gibi g\u00f6r\u00fcnmekte fakat onun da alt\u0131n\u0131 oyarak okurunu nesnelle\u015ftirmekten ka\u00e7\u0131nmaktad\u0131r.<\/p>\n

 <\/p>\n

D\u0130PNOTLAR<\/strong><\/p>\n

1.Modernist ve geli\u015fmeci bilim anlay\u0131\u015f\u0131na getirilen en ciddi ele\u015ftirilerden birisi olan D\u00fcnya-Sistemler Kuram\u0131 i\u00e7in bkz. Immanuel Wallerstein, Ulusal Kimlik, D\u00fcnya Kimli\u011fi ve Devletleraras\u0131 Sistem, Jeopolitik ve Jeok\u00fclt\u00fcr, \u0130stanbul: \u0130z Yay\u0131nc\u0131l\u0131k, 1998, s.187.<\/p>\n

2.Yirminci Y\u00fczy\u0131l\u0131n bir toplumsal ve k\u00fclt\u00fcrel devrimler \u00e7a\u011f\u0131 olarak ya\u015fand\u0131\u011f\u0131 a\u00e7\u0131klamas\u0131 ve bu olgunun Bat\u0131l\u0131 ve bat\u0131 d\u0131\u015f\u0131 kapitalist toplumlarda farkl\u0131 g\u00f6r\u00fcnt\u00fcleri i\u00e7in bkz. Eric Hobsbawn, Toplumsal Devrim: 1915-1990, K\u0131sa 20. Y\u00fczy\u0131l 1914-1991. A\u015f\u0131r\u0131l\u0131klar \u00c7a\u011f\u0131, \u0130stanbul: Sarmal Yay\u0131nevi, 1996, s.334.<\/p>\n

3.Berna Moran, T\u00fcrk Roman\u0131 ve Bat\u0131l\u0131la\u015fma Sorunsal\u0131, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 1, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1999, s.19.<\/p>\n

4.a.g.e.s.9<\/p>\n

5.Berna Moran, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 2, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1997, s.8.<\/p>\n

6.Orhan Pamuk, Ahmet Hamdi Tanp\u0131nar ve T\u00fcrk Modernizmi, Defter, Bahar 1995, s.32.<\/p>\n

7.S\u00fcha O\u011fuzertem makalesini as\u0131l olarak “Kara Kitap” ekseninde kuruyor ve Tanp\u0131nar’\u0131 izleyen modernist roman\u0131 orta\u00e7a\u011fdan \u00e7\u0131k\u0131\u015f\u0131n b\u00fcy\u00fck \u00f6l\u00e7\u00fcde tamamland\u0131\u011f\u0131 bir d\u00f6neme oturtuyor. Bu d\u00f6nemin \u00f6zelli\u011fi olarak da yeni burjuva toplumun ayd\u0131nlar\u0131n\u0131n, ge\u00e7i\u015f d\u00f6neminden \u00e7ok farkl\u0131 t\u00fcrde \u00fcr\u00fcnler vermesini koyuyor. bkz. S\u00fcha O\u011fuzertem, \u0130ktidar\u0131 \u00d6ven Galip, Defter, (?), s.127.<\/p>\n

8.Berna Moran, Bir Huzursuzlu\u011fun Roman\u0131: Huzur, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 1, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1999, s.207.<\/p>\n

9.a.g.e.s.219.<\/p>\n

10.Berna Moran,Tanp\u0131nar’\u0131n Bat\u0131l\u0131la\u015fma kar\u015f\u0131s\u0131ndaki duru\u015funun anlat\u0131m\u0131na makalesinde olduk\u00e7a geni\u015f bir yer verir. bkz.a.g.e.s.214-218.<\/p>\n

11.Gazeteci-edit\u00f6r\u00fcn “Sonun ba\u015flang\u0131c\u0131” adl\u0131 \u00f6ns\u00f6z\u00fcyle ba\u015flayan Tutunamayanlar, bu \u00f6ns\u00f6zden anla\u015f\u0131laca\u011f\u0131 \u00fczere sona ererek bitmez. Bitmememi\u015f bu kitab\u0131n, hala bir yerde dola\u015f\u0131yor olan Turgut \u00d6zben’in ve O’nun hikayesinin \u00e7er\u00e7eveledi\u011fi Selim I\u015f\u0131k’n ser\u00fcveninin nas\u0131l \u00e7er\u00e7eveler i\u00e7ine oturtulabilece\u011fi i\u00e7in bkz. Berna Moran, Tutunanlardan Tutunamayanlara Bir Yolculuk, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 2, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1997, s.200-201.<\/p>\n

12.Selim’in Turgut’un \u00f6teki beni mi oldu\u011fu tart\u0131\u015fmas\u0131 i\u00e7in. bkz.a.g.e. s.210.<\/p>\n

13. bkz.a.g.e. s.213.<\/p>\n

14.Jale Parla toplumda asl\u0131nda \u00e7ok iyi tutunmu\u015f bir birey olan Turgut \u00d6zben’in kitap boyunca okudu\u011funu ve iradeli olarak bir tutunamayan olmay\u0131 se\u00e7erken, u\u011fra\u015ft\u0131\u011f\u0131 bir s\u00fcr\u00fc eksik metinin O’na bu yolda yard\u0131m etti\u011fini s\u00f6yler. bkz. Jale Parla, “Takib-i Macera-i Metindir \u015eiir” : Tutunamayanlar, Don Ki\u015fot’tan Bug\u00fcne Roman, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2000. s.205.<\/p>\n

15.Atay’\u0131n roman\u0131nda kulland\u0131\u011f\u0131 \u0130sa mitosuyla “tutunamayan” olmaya yeni bir boyut geirdi\u011fini s\u00f6yleyen Moran, \u0130sa’n\u0131n tutunamayanlar\u0131n bir arketipi oldu\u011funu belirtir. \u0130ncil’e yap\u0131lan g\u00f6ndermelerin de Tutunamayanlar’\u0131n analam\u0131na yeni boyutlar ekledi\u011fini s\u00f6yler. Berna Moran, Tutunanlardan Tutunamayanlara Bir Yolculuk, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 2, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1997, s.211. Berna Moran’\u0131n bu tespitine kar\u015f\u0131l\u0131k olarak O’na S\u00fcha O\u011fuzertem’den bir ele\u015ftiri y\u00f6neltilmi\u015ftir. O\u011fuzertem, Moran’\u0131n modernizmi 1950’ler sonras\u0131 s\u0131n\u0131fl\u0131 topluma yerle\u015ftirdi\u011fini fakat Tutunamayanlar’\u0131 s\u0131n\u0131fl\u0131 toplum a\u00e7\u0131s\u0131ndan ele\u015ftirmedi\u011fini s\u00f6yler. Bir \u00e7ok bak\u0131mdan yararl\u0131 olan \u00e7al\u0131\u015fmas\u0131nda s\u0131n\u0131fl\u0131l\u0131k d\u00f6neminin \u00fcr\u00fcnlerini s\u0131n\u0131fsall\u0131k a\u00e7\u0131s\u0131ndan de\u011ferlendirmemenin eksik kald\u0131\u011f\u0131n\u0131 ekler. bkz. S\u00fcha O\u011fuzertem, \u0130ktidar\u0131 \u00d6ven Galip, Defter, (?), s.127.<\/p>\n

16.Moran’a g\u00f6re, Atay’\u0131n James Joyse gibi modernist ve Nabakov gibi post-modernist bir yazardan \u00e7ok etkilenmi\u015f olmas\u0131 O’nun modernist ve pos-modernist y\u00f6nlerine a\u00e7\u0131kl\u0131k kazand\u0131rmaktad\u0131r. bkz.Berna Moran, Tutunanlardan Tutunamayanlara Bir Yolculuk, T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 2, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 1997, s.199.<\/p>\n

17.Jale Parla, “Takib-i Macera-i Metindir \u015eiir” : Tutunamayanlar, Don Ki\u015fot’tan Bug\u00fcne Roman, \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2000. s.225.<\/p>\n

\u00a0KAYNAK\u00c7A<\/strong><\/p>\n

*Akg\u00fcl, Hasip. O\u011fuz Atay’\u0131n Ya\u015fam Oyunu, Ak\u0131\u015f Yay\u0131nc\u0131l\u0131k. \u0130stanbul: 1996<\/p>\n

*Anderson, Benedict. Hayali Cemaatler: Milliyet\u00e7ili\u011fin K\u00f6kenleri ve Yay\u0131lmas\u0131, Metis Yay\u0131nlar\u0131. \u0130stanbul: 1995.<\/p>\n

*Atay, O\u011fuz. Tutunamayanlar, \u0130leti\u015fim Yay\u0131nlar\u0131. \u0130stanbul: 2000.<\/p>\n

*Hobsbawn, Eric. K\u0131sa 20. Y\u00fczy\u0131l Tarihi 1914-1999.A\u015f\u0131r\u0131l\u0131klar \u00c7a\u011f\u0131, Sarmal Yay\u0131nc\u0131l\u0131k. \u0130stanbul: 1996.<\/p>\n

*Moran, Berna. T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 1, \u0130leti\u015fim Yay\u0131nlar\u0131. \u0130stanbul: 1999.<\/p>\n

*Moran, Berna. T\u00fcrk Roman\u0131na Ele\u015ftirel Bir Bak\u0131\u015f 2, \u0130leti\u015fim Yay\u0131nlar\u0131. \u0130stanbul: 1997.<\/p>\n

*O\u011fuzertem, S\u00fcha. \u0130ktidar\u0131 \u00d6ven Galip, Defter: (?)<\/p>\n

*Pamuk, Orhan. \u00d6teki Renkler, \u0130leti\u015fim Yay\u0131nlar\u0131. \u0130stanbul: 1999.<\/p>\n

*Pamuk, Orhan. Ahmet Hamdi Tanp\u0131nar ve T\u00fcrk Modernizmi, Defter: Bahar: 1995<\/p>\n

*Parla, Jale. Don Ki\u015fot’tan Bug\u00fcne Roman, \u0130leti\u015fim Yay\u0131nlar\u0131. \u0130stanbul: 2000.<\/p>\n

*Tanp\u0131nar, Ahmet Hamdi. Huzur, Dergah Yay\u0131nlar\u0131. \u0130stanbul: 2000.<\/p>\n

*Bo\u011fazi\u00e7i \u00dcniversitesi TKL 408 2000\/2001 Bahar D\u00f6nemi Ders Notlar\u0131.<\/p>\n

*Wallerstein, Immanuel. Jeopolitik ve Jeok\u00fclt\u00fcr, \u0130z Yay\u0131nc\u0131l\u0131k. \u0130stanbul: 1998.<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

NURAY K\u00dc\u00c7\u00dcKLER<\/p>\n

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

Huzur ve Tutunamayanlar’\u0131 “Bat\u0131l\u0131la\u015f(t\u0131r)ma” sorunsal\u0131 a\u00e7\u0131s\u0131ndan inceleme denemesi. Nuray K\u00fc\u00e7\u00fckler’den. Huzur ve Tutunamayanlar’\u0131n “Bat\u0131l\u0131la\u015fma” sorunsal\u0131 etraf\u0131nda inceleme denemesi, beraberinde D\u00fcnya Sisteminin(1) i\u00e7inde bulundu\u011fu d\u00f6nemselli\u011fi de incelemeyi gerektirmektedir. Bunu da merkez ve \u00e7evre \u00fclkelerde “Modernite” kavram\u0131na bakarak yapabiliriz. D\u00fcnya ekseninde 20.yy. \u00e7a\u011f\u0131 h\u0131zl\u0131 toplumsal d\u00f6n\u00fc\u015f\u00fcmlerin ve k\u00fclt\u00fcrel devrimlerin ya\u015fand\u0131\u011f\u0131 bir \u00e7a\u011fd\u0131r. Bu d\u00f6n\u00fc\u015f\u00fcm\u00fcn h\u0131zl\u0131 ve evrensel […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-577","post","type-post","status-publish","format-standard","hentry","category-arastirmadeneme"],"_links":{"self":[{"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/posts\/577","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/comments?post=577"}],"version-history":[{"count":0,"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/posts\/577\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/media?parent=577"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/categories?post=577"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.karasite.com\/index.php\/wp-json\/wp\/v2\/tags?post=577"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}