{"id":1744,"date":"2009-12-02T19:45:51","date_gmt":"2009-12-02T16:45:51","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/12\/02\/futurizm\/"},"modified":"2009-12-02T19:45:51","modified_gmt":"2009-12-02T16:45:51","slug":"futurizm","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/","title":{"rendered":"F\u00dcT\u00dcR\u0130ZM"},"content":{"rendered":"<div class=\"thumb tright\">\n<div class=\"thumbinner\" style=\"width: 242px;\"><span class=\"image\"><img loading=\"lazy\" decoding=\"async\" class=\"thumbimage\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/17\/Santelia01.jpg\/240px-Santelia01.jpg\" border=\"0\" width=\"240\" height=\"242\" \/><\/span><\/p>\n<div class=\"thumbcaption\">F\u00fct\u00fcrist Mimar <span class=\"new\">Antonio Sant&#8217;elia<\/span>&#8216;\u0131n bir eseri<\/div>\n<\/div>\n<\/div>\n<p style=\"text-align: justify;\"><strong>F\u00fct\u00fcrizm<\/strong>, 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda \u0130talya&#8217;da orataya \u00e7\u0131km\u0131\u015f bir sanat ak\u0131m\u0131d\u0131r. Genel olarak b\u00fcy\u00fck bir \u0130talyan fenomeniydi. Fakat o d\u00f6nemde, ba\u015fta Rusya ve \u0130ngiltere olmak \u00fczere daha bir \u00e7ok \u00fclkede paralel hareketler ortaya \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n<p><strong><span id=\"Edebiyatta_F.C3.BCt.C3.BCrizm\" class=\"mw-headline\">Edebiyatta F\u00fct\u00fcrizm<\/span><\/strong> <span class=\"editsection\" style=\"font-size: x-small; font-weight: normal; float: none; margin-left: 0px;\"> <\/span><\/p>\n<p style=\"text-align: justify;\">Bu ak\u0131m\u0131n \u00f6nc\u00fcs\u00fc ve \u015fefi \u0130talyan \u015fair, romanc\u0131, oyun yazar\u0131 ve yay\u0131n y\u00f6netmeni Filippo Tommaso Marinetti&#8217;dir. Marinetti\u2019nin 1909\u2019de Paris\u2019te &#8220;Le Figaro&#8221; gazetesinde yay\u0131mlad\u0131\u011f\u0131 manifesto futurisita (F\u00fct\u00fcrizm Bildirisi) gelecek\u00e7ili\u011fin manifestosu oldu. Bildiride, &#8220;Bizler m\u00fczeleri, k\u00fct\u00fcphaneleri yerle bir edip ahlak\u00e7\u0131l\u0131k, feminizm ve b\u00fct\u00fcn yararc\u0131 korkakl\u0131klarla sava\u015faca\u011f\u0131z&#8221; deniyordu. Bu ge\u00e7mi\u015fin b\u00fct\u00fcn\u00fcyle reddi demekti. Ayn\u0131 bildiride, &#8220;Biz d\u00fcnyadaki ger\u00e7ekten sa\u011fl\u0131kl\u0131 tek \u015feyi, yani sava\u015fa ve \u00f6l\u00fcme g\u00f6t\u00fcren g\u00fczel d\u00fc\u015f\u00fcnceleri y\u00fcceltiyoruz&#8221; s\u00f6zleri, siyasal alanda o d\u00f6nemde geli\u015fen fa\u015fizmden yana bir tavr\u0131n da a\u00e7\u0131k g\u00f6stergesiydi.<\/p>\n<p style=\"text-align: justify;\">S\u00fcratin \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc iddia ve ilan eden Marinetti, bir yar\u0131\u015f arabas\u0131n\u0131n Samothrake zaferi (Yunan heykeli)nden daha g\u00fczel oldu\u011funu ve buna ek olarak da: &#8220;Mutlak i\u00e7inde ya\u015f\u0131yoruz, \u00e7\u00fcnk\u00fc &#8220;her yerde haz\u0131r ve naz\u0131r olan&#8221; edebi s\u00fcrati biz yaratt\u0131k&#8221; demi\u015ftir.<\/p>\n<p style=\"text-align: justify;\">Gelecek\u00e7ili\u011fin kurucusu Marinetti, Avrupa\u2019da bir\u00e7ok yazar\u0131 etkiledi. Rusya\u2019da <span class=\"new\">Velemir Hlebinikov<\/span> ve <span class=\"mw-redirect\">Mayakovski<\/span> gelecek\u00e7ili\u011fe y\u00f6neldi. Rus gelecek\u00e7iler kendi bildirgelerini yay\u0131nlad\u0131. <span class=\"mw-redirect\">Pu\u015fkin<\/span>, Tolstoy, Dostoyevski reddedildi. \u015eiirde sokak dilinin kullan\u0131lmas\u0131 istendi. 1917 Ekim devriminden sonra da gelecek\u00e7i ak\u0131m g\u00fc\u00e7lendi. Mayakovski\u2019nin \u00f6l\u00fcm\u00fcne kadar etkisini s\u00fcrd\u00fcrd\u00fc.<\/p>\n<p style=\"text-align: justify;\">\u0130talya\u2019daki gelecek\u00e7iler ilk \u015fiir antolojisini 1912\u2019de yay\u0131nlad\u0131. Gelecek\u00e7ilik fa\u015fizm ile \u00f6zde\u015fle\u015fti. Ve 1920\u2019lerin ortalar\u0131na do\u011fru etkisini yitirdi. Eserlerinde mant\u0131kl\u0131 c\u00fcmleler kurmay\u0131 reddeden gelecek\u00e7ilerin parolas\u0131, &#8220;sozc\u00fcklere \u00f6zg\u00fcrl\u00fck&#8221;t\u00fc. Ezra Pound, <span class=\"mw-redirect\">D. H. Lawrence<\/span> ve <span class=\"new\">Giovanni Papini<\/span> de bu ak\u0131mdan etkilenen yazarlard\u0131r.<\/p>\n<p><strong><span id=\"Cubo-F.C3.BCt.C3.BCrizm\" class=\"mw-headline\">Cubo-F\u00fct\u00fcrizm<\/span><\/strong> <span class=\"editsection\" style=\"font-size: x-small; font-weight: normal; float: none; margin-left: 0px;\"> <\/span><\/p>\n<p>1913 y\u0131l\u0131nda itibaren Rusyada K\u00fcbizm&#8217;e etki eden ve geli\u015fteren, Rus F\u00fct\u00fcrizmi&#8217;nin temel okuludur.<\/p>\n<p style=\"text-align: justify;\">Cubo-F\u00fct\u00fcrizm K\u00fcbizm&#8217;in formlar\u0131 ve F\u00fct\u00fcrizm&#8217;in dinamikli\u011fini esas alm\u0131\u015ft\u0131r. <span class=\"mw-redirect\">Kazimir Malevich<\/span> tarz\u0131 geli\u015ftiren ki\u015fidir ve bu tarz\u0131 1912&#8217;de imzalanan fakat 1913 y\u0131l\u0131nda yap\u0131ld\u0131\u011f\u0131 bilinen &#8220;The Knife Grinder&#8221; isimli eserinde g\u00f6r\u00fclebilir. Fakat <span class=\"mw-redirect\">Kazimir Malevich<\/span> Suprematizm olarak adland\u0131r\u0131lan ve objektif olmayan bir tarz benimseyerek bu tarz\u0131 reddetmi\u015ftir.<\/p>\n<h2><span id=\"Tan.C4.B1nm.C4.B1.C5.9F_F.C3.BCt.C3.BCrist_Sanat.C3.A7.C4.B1lar\" class=\"mw-headline\">Tan\u0131nm\u0131\u015f F\u00fct\u00fcrist Sanat\u00e7\u0131lar<\/span> <span class=\"editsection\" style=\"font-size: x-small; font-weight: normal; float: none; margin-left: 0px;\"> <\/span><\/h2>\n<table class=\"multicol\" style=\"background: none repeat scroll 0% 0% transparent; width: 100%;\" border=\"0\" cellspacing=\"0\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td width=\"50%\" align=\"left\" valign=\"top\">\n<ul>\n<li><span class=\"new\">Giacomo Balla<\/span>, ressam<\/li>\n<li><span class=\"new\">Umberto Boccioni<\/span>, ressam, heykeltra\u015f<\/li>\n<li><span class=\"new\">Anton Giulio Bragaglia<\/span><\/li>\n<li><span class=\"new\">David Burliuk<\/span>, ressam<\/li>\n<li><span class=\"new\">Vladimir Burliuk<\/span>, ressam<\/li>\n<li><span class=\"new\">Mario Carli<\/span><\/li>\n<li>Carlo Carr\u00e0, ressam<\/li>\n<li><span class=\"new\">Ambrogio Casati<\/span>, ressam<\/li>\n<li><span class=\"new\">Primo Conti<\/span><\/li>\n<li><span class=\"new\">Tullio Crali<\/span><\/li>\n<li><span class=\"new\">Luigi De Giudici<\/span>, ressam<\/li>\n<li><span class=\"new\">Fortunato Depero<\/span>, ressam<\/li>\n<\/ul>\n<\/td>\n<td width=\"50%\" align=\"left\" valign=\"top\">\n<ul>\n<li><span class=\"new\">Gerardo Dottori<\/span>, ressam, \u015fair ve sanat ele\u015ftirmeni<\/li>\n<li>Filippo Tommaso Marinetti, \u015fair<\/li>\n<li><span class=\"mw-redirect\">Vladimir Mayakovsky<\/span>, \u015fair<\/li>\n<li><span class=\"new\">Angiolo Mazzoni<\/span>, mimar<\/li>\n<li><span class=\"new\">Aldo Palazzeschi<\/span>, yazar<\/li>\n<li><span class=\"new\">Giovanni Papini<\/span>, yazar<\/li>\n<li><span class=\"new\">Luigi Russolo<\/span>, ressam, m\u00fczisyen<\/li>\n<li><span class=\"new\">Antonio Sant&#8217;Elia<\/span>, mimar<\/li>\n<li><span class=\"new\">Hugo Scheiber<\/span>, ressam<\/li>\n<li>Gino Severini, ressam<\/li>\n<li><span class=\"new\">Bela Kadar<\/span>, ressam<\/li>\n<li><span class=\"new\">Mario Sironi<\/span>, ressam<\/li>\n<li><span class=\"new\">Ardengo Soffici<\/span>, ressam ve yazar<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>F\u00fct\u00fcrist Mimar Antonio Sant&#8217;elia&#8216;\u0131n bir eseri F\u00fct\u00fcrizm, 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda \u0130talya&#8217;da orataya \u00e7\u0131km\u0131\u015f bir sanat ak\u0131m\u0131d\u0131r. Genel olarak b\u00fcy\u00fck bir \u0130talyan fenomeniydi. Fakat o d\u00f6nemde, ba\u015fta Rusya ve \u0130ngiltere olmak \u00fczere daha bir \u00e7ok \u00fclkede paralel hareketler ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Edebiyatta F\u00fct\u00fcrizm Bu ak\u0131m\u0131n \u00f6nc\u00fcs\u00fc ve \u015fefi \u0130talyan \u015fair, romanc\u0131, oyun yazar\u0131 ve yay\u0131n y\u00f6netmeni Filippo [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[85],"tags":[],"class_list":{"0":"post-1744","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-resim-sanati-akimlari"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v24.9 (Yoast SEO v24.9) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>F\u00dcT\u00dcR\u0130ZM - 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\/02\/futurizm\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"F\u00dcT\u00dcR\u0130ZM\" \/>\n<meta property=\"og:description\" content=\"F\u00fct\u00fcrist Mimar Antonio Sant&#8217;elia&#8216;\u0131n bir eseri F\u00fct\u00fcrizm, 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda \u0130talya&#8217;da orataya \u00e7\u0131km\u0131\u015f bir sanat ak\u0131m\u0131d\u0131r. Genel olarak b\u00fcy\u00fck bir \u0130talyan fenomeniydi. Fakat o d\u00f6nemde, ba\u015fta Rusya ve \u0130ngiltere olmak \u00fczere daha bir \u00e7ok \u00fclkede paralel hareketler ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Edebiyatta F\u00fct\u00fcrizm Bu ak\u0131m\u0131n \u00f6nc\u00fcs\u00fc ve \u015fefi \u0130talyan \u015fair, romanc\u0131, oyun yazar\u0131 ve yay\u0131n y\u00f6netmeni Filippo [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2009-12-02T16:45:51+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/17\/Santelia01.jpg\/240px-Santelia01.jpg\" \/>\n<meta name=\"author\" content=\"Tar\u0131k\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@narteks\" \/>\n<meta name=\"twitter:site\" content=\"@narteks\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tar\u0131k\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"F\u00dcT\u00dcR\u0130ZM\",\"datePublished\":\"2009-12-02T16:45:51+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/\"},\"wordCount\":531,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/#primaryimage\"},\"thumbnailUrl\":\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/17\/Santelia01.jpg\/240px-Santelia01.jpg\",\"articleSection\":[\"Resim Sanat Ak\u0131mlar\u0131\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2009\/12\/02\/futurizm\/\",\"name\":\"F\u00dcT\u00dcR\u0130ZM - 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