\u201c\u00d6nemli olan<\/p>\n\n\n\n
okumak de\u011fil,<\/p>\n\n\n\n
yeniden okumakt\u0131r.\u201d[1]<\/sup><\/a><\/p>\n\n\n\n Sanat nedir, edebiyat nedir, sorular\u0131na verilen yan\u0131tlar de\u011fi\u015fkenlik g\u00f6sterirken, \u201cSol k\u00fclt\u00fcr\u00fc\u2026 estetik bilinci geli\u015ftiren ger\u00e7ek\u00e7i yap\u0131tlar\u0131 savundum,\u201d[2]<\/sup><\/a> hayk\u0131r\u0131\u015f\u0131yla \u201cSanatta Star Sistemi\u201dne ba\u015fkald\u0131ranlardand\u0131r Cengiz G\u00fcndo\u011fdu ve tam da bunun i\u00e7in yazd\u0131klar\u0131yla m\u00fcthi\u015f \u00f6nemlidir.<\/p>\n\n\n\n Kolay m\u0131? \u201cNi\u00e7in Yazmal\u0131?\u201d sorusunun pabucu dama at\u0131l\u0131p, \u201cNas\u0131l Yazmal\u0131?\u201d sorusunun cankurtarana d\u00f6n\u00fc\u015ft\u00fcr\u00fcld\u00fc\u011f\u00fc kesitte; sanat eserinin i\u00e7eri\u011finin Marksist ele\u015ftirisi \u201ces\u201d ge\u00e7ilirken; insan(lar)\u0131n s\u00f6m\u00fcr\u00fcye kar\u015f\u0131 m\u00fccadelesiyle edebiyat\u0131 aras\u0131nda ba\u011flant\u0131 kurmad\u0131k\u00e7a, g\u00fcn\u00fcm\u00fcz\u00fc tam olarak anlayamay\u0131z ve onu etkin bir bi\u00e7imde de\u011fi\u015ftiremeyiz.<\/p>\n\n\n\n Malum: \u201cYazmak, varl\u0131\u011f\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fc i\u00e7in pek gerekli oldu\u011funuzu kabul ettirebilmek \u00fczere ba\u015fkas\u0131n\u0131n bilincine ba\u015fvurmakt\u0131r; bu, \u00f6nemlili\u011fi arac\u0131 ki\u015filerde ya\u015famak istemektir; ama \u00f6te yandan ger\u00e7ek d\u00fcnya ancak eylem i\u00e7inde ortaya \u00e7\u0131kt\u0131\u011f\u0131ndan, ancak bu d\u00fcnyay\u0131 de\u011fi\u015ftirmek \u00fczere a\u015ft\u0131\u011f\u0131m\u0131z zaman kendimizi onun i\u00e7inde hissetti\u011fimizden, romanc\u0131n\u0131n evreni, e\u011fer bu evreni bir a\u015fma giri\u015fimi s\u0131ras\u0131nda bulup ortaya \u00e7\u0131karmam\u0131\u015f olsayd\u0131k, s\u0131\u011f kalacakt\u0131r\u2026\u201d[3]<\/sup><\/a><\/p>\n\n\n\n Hat\u0131rlatmadan ge\u00e7meyelim: 1965 Nobel \u00d6d\u00fcl\u00fc konu\u015fmas\u0131nda Mihail \u015eolohov\u2019un, \u201cOkuyucuya namuslu s\u00f6z s\u00f6ylemek, halka do\u011fruyu anlatmak, ger\u00e7e\u011fi anlat\u0131rken kimi zaman sert ama her zaman y\u00fcrekli olmak, insanlar\u0131n y\u00fcre\u011fine gelecek ad\u0131na, kendi g\u00fc\u00e7leri ad\u0131na, gelece\u011fi bi\u00e7imlendirmedeki yetenekleri ad\u0131na g\u00fc\u00e7l\u00fc inan\u00e7 salmak\u201dta[4]<\/sup><\/a> s\u00f6z etmesinin; Albert Einstein\u2019\u0131n, \u201c\u0130nsan, ya\u015fam ne kadar k\u0131sa ve tehlikelerle dolu olursa olsun, kendini topluma adamak suretiyle ya\u015famda bir anlam yaratabilir,\u201d[5]<\/sup><\/a> ifadesinin bir an dahi unutulmamas\u0131 gereken bir kesitten ge\u00e7erken Marksist ele\u015ftiri devasa bir \u00f6nem arz ediyor.<\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n \u201cMarksist edebiyat ele\u015ftirisinin de\u011fer \u00f6l\u00e7\u00fctlerinin, sosyal yap\u0131, s\u0131n\u0131f farkl\u0131l\u0131klar\u0131 ve bunlar aras\u0131ndaki \u00e7at\u0131\u015fmalar oldu\u011fu\u201d ve \u201cyap\u0131t\u0131n konusu, olay \u00f6rg\u00fcs\u00fc, ki\u015fileri ezilen s\u0131n\u0131flar\u0131n \u00e7\u0131karlar\u0131na ters d\u00fc\u015fmemeli ve egemen s\u0131n\u0131f\u0131n \u00e7\u0131karlar\u0131na asla hizmet etmemeli\u201d[6]<\/sup><\/a> vurgular\u0131n\u0131 bir an dahi unut(tur)madan sanat\u0131n nedenlerini ara\u015ft\u0131r\u0131p, a\u00e7\u0131klamak; ona yol a\u00e7an nedenleri -toplumsal yap\u0131, s\u0131n\u0131f farklar\u0131 ve \u00e7at\u0131\u015fan g\u00fc\u00e7ler ekseninde- yerli yerine oturtmak; ve bunlar\u0131 yaparken de ezilenlerin \u00e7\u0131kar\u0131na ters d\u00fc\u015fmemek ve estetik \u00f6l\u00e7\u00fctleri g\u00f6z ard\u0131 etmemek, \u201colmazsa olmaz\u201d\u0131m\u0131zd\u0131r.<\/p>\n\n\n\n Belirtmeden ge\u00e7memeli: Marksist edebiyat ele\u015ftirisinin \u00f6ne \u00e7\u0131kan d\u00fc\u015f\u00fcn\u00fcrlerinden Georgi Plehanov\u2019un edebiyata bi\u00e7ti\u011fi ilk g\u00f6rev, tahlil edilen eserde her \u015feyden \u00f6nce hangi toplumsal bilincin, s\u0131n\u0131f bilincinin dile getirilmi\u015f oldu\u011funun kavranmas\u0131yd\u0131.[7]<\/sup><\/a><\/p>\n\n\n\n Ancak edebiyat ele\u015ftirisinin gerekli olup olmad\u0131\u011f\u0131n\u0131n dahi \u201ctart\u0131\u015f\u0131ld\u0131\u011f\u0131\u201d ortamda; edebiyat yap\u0131tlar\u0131na dair Marksist ele\u015ftiriler g\u00f6rmezden gelinmektedir.<\/p>\n\n\n\n Oysa \u201cMarksist ele\u015ftiri, sosyolojik ele\u015ftiri gibi genellikle bir sanat olay\u0131n\u0131n nedenlerini ara\u015ft\u0131r\u0131r. Ancak sosyolojik ele\u015ftiri bu nedenlerin \u00e7e\u015fitli olabilece\u011fini iddia ederken Marksist ele\u015ftiri ekonomik ko\u015fullar\u0131 ve toplumdaki s\u0131n\u0131f \u00e7at\u0131\u015fmalar\u0131n\u0131 esas al\u0131r ve olay\u0131 bunlarla a\u00e7\u0131klar. \u00d6rne\u011fin, sanat\u0131n k\u00f6keninde \u2018i\u015f\u2019in yatt\u0131\u011f\u0131n\u0131, ilkel toplumlar\u0131n ya\u015famak i\u00e7in giri\u015ftikleri faaliyetlerden do\u011fdu\u011funu; roman\u0131n orta s\u0131n\u0131f\u0131n g\u00fc\u00e7 kazanmas\u0131 sonucu ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131; \u2018sanat i\u00e7in sanat\u2019 \u00f6\u011fretisinin kapitalist d\u00fczende sanat\u00e7\u0131n\u0131n toplumdan koparak kendini yabanc\u0131 g\u00f6rmesiyle ba\u015flad\u0131\u011f\u0131n\u0131 ve burjuva s\u0131n\u0131f\u0131na kar\u015f\u0131 bu tutumun \u201cher \u015feyin sat\u0131n al\u0131nabilir bir meta h\u00e2line geldi\u011fi bu d\u00fcnyada sanat\u00e7\u0131n\u0131n meta \u00fcretmeme karar\u0131ndan\u201d do\u011fdu\u011funu g\u00f6sterir. K\u0131sacas\u0131 sanat\u0131n, sanat t\u00fcrlerinin ak\u0131mlar\u0131n\u0131n, \u00fcsluplar\u0131n\u0131n, ekonomik alt yap\u0131 ve s\u0131n\u0131f \u00e7at\u0131\u015fmalar\u0131n\u0131n ili\u015fkilerini belirterek bunlar\u0131n nedenlerini ortaya koyar.\u201d[8]<\/sup><\/a><\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Sanatta Star Sistemi\u201dne Marksist ele\u015ftirileriyle Cengiz G\u00fcndo\u011fdu, herkese unutulan\u0131 an\u0131msat\u0131yor; t\u0131pk\u0131 edit\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlendi\u011fi \u2018Romanda Estetik Kalk\u0131\u015fma\u2019 dizisi gibi.<\/p>\n\n\n\n \u015eimdiye dek yay\u0131nlanan \u2018Romanda Estetik Kalk\u0131\u015fma\u2019lar\u0131n birincisinde: \u201cBilgisizli\u011fin\u2026 sorumsuzlu\u011fun y\u0131k\u0131nt\u0131lar\u0131 i\u00e7inde s\u00fcr\u00fcklenen romana ne yapmal\u0131yd\u0131, roman nas\u0131l var k\u0131l\u0131nmal\u0131yd\u0131\u2026 Bu, bir roman\u0131 var eden \u00f6\u011felerin ortaya \u00e7\u0131kar\u0131lmas\u0131yla olanakl\u0131 olur\u2026 Her sanat yap\u0131t\u0131 nesnelerin estetik bi\u00e7imlenmesiyle olu\u015fur. Bu, roman\u0131 i\u00e7in de b\u00f6yle.\u201d[9]<\/sup><\/a><\/p>\n\n\n\n \u0130kincisinde: \u201cRoman Esteti\u011finin\u2026 \u00f6yk\u00fc esteti\u011finin kategorilerle belirlenen belli yasalar\u0131 vard\u0131r. Yazar, estetik a\u00e7\u0131dan g\u00fczel bir yap\u0131t olu\u015fturmak istiyorsa bu yasalara uyacak\u2026 \u00d6zellikle 1970\u2019den sonra bu \u00f6zelliklere uyulmad\u0131.\u201d[10]<\/sup><\/a><\/p>\n\n\n\n \u00dc\u00e7\u00fcnc\u00fcs\u00fcnde: \u201cBizler Romanda Estetik Kalk\u0131\u015fma adl\u0131 kitaplarla insanda temel duyu olan estetik duyuyu devindiriyoruz. Tarihsel-toplumsal diyalekti\u011fi aksatmadan insan\u0131n yaratt\u0131\u011f\u0131 \u00fcr\u00fcnleri estetik \u00f6l\u00e7\u00fctlerle de\u011ferlendiriyoruz.<\/p>\n\n\n\n Neden b\u00f6yle yap\u0131yoruz? Hep s\u00f6yledim\u2026 y\u0131llard\u0131r s\u00f6yledim. T\u00fcrkiye\u2019de g\u00fczel yarg\u0131s\u0131 san\u0131ya dayan\u0131r, bilgiye dayanmaz. Retorik yap\u0131l\u0131r. (\u2026)<\/p>\n\n\n\n \u0130nsanlarda estetik alg\u0131\u2026 estetik ho\u015flanma belirli bir d\u00fczeye \u00e7\u0131kmam\u0131\u015fsa o toplumda kaba-sabal\u0131k egemendir. Bir roman\u0131n estetiksel kavran\u0131\u015f\u0131yla kaba-sabal\u0131ktan ar\u0131nma ba\u015flar,\u201d[11]<\/sup><\/a> diyen Cengiz G\u00fcndo\u011fdu\u2019nun edit\u00f6rl\u00fc\u011f\u00fcnde \u2018Romanda Estetik Kalk\u0131\u015fma\u2019n\u0131n IV\u2019c\u00fcs\u00fc de Zeynep Alpaslan, Nur\u015fen Aydo\u011fan, G\u00fcldane Bulut, Neriman \u00c7elik, Recep \u00c7itikbel, S\u00fcheyla Ekemen, Nurten Ergen, Say\u0131l Cengiz G\u00fcndo\u011fdu, Sadife \u0130len, Sevim Kahraman, Ayd\u0131n Karak\u00fc\u00e7\u00fck, H\u00fcray K\u0131l\u0131\u00e7, Sevin\u00e7 K\u0131rm\u0131z\u0131g\u00fcl, Korkut K\u00f6seo\u011flu, Adnan \u00d6ztel, Erg\u00fcn \u00d6z\u00fctemiz, H\u00fcseyin \u015eahin, Tahir \u015eilkan, Medet Turan, Alper Yavuz, G\u00fclay Ye\u015filipek, Dursun Yi\u011fit, Fehim Yurdal katk\u0131lar\u0131yla yay\u0131nland\u0131.[12]<\/sup><\/a><\/p>\n\n\n\n 12 Mart-12 Eyl\u00fcl sonras\u0131 (1971-1990) toplumsal de\u011fi\u015fimin romanlara yans\u0131mas\u0131n\u0131n (77 yazar ve 137 roman\u0131n) \u2018\u0130nsanc\u0131l Dergisi\u2019nin 44 yazar\u0131nca de\u011ferlendirildi\u011fi; yo\u011fun bir eme\u011fin \u00fcr\u00fcn\u00fc olan ortak yap\u0131t 510 sayfa, deyim yerindeyse \u201ctu\u011fla\u201d gibi bir eser…<\/p>\n\n\n\n Eserde yazarlar ve romanlar\u0131 \u00fc\u00e7 b\u00f6l\u00fcmde ele al\u0131n\u0131yor: i) Ger\u00e7ek\u00e7i Romanlar; ii) Olgusal Romanlar; iii) Star Sisteminin Kar\u015f\u0131 Ger\u00e7ek\u00e7i Yazarlar\u0131 (Ger\u00e7eksiz Yazarlar).<\/p>\n\n\n\n Cengiz G\u00fcndo\u011fdu, bu yap\u0131tla \u201cSanatta Star Sistemi\u201d yazarlar\u0131n\u0131n ger\u00e7eksizli\u011fini bir kere daha ortaya koyarken; onlar\u0131n sosyalizme kar\u015f\u0131tl\u0131\u011f\u0131 yan\u0131nda; 1980 Eyl\u00fcl\u2019\u00fcnden sonra fa\u015fizmin g\u00f6lgesinde ger\u00e7ek\u00e7ili\u011fe kar\u015f\u0131 sava\u015f\u0131mlar\u0131n\u0131 sergiliyor.<\/p>\n\n\n\n Ve t\u00fcm bunlar\u0131 yaparken de i) Edebiyat\u0131n g\u00f6rev(ler)ini; ii) Roman\u0131n ne oldu\u011funu; iii) Yazman\u0131n anlam\u0131n\u0131; iv) Marksist esteti\u011fi v) 12 Eyl\u00fcl y\u0131k\u0131m\u0131n\u0131 olanca netli\u011fiyle ortaya koyuyor.<\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Edebiyat\u0131n g\u00f6rev(ler)i\u2026<\/em><\/p>\n\n\n\n <\/p>\n\n\n\n Edebiyat\u0131n Umberto Eco\u2019nun, \u201cSonu bilindik \u00f6yk\u00fcler bize \u00f6lmeyi de \u00f6\u011fretir. Edebiyat\u0131n temel i\u015flevlerinden birinin bu \u2018kader\u2019 ve \u00f6l\u00fcm e\u011fitimi oldu\u011funa inan\u0131yorum,\u201d[13]<\/sup><\/a> saptamas\u0131ndaki \u015fey olmad\u0131\u011f\u0131 kesinken; Murat G\u00fclen\u2019in, \u201cEdebiyat, keyif almak i\u00e7in, yoksulluktan ve yoksunluktan bihaber yap\u0131lamaz,\u201d uyar\u0131s\u0131na ekler Roberto Bola\u00f1o:<\/p>\n\n\n\n \u201cEdebiyat, \u00f6l\u00fcm\u00fcn aksine, k\u00f6t\u00fc hava ko\u015fullar\u0131nda, savunmas\u0131zl\u0131k h\u00e2linde, iktidardan, yasalardan uzakta ya\u015far. Yaln\u0131zca en iyilerin aras\u0131ndaki en iyilerin ihl\u00e2l etme yetene\u011fine sahip oldu\u011fu edebiyat\u0131n yasas\u0131ndan ba\u015fka yasa yoktur orada. O yasa ihl\u00e2l edildi\u011finde ise, art\u0131k edebiyat de\u011fil numune vard\u0131r ortada.\u201d<\/p>\n\n\n\n Edebi varl\u0131\u011f\u0131n, yenilenmenin asl\u00ee unsuru \u00f6zg\u00fcrl\u00fckt\u00fcr; Susan Sontag\u2019\u0131n, \u201cEdebiyat \u00f6zg\u00fcrl\u00fckt\u00fcr!\u201d form\u00fcl\u00fcndeki \u00fczere.<\/p>\n\n\n\n Evet, evet edebiyat ve \u00f6zg\u00fcrl\u00fck s\u00f6zc\u00fckleri birbirini tamamlarken; insandan yola \u00e7\u0131karak insanl\u0131\u011fa ula\u015ft\u0131r\u0131r bizi. Ya da \u00f6zg\u00fcrl\u00fck ad\u0131mlar\u0131n\u0131n toplumsalla\u015fmas\u0131yla edebiyat\u0131n \u00f6zg\u00fcrle\u015fmesi \u00e7ak\u0131\u015f\u0131r. \u00c7\u00fcnk\u00fc sanat\u0131n\/ edebiyat\u0131n k\u00f6keni i\u015ftir, faydad\u0131r, ihtiya\u00e7t\u0131r\u2026 D\u00fcnyay\u0131 de\u011fi\u015ftirerek, \u00f6zg\u00fcrle\u015ftirmektir.<\/p>\n\n\n\n Aristoteles \u2018Poetika\u2019s\u0131nda, sanat yap\u0131t\u0131n\u0131n olan \u015feyi de\u011fil, olabilir olan\u0131 yans\u0131tmas\u0131 gerekti\u011fini, edebiyat\u0131n da olabilir \u015feylerin \u201cgenel\u201dini yans\u0131tt\u0131\u011f\u0131n\u0131 ifade ederek, \u201cYazar\u0131n g\u00f6revi, ger\u00e7ekten olan\u0131 de\u011fil, olabilir olan\u0131 ve nesneleri betimlemektir. Nesneler, nas\u0131l olmalar\u0131 gerekiyorsa, o \u015fekilde betimlenmelidir,\u201d[14]<\/sup><\/a> der.<\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Roman nedir?..<\/em><\/p>\n\n\n\n Orhan Pamuk\u2019un, \u201cBenim i\u00e7in romanc\u0131l\u0131k, \u00f6nemli \u015feylerden \u00f6nemsizmi\u015f gibi ve \u00f6nemsiz \u015feylerden \u00f6nemliymi\u015f gibi bahsetme sanat\u0131d\u0131r,\u201d; Milan Kundera\u2019n\u0131n, \u201cRoman, XXI. y\u00fczy\u0131la yak\u0131\u015fm\u0131yor,\u201d ifadeleri gibi, \u201cRoman\u0131 t\u00fcr olarak bir kategoriye sokmak zor; sokmak da gerekmez,\u201d[15]<\/sup><\/a> saptamas\u0131n\u0131 da ciddiye almak m\u00fcmk\u00fcn de\u011filken; \u201cRoman, hayat\u0131n kapsaml\u0131 b\u00fct\u00fcnselli\u011finin art\u0131k dolays\u0131zca verili olmaktan \u00e7\u0131kt\u0131\u011f\u0131, anlam\u0131n hayata i\u00e7kinli\u011finin bir sorun h\u00e2line geldi\u011fi ama yine de b\u00fct\u00fcnsellik terimleriyle d\u00fc\u015f\u00fcnebilen bir \u00e7a\u011f\u0131n epi\u011fidir.\u201d[16]<\/sup><\/a><\/p>\n\n\n\n Tahsin Y\u00fccel\u2019in ifadesi ile \u201cyaz\u0131nsal geleneklerin en soylusu\u201d romanlar sayesinde insan, kendini her t\u00fcrl\u00fc insanla \u00f6zde\u015fle\u015ftirmeyi \u00f6\u011frenir. \u00c7\u00fcnk\u00fc \u201cB\u00fct\u00fcn romanlar\u0131n ve hik\u00e2yelerin amac\u0131 kim oldu\u011fumuzu bilmektir, edebiyat\u0131n \u00f6nemli bir konuma sahip olmas\u0131n\u0131n nedeni, sadece do\u011fan\u0131n ve insanlar \u00e2leminin ayr\u0131nt\u0131lar\u0131n\u0131 tek tek a\u00e7\u0131klamas\u0131nda ve ke\u015ffetmesinde de\u011fil, insanlar\u0131 hep yeni ba\u015ftan ke\u015ffetmesidir,\u201d der Heinrich Mann\u2026<\/p>\n\n\n\n Bir meydan okuma olarak roman hayatt\u0131r.<\/p>\n\n\n\n Roman insan(l\u0131k)\u0131, toplumsal ve tarihsel bir varl\u0131k olarak konu al\u0131rken; hayat ile kurgu ba\u011flam\u0131nda roman ger\u00e7ek ile hayalin birbirine kar\u0131\u015ft\u0131r\u0131lmas\u0131 gibi bir g\u00f6rev \u00fcstlenir. \u201cRoman, ya\u015fam\u0131n kitab\u0131d\u0131r.\u201d[17]<\/sup><\/a> Henry James\u2019e g\u00f6re ya\u015fam\u0131 romana aktarabilmek i\u00e7in yazar\u0131n bu hammaddeye bi\u00e7im ve canl\u0131l\u0131k vermesi gerekir.[18]<\/sup><\/a><\/p>\n\n\n\n Kimilerine g\u00f6re \u201cTanr\u0131lar\u0131n terk etti\u011fi bir d\u00fcnyan\u0131n epi\u011fidir.\u201d Gy\u00f6rgy Lukacs\u2019a g\u00f6re de, \u201cA\u015fk\u0131n bir yurtsuzlu\u011fun ifadesi\u201dyken;[19]<\/sup><\/a> \u201cHer roman, asl\u0131nda bir otobiyografidir,\u201d der Andr\u00e9 Malraux da\u2026<\/p>\n\n\n\n \u201cRoman yabanc\u0131la\u015fm\u0131\u015f modern \u00e7a\u011f\u0131n en derin i\u00e7yap\u0131s\u0131n\u0131 yans\u0131t\u0131r\u201dken;[20]<\/sup><\/a> \u00f6te yandan da, feodal toplumun ba\u011fr\u0131ndan kopup gelen devrimci burjuvazinin \u00fcstyap\u0131 kurumudur\u2026 \u015euras\u0131 a\u00e7\u0131kt\u0131r ki, roman burjuvazinin ortaya \u00e7\u0131kmas\u0131yla \u015fekillenen ve onun tarihsel geli\u015fimiyle beraber i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131 evrensel niteli\u011fini ayyuka \u00e7\u0131karan devrimci bir t\u00fcrd\u00fcr.[21]<\/sup><\/a><\/p>\n\n\n\n \u201cRoman yazar\u0131n itiraflar\u0131 de\u011fildir; bir tuzak h\u00e2line gelmi\u015f d\u00fcnyam\u0131zda ya\u015fanan insan ya\u015fam\u0131n\u0131n ara\u015ft\u0131r\u0131lmas\u0131d\u0131r.\u201d[22]<\/sup><\/a> \u201cRoman, hayat\u0131 kurgulamaz. Hayat\u0131n kurgusunu, insan\u0131n kurgulanm\u0131\u015f hayatlar\u0131n\u0131 anlat\u0131r.\u201d[23]<\/sup><\/a><\/p>\n\n\n\n Bu \u00f6zellikleriyle roman, hem bir t\u00fcr\u00fcn ad\u0131, hem de bir anlat\u0131m bi\u00e7imidir. Modern zamanlar\u0131n bir anlat\u0131 t\u00fcr\u00fc olan roman\u0131n, kendine \u00f6zg\u00fc bir mant\u0131\u011f\u0131, kendine \u00f6zg\u00fc bir yap\u0131s\u0131 ve kurgusu vard\u0131r.<\/p>\n\n\n\n Empati duygusuyla derinlik ve anlam kazanan bir sanat olarak roman b\u00fcy\u00fck bir yolun \u00fcst\u00fcnde gezdirilen bir aynad\u0131r.[24]<\/sup><\/a><\/p>\n\n\n\n Kolay m\u0131? Mihail Bahtin\u2019e g\u00f6re, \u201cRoman, herhangi bir edebi sistemde kurgusal s\u0131n\u0131rlar\u0131 ve \u00e7\u0131kmazlar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan, i\u015f ba\u015f\u0131ndaki g\u00fc\u00e7 dengelerinin t\u00fcm\u00fcne verilen isim\u201dken; ekler Elias Canetti de:<\/p>\n\n\n\n \u201cRomanlar sayesinde insan, kendini her t\u00fcrl\u00fc insanla \u00f6zde\u015fle\u015ftirmeyi \u00f6\u011freniyor. De\u011fi\u015fiklikten zevk almaya ba\u015fl\u0131yor. Ki\u015filikler par\u00e7a par\u00e7a \u00e7\u00f6z\u00fcl\u00fcp, ho\u015fa giden kahramanlar\u0131n kal\u0131b\u0131na giriyor. Okur, g\u00f6n\u00fcll\u00fc olarak kendini yabanc\u0131 hedeflerin ak\u0131\u015f\u0131na b\u0131rak\u0131yor, bu y\u00fczden uzunca bir s\u00fcre i\u00e7in kendi hedeflerini g\u00f6zden yitiriyor. Romanlar, yazarl\u0131k yapan bir oyuncunun, okurlar\u0131n\u0131n bir b\u00fct\u00fcn olu\u015fturan ki\u015filiklerine bat\u0131rd\u0131\u011f\u0131 kamalard\u0131r.\u201d<\/p>\n\n\n\n \u00d6zetle 1605\u2019de Miguel de Cervantes\u2019in bas\u0131lan \u2018Don Ki\u015fot\u2019u ile ba\u015flad\u0131\u011f\u0131ndan[25]<\/sup><\/a> s\u00f6z edilen roman\u0131n en g\u00fczel tan\u0131mlardan birini 29 Haziran 2009\u2019deki Bo\u011fazi\u00e7i \u00dcniversitesi fahri doktora t\u00f6renindeki konu\u015fmas\u0131nda Ya\u015far Kemal yapm\u0131\u015ft\u0131:<\/p>\n\n\n\n \u201cS\u00f6z\u00fcn g\u00fcc\u00fcne her zaman inand\u0131m. Roman, s\u00f6zl\u00fc sanat\u0131n en \u00f6nemli koludur, \u00e7\u00fcnk\u00fc her okuyucu bir roman\u0131 okurken okudu\u011fu roman\u0131 ba\u015f\u0131ndan sonuna kadar yeniden yarat\u0131r. Diyelim ki bir zeytin a\u011fac\u0131 ge\u00e7iyor romanda, okuyucunun bah\u00e7esindeki zeytin a\u011fac\u0131 gelir, roman\u0131n i\u00e7ine oturur. Bir ovay\u0131 okursa bildi\u011fi, ya\u015fad\u0131\u011f\u0131 ovay\u0131 getirir g\u00f6zlerinin \u00f6n\u00fcne. Hi\u00e7 ova g\u00f6rmemi\u015fse bir ova yarat\u0131r oraya koyar. Romanlar\u0131n g\u00fcc\u00fc bu yaratmaya ba\u011fl\u0131d\u0131r.\u201d<\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Yazman\u0131n anlam\u0131\u2026<\/em><\/p>\n\n\n\n Michel Tournier\u2019in, \u201cAyakta yazmak gerekir, diz \u00fcst\u00fcnde de\u011fil. Ya\u015fam hep ayakta yap\u0131lmas\u0131 gereken bir i\u015ftir\u201d; Henry David Thoreau\u2019nun, \u201cYaz\u0131, hayat\u0131n kendisine en yak\u0131n olan sanat eseridir; yaz\u0131y\u0131 her insan dudaklar\u0131yla soluyabilir\u201d;[26]<\/sup><\/a> Ricardo Piglia\u2019n\u0131n, \u201cAnlatmak bir heykele hayat vermekti, ya\u015famaktan korkanlar\u0131 ya\u015fatmakt\u0131,\u201d[27]<\/sup><\/a> notunu d\u00fc\u015ft\u00fckleri yazmak eylemine ili\u015fkin olarak ekler Feridun Anda\u00e7:<\/p>\n\n\n\n \u201cYazan insan yoldaki insand\u0131r!<\/p>\n\n\n\n Yazmak ya\u015fam\u0131 ciddiye almakt\u0131r benim g\u00f6z\u00fcmde. Ya\u015fad\u0131\u011f\u0131n her \u00e2n\u0131 k\u0131ymetli k\u0131lmakt\u0131r\u2026<\/p>\n\n\n\n Asal olan sanatsal yarat\u0131c\u0131l\u0131\u011fa, sanat\u0131n ya\u015fam\u0131 \u00f6l\u00fcme kar\u015f\u0131 bir savunma bi\u00e7imi oldu\u011fu ger\u00e7e\u011fine inanmak!<\/p>\n\n\n\n Yazar\u0131n i\u015fidir g\u00f6rmek, anlamak, g\u00f6stermektir. Ve elbette ileti\u015fim kurmak\u2026 Bu bir yana, kendini in\u015fa ederken neyi\/ ni\u00e7in\/ nas\u0131l yapmak gerekti\u011fini de \u00f6\u011frenmenin pe\u015findesinizdir.<\/p>\n\n\n\n Tamamlanmam\u0131\u015fl\u0131k duygusu hep olmal\u0131d\u0131r bir yarat\u0131c\u0131da!\u201d[28]<\/sup><\/a><\/p>\n\n\n\n Eylem olarak ele al\u0131nmas\u0131 gereken yazmak konusunda Necip Mahfuz yazmak ile ya\u015famak aras\u0131nda ayr\u0131m yap\u0131l(a)mayaca\u011f\u0131n\u0131 vurgular.<\/p>\n\n\n\n Evet Isaac Asimov\u2019un, \u201cHangi nedenle nefes al\u0131yorsam, o nedenle yaz\u0131yorum\u201d; Sait Faik Abas\u0131yan\u0131k\u2019\u0131n, \u201cYazmasam \u00e7\u0131ld\u0131racakt\u0131m\u201d dedi\u011fi \u015feydir yazmak eylemi.<\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Marksist estetik\u2026<\/em><\/p>\n\n\n\n \u201cHer felsefenin ve \u00f6zellikle modern felsefenin b\u00fcy\u00fck temel sorunu, d\u00fc\u015f\u00fcncenin varl\u0131k ile ili\u015fkisi sorunudur\u201d[29]<\/sup><\/a> saptamas\u0131ndan ve Terentius\u2019un, \u201cNihil humanum a me alienum pute\/ \u0130nsani olan hi\u00e7bir \u015fey bana yabanc\u0131 de\u011fildir,\u201d[30]<\/sup><\/a> d\u00fcsturundan hareketle Karl Marx i\u00e7in sanatsal\/ edebi yarat\u0131m, her \u015feyden \u00f6nce bir toplumsal faaliyetken; O, toplumsal tarihten ayr\u0131 bir sanat\/edebiyat tarihi anlay\u0131\u015f\u0131n\u0131 reddederek, hem idealist esteti\u011fin hem de buna y\u00f6nelik materyalist ele\u015ftirinin ortak sorunlar\u0131na i\u015faret eder.<\/p>\n\n\n\n Karl Marx\u2019\u0131n filozof, sosyolog, iktisat\u00e7\u0131, siyaset d\u00fc\u015f\u00fcn\u00fcr\u00fc kimliklerinin, onun d\u00fc\u015f\u00fcnce evreninin \u00e7oklukla \u00f6ne \u00e7\u0131kar\u0131lan yanlar\u0131 oldu\u011fu malumken; Onun bu kimliklerinin ard\u0131nda duran edebiyat okuru kimli\u011finin \u00f6nemini unutmadan aktaral\u0131m: Marksist estetik, ger\u00e7ek\u00e7ilik ak\u0131m\u0131yla do\u011frudan do\u011fruya ba\u011fl\u0131d\u0131r ve s\u0131rt\u0131n\u0131 bu y\u00fczy\u0131llarda yans\u0131tma kuram\u0131 kapsam\u0131nda ortaya \u00e7\u0131km\u0131\u015f ger\u00e7ek\u00e7ili\u011fe dayad\u0131\u011f\u0131 s\u00f6ylenebilir.<\/p>\n\n\n\n K\u00f6keni Yunanca \u201cduyularla kavrama\u201d, \u201calg\u0131lama\u201d anlam\u0131na gelen \u2018aisthesis\u2019den t\u00fcretilmi\u015f ve sanat felsefesi olarak da adland\u0131r\u0131lan estetik, felsefi bilgi alanlar\u0131ndan biridir.<\/p>\n\n\n\n Platon\u2019un, \u201c\u015eeylere, g\u00f6r\u00fcnen ya da g\u00f6r\u00fcnmeyen, ger\u00e7ek g\u00fczelli\u011fi veren ne ise i\u015fte onu tan\u0131mlamam\u0131z gerekir\u201d;[31]<\/sup><\/a> Plotinos\u2019un, \u201cG\u00fczel, \u0130yi\u2019nin ve Do\u011fru\u2019nun g\u00f6rkemli parlakl\u0131\u011f\u0131d\u0131r; g\u00fczellik g\u00f6z kama\u015ft\u0131r\u0131c\u0131 birlik, salt form ve d\u00fczendir. G\u00fczellik, varl\u0131klarda onlar\u0131n simetrisi ve \u00f6l\u00e7\u00fcs\u00fc olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar; \u00e7\u00fcnk\u00fc ya\u015fam formdur; form da g\u00fczelliktir\u201d;[32]<\/sup><\/a> Aristotales\u2019in, \u201cG\u00fczelli\u011fin en \u00fcst\u00fcn formlar\u0131 yasalara uygunluk, simetri ve belirlenimdir; matematiklerde de bulunan bu formlar pek \u00e7ok nesnenin nedeni gibi g\u00f6r\u00fcnd\u00fckleri i\u00e7in, matematikler de g\u00fczelli\u011fin kendisi olan bir nedeni bir \u00f6l\u00e7\u00fcde izlerler,\u201d[33]<\/sup><\/a> notu d\u00fc\u015ft\u00fckleri estetik; g\u00fczelli\u011fi uyum olarak tarif eder.<\/p>\n\n\n\n Esteti\u011fin en \u00f6nemli sorunu, g\u00fczelin ve g\u00fczelli\u011fin ne oldu\u011fuyken; \u201cNe g\u00fczeldir\u201d sorusunu \u201c\u0130nsana ne g\u00fczel g\u00f6r\u00fcn\u00fcr\u201d sorunsal\u0131na \u00e7eviren felsefi faaliyet olarak estetik, d\u00f6n\u00fc\u015fl\u00fc d\u00fc\u015f\u00fcnce bi\u00e7imidir.<\/p>\n\n\n\n Marksist estetik ise sadece g\u00fczel demek de\u011fildir; estetik olarak nitelendirdi\u011fimiz \u015feyler nitelikle ili\u015fkiliyken; o, nesnenin\/ durumun deneyimlerle edinilen bilgilerle kar\u015f\u0131la\u015ft\u0131r\u0131lma noktas\u0131d\u0131r.<\/p>\n\n\n\n Marksist esteti\u011fin g\u00f6revi, bulan\u0131k ve karma\u015f\u0131k olan duyuya dayal\u0131 bilginin m\u00fckemmelli\u011fini ara\u015ft\u0131rmakken; sanatsal\/ edebi faaliyeti yeniden bi\u00e7imlendiren etkinliktir.[34]<\/sup><\/a><\/p>\n\n\n\n * * * * *<\/p>\n\n\n\n Ve 12 Eyl\u00fcl y\u0131k\u0131m\u0131\u2026<\/em><\/p>\n\n\n\n Mart 1971 ile Eyl\u00fcl 1980\u2019in 12\u2019sine denk d\u00fc\u015fen darbe co\u011frafyam\u0131z i\u00e7in yo\u011fun ve yayg\u0131n bir be\u015feri y\u0131k\u0131m\/ k\u0131r\u0131m oldu\u2026<\/p>\n\n\n\n – 12 Eyl\u00fcl askeri darbesinden sonra 650 bin ki\u015fi g\u00f6zalt\u0131na al\u0131nd\u0131. T\u00fcm\u00fc i\u015fkenceden ge\u00e7irildi.<\/p>\n\n\n\n – 171 ki\u015fi i\u015fkencede ya\u015fam\u0131n\u0131 yitirdi. G\u00f6zalt\u0131nda ku\u015fkulu \u00f6l\u00fcm say\u0131s\u0131 400 civar\u0131ndad\u0131r. (171, \u0130nsan Haklar\u0131 Derne\u011fi\u2019nin kesin kan\u0131tlar\u0131 elde etti\u011fi \u00f6l\u00fcmlerin say\u0131s\u0131d\u0131r.)<\/p>\n\n\n\n – S\u0131k\u0131y\u00f6netim askeri mahkemelerinde 210 bin dava a\u00e7\u0131ld\u0131.<\/p>\n\n\n\n – 85 bin ki\u015fi d\u00fc\u015f\u00fcncelerinden dolay\u0131 yarg\u0131land\u0131: 71 bin ki\u015fi TCK\u2019nin 141 ve 142. maddelerinden… 14 bin ki\u015fi 163. maddeden (Bilmeyen gen\u00e7lere ipucu: 141 ve 142 madde sol kesime, 163. madde sa\u011f kesime y\u00f6nelik).<\/p>\n\n\n\n – Bu davalarda 6 bin 353 san\u0131\u011f\u0131n idam\u0131 istendi. \u0130\u015fkence ile al\u0131nan ifadeler karar gerek\u00e7esi yap\u0131ld\u0131. 517 insan \u00f6l\u00fcm cezas\u0131na \u00e7arpt\u0131r\u0131ld\u0131. \u0130\u00e7lerinden 50\u2019si idam edildi. 12 Eyl\u00fcl\u2019deki idamlar\u0131, \u201cBir sa\u011fdan bir soldan ast\u0131k,\u201d diyerek anlatan Kenan Evren, 17 ya\u015f\u0131ndaki Erdal Eren\u2019in ya\u015f\u0131n\u0131n b\u00fcy\u00fclt\u00fclerek as\u0131lmas\u0131n\u0131 da Asmayal\u0131m da besleyelim mi\u201d diye savunmu\u015ftu. 12 Eyl\u00fcl d\u00f6neminde idam edilen devrimcilerden baz\u0131lar \u015funlard\u0131: Necdet Adal\u0131, Serdar Soyergin, Erdal Eren, Veysel G\u00fcney, Ahmet Saner, Kadir Tando\u011fan, Mustafa \u00d6zen\u00e7, Seyit Konuk, \u0130brahim Ethem Co\u015fkun, Necati Vardar, Ali Akta\u015f, Ramazan Yukar\u0131g\u00f6z, \u00d6mer Yazgan, Erdo\u011fan Yazgan, Mehmet Kambur, \u0130lyas Has, H\u0131d\u0131r Aslan…<\/p>\n\n\n\n -12 Eyl\u00fcl d\u00f6neminde 1 milyon 683 bin ki\u015fi fi\u015flendi. 348 bin ki\u015fiye pasaport tahdidi konuldu. (Ruhi Su\u2019dan Genco Erkal\u2019a…)<\/p>\n\n\n\n – 1402 say\u0131l\u0131 yasayla, 14 bin 509 kamu g\u00f6revlisi i\u015flerinden at\u0131ld\u0131. Ayr\u0131ca 18 bin memur, 5 bin \u00f6\u011fretmen, 2 bin yarg\u0131\u00e7 ve savc\u0131, 4 bin polis, 2 bin subay bask\u0131yla istifaya zorland\u0131.<\/p>\n\n\n\n – \u0130\u015fkence ve bask\u0131dan kurtulmak i\u00e7in 30 bin ki\u015fi T\u00fcrkiye\u2019yi terk etti. Bunlardan 14 bini vatanda\u015fl\u0131ktan at\u0131ld\u0131.<\/p>\n\n\n\n – Sadece Mamak\u2019ta 113 bin 607 kitap yak\u0131ld\u0131. SEKA\u2019da imha edilen kitap, dergi, gazete 40 tondur. 937 film, say\u0131s\u0131z oyun yasakland\u0131. 8 gazete toplam 195 g\u00fcn kapat\u0131ld\u0131.[35]<\/sup><\/a><\/p>\n\n\n\n Ahmet Hakan\u2019\u0131n bile, \u201cKenan Evren\u2019i kimlere soral\u0131m? -METR\u0130S\u2019lere, Mamak\u2019lara soral\u0131m. -Diyarbak\u0131r Cezaevi\u2019nden y\u00fckselen figanlara soral\u0131m. -Evlerinin bah\u00e7esinde gizlice ve korkarak kitaplar\u0131n\u0131 yakanlara soral\u0131m. -Bir sa\u011fdan, bir soldan as\u0131lanlar\u0131n analar\u0131na soral\u0131m. -Ya\u015f\u0131 b\u00fcy\u00fclt\u00fclerek idam edilenlere soral\u0131m. -Duvar diplerine, stadyumlara, spor salonlar\u0131na doldurulanlara soral\u0131m. -Bir \u00e7are bulup yurtd\u0131\u015f\u0131na ka\u00e7mak i\u00e7in \u00e7\u0131rp\u0131nanlara soral\u0131m. -G\u00f6zalt\u0131ndaki babalar\u0131ndan haber alamayan \u00e7ocuklara soral\u0131m. -\u00dczerinden silindir ge\u00e7mi\u015f gibi olan sendikac\u0131lara soral\u0131m. -Kapat\u0131lan partilere soral\u0131m. -Beslenmeyip de as\u0131lanlara soral\u0131m. -Yasaklara soral\u0131m. -K\u00f6lele\u015ftirilen \u00fcniversitelere soral\u0131m. -S\u00fcr\u00fclenlere, s\u00f6v\u00fclenlere, ezilenlere soral\u0131m,\u201d[36]<\/sup><\/a> demek zorunda kald\u0131\u011f\u0131 12 Eyl\u00fcl\u2019\u00fcn \u00e7\u0131plak \u015fiddeti i\u015fin bir yan\u0131yd\u0131 ve \u0130nci Aral\u2019\u0131n, \u201cDarbe g\u00f6lgesinde alt\u00fcst olu\u015flar\u201d, \u201cS\u00fcrekli tedirginlik, belirsizlik, yaln\u0131zl\u0131k\u201d, \u201c\u0130flah olmaz bir eksikli olma h\u00e2li ve i\u00e7e kapanma,\u201d[37]<\/sup><\/a> ifadeleriyle betimledi\u011fi 12 Eyl\u00fcl 1980\u2019in \u00f6nemli, ama g\u00f6zard\u0131 edilen k\u0131y\u0131m ve y\u0131k\u0131m\u0131 sanat\/ edebiyat alan\u0131nda oldu!<\/p>\n\n\n\n 12 Mart 1971 darbesiyle sanat\u0131\/ edebiyat\u0131 toplumdan uzakla\u015ft\u0131rma sald\u0131rganl\u0131\u011f\u0131; 12 Eyl\u00fcl 1980\u2019le de T\u00fcrk-\u0130sl\u00e2m sentezinin \u0131rk\u00e7\u0131\/ \u015foven zorbal\u0131\u011f\u0131 sanata\/ edebiyata d\u00fc\u015fmanl\u0131kla hayata ge\u00e7irildi: Anayasal de\u011fi\u015fiklikler, k\u00fclt\u00fcrel bask\u0131lar, \u201cmuz\u0131r yasa\u201dlar, yeni yasaklamalar, sans\u00fcrler ve \u201cSanatta Star Sistemi\u201dnin ihyas\u0131 ile liberal \u201ck\u00fcf\u00fcr edebiyat\u0131\u201d e\u015fli\u011finde…<\/p>\n\n\n\n Kapitalist tekeller sanata\/ edebiyata el att\u0131. K\u00fclt\u00fcr End\u00fcstrisi\u201d devreye sokuldu\u2026<\/p>\n\n\n\n Bunlar\u0131n art\u0131s\u0131: 12 Eyl\u00fcl\u2019de 13 gazete i\u00e7in 300\u2019den fazla dava a\u00e7\u0131lmas\u0131; 39 ton gazete ve derginin yak\u0131lmas\u0131; 937 film yasaklanmas\u0131; B\u00fclent Ersoy\u2019un bile cinsel kimli\u011fi nedeniyle darbeciler i\u00e7in sorun olmas\u0131; K\u00fcrt\u00e7e\u2019nin a\u00e7\u0131k yerlerde konu\u015fulmas\u0131 yasaklanmas\u0131yd\u0131!<\/p>\n\n\n\n 12 Eyl\u00fcl \u00f6ylesine se\u00e7ici oldu ki, bu \u201c\u00e7a\u011fda\u015fla\u015fma sanat\u0131\u201dn\u0131n k\u00fcrat\u00f6r\u00fc Kenan Evren oldu, temas\u0131ysa ta kendisiydi![38]<\/sup><\/a><\/p>\n\n\n\n \u201cNas\u0131l\u201d m\u0131?<\/p>\n\n\n\n Kenan Evren\u2019in resme merak sarmas\u0131, T\u00fcrkiye\u2019de burjuvazinin sanat ve iktidarla gittik\u00e7e ucuzlayan ili\u015fkisini yans\u0131tan bir ibret tablosu olu\u015fturdu.<\/p>\n\n\n\n Evren\u2019in sat\u0131\u015fa \u00e7\u0131kard\u0131\u011f\u0131 ilk resmi, Kenan Evren Lisesi\u2019nde 1991\u2019de d\u00fczenlenen bir a\u00e7\u0131k art\u0131rmada 50 milyon liraya i\u015fadam\u0131 Sak\u0131p Sabanc\u0131 taraf\u0131ndan sat\u0131n al\u0131nd\u0131. Bir ba\u015fka tablosu ise 1992\u2019de yine lisenin bir gecesinde Ko\u00e7 Grubu taraf\u0131ndan 110 milyon TL\u2019ye sat\u0131n al\u0131nd\u0131.<\/p>\n\n\n\n Kenan Evren\u2019in \u201cAnne Sevgisi\u201d adl\u0131 tablosu Nuh \u00c7imento\u2019nun sahibi Muharrem Eskiyapan taraf\u0131ndan Evren\u2019in Marmaris\u2019teki evine gidilerek, d\u00f6nemin paras\u0131yla 500 milyon liraya sat\u0131n al\u0131nd\u0131.<\/p>\n\n\n\n Bir s\u00f6yle\u015fisinde, resme ilgisinin 1929\u2019da ortaokul birinci s\u0131n\u0131fta ba\u015flad\u0131\u011f\u0131n\u0131 s\u00f6yleyen Evren\u2019in resimleri, d\u00fczenlenen m\u00fczayedelerde, kendisine yap\u0131lan ev ziyaretlerinde i\u015fadamlar\u0131 taraf\u0131ndan peynir – ekmek gibi sat\u0131n al\u0131nd\u0131. New York\u2019ta bir m\u00fczeyi gezerken kar\u015f\u0131la\u015ft\u0131\u011f\u0131 Pablo Picasso\u2019nun resimleri i\u00e7in \u201cBunlar\u0131 ben de yapar\u0131m,\u201d diyen Evren, 1993\u2019te Beyo\u011flu Aksanat\u2019taki sergisinin a\u00e7\u0131l\u0131\u015f\u0131nda, kendisinin resimlerinin de\u011ferinin de t\u0131pk\u0131 bir\u00e7ok \u00fcnl\u00fc ressam\u0131nki gibi \u00f6ld\u00fckten sonra artabilece\u011fini ummu\u015ftu. Evren \u201cBelli olmaz, bakars\u0131n\u0131z bu tablolar ben \u00f6ld\u00fckten sonra milyarlara da gidebilir,\u201d diyordu.[39]<\/sup><\/a><\/p>\n\n\n\n