{"id":1364,"date":"2009-12-29T03:00:00","date_gmt":"2009-12-29T00:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/"},"modified":"2009-12-29T03:00:00","modified_gmt":"2009-12-29T00:00:00","slug":"tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/","title":{"rendered":"Tuhaf Bir \u00c7ocuk ; Walter Benjamin | O\u011fuz Demiralp"},"content":{"rendered":"

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

Bu yaz\u0131ya Leyla Erbil\u2019in \u00fcnl\u00fc Tuhaf Bir Kad\u0131n\u2019\u0131ndan esinlenerek \u201cTuhaf Bir Adam\u201d ba\u015fl\u0131\u011f\u0131 atmaya haz\u0131rlan\u0131rken, \u00e7ocuk s\u00f6zc\u00fc\u011f\u00fc \u00fcst\u00fcn \u00e7\u0131kt\u0131, yine. \u00d6mr\u00fc boyunca Walter Benjamin\u2019in, Berlin sokaklar\u0131nda annesinin arkas\u0131nda yava\u015f yava\u015f y\u00fcr\u00fcyen \u00e7ocuk olarak kald\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm birden. B\u00f6yle d\u00fc\u015f\u00fcnmemin nedeni bir zamanlar Benjamin\u2019in ard\u0131na d\u00fc\u015fmeye kalk\u0131\u015ft\u0131\u011f\u0131mda arkamda g\u00f6rm\u00fc\u015f oldu\u011fum \u00e7ocuk d\u00fc\u015flemi de\u011fil, hemen elimin alt\u0131nda duran kitab\u0131 Benjamin\u2019in: \u00c7ocuklar i\u00e7in Ayd\u0131nlanma. \u00c7ocuklara ve gen\u00e7lere y\u00f6nelik olarak yapt\u0131\u011f\u0131 radyo izlencelerini i\u00e7eriyor. Okunmak i\u00e7in haz\u0131rlanm\u0131\u015f metinler bunlar. Belki o nedenle Benjamin\u2019in d\u00fc\u015f\u00fcnce yaz\u0131lar\u0131ndaki o girift ve bulutsu bi\u00e7emini g\u00f6remedi\u011fimizi \u00f6ne s\u00fcrebiliriz.<\/p>\n

Ancak \u00f6ylesine i\u00e7ten ve taze insan d\u00fcnyas\u0131n\u0131n i\u00e7inden metinler ki, bu bi\u00e7emin bir g\u00f6n\u00fcl ferahl\u0131\u011f\u0131n\u0131n yans\u0131mas\u0131 oldu\u011funu da savlayabilirsiniz. Benjamin\u2019in, i\u00e7indeki \u00e7ocu\u011fun ya\u015fama, daha do\u011frusu de\u011fi\u015fik bir d\u00fcnyada ya\u015fama hakk\u0131n\u0131 arad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnm\u00fc\u015f\u00fcmd\u00fcr hep. N\u00e2z\u0131m Hikmet\u2019i yans\u0131larsak, usta bir kitap gibi anlayarak, bir \u00e7ocuk gibi \u015fa\u015farak ya\u015famak isteyenlerden olmu\u015f Benjamin. Diyeceksiniz ki \u201cB\u00f6yle ya\u015famay\u0131 istemeyen \u00e7ocuk var m\u0131?\u201d Gelgelelim, istemekle olmuyor s\u0131ra d\u0131\u015f\u0131na \u00e7\u0131kmak. Nas\u0131l oluyor bilmiyorum ama \u201cNeden?\u201d diye sormakla ba\u015fl\u0131yor olabilir bu t\u00fcr \u00e7ocuklar\u0131n ba\u015fkala\u015f\u0131m\u0131. Neden? Neden? Her \u015feyi anlamaya, \u00f6\u011frenmeye \u00e7al\u0131\u015fmak, verilen yan\u0131tlarla doymamak\u2026 Yava\u015f yava\u015f, deyimimi ba\u011f\u0131\u015flay\u0131n, s\u00fcr\u00fcden kopmaya ba\u015fl\u0131yor o t\u00fcrden bir \u00e7ocuk, soru imlerinin ard\u0131na tak\u0131l\u0131yor kimileyin ayr\u0131m\u0131na bile varmadan.<\/p>\n

O t\u00fcr \u00e7ocuklardan biri de Heidegger. \u00c7a\u011fda\u015f\u0131 Walter Benjamin\u2019in. Tan\u0131\u015f\u0131p g\u00f6r\u00fc\u015ft\u00fcklerine ili\u015fkin bir bilgi yok. Ancak, denildi\u011fine g\u00f6re, Yeni Kant\u00e7\u0131 felsefeci Heinrich Rickert\u2019in derslerini ayn\u0131 anfide ayn\u0131 zamanda izlemi\u015fler. Bunlar\u0131n d\u0131\u015f\u0131nda ortak bir y\u00f6nleri daha oldu\u011funu \u00f6ne s\u00fcrebiliriz. Her ikisi de \u201c\u0130nsan, maddenin ar\u0131zi hatas\u0131 olmak durumundan nas\u0131l kurtulabilir?\u201d sorusuna yan\u0131t aram\u0131\u015f. Heidegger bir d\u00fc\u015f\u00fcnce dizgesi geli\u015ftirerek ger\u00e7ekle\u015ftirmi\u015f aray\u0131\u015f\u0131n\u0131. Nazi rejiminin kendi parlak d\u00fc\u015f\u00fcncelerine somut kar\u015f\u0131l\u0131k olaca\u011f\u0131n\u0131 sanm\u0131\u015f uzun bir s\u00fcre. Kendi d\u00fc\u015f\u00fcncelerine din gibi inanan filozoflar d\u00fc\u015ferler bu t\u00fcr trajik yan\u0131lg\u0131lara. Benjamin ise onca felsefe e\u011fitimine, birikimine kar\u015f\u0131n Alman t\u00fcr\u00fc disiplinli bir d\u00fc\u015f\u00fcnce dizgesinin adam\u0131 olmam\u0131\u015f, olmak da istememi\u015f. Bana kal\u0131rsa, gen\u00e7li\u011finde Hegel\u2019i okumu\u015f olsayd\u0131 da bu \u00f6zelli\u011fi de\u011fi\u015fmezdi. \u00c7\u00fcnk\u00fc Benjamin\u2019in hamuru de\u011fi\u015fiktir. Tek bir alanda ve d\u00fc\u015f\u00fcnce dizgesinde yo\u011funla\u015fmak yerine anl\u0131ksal etkinlik ve yeteneklerini bir\u00e7ok konuya y\u00f6neltmi\u015f, ya\u015fama \u00e7e\u015fitli y\u00f6nlerden yakla\u015fmaya \u00e7al\u0131\u015fm\u0131\u015f, \u00e7ok y\u00f6nl\u00fc \u00e7al\u0131\u015fmalar b\u0131rakm\u0131\u015ft\u0131r geriye. Bug\u00fcn Benjamin felsefe, yaz\u0131n, toplumbilim gibi \u00f6nemli anl\u0131ksal etkinlik alanlar\u0131nda kaynak(\u00e7a) olarak ya\u015famaktad\u0131r. Ancak vurgulayal\u0131m: Bat\u0131n\u0131n k\u00fclt\u00fcr ya\u015fam\u0131nda Benjamin\u2019in yeri nesnel, so\u011fuk bir kaynak(\u00e7a) olmakla s\u0131n\u0131rl\u0131 de\u011fildir. Bat\u0131\u2019n\u0131n \u00f6zelli\u011fi olan kendini sorgulama deviniminde h\u00e2l\u00e2 canl\u0131 ve i\u015flevsel bir yaz\u0131(n) adam\u0131d\u0131r Benjamin. Bat\u0131n\u0131n en az\u0131ndan belirli bir anl\u0131ksal kesimi Benjamin\u2019i okuduk\u00e7a onun tedirginli\u011fini duyumsamakta, onun gibi Bat\u0131y\u0131 \/ Tarihi ele\u015ftirmek i\u015flemini s\u00fcrd\u00fcrmekte; bu da, her \u015feye kar\u015f\u0131n, Bat\u0131 i\u00e7in kendini a\u015f\u0131p a\u015famama sava\u015f\u0131m\u0131nda olumlu haneye yaz\u0131lan bir \u00e7aba olu\u015fturmaktad\u0131r. Buna kar\u015f\u0131l\u0131k, Benjamin T\u00fcrkiye\u2019de ne diye okunur? Kim, ka\u00e7 ki\u015fi okur? Merak eder dururum. Mutluluklar beldesi olan \u00fclkemizde Benjamin\u2019i okumay\u0131 ger\u00e7ekten gerekseyenler var m\u0131d\u0131r? Yoksa \u201cBiz \u015f\u0131k giyinir, \u00c7in yer, Milano\u2019ya tak\u0131l\u0131r, Benjamin\u2019i de biliriz\u201d demeyi gerektiren bir k\u00fclt\u00fcrden mi s\u00f6z edilmeli, b\u00f6yle bir soruya yan\u0131t aramaya koyulurken. Asl\u0131nda \u00fclkemizde bu t\u00fcr sorulara gerek yok. \u00c7\u00fcnk\u00fc gazetelerimizde, televizyonlar\u0131m\u0131zda her \u015feyi bilen, en isabetli sorular\u0131 ortaya at\u0131p yan\u0131tlar\u0131n\u0131 veren ayd\u0131nlar\u0131m\u0131z var. Onlar\u0131 dinleyelim yeter. Gene de, karanl\u0131k odalara girip \u00e7\u0131kan, dolaplar\u0131 kar\u0131\u015ft\u0131ran, \u201cBu ne? Bu ne?\u201d diye soran \u00e7ocuklar orada burada boy at\u0131yor olabilirler. Onlar\u0131n Benjamin\u2019i okumalar\u0131na \u015fa\u015f\u0131rmamal\u0131.<\/p>\n

Ancak, dikkatli olmak gerekir. Benjamin\u2019in tan\u0131mlanmas\u0131 hen\u00fcz tam olarak becerilememi\u015f, belki de okurdan okura de\u011fi\u015fen bir \u00e7ekicili\u011fi vard\u0131r. Besim F. Dellalo\u011flu\u2019nun Benjamin ba\u015fl\u0131kl\u0131 kitab\u0131n\u0131n \u00f6ns\u00f6z\u00fcnde dedi\u011fi gibi, \u201cBenjamin girdab\u0131 beni de i\u00e7ine \u00e7ekti, bir t\u00fcrl\u00fc kurtulamad\u0131m.\u201d1 Ki\u015fisel deneyimimden \u00e7\u0131kar\u0131yorum: Benjamin\u2019i ku\u015fat\u0131c\u0131 bir \u00e7al\u0131\u015fma yapmak, k\u0131sa ya da uzun yaz\u0131 kaleme almak \u00e7ok g\u00fc\u00e7. Gene de, bu yaz\u0131y\u0131 f\u0131rsat bilerek, baz\u0131 \u00f6zelliklerine genel olarak g\u00f6z atmay\u0131 deneyebiliriz, uyarmak i\u00e7in.<\/p>\n

\u00d6nce Benjamin\u2019in ya\u015fam\u00f6yk\u00fcs\u00fcne de\u011finmek gerekir. Asl\u0131nda bir d\u00fc\u015f\u00fcnce ya da yaz\u0131 ki\u015fisinin ya\u015fam\u00f6yk\u00fcs\u00fc de\u011fil; yazd\u0131klar\u0131d\u0131r \u00f6n d\u00fczlemde yer alan, onu o yapan. Ne ki, Benjamin\u2019in ya\u015fam\u00f6yk\u00fcs\u00fc bir s\u00f6ylence haline gelmi\u015ftir. O kadar ki, bu s\u00f6ylence nerdeyse yap\u0131t\u0131n\u0131n bir par\u00e7as\u0131 olmu\u015ftur. Elbette, Benjamin\u2019in \u00f6mr\u00fcn\u00fc nas\u0131l ge\u00e7irdi\u011fini burada yinelemeye gerek yok. Buna kar\u015f\u0131n, ya\u015fad\u0131klar\u0131n\u0131n anlam\u0131 \u00fczerine birka\u00e7 s\u00f6z etmeye \u00e7al\u0131\u015fabiliriz. Bir Alman Musevisidir Benjamin, kendini Alman olarak tan\u0131mlayan bir Musevi. Avrupa uygarl\u0131\u011f\u0131n\u0131n ana \u00e7izgilerinden biri Musevi-H\u0131ristiyan k\u00fclt\u00fcr\u00fcd\u00fcr derler ya, Benjamin kendini aradaki o ba\u011flay\u0131c\u0131, giderek birle\u015ftirici oldu\u011fu varsay\u0131lan \u00e7izginin somut kar\u015f\u0131l\u0131\u011f\u0131 olarak g\u00f6rm\u00fc\u015f, \u00f6yle ya\u015famaya, d\u00fc\u015f\u00fcnmeye \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Kendini Avrupa k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6z\u00fcne yerle\u015ftirmi\u015ftir. Moskova\u2019dan \u0130biza\u2019ya, Avrupa\u2019y\u0131 d\u00f6rt d\u00f6nerek ge\u00e7irmi\u015ftir y\u0131llar\u0131n\u0131. Bir labirenttir bu dola\u015fmalar\u0131n toplam\u0131. Avrupa haritas\u0131nda \u00e7izdi\u011fi zigzaglar Avrupa\u2019n\u0131n i\u00e7 huzursuzlu\u011funun, sorgulamalar\u0131 Avrupa\u2019n\u0131n kendi kendiyle hesapla\u015fmas\u0131n\u0131n yans\u0131malar\u0131 gibidir. Benjamin bir \u00e7\u00f6k\u00fc\u015f, eskilerin deyimiyle ink\u0131raz d\u00f6neminde ya\u015fam\u0131\u015ft\u0131r. Bu \u00e7\u00f6k\u00fc\u015f\u00fc i\u00e7selle\u015ftirmi\u015ftir. Musevi olarak o d\u00f6nemin \u015fer g\u00fc\u00e7lerinin kurbanlar\u0131 aras\u0131nda yer alm\u0131\u015ft\u0131r. Yak\u0131n bir arkada\u015f\u0131n\u0131n gen\u00e7 ya\u015f\u0131nda intihar etmesinin yaratt\u0131\u011f\u0131 travmay\u0131 hi\u00e7bir zaman atlatamam\u0131\u015ft\u0131r. \u0130ntihar d\u00fc\u015f\u00fcncesini hep i\u00e7 cebinde ta\u015f\u0131m\u0131\u015f, bir ara denemi\u015f, s\u0131f\u0131r\u0131 t\u00fcketti\u011fi kan\u0131s\u0131na vard\u0131\u011f\u0131 anda da ger\u00e7ekle\u015ftirmi\u015ftir. K\u0131rk dokuzuncu ya\u015f\u0131n\u0131 s\u00fcrerken kendine k\u0131ym\u0131\u015ft\u0131r Benjamin. Gizemci s\u00f6zl\u00fc\u011f\u00fcnde k\u0131rk dokuz say\u0131s\u0131 bir b\u00fct\u00fcnl\u00fc\u011f\u00fc anlat\u0131r. \u00d6te yandan, Benjamin\u2019in \u00fczerine \u00e7al\u0131\u015ft\u0131\u011f\u0131 konular Otuz Y\u0131l Sava\u015flar\u0131\u2019ndan \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019na de\u011fin uzanan d\u00f6nemi kapsar. Bu ilk d\u00f6nem ile kendi ya\u015fad\u0131\u011f\u0131 d\u00f6nem aras\u0131nda ko\u015futlu\u011fun \u00f6tesinde, nerdeyse \u00f6zde\u015flik kurar Benjamin. Otuz Y\u0131l Sava\u015flar\u0131\u2019ndan sonra Westphalia antla\u015fmas\u0131 Bat\u0131\u2019da ulus devlet d\u00f6neminin ba\u015flang\u0131c\u0131d\u0131r. \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019yla birlikte Avrupa tarihinde bir d\u00f6nemin sona ermi\u015f oldu\u011fu s\u00f6ylenebilir. A\u015fa\u011f\u0131 yukar\u0131 \u00fc\u00e7 y\u00fczy\u0131l s\u00fcrm\u00fc\u015ft\u00fcr bu d\u00f6nem. Tuhaft\u0131r; Benjamin Alman Yasoyununun K\u00f6keni kitab\u0131nda melankoli anlay\u0131\u015f\u0131n\u0131 Ebu Ma\u2019\u015far\u2019\u0131n Sekendiz (Sat\u00fcrn) kuram\u0131na g\u00f6ndermeyle a\u00e7\u0131klar. Ebu Ma\u2019\u015far\u2019a g\u00f6re Sekendiz gezegeni bir \u00e7evrimini \u00fc\u00e7 y\u00fczy\u0131lda tamamlarm\u0131\u015f. G\u00f6kbilime, hurafeye merakl\u0131 Benjamin\u2019in al\u0131nyaz\u0131s\u0131nda sanki bir d\u00f6nemin kendini tamamlay\u0131p t\u00fcketmesi simgelenmi\u015f gibidir. Kendi kuyru\u011funu \u0131s\u0131ran y\u0131lan betisinin anlatmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 t\u00fcrden d\u00f6ng\u00fcsel bir tamamlanma bu. Belki de Benjamin\u2019in Bat\u0131\u2019n\u0131n bilincini, buluncunu s\u00fcrekli tedirgin ediyor olmas\u0131n\u0131n arkas\u0131nda b\u00f6yle bir simgesellik yat\u0131yor. \u00c7izgisel bir y\u00fckseli\u015f, s\u00fcrekli geli\u015fme olarak ya\u015fad\u0131\u011f\u0131m\u0131z Tarihin asl\u0131nda d\u00f6ng\u00fcsel olmas\u0131ndan korkuyorlar i\u00e7in i\u00e7in. (Bu korku T\u00fcrkiye a\u00e7\u0131s\u0131ndan ge\u00e7erli de\u011fil. \u00c7\u00fcnk\u00fc biz G\u00f6kdelen \u00fczerine G\u00f6kdelen dikip ilerleme d\u00f6nemindeyiz.)
Benjamin\u2019in yap\u0131tlar\u0131 bir yanda sanat, dil ve tarih \u00fczerine felsefi denebilecek \u00e7al\u0131\u015fmalar\u0131, toplumsal tarih ve pop\u00fcler k\u00fclt\u00fcr ara\u015ft\u0131rmalar\u0131n\u0131, yaz\u0131n ele\u015ftirilerini, denemeleri, \u00f6b\u00fcr yanda do\u011frudan yaz\u0131n niteli\u011findeki k\u0131sa metinleri, \u00f6yk\u00fcleri kapsar. Ayr\u0131ca mektuplar\u0131, radyo konu\u015fmalar\u0131 da bu corpus i\u00e7inde yer al\u0131rlar. \u00d6zellikle felsefi iddias\u0131 olan kuramsal ve yaz\u0131nsal \u00e7al\u0131\u015fmalar\u0131nda kendi deyimiyle \u201ca\u011f\u0131rba\u015fl\u0131 ve ciddi\u201d bir bi\u00e7em kurmaya \u00e7al\u0131\u015fm\u0131\u015f, \u201cben\u201d demekten olabildi\u011fince ka\u00e7\u0131nm\u0131\u015ft\u0131r. Bununla birlikte yaz\u0131s\u0131 \u00e7o\u011funlukla kendi \u00e7evresinde d\u00f6nedurmu\u015ftur. \u00d6rne\u011fin Alman Yasoyununun K\u00f6keni\u2019nde melankoli kavram\u0131n\u0131 o a\u011f\u0131rba\u015fl\u0131 ve ciddi bi\u00e7emiyle incelerken, dikkatli bir okur asl\u0131nda kendini anlatt\u0131\u011f\u0131n\u0131 g\u00f6rebilir. Akademik kariyere y\u00f6nelmi\u015f olmas\u0131na kar\u015f\u0131n akademik inceleme bi\u00e7imini bir t\u00fcrl\u00fc benimseyememi\u015ftir. Kendini en iyi gizledi\u011fi \u00e7al\u0131\u015fmas\u0131 olan Alman Co\u015fumculu\u011funda Estetik Ele\u015ftiri Kavram\u0131 ile doktora tezini vermi\u015ftir. Ancak akademik a\u00e7\u0131dan kabul g\u00f6rmeyece\u011fini bildi\u011fi i\u00e7in Alman co\u015fumculu\u011funun \u00f6z\u00fc olarak g\u00f6rd\u00fc\u011f\u00fc Mesih\u00e7ilik kavram\u0131n\u0131 bu \u00e7al\u0131\u015fmas\u0131nda inceleyememi\u015f olmas\u0131n\u0131 hem akademik \u00e2leme hem de kendine sinirlenerek dile getirir. Daha sonraki y\u0131llarda bir \u00fcst akademik paye i\u00e7in Alman Yasoyununun K\u00f6keni\u2019ni yazm\u0131\u015f, nedir bu kez k\u00f6r g\u00f6z\u00fcm parma\u011f\u0131na kendi \u00f6znel izlek\u00e7esini \u00f6n d\u00fczleme \u00e7\u0131karm\u0131\u015ft\u0131r. Bu tezi reddedilmi\u015ftir. Akademik gelenek i\u015fte: Bu t\u00fcr yap\u0131tlar tez olarak kabul edilmez ama ony\u0131llar ge\u00e7tikten sonra \u00fcst\u00fcne tezler yaz\u0131l\u0131r. Akademik kariyerle ili\u015fkisini bu olaydan sonra kesmesi bence bi\u00e7eminde de daha ki\u015fiselle\u015fme y\u00f6n\u00fcnde rahatlamaya yol a\u00e7m\u0131\u015ft\u0131r. Sonu\u00e7 olarak Benjamin\u2019i ola\u011fan\u00fcst\u00fc bir yaz\u0131(n) adam\u0131, en geni\u015f ve derin anlam\u0131yla denemeci olarak s\u0131n\u0131fland\u0131rmak olanakl\u0131d\u0131r. Bu \u00e7er\u00e7evede Benjamin\u2019in ayd\u0131n olarak etkinli\u011finin as\u0131l amac\u0131n\u0131n bir sanat yap\u0131t\u0131ndan zevk almaktan \u00e7ok d\u00fcnyay\u0131 anlamak, bilmek oldu\u011funu vurgulamak gerekir. Bir estet olmaktan \u00e7ok sanat yoluyla sorup yan\u0131t arayan bir d\u00fc\u015f\u00fcn\u00fcrd\u00fcr Benjamin. Sanat yap\u0131t\u0131n\u0131n verdi\u011fi zevkin de anlam\u0131n\u0131 ara\u015ft\u0131racakt\u0131r. Belki de bu nedenle sanat de\u011feri y\u00fcksek olmayan bir\u00e7ok yap\u0131t\u0131, \u00f6rne\u011fin \u00e7e\u015fitli \u00e7ocuk \u00f6yk\u00fclerini, Alman yasoyunlar\u0131n\u0131, pop\u00fcler yap\u0131tlar\u0131 da ilgi alan\u0131na kolayl\u0131kla alabilmi\u015ftir.<\/p>\n

Benjamin\u2019in anl\u0131ksal etkinli\u011fi, \u00f6mr\u00fcndeki geli\u015fmelere ko\u015fut olarak \u00fc\u00e7 ayr\u0131 d\u00f6nemde ele al\u0131nabilir. Asja Lacis ile tan\u0131\u015f\u0131p Marks\u00e7\u0131l\u0131\u011fa y\u00f6neldi\u011fi 1924 y\u0131l\u0131na de\u011fin sanat ve dil felsefecisi, yaz\u0131n ele\u015ftirmeni g\u00f6r\u00fcn\u00fcmdedir Benjamin. G\u00f6zlem ve de\u011ferlendirme g\u00fcc\u00fcyle bir yandan Alman felsefesi ve yaz\u0131n\u0131 \u00f6b\u00fcr yandan Frans\u0131z yaz\u0131n\u0131 \u00fczerinde yo\u011funla\u015farak ya\u015fad\u0131\u011f\u0131 d\u00f6nemin, uygarl\u0131\u011f\u0131n ruhunu anlamak \u00e7abas\u0131 i\u00e7indedir. Musevi gizemcili\u011finin izleri en ba\u015ftan beri d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131 belirler. 1916\u2019da tasarlay\u0131p 1925\u2019te ortaya \u00e7\u0131kard\u0131\u011f\u0131 Alman yasoyunuyla ilgili \u00e7al\u0131\u015fmas\u0131 bu d\u00f6nemin sonu olur. Art\u0131k Marks\u00e7\u0131 ve umutludur. Ger\u00e7i Moskova onu pek a\u00e7maz ama Marks\u00e7\u0131 d\u00fc\u015f\u00fcnce ona gelece\u011fe do\u011fru tutamaklar sa\u011flar. \u00c7ok gezmi\u015f, en \u00e7ok tan\u0131nan denemelerini bu d\u00f6nemde yazm\u0131\u015ft\u0131r. Ancak \u00fclkesinde halk\u0131n oylar\u0131yla siyasal iktidar\u0131 ele ge\u00e7iren Nazizm y\u00fckselmektedir. Paris\u2019e s\u0131\u011f\u0131n\u0131r. Yaln\u0131zca \u00fclkesini de\u011fil kitapl\u0131\u011f\u0131n\u0131 da terk etmenin ac\u0131s\u0131yla y\u00fckl\u00fcd\u00fcr art\u0131k. Bununla birlikte Marks\u00e7\u0131 d\u00fc\u015f\u00fcncenin sa\u011flad\u0131\u011f\u0131 olanaklarla gelece\u011fe do\u011fru k\u00f6pr\u00fcler kurmay\u0131, daha do\u011frusu kendi karamsarl\u0131\u011f\u0131na kar\u015f\u0131 sava\u015f\u0131m\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Bir yandan da Avrupa\u2019n\u0131n ya\u015fad\u0131\u011f\u0131 \u00e7\u00f6k\u00fc\u015f onun i\u00e7indeki \u00f6l\u00fcm\u00fc b\u00fcy\u00fctmektedir. \u0130kinci d\u00f6nem Alman-Sovyet anla\u015fmas\u0131yla kesin olarak kapan\u0131r. Dellalo\u011flu\u2019nun yukar\u0131da and\u0131\u011f\u0131m \u00f6ns\u00f6z\u00fcnde dedi\u011fi gibi, \u201cHitler-Stalin pakt\u0131 hi\u00e7bir Avrupal\u0131 ayd\u0131n\u0131 Benjamin\u2019i sarst\u0131\u011f\u0131 kadar sarsmam\u0131\u015ft\u0131r.\u201d Nazilerin eline d\u00fc\u015fmektense kendini \u00f6ld\u00fcrmeyi ye\u011fleyece\u011fi trajik ana dek s\u00fcrer \u00fc\u00e7\u00fcnc\u00fc d\u00f6nem. Bu noktada Hans Mayer\u2019in \u00c7a\u011fda\u015f\u0131m Walter Benjamin kitab\u0131ndan bir ayr\u0131nt\u0131y\u0131 anmadan ge\u00e7emeyece\u011fim. Mayer, Benjamin\u2019in Hugo von Hoffmansthal\u2019\u0131n Kule ba\u015fl\u0131kl\u0131 \u00f6yk\u00fcs\u00fcn\u00fc ele al\u0131\u015f\u0131ndan \u00e7\u0131karak \u015fu s\u00f6zleri eder: \u201cBir se\u00e7ilmi\u015fin bir ta\u015fra yolunun kenar\u0131nda yaln\u0131z ve horlanm\u0131\u015f olarak can verdi\u011finin g\u00f6r\u00fcld\u00fc\u011f\u00fc Kule. Benjamin\u2019in kendi y\u00fcre\u011finin derinliklerinde se\u00e7ti\u011fi \u00f6l\u00fcm budur. Benjamin, can vermekte olan Sigismund\u2019un \u015fu s\u00f6zc\u00fcklerini benimseyerek al\u0131nt\u0131lar: \u201cUmut etmek i\u00e7in kendimi fazlas\u0131yla iyi g\u00f6r\u00fcyorum.\u201d2 Gelece\u011fe umutla bakabilecek denli k\u00f6t\u00fc olamayan bu \u00e7ocuk adam\u0131n ne g\u00f6m\u00fcld\u00fc\u011f\u00fc yer bellidir, ne de heybesindeki elyazmalar\u0131n\u0131n ne oldu\u011fu. Polisiye anlamda tam olarak ayd\u0131nlat\u0131lmam\u0131\u015f, kapanmam\u0131\u015f bir dosyad\u0131r Benjamin\u2019in \u00e7ok iyi bildi\u011fimiz sonu. Avrupa\u2019n\u0131n k\u00fclt\u00fcr tarihinde kapanmayan, h\u00e2l\u00e2 kanayan bir yara gibidir.<\/p>\n

Ya\u015fam\u0131n\u0131n sayd\u0131\u011f\u0131m\u0131z d\u00f6nemleri boyunca Benjamin\u2019in de\u011fi\u015fmeyen bir \u00f6zelli\u011fi de ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131d\u0131r. Bunun temel nedeni bilin\u00e7li olarak se\u00e7ilmi\u015f bir teklik, tekillik olabilir. \u201cBir Otoportre \u0130\u00e7in Malzemeler\u201d ba\u015fl\u0131\u011f\u0131n\u0131 verdi\u011fi k\u0131sa bir metinde \u015f\u00f6yle der: \u201cNi\u00e7in kimseyi tan\u0131m\u0131yorum, ni\u00e7in insanlar\u0131 kar\u0131\u015ft\u0131r\u0131yorum? Enigman\u0131n \u00e7\u00f6z\u00fcm\u00fc. \u00c7\u00fcnk\u00fc ben tan\u0131nmak istemiyorum. Ben kendim kar\u0131\u015ft\u0131r\u0131lmak istiyorum.\u201d Bi\u00e7embilimcilere ara\u015ft\u0131rmalar\u0131 i\u00e7in bir soru: Benjamin\u2019in o bulutsu bi\u00e7eminin ruhsal kayna\u011f\u0131 bu kar\u0131\u015ft\u0131r\u0131lma iste\u011fi midir? (Bulutsu deyince ebru s\u00f6zc\u00fc\u011f\u00fcn\u00fcn bulut kavram\u0131yla ili\u015fkisi olabilece\u011fine ili\u015fkin sav geldi akl\u0131ma. Benjamin\u2019in yaz\u0131s\u0131 koyu renklerden yap\u0131lm\u0131\u015f ayk\u0131r\u0131 bir ebru yap\u0131t\u0131na benzer. Renkler koyu oldu\u011fu i\u00e7in betileri birbirinden ay\u0131rmak, se\u00e7mek g\u00fc\u00e7t\u00fcr. Ancak bir kez bak\u0131nca o yap\u0131ttan g\u00f6zlerinizi ay\u0131rmak da pek g\u00fc\u00e7 olur. Sizi i\u00e7ine \u00e7eker.) Asl\u0131nda Benjamin belirli bir toplumsal \u00f6be\u011fin: Alman Musevilerinin bir par\u00e7as\u0131d\u0131r. Bu \u00f6bek i\u00e7inden \u00e7ok \u00f6nemli entelekt\u00fceller gelmi\u015f, bunlar\u0131n bir\u00e7o\u011fu da Benjamin\u2019in arkada\u015f\u0131 olmu\u015ftur. Gershom Scholem akla ilk gelen \u00f6rnektir. \u00dcnl\u00fc Frankfurt Okulu da bu \u00f6bekten entelekt\u00fcellerin verimidir. Gel g\u00f6r ki, Benjamin ait oldu\u011fu Musevi cemaatiyle \u00f6zde\u015flenerek ya\u015famam\u0131\u015ft\u0131r. Scholem gibi \u0130srail\u2019in yolunu tutmam\u0131\u015ft\u0131r. Adorno gibi Frankfurt Okulu\u2019nun asal bir \u00fcyesi olmam\u0131\u015ft\u0131r. Can\u0131n\u0131 kurtarmak i\u00e7in Amerika\u2019ya gelmesi \u00e7a\u011fr\u0131lar\u0131na bile direnmi\u015ftir. \u00d6te yandan, Brecht ile yak\u0131n ili\u015fki kurmas\u0131na kar\u015f\u0131n Marks\u00e7\u0131lara kat\u0131lmam\u0131\u015ft\u0131r. Bu ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 yaln\u0131zca fiziksel de\u011fil anl\u0131ksal d\u00fczlemde de s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Yap\u0131t\u0131 tekil ve \u00f6zg\u00fcnd\u00fcr. Benjamin\u2019in yazd\u0131klar\u0131n\u0131 herhangi bir \u00f6zg\u00fcl ak\u0131m i\u00e7ine yerle\u015ftirmek olanakl\u0131 g\u00f6r\u00fcnmemektedir. Bununla birlikte, \u00f6znel bir de\u011ferlendirme yaparak, Benjamin\u2019i genel olarak devrimci co\u015fumculuk (romantizm) diye bilinen bir \u00e7izginin i\u00e7inde g\u00f6rd\u00fc\u011f\u00fcm\u00fc s\u00f6yleyebilirim.<\/p>\n

Benjamin\u2019in birbirinden ayr\u0131ml\u0131 g\u00f6r\u00fcnen yazd\u0131klar\u0131n\u0131 birbirine ba\u011flayan, \u00fc\u00e7 d\u00f6neminde de g\u00f6r\u00fclen di\u011fer bir \u00f6zelli\u011fi de i\u00e7 i\u00e7e ge\u00e7en Tarih ve Mesih anlay\u0131\u015flar\u0131d\u0131r. Benjamin\u2019in d\u00fcnyaya bak\u0131\u015f\u0131nda, genel olarak hayat\u0131 de\u011ferlendirmesinde dinbilimsel bir arka d\u00fczlem oldu\u011fu rahatl\u0131kla s\u00f6ylenebilir. Nitekim \u00f6zellikle Tevrat\u2019\u0131 okumak Benjamin\u2019i anlamak \u00e7abas\u0131n\u0131 g\u00f6rece kolayla\u015ft\u0131rabilir. Gene de Benjamin\u2019inki al\u0131\u015ft\u0131\u011f\u0131m\u0131z anlamda inan\u00e7 temelli bir bak\u0131\u015ftan ayr\u0131ml\u0131d\u0131r. Bir dindar gibi d\u00fc\u015f\u00fcn\u00fcp yazd\u0131\u011f\u0131n\u0131 \u00f6ne s\u00fcrmek g\u00fc\u00e7t\u00fcr. Ancak dinin yapt\u0131\u011f\u0131 gibi tinselli\u011fi \u00f6ne al\u0131r. Tinselli\u011fi vurgulamakta belki dinden daha ileri gider. Hi\u00e7bir \u015fey salt \u00f6zdek de\u011fildir, her \u015feyin \u00f6z\u00fc tinseldir. Do\u011fa da, insan da bu tinselli\u011fin Tarih dedi\u011fimiz d\u00fc\u015f\u00fc\u015f s\u00fcrecinden kurtar\u0131lmas\u0131n\u0131 beklemektedir. Dellalo\u011flu, and\u0131\u011f\u0131m\u0131z yaz\u0131s\u0131nda yine do\u011fru bir saptamada bulunur: \u201cBenjamin sanki ayd\u0131nlanman\u0131n yapt\u0131\u011f\u0131n\u0131n tersini yapmaya \u00e7al\u0131\u015f\u0131r. Weber demi\u015fti ya: d\u00fcnyan\u0131n b\u00fcy\u00fcs\u00fcn\u00fcn bozulmas\u0131. O, d\u00fcnyay\u0131 tekrar b\u00fcy\u00fcs\u00fcne kavu\u015fturmaya \u00e7al\u0131\u015f\u0131r.\u201d3 Buras\u0131 Benjamin\u2019in co\u015fumculu\u011fa a\u00e7\u0131k\u00e7a eklemlendi\u011fi noktad\u0131r. Anamalc\u0131l\u0131\u011fa ge\u00e7i\u015fle sanki insan tininden bir \u015feyler eksilmi\u015f gibidir. Melankoli bunu alg\u0131layabilmenin sonu\u00e7lar\u0131ndan biridir. Martin Luther\u2019in melankolisi de, Benjamin\u2019in deyi\u015fiyle, \u201cya\u015fam\u0131n solgunla\u015fmas\u0131n\u0131n\u201d ayr\u0131m\u0131na varmas\u0131ndand\u0131r. H\u0131ristiyan eskatologya, Ayd\u0131nlanma, idealizm ve Marks\u00e7\u0131l\u0131k, ayn\u0131 d\u00fc\u015f\u00fcnsel damarda devinerek, insanl\u0131\u011f\u0131n ilerlemesinin, insan-do\u011fa b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc kurarak hem insan\u0131 hem de do\u011fay\u0131 kurtaraca\u011f\u0131 varsay\u0131m\u0131na dayal\u0131 \u00e7izgisel bir tarih anlay\u0131\u015f\u0131n\u0131 savunurlar. Ge\u00e7mi\u015fe bak\u0131nca Otuz Y\u0131l Sava\u015flar\u0131\u2019n\u0131, Birinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131, \u00f6n\u00fcne bak\u0131nca da y\u00fckselen Nazizmi g\u00f6ren Benjamin payla\u015fmaz bu iyimser tarih anlay\u0131\u015f\u0131n\u0131. Benjamin, Marks\u00e7\u0131l\u0131\u011f\u0131n eyti\u015fim anlay\u0131\u015f\u0131n\u0131 da Tarih i\u00e7inde ileriye de\u011fil, \u015fimdiki zamana (Jetztzeit) d\u00f6n\u00fck bi\u00e7imde kendine uyarlam\u0131\u015ft\u0131r. Giderek, ilerleme denilen s\u00fcreci bir felaketler zinciri olarak g\u00f6r\u00fcr. As\u0131l kurtar\u0131c\u0131, Tarihin her an\u0131nda ortaya \u00e7\u0131kabilecek Mesih\u2019tir. Elbette, Mesih ile imlenen \u015fey bildi\u011fimiz dinsel betiden \u00e7ok onun simgeledi\u011fi devrimsel d\u00f6n\u00fc\u015f\u00fcmd\u00fcr. Her \u015feyden \u00f6nce d\u00fcnyaya yeni bir bak\u0131\u015f\u0131 gerektiren bir d\u00f6n\u00fc\u015f\u00fcmd\u00fcr bu. D\u00fcnyan\u0131n tinselli\u011fini, asl\u0131nda elimizin alt\u0131nda duran ger\u00e7ek ya\u015fam\u0131 g\u00f6rmek, duyumsamak gerekir. D\u00fcnyaya bu t\u00fcr bak\u0131\u015f\u0131 sa\u011flamada, Tarihin asl\u0131n\u0131, olaylar\u0131n nesnelerin anlam \u00e7o\u011fullu\u011funu anlamada arac\u0131 s\u00f6z sanat\u0131 alegori olacakt\u0131r. Ele\u015ftiri de yap\u0131tlar\u0131 kurtarma sanat\u0131d\u0131r.<\/p>\n

Elbette, Benjamin somut bir kurtulu\u015f plan\u0131 \u00f6nermiyor. Ya\u015fad\u0131\u011f\u0131 d\u00f6nemde oldu\u011fu gibi bug\u00fcn\u00fcn d\u00fcnyas\u0131nda da kim takar Benjamin\u2019i bilmem ama o, kendine g\u00f6re ayd\u0131nca bir duru\u015f sergiliyor, d\u00fcnyaya ve kendimize bak\u0131\u015f\u0131m\u0131z\u0131 etkilemeye \u00e7al\u0131\u015f\u0131yor. Ge\u00e7mi\u015fi bile kurtarabilece\u011fimizi \u00f6ne s\u00fcr\u00fcyor. Y\u0131k\u0131nt\u0131lar ve \u00f6l\u00fcler kurtar\u0131lmay\u0131 bekleyen varl\u0131klard\u0131r Benjamin\u2019in barok d\u00fcnyas\u0131nda. Bu yakla\u015f\u0131m\u0131nda Tevrat\u2019taki \u00e7\u00f6mlek (Yeremya, Bap 19) ile insan kemi\u011fi (Hezekiel, Bap 35) \u00f6yk\u00fclerinin etkili oldu\u011fu \u00f6ne s\u00fcr\u00fclebilir. Melankolik adam\u0131n bak\u0131\u015f\u0131nda ge\u00e7mi\u015f de gelecek de kurtar\u0131labilir: \u201cMelankoli bilme sevdas\u0131 i\u00e7in d\u00fcnyaya ihanet eder. Kendi derin d\u00fc\u015f\u00fcncesine (meditasyon) ara vermeden g\u00f6m\u00fcl\u00fcrken, \u00f6l\u00fc nesneleri de kurtarmak i\u00e7in bak\u0131\u015f\u0131 (kontamplasyon) i\u00e7ine al\u0131r.\u201d<\/p>\n

Elbette, Benjamin\u2019in nesnelerle ili\u015fkisi \u00f6l\u00fc olanlar\u0131yla s\u0131n\u0131rl\u0131 de\u011fildir. Benjamin\u2019in di\u011fer bir \u00f6zg\u00fcn y\u00f6n\u00fcd\u00fcr nesnelere bak\u0131\u015f\u0131. Babas\u0131n\u0131n antikac\u0131 olmas\u0131ndan m\u0131d\u0131r nedir, Benjamin i\u00e7in nesneler birer canl\u0131 varl\u0131kt\u0131r. Benjamin\u2019in nesnelere bak\u0131\u015f\u0131n\u0131 de\u011ferlendirmek i\u00e7in daha \u00e7ok de\u011fi\u015fim de\u011fil kullan\u0131m de\u011ferinin a\u011f\u0131r bast\u0131\u011f\u0131 k\u00fclt\u00fcr\u00fc, sanat yap\u0131tlar\u0131n\u0131, \u00e7ocuklar\u0131n oyuncaklar, bebekler, kuklalar kar\u015f\u0131s\u0131nda duyduklar\u0131 heyecan\u0131 d\u00fc\u015f\u00fcnmek yerinde olur. Meta feti\u015fizmin egemen oldu\u011fu, nesnelerin t\u00fcketim maddesine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc \u00e7a\u011fc\u0131l k\u00fclt\u00fcr\u00fcn k\u00f6ktenci bir ele\u015ftirisi okunabilir Benjamin\u2019in nesnelerle kurdu\u011fu ili\u015fkide. Benjamin\u2019in \u00f6zya\u015fam\u00f6yk\u00fcs\u00fcnde ve izlek\u00e7esinde \u00f6nemli yeri olan koleksiyoncunun amac\u0131 da metay\u0131 nesneye d\u00f6n\u00fc\u015ft\u00fcrmek, nesneye ki\u015fili\u011fini yeniden kazand\u0131rmakt\u0131r. Bence, \u00fcnl\u00fc aura kavram\u0131n\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131 nesnelerle kurdu\u011fu ili\u015fkinin bir do\u011furgusudur.<\/p>\n

Benjamin yaln\u0131zca nesnelerin de\u011fil b\u00fct\u00fcn\u00fcyle aura\u2019s\u0131n\u0131 yitirmekte olan bir \u00e7\u00f6k\u00fc\u015f Avrupa\u2019s\u0131nda ya\u015fam\u0131\u015ft\u0131r. Bu \u00e7\u00f6k\u00fc\u015f\u00fcn i\u00e7inden Avrupa\u2019n\u0131n ruhunu ve gelece\u011fi kurtarmay\u0131 istemi\u015ftir. Kitle sanat\u0131n\u0131n ve teknolojinin devrimci ama\u00e7larla kullan\u0131lmas\u0131 yoluyla aura\u2019n\u0131n yitiminin yaratt\u0131\u011f\u0131 tinsel bo\u015flu\u011fun doldurulabilece\u011fini d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcr. Adorno sevgili arkada\u015f\u0131n\u0131n saf oldu\u011funu s\u00f6yleyecektir. Oysa Benjamin de g\u00f6rm\u00fc\u015ft\u00fcr kitle toplumunun \u00f6z\u00fcndeki totalitarizmi. Ancak \u00e7\u0131k\u0131\u015f aram\u0131\u015ft\u0131r uzun s\u00fcre. Avrupa\u2019da, daha \u00f6nce de de\u011findi\u011fimiz gibi, o zaman\u0131n \u00f6l\u00e7\u00fclerine g\u00f6re gezginlik ve g\u00f6\u00e7ebelik say\u0131labilecek bi\u00e7imde dola\u015fm\u0131\u015ft\u0131r.<\/p>\n

Gitti\u011fi kentlerin ruhunu kavramaya \u00e7al\u0131\u015fmakta onunla yar\u0131\u015fabilecek herhalde azd\u0131r. \u00d6rne\u011fin Napoli \u00fczerine Asja Lacis ile birlikte yazd\u0131\u011f\u0131 deneme pek bilinmez. \u00dcst geli\u015fmi\u015flik d\u00fczeyinde olmayan bir Akdeniz kentinin \u00f6zellikleri ancak bu denli iyi anlat\u0131labilir. (Bu yaz\u0131da biz, T\u00fcrk metropollerini de g\u00f6rebiliriz. Belki o zaman neden \u0130stanbul\u2019u New York\u2019a benzetmeye \u00e7al\u0131\u015f\u0131yoruz diye sorabiliriz.) Ancak, Benjamin\u2019in as\u0131l sevgili kenti Paris\u2019tir. \u00dcnl\u00fc Pasajlar\u2019\u0131, Baudelaire \u00fczerine \u00e7al\u0131\u015fmas\u0131, nice yaz\u0131s\u0131 Paris\u2019e odaklanm\u0131\u015ft\u0131r. Avrupa\u2019da ge\u00e7mi\u015fine ve bug\u00fcn\u00fcne ili\u015fkin en \u00e7ok bilgi bulunan kentin Paris oldu\u011funu, dolay\u0131s\u0131yla Paris\u2019i irdelemenin Avrupa uygarl\u0131\u011f\u0131n\u0131 daha iyi anlamay\u0131 sa\u011flayaca\u011f\u0131n\u0131 s\u00f6yler. \u00c7a\u011fc\u0131l kent ya\u015fam\u0131n\u0131 bir \u00e7ocuk heyecan\u0131 ve merak\u0131yla g\u00f6zlemlemi\u015ftir. Paris\u2019i yaln\u0131zca ar\u015fivlerinden de\u011fil sokaklar\u0131ndan \u00f6\u011frenmi\u015ftir. Berlinli \u00e7ocuk en uzun y\u00fcr\u00fcy\u00fc\u015flerini Paris\u2019te yapm\u0131\u015ft\u0131r. Kendisiyle \u00f6zde\u015flenmi\u015f olan \u00fcnl\u00fc fl\u00e2neur kavram\u0131n\u0131 bu kentte i\u015flemi\u015ftir. Bu kavram\u0131 ben Aylak Adam diye T\u00fcrk\u00e7eye aktarmay\u0131 kendimce do\u011fru buluyorum. Binbir t\u00fcrl\u00fc inceleme konusu olan bu kavram\u0131 burada anlatmaya kalk\u0131\u015fmayaca\u011f\u0131m. Ne var ki, g\u00fcn\u00fcm\u00fczde birka\u00e7 kent gezip kendini aylak adam sananlar ya da k\u00fclt\u00fcr piyasas\u0131nda yer tutmak i\u00e7in \u00f6yle tan\u0131tmaya \u00e7al\u0131\u015fanlar \u00e7\u0131kabildi\u011fi i\u00e7in birka\u00e7 noktay\u0131 belirtmekte yarar olabilir. Benjamin\u2019in aylak adam\u0131 belirli bir d\u00f6nemin ki\u015fisidir. Sokaklar\u0131n ve pasajlar\u0131n adam\u0131d\u0131r. B\u00fcy\u00fck ma\u011fazalar\u0131n, al\u0131\u015fveri\u015f merkezlerinin ortaya \u00e7\u0131kmas\u0131yla aylak adam\u0131n d\u00f6nemi kapanm\u0131\u015ft\u0131r. Aylak adam bo\u015f gezenin bo\u015f kalfas\u0131 de\u011fildir. Anamalc\u0131l\u0131\u011fa muhalif yap\u0131da bir entelekt\u00fceldir. Eylemi g\u00f6zlem ve d\u00fc\u015f\u00fcnmedir. Bununla birlikte kendisi de anamalc\u0131l\u0131\u011f\u0131n \u00fcr\u00fcn\u00fcd\u00fcr. Aylak adam\u0131n kalabal\u0131k i\u00e7inde sokaklarda, pasajlarda dola\u015fmas\u0131 anamalc\u0131 piyasada metan\u0131n dola\u015f\u0131m\u0131na ko\u015futtur. Bir bak\u0131ma aylak adam, entelekt\u00fcelin de metala\u015fmadan \u00f6nceki son hali, metala\u015fmaya kar\u015f\u0131 umutsuz direni\u015fidir. Susan Sontag, \u201cson entelekt\u00fcel\u201d der Benjamin i\u00e7in.
Tarihin hep olumsuz y\u00f6n\u00fcnden geli\u015fti\u011fini \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr Benjamin, yeniklerin, tutunamayanlar\u0131n tarihini anlatmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019ndan sonra yeni bir d\u00f6nem ba\u015flam\u0131\u015ft\u0131r. Bug\u00fcn var\u0131lm\u0131\u015f olan a\u015famada bobo k\u00fclt\u00fcr\u00fc entelekt\u00fcelin metala\u015fmas\u0131n\u0131 gerektirmektedir. Etkili olabilmenin, s\u00f6z iktidar\u0131n\u0131 payla\u015fabilmenin, entelekt\u00fcel piyasan\u0131n nesnel gere\u011fidir bu. B\u00f6yle bir d\u00fcnyada Benjamin t\u00fcr\u00fc bir ayd\u0131na yer yoktur. Art\u0131k ayd\u0131nlar ve \u00fcr\u00fcnleri de kullan\u0131m ve de\u011fi\u015fim de\u011ferleri aras\u0131ndaki \u00e7arp\u0131\u015fman\u0131n ortas\u0131nda kalm\u0131\u015flard\u0131r. Bu \u00e7er\u00e7evede, bir yerden tutturup entelekt\u00fcel piyasaya l\u00fcks t\u00fcketim maddesi olarak s\u00fcr\u00fclme olana\u011f\u0131 her zaman vard\u0131r. \u00c7\u00fcnk\u00fc bu da piyasa mant\u0131\u011f\u0131n\u0131n bir gere\u011fidir. Ac\u0131mas\u0131z bir bak\u0131\u015fla, Benjamin\u2019in yazd\u0131klar\u0131n\u0131n bug\u00fcnk\u00fc k\u00fclt\u00fcr ortam\u0131ndaki yerinin l\u00fcks t\u00fcketim maddesine e\u015fit oldu\u011fu \u00f6ne s\u00fcr\u00fclebilir. Bununla birlikte, ger\u00e7ek\u00e7i olmak gerekir: ba\u015fka bir k\u0131l\u0131kla soka\u011fa \u00e7\u0131kma olana\u011f\u0131 da kalmam\u0131\u015ft\u0131r. \u00d6yleyse bir kez daha dikkat diyelim: g\u00f6r\u00fcn\u00fc\u015fe aldanmay\u0131n. Tuhaf bir \u00e7ocuk sizi alt \u00fcst edebilir.<\/p>\n

Notlar
1\u00a0 Besim F. Dellalo\u011flu (Yay. Haz.), Benjamin, Say Yay\u0131nlar\u0131, 2006.
2\u00a0 Hans Mayer, Der Zeitgenosse Walter Benjamin, J\u00fcdischer Verlag, 1992.
3\u00a0 Dellalo\u011flu, 2006.<\/p>\n","protected":false},"excerpt":{"rendered":"

Bu yaz\u0131ya Leyla Erbil\u2019in \u00fcnl\u00fc Tuhaf Bir Kad\u0131n\u2019\u0131ndan esinlenerek \u201cTuhaf Bir Adam\u201d ba\u015fl\u0131\u011f\u0131 atmaya haz\u0131rlan\u0131rken, \u00e7ocuk s\u00f6zc\u00fc\u011f\u00fc \u00fcst\u00fcn \u00e7\u0131kt\u0131, yine. \u00d6mr\u00fc boyunca Walter Benjamin\u2019in, Berlin sokaklar\u0131nda annesinin arkas\u0131nda yava\u015f yava\u015f y\u00fcr\u00fcyen \u00e7ocuk olarak kald\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm birden. B\u00f6yle d\u00fc\u015f\u00fcnmemin nedeni bir zamanlar Benjamin\u2019in ard\u0131na d\u00fc\u015fmeye kalk\u0131\u015ft\u0131\u011f\u0131mda arkamda g\u00f6rm\u00fc\u015f oldu\u011fum \u00e7ocuk d\u00fc\u015flemi de\u011fil, hemen elimin alt\u0131nda duran […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[74],"tags":[],"class_list":["post-1364","post","type-post","status-publish","format-standard","category-walter-benjamin"],"yoast_head":"\nTuhaf Bir \u00c7ocuk ; Walter Benjamin | O\u011fuz Demiralp - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tuhaf Bir \u00c7ocuk ; Walter Benjamin | O\u011fuz Demiralp\" \/>\n<meta property=\"og:description\" content=\"Bu yaz\u0131ya Leyla Erbil\u2019in \u00fcnl\u00fc Tuhaf Bir Kad\u0131n\u2019\u0131ndan esinlenerek \u201cTuhaf Bir Adam\u201d ba\u015fl\u0131\u011f\u0131 atmaya haz\u0131rlan\u0131rken, \u00e7ocuk s\u00f6zc\u00fc\u011f\u00fc \u00fcst\u00fcn \u00e7\u0131kt\u0131, yine. \u00d6mr\u00fc boyunca Walter Benjamin\u2019in, Berlin sokaklar\u0131nda annesinin arkas\u0131nda yava\u015f yava\u015f y\u00fcr\u00fcyen \u00e7ocuk olarak kald\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcm birden. 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B\u00f6yle d\u00fc\u015f\u00fcnmemin nedeni bir zamanlar Benjamin\u2019in ard\u0131na d\u00fc\u015fmeye kalk\u0131\u015ft\u0131\u011f\u0131mda arkamda g\u00f6rm\u00fc\u015f oldu\u011fum \u00e7ocuk d\u00fc\u015flemi de\u011fil, hemen elimin alt\u0131nda duran […]","og_url":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/","og_site_name":"narteks.net","article_published_time":"2009-12-29T00:00:00+00:00","og_image":[{"width":300,"height":90,"url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","type":"image\/png"}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"21 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/tuhaf-bir-cocuk-walter-benjamin-oguz-demiralp\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Tuhaf Bir \u00c7ocuk ; 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