{"id":3585,"date":"2009-12-29T12:08:33","date_gmt":"2009-12-29T09:08:33","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/12\/29\/siir-in-ozellikleri\/"},"modified":"2009-12-29T12:08:33","modified_gmt":"2009-12-29T09:08:33","slug":"siir-in-ozellikleri","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/","title":{"rendered":"\u015e\u0130\u0130R’\u0130N \u00d6ZELL\u0130KLER\u0130"},"content":{"rendered":"

Modern \u015eiir ve \u00d6zellikleri<\/strong><\/p>\n

\u00c7a\u011f\u0131m\u0131z\u0131n ve g\u00fcn\u00fcm\u00fcz\u00fcn \u015fiirini yaln\u0131zca daha iyi, daha yak\u0131ndan tan\u0131d\u0131\u011f\u0131m\u0131z i\u00e7in de\u011fil, b\u00fct\u00fcn \u00e7a\u011flar\u0131n \u015fiirlerine kendimizinkinin sisleri aras\u0131ndan bakt\u0131\u011f\u0131m\u0131z i\u00e7in, \u015fiir derken modern \u015fiiri anlatmak istiyoruz. Modern \u015fiir, art\u0131k hikayeden ayr\u0131lm\u0131\u015f olan, geli\u015fen burjuva s\u0131n\u0131f\u0131n\u0131n, \u00e7evresinin bilincine varmas\u0131nda \u00f6zel bir rol oynam\u0131\u015f olan \u015fiirdir. Bu modern \u015fiirin -iyisinin de\u011fil, herhangi bir modern \u015fiirin- kendine \u00f6zg\u00fc temel \u00f6zellikleri nelerdir? Yunan \u015fiirinin temel \u00f6zelli\u011fi olan Mimesis (taklit), burjuva \u015fiirinin temel \u00f6zelli\u011fi de\u011fildir; Mimesis burjuva hikayesiyle oyununda g\u00f6r\u00fcl\u00fcr.<\/p>\n

Bug\u00fcn, anlayanlar\u0131n g\u00f6z\u00fcnde bir sanat olarak \u015fiiri meydana getiren temel \u00f6zellikler \u015funlard\u0131r:
a)\u015eiir ritimlidir<\/strong><\/p>\n

Herhangi bir dilin \u00bbdo\u011fal\u00ab ritminden ayr\u0131 ve \u00fcst\u00fcnde olan \u015fiirsel ritim, k\u00f6klerini iki kaynaktan al\u0131r:<\/p>\n

(1) Ritim daha kolay bir ortak bildiri yolu sa\u011flamakta, dolay\u0131s\u0131yla \u015fiirin kolektif yap\u0131s\u0131n\u0131 g\u00fc\u00e7lendirmektedir ve \u015fiirin i\u00e7inde do\u011fdu\u011fu toplumsal \u00e7evrenin izidir. Bunun sonucu olarak ritmin yap\u0131s\u0131, \u015fiirin i\u00e7g\u00fcd\u00fcsel ya da co\u015fkusal \u00f6z\u00fc ile bu co\u015fkunun kolektif olarak kendisini ger\u00e7ekle\u015ftirdi\u011fi toplumsal ili\u015fkiler aras\u0131ndaki kusursuz dengeyi ustaca ve duyarl\u0131 bir yolla dile getirir. B\u00f6ylece insan\u0131n kendi i\u00e7g\u00fcd\u00fcleriyle toplum aras\u0131ndaki ili\u015fkiyi de\u011ferlendirmesindeki herhangi bir de\u011fi\u015fiklik, haz\u0131r buldu\u011fu ve dolay\u0131s\u0131yla bir \u015fair olarak \u015fu ya da bu y\u00f6nde de\u011fi\u015ftirdi\u011fi vezin ve ritim al\u0131\u015fkanl\u0131klar\u0131 (convention) kar\u015f\u0131s\u0131ndaki tutumunda yans\u0131r, \u0130ngiliz burjuva \u015fiirinde vezin tekni\u011fi kar\u015f\u0131s\u0131ndaki tutumda g\u00f6r\u00fclen bu de\u011fi\u015fiklikleri bundan \u00f6nceki b\u00f6l\u00fcmlerde genel \u00e7izgileri i\u00e7inde incelemi\u015f bulunuyoruz, \u00bbserbest vezin\u00abe do\u011fru son gidi\u015fin, insan kendi toplumsal ili\u015fkilerinin kontrol\u00fcn\u00fc tamamen yitirdi\u011fi i\u00e7in, b\u00fct\u00fcn toplumsal ili\u015fkileri k\u00f6r\u00fc k\u00f6r\u00fcne bir yads\u0131mayla terketmek gibi son anar\u015fik burjuva giri\u015fimini yans\u0131tt\u0131\u011f\u0131 da a\u00e7\u0131k bir ger\u00e7ektir.<\/p>\n

(2) Bu bizi \u015fiirdeki burjuva \u00e7eli\u015fkisinin \u00f6zel bir y\u00fcz\u00fcyle kar\u015f\u0131 kar\u015f\u0131ya getirir : ritmin kolektif bildiriyi ve co\u015fkuyu kolayla\u015ft\u0131rmas\u0131yla. \u0130nsan v\u00fccudunun, d\u0131\u015f olaylar\u0131n ge\u00e7ici (ar\u0131z\u00ee-casual) karakteri ile ego (benlik) aras\u0131nda bir ay\u0131r\u0131c\u0131 \u00e7izgi meydana getiren, zaman\u0131 \u00f6zel ve dolays\u0131z bir tarzda \u00f6znel olarak alg\u0131l\u0131yormu\u015fuz gibi g\u00f6steren birtak\u0131m d\u00fczenli do\u011fal hareketleri vard\u0131r (nab\u0131z at\u0131\u015f\u0131, soluk alma, vb). Bu y\u00fczden herhangi bir ritmik hareket ya da eylem bilin\u00e7 alan\u0131m\u0131z\u0131n fizyolojik \u00f6\u011fesini \u00e7evresel \u00f6\u011fe kar\u015f\u0131s\u0131nda \u00fcst\u00fcn duruma getirmekledir. Bu, co\u015fkusal i\u00e7e do\u011fru d\u00f6n\u00fc\u015f diye adland\u0131raca\u011f\u0131m\u0131z ve bir matematik problemi \u00fczerinde u\u011fra\u015f\u0131rken olagelen ussal i\u00e7ed\u00f6n\u00fc\u015fe kar\u015f\u0131t tutaca\u011f\u0131m\u0131z kendine \u00f6zg\u00fc bir \u00e7e\u015fit i\u00e7ed\u00f6n\u00fc\u015f yarat\u0131r. Ussal i\u00e7ed\u00f6n\u00fc\u015fte ritme yer yoktur.<\/p>\n

Ritim bir ortak \u015fenlikteki insanlar\u0131 \u00f6zel bir tarzda, hem fizyolojik hem de co\u015fkusal olarak birbirine yakla\u015ft\u0131r\u0131r. Daha \u00f6nce de g\u00f6rmektedirler birbirlerini, ama \u00f6zlenen bir araya geli\u015f de\u011fildir bu. Tersine, birbirlerini o kadar a\u00e7\u0131k\u00e7a g\u00f6remez olunca, her biri kendi i\u00e7 karanl\u0131\u011f\u0131na \u00e7ekilip ayn\u0131 fizyolojik ve \u00f6\u011fesel (elemental) vuru\u015fu payla\u015f\u0131nca, i\u015fte o zaman, birbirlerini ayn\u0131 ger\u00e7ek alg\u0131 d\u00fcnyas\u0131nda g\u00f6rmenin birli\u011finden farkl\u0131 \u00f6zel bir grup birli\u011fine ula\u015f\u0131rlar. Bilin\u00e7sel birli\u011fin kar\u015f\u0131t\u0131 olan i\u00e7g\u00fcd\u00fcsel birliktir bu; nesnel birli\u011fin kar\u015f\u0131t\u0131 olan \u00f6znel birliktir. Co\u015fkusal i\u00e7ed\u00f6n\u00fc\u015fte insan genotipe (genotype), her insanda a\u015fa\u011f\u0131 yukar\u0131 ortak olan ve ya\u015fam boyunca d\u0131\u015f ger\u00e7eklik taraf\u0131ndan de\u011fi\u015ftirilen ve kendine uydurulan i\u00e7g\u00fcd\u00fcler toplulu\u011funa d\u00f6ner.<\/p>\n

Bu co\u015fkusal i\u00e7ed\u00f6n\u00fc\u015f, kendi ba\u015f\u0131na bir toplumsal olgudur. \u0130nsanlar t\u00fcm olarak ayn\u0131 i\u00e7g\u00fcd\u00fc donan\u0131m\u0131n\u0131 ta\u015f\u0131d\u0131klar\u0131 i\u00e7in toplumun d\u00fczenli i\u015fleyen bir b\u00fct\u00fcnl\u00fc\u011f\u00fc vard\u0131r. \u0130nsan\u0131n haz\u0131r buldu\u011fu \u00fcretim ili\u015fkileri, i\u00e7ine girdi\u011fi \u00e7evre, toplumsal olarak onun bilincine bir bi\u00e7im verir, ayn\u0131 zamanda herhangi bir toplumda birli\u011fi sa\u011flar. Biri ilkel Avustralya k\u00fclt\u00fcr\u00fc, \u00f6b\u00fcr\u00fc ise modern Avrupa k\u00fclt\u00fcr\u00fcnde do\u011fmu\u015f olan iki e\u015f genotipin birbirinden farkl\u0131 olaca\u011f\u0131 ve daha sonra birlikte b\u00fcy\u00fct\u00fclseler bile bir tek toplumsal karma\u015f\u0131\u011f\u0131 (complex) meydana getirmeyecekleri do\u011frudur. Ama ayn\u0131 k\u00fclt\u00fcrde do\u011fmu\u015f olan bir maymunla insan da \u00e7evre ko\u015fullar\u0131n\u0131n benzerli\u011fine ra\u011fmen farkl\u0131 olurlar ve ayn\u0131 karma\u015f\u0131\u011f\u0131 meydana getirmezlerdi. \u0130\u00e7g\u00fcd\u00fc ile k\u00fclt\u00fcrel \u00e7evre aras\u0131ndaki bu \u00e7eli\u015fme toplum i\u00e7in mutlak \u00f6nemdedir. Onun \u00e7\u00f6z\u00fcmlemekte oldu\u011fumuz bi\u00e7imi nas\u0131l kapitalist toplumun geli\u015fimini etkiliyorsa, bu genel \u00e7eli\u015fme de t\u00fcm toplumun geli\u015fimine olumlu etkide bulunur. Dilde, bu \u00e7eli\u015fme ussal i\u00e7erik ya da s\u00f6zc\u00fcklerle ifade edilen nesnel varl\u0131k ve co\u015fkusal i\u00e7erik ya da ayn\u0131 s\u00f6zc\u00fcklerle ifade edilen \u00f6znel davran\u0131\u015f aras\u0131ndaki z\u0131tl\u0131kla belirir. Dilin do\u011fu\u015fu gibi insan\u0131n do\u011fayla m\u00fccadelesinde ortaya \u00e7\u0131kt\u0131klar\u0131 i\u00e7in ikisini birbirinden ay\u0131rmak olanaks\u0131zd\u0131r. Ama bilim (ya da ger\u00e7eklik) birincinin \u00f6zel alan\u0131d\u0131r; \u015fiir (ya da yan\u0131lsama) ise ikincinin \u00fclkesidir. Demek ki bir bak\u0131ma \u015fiir, toplum i\u00e7in, insan\u0131n Do\u011fayla m\u00fccadelesi gibi ba\u015fs\u0131z ve sonsuzdur.<\/p>\n

Bu, \u015fiirin kendinde, kendi i\u00e7ine \u00e7ekilerek hemcinsleriyle co\u015fkusal bir birli\u011fe giren insan bi\u00e7imini al\u0131r. Dolay\u0131s\u0131yla burjuva \u015fair kendi bireyli\u011fini dile getirdi\u011fini, ruhunun en dip k\u00f6\u015fesindeki sanat d\u00fcnyas\u0131na girerek ger\u00e7eklikten ka\u00e7t\u0131\u011f\u0131n\u0131 varsayarken, ger\u00e7ekte ussal ger\u00e7ekli\u011fin toplumsal d\u00fcnyas\u0131ndan co\u015fkusal beraberli\u011fin toplumsal d\u00fcnyas\u0131na ge\u00e7iyordur. Burjuva \u015fair (sand\u0131\u011f\u0131 gibi) anti-sosyal olunca ve kendisini tamamen \u00bbsanat i\u00e7in sanat\u00ab d\u00fcnyas\u0131na aday\u0131nca, Mallarme’nin L’Apresmidi d’un Faune’u ve Apollinaire’in Alcools’\u00fcndeki gibi, ritmi gittik\u00e7e daha g\u00f6ze \u00e7arp\u0131c\u0131 ve uyutucu olur. Burjuva ancak anar\u015fist a\u015famaya ge\u00e7ip de burjuva toplumu b\u00fct\u00fcn\u00fcyle yads\u0131y\u0131nca, s\u00f6zc\u00fcklerini yaln\u0131zca ki\u015fisel \u00e7a\u011fr\u0131\u015f\u0131mlarla se\u00e7ince ritim ortadan kalkabilir, \u00e7\u00fcnk\u00fc \u015fair art\u0131k \u00f6b\u00fcr insanlarla ortak i\u00e7g\u00fcd\u00fclere sahip olmak gibi toplumsal bir ba\u011fdan bile korkmakta ve bu y\u00fczden yaln\u0131z beyinsel bir ba\u015fkal\u0131k ta\u015f\u0131yacak s\u00f6zc\u00fckleri se\u00e7mektedir. \u00c7ok g\u00fc\u00e7l\u00fc co\u015fkusal \u00e7a\u011fr\u0131\u015f\u0131m\u0131 olan s\u00f6zc\u00fckler se\u00e7erse bu, g\u00fc\u00e7l\u00fc bir ritmin uyu\u015fturuculu\u011fu (hipnoz) ile birle\u015fince, onu insani i\u00e7g\u00fcd\u00fclerin ortak derinli\u011fine g\u00f6mecektir. Ger\u00e7ek\u00fcst\u00fcc\u00fclerin, acayip \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 ne kadar ki\u015fisel olursa olsun, co\u015fkusal de\u011fil de ussal olan s\u00f6zc\u00fck bile\u015fimleri se\u00e7me tekni\u011fi de buradan gelir. Nihayet bu, ancak dilden ve anlamdan ayr\u0131lmakla m\u00fcmk\u00fcn olur, \u00e7\u00fcnk\u00fc bilincin b\u00fct\u00fcn i\u00e7erikleri temelde hem genetik, hem de \u00e7evresel bak\u0131mdan toplumsald\u0131r.<\/p>\n

B\u00f6ylece, ritim \u015fiir i\u00e7in temeldir ve \u00bbRitim uyu\u015fturucudur, a\u015f\u0131r\u0131 duygululuk yarat\u0131r\u00ab ya da \u00bbVezin kal\u0131plar\u0131 toplumsal normlar\u0131 ifade eder\u00ab gibi basit form\u00fcllerle bir yana itilemez. Ritmin anlam\u0131 tarihseldir ve herhangi bir belli zamanda, toplumun temel \u00e7eli\u015fkisinin dilde ortaya \u00e7\u0131k\u0131\u015f\u0131na ba\u011fl\u0131d\u0131r.
b) \u015eiirin ba\u015fka dile \u00e7evrilmesi zordur<\/strong><\/p>\n

\u00c7evirilerin \u015fiirin asl\u0131nda uyand\u0131rd\u0131\u011f\u0131 kendine \u00f6zg\u00fc co\u015fkunun pek az\u0131n\u0131 aktar\u0131\u015f\u0131 \u015fiirin temel \u00f6zelliklerinden biri olarak bilinir. Bir \u00e7eviriyi okuduktan sonra \u015fiirin yaz\u0131ld\u0131\u011f\u0131 dili \u00f6\u011frenmi\u015f olan herkes s\u00f6yler bunu. \u00d6l\u00e7\u00fc yeniden yarat\u0131labilir. \u00bbDuygu\u00ab denen \u015fey eksiksiz \u00e7evrilebilir. Ama o \u00e7ok \u00f6zel \u015fiirsel co\u015fku kaybolur. Fitzgerald’\u0131n Rubailer’i ya da Pope’un \u0130lyada’s\u0131 gibi \u00e7eviriler iyi \u015fiir iseler ger\u00e7ekte yeniden yaratmalard\u0131r da ondan. Yeniden yarat\u0131lan \u015fiirsel co\u015fkunun ise \u015fiirin asl\u0131n\u0131n uyand\u0131rd\u0131\u011f\u0131na benzerlik ta\u015f\u0131d\u0131\u011f\u0131 durumlar pek enderdir.<\/p>\n

Bunu, \u015fiirdeki herhangi gizemli bir a\u015fk\u0131n niteli\u011fe yormaya hakk\u0131m\u0131z yok. B\u00f6yle olabilir de, olamaz da. S\u00f6zc\u00fck oyunlar\u0131n\u0131n \u00f6zel bir karakteristi\u011fidir bu. \u015eiirin temel \u00f6zelliklerinden biridir. Hi\u00e7 kimse, Sava\u015f ve Bar\u0131\u015f gibi ya da Budala gibi b\u00fcy\u00fck romanlar\u0131n \u00e7evirilerinin, \u0130ngiliz okuyucusuna as\u0131llar\u0131ndaki her \u015feyi verdi\u011fini ileri s\u00fcremez. Ama bu eserlerin \u00e7evirilerinde bile ta\u015f\u0131d\u0131klar\u0131 ola\u011fan\u00fcst\u00fc g\u00fc\u00e7, \u00f6rne\u011fin \u0130nferno’nun ya da Odiseus’\u00fcn \u00e7evirileriyle kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda bize g\u00f6sterir ki roman\u0131n \u00f6nemli estetik nitelikleri \u00e7eviriyi – \u015fiirin niteliklerinin yapmad\u0131\u011f\u0131 bir tarzda – ya\u015fatmaktad\u0131r. Ku\u015fkusuz, bi\u00e7imsel \u00f6l\u00e7\u00fc kal\u0131b\u0131n\u0131n aktar\u0131lmas\u0131ndaki g\u00fc\u00e7l\u00fckten gelmemektedir bu. Tersine – ki bu \u00e7ok kez g\u00f6rmezlikten gelinen bir noktad\u0131r – Frans\u0131z \u015fiirinin bi\u00e7imsel \u00f6l\u00e7\u00fc kal\u0131b\u0131 \u015fiir \u015feklindeki \u0130ngilizce \u00e7evirilerinde b\u00fcy\u00fck \u00f6l\u00e7\u00fcde yeniden kurulabilir; Frans\u0131z d\u00fcz yaz\u0131s\u0131ndaki vurgusuz konu\u015fma ritmiyse \u0130ngilizce d\u00fcz yaz\u0131 \u00e7evirilerinde ayn\u0131 derecede korunamaz. Ama, bir yabanc\u0131 \u015fairden, az da olsa bir tat almak isteyen ele\u015ftirmenler, s\u00f6zc\u00fck s\u00f6zc\u00fck yap\u0131lm\u0131\u015f bir d\u00fczyaz\u0131 \u00e7eviriyi, \u00f6l\u00e7\u00fcl\u00fc \u00e7eviriye \u00fcst\u00fcn tutarlar.
c) \u015eiir usa ayk\u0131r\u0131d\u0131r<\/strong><\/p>\n

\u015eiir tutars\u0131z ya da anlams\u0131z demek de\u011fildir bu. \u015eiir dilbilgisi kurallar\u0131na uyar ve genellikle bir \u015fey a\u00e7\u0131klayabilir, yani s\u00f6yledi\u011fi \u015feyler ayn\u0131 dilde ya da ba\u015fka dillerde farkl\u0131 d\u00fczyaz\u0131 bi\u00e7imleri halinde s\u00f6ylenebilir. Ama Spinoza’n\u0131n felsefesi bir izleyicisi taraf\u0131ndan a\u00e7\u0131kland\u0131\u011f\u0131nda Spinoza’n\u0131n felsefesi olarak kal\u0131rken; ya da Tolstoy’un bir roman\u0131 ba\u015fka bir dile \u00e7evrildi\u011finde yine Tolstoy’un roman\u0131 olarak kal\u0131rken; peri masal\u0131 kim anlat\u0131rsa anlats\u0131n ayn\u0131 peri masal\u0131 olarak kal\u0131rken, bir \u015fiirin a\u00e7\u0131klanmas\u0131, asl\u0131n\u0131n ayn\u0131 ifadelerle de yap\u0131lm\u0131\u015f olsa, art\u0131k ayn\u0131 \u015fiir de\u011fildir – belki \u015fiir bile de\u011fildir. \u00bbUssal\u00ab (akl\u00ee – rasyonel) s\u00f6zc\u00fc\u011f\u00fcyle, insanlar\u0131n, \u00e7evrelerinde g\u00f6r\u00fcr g\u00f6rmez kabul ettikleri d\u00fczenlere uygunlu\u011fu kastediyoruz. Bu anlamda bilimsel kan\u0131tlar ussald\u0131r; \u015fiir, de\u011fildir. Ama dilde \u00e7evresel uygunluktan ay\u0131rt edilebilir bir ba\u015fka ortak taraf ya da toplumsal uygunluk oldu\u011funu g\u00f6rm\u00fc\u015ft\u00fck. Bu, co\u015fkusal ya da \u00f6znel uygunluktur. \u00bb\u0130\u00e7 ger\u00e7eklikle uygunluk\u00ab diyelim buna. Yine \u015fiirin bu temel \u00f6zelli\u011finin onun ritmik bi\u00e7imiyle ba\u011fl\u0131 oldu\u011funu da g\u00f6rm\u00fc\u015ft\u00fck. \u00d6yleyse, a\u00e7\u0131kt\u0131r ki \u015fiir \u00e7evresel uygunlu\u011fu bak\u0131m\u0131ndan usa ayk\u0131r\u0131d\u0131r, \u00e7\u00fcnk\u00fc co\u015fkusal uygunlu\u011fu bak\u0131m\u0131ndan ussald\u0131r ve bu iki uygunluk bi\u00e7imi aras\u0131nda bir \u00e7eli\u015fki vard\u0131r. Bu \u00e7eli\u015fki tek ba\u015f\u0131na varolan bir \u00e7eli\u015fki de\u011fildir : bu uygunluklar dilin i\u00e7ine girmi\u015ftir \u00e7\u00fcnk\u00fc ya\u015fam\u0131n kendinde vard\u0131r. Ger\u00e7ekte \u015fiir, insan\u0131n co\u015fkular\u0131yla \u00e7evresi aras\u0131ndaki \u00e7eli\u015fkinin : insan\u0131n do\u011fayla m\u00fccadelesinin ger\u00e7ek ve somut bi\u00e7imini alan \u00e7eli\u015fkinin bir y\u00fcz\u00fcn\u00fcn dile geli\u015finden ba\u015fka bir \u015fey de\u011fildir. \u015eiir bu m\u00fccadelenin bir \u00fcr\u00fcn\u00fc oldu\u011fu i\u00e7in tarihsel geli\u015fiminin her a\u015famas\u0131nda insan\u0131n \u00e7evresiyle olan etkin ili\u015fkisini kendi alan\u0131 i\u00e7inde yans\u0131t\u0131r.<\/p>\n

Plato, \u0130on’dan yapt\u0131\u011f\u0131m\u0131z al\u0131nt\u0131da \u015fiirin bu t\u00fcrden usa ayk\u0131r\u0131l\u0131\u011f\u0131n\u0131 belirtir. Shelley’in : \u00bb\u015eiir akl\u0131n etkin g\u00fcc\u00fcne ba\u011fl\u0131 olmayan bir \u015feydir,\u00ab derken s\u00f6ylemek istedi\u011fi de buydu.
d) \u015eiir s\u00f6zc\u00fcklerle kurulur<\/strong><\/p>\n

Basmakal\u0131p bir s\u00f6z gibi g\u00f6r\u00fcnebilir bu; ama hemen her zaman ve her f\u0131rsatta, bilmesi gerekenlerce unutuluyorsa, hi\u00e7bir \u015fey basmakal\u0131p de\u011fildir. \u00d6rne\u011fin, Matthew Arnold der ki: \u00bb\u015eiir i\u00e7in fikir her \u015feydir; gerisi bir yan\u0131lsama, kutsal bir yan\u0131lsama d\u00fcnyas\u0131d\u0131r. \u015eiir co\u015fkusunu fikre ba\u011flar; fikir olgudur. Bug\u00fcn dinimizin en g\u00fc\u00e7l\u00fc yan\u0131 onun bilin\u00e7siz \u015fiiridir.\u00ab<\/p>\n

Son c\u00fcmlenin bir hakikati \u00e7arp\u0131tt\u0131\u011f\u0131n\u0131 biliriz. Ama ilk ikisi o kadar karmakar\u0131\u015f\u0131kt\u0131r ki daha sonraki b\u00f6l\u00fcmler Arnold’un iyi bir sanat\u00e7\u0131 olarak \u015fiirin \u00f6nemli bir yan\u0131n\u0131 belirtti\u011fini g\u00f6stermesine ra\u011fmen bu c\u00fcmlelerin ger\u00e7ek anlam\u0131n\u0131 se\u00e7mekte g\u00fc\u00e7l\u00fck \u00e7ekeriz.<\/p>\n

Shelley de \u015fu da\u011f\u0131n\u0131k s\u00f6zleri s\u00f6yler : \u00bbDil, renk, bi\u00e7im, din ve eylemlerdeki uygar al\u0131\u015fkanl\u0131klar t\u00fcm olarak \u015fiirin ara\u00e7 ve gere\u00e7leridir; konu\u015fman\u0131n, etkiyi nedenin e\u015fanlaml\u0131s\u0131 olarak kabul eden yan\u0131yla b\u00fct\u00fcn bunlar \u015fiir diye adland\u0131r\u0131labilir.\u00ab<\/p>\n

Bu da\u011f\u0131n\u0131kl\u0131\u011f\u0131n alt\u0131nda, \u015fiirin insan\u0131n toplumdaki ger\u00e7ek varolu\u015fu ile ortaya \u00e7\u0131kt\u0131\u011f\u0131 hakikati yatmaktad\u0131r.<\/p>\n

Bir de s\u00f6yle der Shelley : \u00bb\u015eairlerle d\u00fczyaz\u0131c\u0131lar aras\u0131nda bir ayr\u0131m yapmak \u00e7ok baya\u011f\u0131 bir hatad\u0131r… Plato asl\u0131nda bir \u015fairdi. Lord Bacon bir \u015fairdi… Bir \u015fiir, kendi d\u0131\u015f ger\u00e7e\u011fi i\u00e7inde ifade edilen hayat\u0131n imgesinin ta kendisidir…\u00ab<\/p>\n

Burada, hi\u00e7bir \u015fey gizlemeyen bir da\u011f\u0131n\u0131kl\u0131kla konu\u015fur Shelley. Bacon bir \u015fair de\u011fildi. Bu abartmal\u0131 s\u00f6zler, burjuva ekonomisinin geli\u015fmesiyle \u00bbsaf ve temiz ili\u015fkilerin\u00ab bir kenara at\u0131l\u0131\u015f\u0131n\u0131n \u015faire bir a\u015fa\u011f\u0131l\u0131k duygusu vermeye ba\u015flad\u0131\u011f\u0131 bir zamanda \u015fiiri hakl\u0131 \u00e7\u0131karma giri\u015fimleridir.<\/p>\n

Mallarme’nin ressam arkada\u015f\u0131na \u00f6\u011f\u00fcd\u00fc \u00e7ok \u00fcnl\u00fcd\u00fcr: \u00bb\u015eiir s\u00f6zc\u00fcklerle yaz\u0131l\u0131r, fikirlerle de\u011fil.\u00ab Bu, bizim ileri s\u00fcrd\u00fc\u011f\u00fcm\u00fcz olumlu \u00f6zeli\u011fe, do\u011frulayamayaca\u011f\u0131m\u0131z olumsuz bir \u00f6zellik ekler. \u015eiir elbette ki fikirler, yani zihinsel imgeler uyand\u0131r\u0131r, yoksa sesten ba\u015fka bir \u015fey olmazd\u0131. Bu y\u00fczden biz burada kendimizi \u015fu \u00f6neriyle s\u0131n\u0131rl\u0131yoruz: \u00bb\u015eiir s\u00f6zc\u00fcklerle kurulur.\u00ab<\/p>\n

Okuyucu bu temel \u00f6zelli\u011fin ger\u00e7ekte bir \u00f6nceki temel \u00f6zellikten: \u00bb\u015eiirin ba\u015fka dile \u00e7evrilmesi zordur\u00ab \u00f6zelli\u011finden do\u011fdu\u011funu g\u00f6recektir. \u00c7\u00fcnk\u00fc \u015fiir yaln\u0131zca fikirlerle, yani dinleyicide yaln\u0131zca fikirler uyand\u0131rma amac\u0131yla yaz\u0131lm\u0131\u015f olsayd\u0131, bir ba\u015fka dilde kafada ayn\u0131 fikirleri uyand\u0131ran s\u00f6zc\u00fcklerin se\u00e7ilmesiyle \u00e7evrilebilir olurdu. B\u00f6yle olmad\u0131\u011f\u0131na g\u00f6re, s\u00f6zc\u00fck, uyand\u0131rd\u0131\u011f\u0131 fikirden ayr\u0131 birtak\u0131m \u00f6\u011feleri de ta\u015f\u0131mal\u0131d\u0131r i\u00e7inde s\u00f6zc\u00fck olarak. Dolay\u0131s\u0131yla nesnel olarak s\u00f6zc\u00fck demek olan ses-simgesinin ya da kara kara i\u015faretlerin kendi i\u00e7lerinde \u00f6zel bir b\u00fcy\u00fc ta\u015f\u0131d\u0131klar\u0131n\u0131 s\u00f6ylemeksizin \u015fiir, romandan ayr\u0131 bir tarzda s\u00f6zc\u00fcklerle yaz\u0131l\u0131r, diyebiliriz. Ger\u00e7ekten de s\u00f6zc\u00fck, fikirden ba\u015fka, \u00e7eviriyle dile getirilemeyen \u00f6zellikte duygusal bir \u00bbco\u015fku\u00ab yarat\u0131r.
e) \u015eiir simgesel de\u011fildir<\/strong><\/p>\n

Basmakal\u0131p bir s\u00f6z s\u00f6ylemi\u015f olmakla su\u00e7lanamay\u0131z art\u0131k. Tersine, al\u0131\u015f\u0131lagelen ideal \u015fiir kavram\u0131 belli belirsiz simgesel bir \u015fey oldu\u011fu i\u00e7in basmakal\u0131pl\u0131\u011f\u0131n tam tersini ileri s\u00fcrm\u00fc\u015f oluyoruz belki de. Ama \u015fiirin usa ayk\u0131r\u0131 olu\u015funun hemen ard\u0131ndan, zorunlu olarak, onun simgesel olmay\u0131\u015f\u0131 gelir.<\/p>\n

S\u00f6zc\u00fckler simgeseldir derken neyi kastederiz, onlar\u0131n yaln\u0131zca simgeler olduklar\u0131n\u0131, ba\u015fka bir \u015fey olmad\u0131klar\u0131n\u0131 m\u0131? S\u00f6zc\u00fcklerin kendilerinin bir \u015fey olmad\u0131\u011f\u0131n\u0131, onlarla de\u011fil onlar\u0131n g\u00f6sterdikleri \u015feylerle ilgili oldu\u011fumuzu kastederiz. \u00d6rne\u011fin, bir matematik\u00e7i sekiz art\u0131 dokuz e\u015fittir on yedi diye yazd\u0131\u011f\u0131 zaman s\u00f6zc\u00fcklerin kendileriyle de\u011fil deneysel ger\u00e7eklikte rastlanan birtak\u0131m genelle\u015ftirilmi\u015f s\u0131n\u0131flar\u0131n s\u0131ralan\u0131\u015f\u0131 ile ilgilidir. \u00c7\u00fcnk\u00fc kulland\u0131\u011f\u0131 s\u00f6zc\u00fckler simgeseldir; yani c\u00fcmle, ki\u015fisel anlamdan ar\u0131t\u0131lm\u0131\u015f oldu\u011fu i\u00e7in hangi s\u00f6zc\u00fckler kullan\u0131l\u0131rsa kullan\u0131ls\u0131n tamamen ayn\u0131 ge\u00e7erli\u011fe sahip olurdu. \u00d6rne\u011fin g\u00f6sterilen s\u0131ralama i\u015flemleri Frans\u0131zcada, Almancada ya da \u0130talyancada farkl\u0131 s\u00f6zc\u00fcklerle de anlat\u0131lsa bir matematik\u00e7i i\u00e7in tamamen ayn\u0131 olurdu; \u00e7\u00fcnk\u00fc s\u00f6zc\u00fcklerin kendileri ger\u00e7ek matematiksel s\u0131ralan\u0131\u015f i\u015flemlerini temsil eden keyf\u00ee bir anla\u015fma (convention) olarak kabul edilir. Yukar\u0131daki ifade 8 + 9 = 17’ye \u00e7evrilse, c\u00fcmle, matematik\u00e7inin g\u00f6z\u00fcnde yine de yeteri kadar anlaml\u0131d\u0131r. Hatta daha da ileri gidebiliriz : yar\u0131n\u0131n matematik\u00e7ileri anla\u015fsalar da 8’in yerine 9’u, 9’un yerine 8’i ve 17’nin yerine 23’\u00fc koysalar, art\u0131 i\u015fareti yerine eksi, e\u015fit i\u015fareti yerine b\u00fcy\u00fckt\u00fcr i\u015faretini kullansalar, 9 – 8 L 23 c\u00fcmlesi simgesel olarak 8 + 9 = 17 ile ifade edilen deneysel i\u015flemlerin tam ifadesi olurdu. Ama yar\u0131n b\u00fct\u00fcn s\u00f6zc\u00fckleri kald\u0131rsak da \u0130ngilizce s\u00f6zl\u00fckteki her s\u00f6zc\u00fc\u011fe bir numara verseydik, Hamlet’in bir konu\u015fmas\u0131ndaki \u015fiirsel i\u00e7erik, bir s\u0131ra numara ile ifade edilemezdi. O i\u00e7eri\u011fe ula\u015fmak i\u00e7in numaralar\u0131 akl\u0131m\u0131zdan yine as\u0131l s\u00f6zc\u00fcklere \u00e7evirmek zorunda kal\u0131rd\u0131k. Evrensel bir matematik dilinin geli\u015fmesini m\u00fcmk\u00fcn k\u0131lm\u0131\u015f olan matemati\u011fin simgesel dilinin son derece \u00e7evrilebilme kabiliyeti b\u00f6ylece simgesel olmayan \u015fiirin \u00e7evrilmezli\u011fiyle z\u0131tl\u0131k i\u00e7inde bulunmaktad\u0131r. Bu evrensel matematik dili lojistik ya da simgesel mant\u0131kt\u0131r.<\/p>\n

1 S\u00f6zc\u00fcklerin bu g\u00f6stericilik \u00f6zelli\u011fi \u00fczerine Ogden ve Richards’\u0131n \u00bbAnlam\u0131n Anlam\u0131\u00ab adl\u0131 eserinde g\u00fczel bir tart\u0131\u015fma vard\u0131r.<\/p>\n

2 Peano taraf\u0131ndan bulunmu\u015f ve Russell ile Whitehead taraf\u0131ndan geli\u015ftirilmi\u015ftir. Ek: \u00bbPrincipia Mathematica\u00ab. Bulucular\u0131n\u0131n umutlar\u0131n\u0131 ger\u00e7ekle\u015ftirememi\u015ftir hen\u00fcz.<\/p>\n

\u015eiir, niteliklerinden bir k\u0131sm\u0131 ba\u015fka bir dile aktar\u0131labildi\u011fi \u00f6l\u00e7\u00fcde bir simgecilik (sembolizm) \u00f6\u011fesi ta\u015f\u0131yor demektir.<\/p>\n

Gene g\u00f6rd\u00fck ki, \u015fiir, nas\u0131l ussal uygunluktan yoksun olmas\u0131na ra\u011fmen co\u015fkusal uygunlukla dolu ise, ayn\u0131 \u015fekilde, d\u0131\u015f simgecilikten – d\u0131\u015f nesnelerle ili\u015fkiden – yoksun olmas\u0131na ra\u011fmen i\u00e7 simgecilikle – co\u015fkusal durumla ili\u015fkiyle – doludur. Yani her ger\u00e7ek s\u00f6zc\u00fck hem bir d\u0131\u015f ili\u015fkiyi hem de \u00f6znel bir durumu g\u00f6stermektedir. B\u00f6ylece bilimsel kan\u0131t bir de\u011fer yarg\u0131s\u0131 ta\u015f\u0131maktad\u0131r; onu atmak olanaks\u0131zd\u0131r. Bu yarg\u0131lar ancak lojistikte at\u0131labilir. \u015eiirse, i\u00e7inde d\u0131\u015f nesnelerle bir ili\u015fki ta\u015f\u0131r – hem onlar\u0131 atmak hem de \u015fiir olarak kalmak olanaks\u0131zd\u0131r.<\/p>\n

Bir bilimsel kan\u0131ttan, lojisti\u011fe indirgemek i\u00e7in, b\u00fct\u00fcn de\u011fer yarg\u0131lar\u0131n\u0131n at\u0131l\u0131\u015f\u0131 gibi, b\u00fct\u00fcn d\u0131\u015f ili\u015fkiler de \u015fiirden at\u0131l\u0131rsa \u015fiir ne olur? \u00bbAnlams\u0131z\u00ab ses olur; ama co\u015fkusal ili\u015fkilerle dolu bir ses – ba\u015fka bir deyi\u015fle m\u00fczik olur; m\u00fczikse, lojistik gibi, \u00e7evrilebilir ve evrenseldir. Yani g\u00f6r\u00fcyoruz ki, \u015fiirin \u00f6zelli\u011fi olan ili\u015fki ile co\u015fkunun birbiri i\u00e7ine kar\u0131\u015fmas\u0131 birbiri i\u00e7inde kaybolmas\u0131 demek de\u011fildir; bu kar\u0131\u015fma i\u00e7g\u00fcd\u00fc ve \u00e7evre z\u0131t kutuplar\u0131 aras\u0131ndaki bir diyalektik ili\u015fkiyi, k\u00f6kleri \u0130ngiltere, Fransa ya da Atina’n\u0131n ger\u00e7ek somut toplumsal ya\u015fam\u0131ndaki bir ili\u015fkiyi ifade eder. \u015eiir, dibe \u00e7\u00f6km\u00fc\u015f toplumsal tarihtir, insan\u0131n do\u011fayla m\u00fccadelesinin co\u015fkusal al\u0131n teridir.
f) \u015eiir somuttur<\/strong><\/p>\n

Bundan \u00f6nceki olumsuz ifadeye denk d\u00fc\u015fen olumlu bir ifadedir bu. Ama somutluk, simgeselli\u011fin otomatik olarak ters anlam\u0131 de\u011fildir. \u00d6rne\u011fin, simgesel bir dil, \u00f6zel kar\u015f\u0131s\u0131nda geneli yads\u0131yarak somuta daha \u00e7ok yakla\u015fabilir. Aritmetik, cebirden daha somuttur, \u00e7\u00fcnk\u00fc simgeleri daha az genelle\u015ftirilmi\u015ftir. \u0130ki simgesinin, iki tu\u011flan\u0131n yerini tuttu\u011fu, iki at, iki insan vb. i\u00e7in ba\u015fka simgeler gerektiren bir matematik simgecili\u011fi, varolan matematiksel simgecilikten d\u00fcped\u00fcz daha somut olurdu; ama daha az simgesel olmazd\u0131, \u00e7\u00fcnk\u00fc keyfi i\u015faretlemeye bakarak yine de al\u0131\u015f\u0131lm\u0131\u015f (conventional) ve alg\u0131ya a\u00e7\u0131k olurdu. Ama \u015furas\u0131 da a\u00e7\u0131kt\u0131r ki, simgesel bir dil somutla\u015ft\u0131k\u00e7a a\u011f\u0131rla\u015f\u0131r, hantalla\u015f\u0131r. \u0130ki insan birbirinin ayn\u0131 olmad\u0131\u011f\u0131na g\u00f6re kusursuz bir simgesel dilde m\u00fcmk\u00fcn her insan \u00e7ifti i\u00e7in farkl\u0131 simgeler bulmak gerekecekti.<\/p>\n

Matemati\u011fin genelli\u011fi d\u0131\u015f ger\u00e7ekli\u011fin bir genelli\u011fidir; dolay\u0131s\u0131yla matemati\u011fin \u00f6zelili\u011fi de d\u0131\u015f ger\u00e7ekli\u011fin bir \u00f6zelili\u011fi olmu\u015f olur; ve d\u0131\u015f ger\u00e7eklik i\u00e7inde nesnelerin say\u0131s\u0131 sonsuz oldu\u011funa g\u00f6re matematik genel olmak zorundad\u0131r. Matematik, en genelle\u015ftirilmi\u015f \u015fey oldu\u011fu i\u00e7in d\u0131\u015f ger\u00e7eklikle u\u011fra\u015fmada en elveri\u015fli bir ara\u00e7t\u0131r. Yaln\u0131zca s\u0131ralamalarla, yani s\u0131n\u0131flarla u\u011fra\u015ft\u0131\u011f\u0131 i\u00e7in evrenin sonsuz \u00f6zelili\u011fiyle ba\u015f edebilir. Sonsuzlu\u011fun matematikte o kadar \u00e7ok kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131\u015f\u0131 bir rastlant\u0131 de\u011fildir.<\/p>\n

\u015eiirle kar\u015f\u0131la\u015ft\u0131r\u0131n bunu. Onun vatan\u0131 \u00f6znel tav\u0131rlard\u0131r. Yani bilin\u00e7 alan\u0131, ger\u00e7ek nesnelerle, onlar kar\u015f\u0131s\u0131ndaki \u00f6znel tav\u0131rlardan ibarettir. Bu ger\u00e7ek nesneleri en genel tarzda s\u0131ralamakla matematik sonsuzca : b\u00fct\u00fcn d\u0131\u015f ger\u00e7ekli\u011fi kavrayabilen bir tek simgeye var\u0131r. Ama \u015fiir b\u00fct\u00fcn bu \u00f6znel tav\u0131rlar\u0131 en genelle\u015ftirilmi\u015f tarzda s\u0131ralarsa egoya: b\u00fct\u00fcn \u00f6znel ger\u00e7ekli\u011fi kavrayabilen tek simge olan egoya var\u0131r.<\/p>\n

Ger\u00e7ekte soyut olan, \u00f6znel ger\u00e7ekli\u011fe bakarak genelle\u015ftirilmi\u015f olan m\u00fcziktir, \u015fiir de\u011fil; t\u0131pk\u0131 d\u0131\u015f ger\u00e7ekli\u011fe bakarak matemati\u011fin soyut olu\u015fu gibi. M\u00fczikte \u00e7evre kaybolur gider, ego b\u00fcy\u00fcr, geni\u015fler, b\u00fct\u00fcn dram onun duvarlar\u0131 i\u00e7inde ge\u00e7er. Matematik, d\u0131\u015ftan soyut ve genelle\u015ftirilmi\u015ftir; m\u00fczikse i\u00e7ten.<\/p>\n

Ama \u015fiir bilimsel kan\u0131t gibidir, \u00bbkatk\u0131l\u0131\u00abd\u0131r. Co\u015fkular\u0131 ger\u00e7ek nesnelere ba\u015flanm\u0131\u015ft\u0131r ve bu onlara bir kendine \u00f6zg\u00fcl\u00fck verir. Ger\u00e7eklik, egonun g\u00f6r\u00fc\u015f\u00fc i\u00e7inde dolan\u0131p durur. Bu demektir ki \u015fiir, t\u0131pk\u0131 bilimsel kan\u0131t\u0131n somut ve \u00f6zelle\u015ftirilmi\u015f olu\u015fu gibi somut ve \u00f6zelle\u015ftirilmi\u015ftir; ama tabi\u00ee her iki durumda da somutluk ve genellik, ger\u00e7ekli\u011fin farkl\u0131 alanlar\u0131n\u0131 g\u00f6sterir.<\/p>\n

\u00d6rne\u011fin \u015fair<\/strong><\/p>\n

Sevgilim k\u0131rm\u0131z\u0131, k\u0131rm\u0131z\u0131 bir g\u00fcle benzer<\/p>\n

dedi\u011finde dil simgesel de\u011fildir; \u00e7\u00fcnk\u00fc, hi\u00e7bir zaman, s\u00f6zc\u00fcklerin ta\u015f\u0131d\u0131\u011f\u0131 al\u0131\u015f\u0131lm\u0131\u015f anlamdan yola \u00e7\u0131k\u0131larak dizenin asl\u0131ndaki \u015fiirsel co\u015fkuyu i\u00e7inde ta\u015f\u0131yan bir a\u00e7\u0131klama yap\u0131lmak istenirse, \u00bbni\u015fanl\u0131m, g\u00fclgillerden k\u0131rm\u0131z\u0131 renkli bir \u00e7i\u00e7ektir\u00ab diye bir \u015fey s\u00f6ylenemez. Dize simgesel de\u011fildir. Dolay\u0131s\u0131yla da onun somut olmas\u0131 zorunlulu\u011fu d\u00fc\u015f\u00fcn\u00fclemez. Ama e\u011fer somut olmasayd\u0131, ifadenin bu yeni bi\u00e7imiyle do\u011fru olmas\u0131 gerekirdi. Yani, soyut olsayd\u0131 kendine \u00f6zg\u00fc bir durum, \u015faire, belli bir sevgiliye, bir ruh haline, bir zamana, bir \u015fiire \u00f6zg\u00fc bir ifade de\u011fil, olduk\u00e7a genel bir ifade olurdu: \u015f\u00f6yle ki, konu\u015fan, nerede a\u011fz\u0131n\u0131 a\u00e7\u0131p da \u00bbsevgilim\u00ab diye ba\u015flasa, belli bir olguymu\u015f gibi akl\u0131na sevgilinin \u00bbk\u0131rm\u0131z\u0131, k\u0131rm\u0131z\u0131 bir g\u00fcl gibi\u00ab olu\u015fu gelirdi.<\/p>\n

Ama \u015fiir soyut de\u011fil de simgesel olmayan somut bir dil oldu\u011funa g\u00f6re, yazd\u0131\u011f\u0131m\u0131z ikinci bir \u015fiirde<\/p>\n

Sevgilim beyaz, beyaz bir g\u00fcld\u00fcr<\/p>\n

ya da<\/p>\n

\u00c7i\u00e7ekler a\u00e7\u0131yor madem, sevgilim g\u00fcl de\u011fildir<\/p>\n

demek hakk\u0131n\u0131 kazan\u0131r\u0131z.<\/p>\n

Ama simgesel olmayan soyut bir dille bu ifadeyi ancak ilkinden ba\u015fka bir \u015fiir yap\u0131s\u0131 i\u00e7inde, yani ba\u015fka bir dilde yeniden kurmak hakk\u0131na sahip olabilirdik. Bu noktan\u0131n yanl\u0131\u015f anla\u015f\u0131lmas\u0131, Plato’yu b\u00fct\u00fcn \u015fairlere yalanc\u0131 g\u00f6z\u00fcyle bakmaya g\u00f6t\u00fcr\u00fcr : ama bu noktay\u0131 anlam\u0131\u015f olan Sidney, \u015fairin \u00bbyalanc\u0131 olmad\u0131\u011f\u0131n\u0131, \u00e7\u00fcnk\u00fc hi\u00e7bir \u015fey demedi\u011fini, hi\u00e7bir \u015feyi olumlamad\u0131\u011f\u0131n\u0131\u00ab a\u00e7\u0131klayarak ona cevap verir.<\/p>\n

B\u00f6ylece \u015fiirdeki \u00f6znel genelle\u015ftirmenin bu somut \u00f6zelli\u011fi, \u015fiire, yan\u0131lsaman\u0131n yar\u0131 kabul\u00fcn\u00fc vermeyi gerekli k\u0131lan \u015feyden ba\u015fkas\u0131 de\u011fildir – onun fantastik d\u00fcnyas\u0131 i\u00e7indeyken s\u00f6ylediklerini kabul etmek fakat b\u00fct\u00fcn romanlar\u0131n ve \u015fiirlerin b\u00fct\u00fcn s\u00f6ylediklerinin ger\u00e7ek maddi d\u00fcnyada oldu\u011fu gibi yads\u0131ma ve \u00e7eli\u015fme ilkelerinin uygulanaca\u011f\u0131 bir d\u00fcnya meydana getirmesini istememek gibi bir yar\u0131 kabul. Bu, romanlar ve \u015fiirler aras\u0131nda varolana benzer bir b\u00fct\u00fcnl\u00fck gerekmeyece\u011fi demek de\u011fildir. Bu b\u00fct\u00fcnleni\u015f esteti\u011fin alan\u0131d\u0131r. Herrick’i Milton’un alt\u0131na, Shakespeare’i ise her ikisinin \u00fcst\u00fcne s\u0131raya koymak ve onlar\u0131n ni\u00e7in ve nas\u0131l ayr\u0131ld\u0131klar\u0131n\u0131 geni\u015f ve kar\u0131\u015f\u0131k ayr\u0131nt\u0131larla a\u00e7\u0131klamak, esteti\u011fin as\u0131l g\u00f6revidir. Ama b\u00f6yle bir i\u015f standart, b\u00fct\u00fcnlenmi\u015f ve bilimsel – yani ussal – de\u011fil de estetik bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc gerektirir. Sanat\u0131n mant\u0131\u011f\u0131d\u0131r bu.<\/p>\n

Bu somutla\u015fma ve \u00f6zellik, \u015fiir gibi katk\u0131l\u0131 olan ama kar\u015f\u0131 kutba daha yak\u0131n olan bilimsel kan\u0131t alan\u0131na da uygulan\u0131r. Herkes bilir ki biyoloji, fizik, toplumbilim ve ruhbilim, hepsinde ayr\u0131 yasalar\u0131n uyguland\u0131\u011f\u0131 alanlard\u0131r, ama daha genelle\u015ftirilmi\u015f bir alana uygulanabilen bir yasan\u0131n daha az genelle\u015ftirilmi\u015f herhangi bir alanda \u00e7\u00fcr\u00fct\u00fclmemesi gerekti\u011fini s\u00f6yleyen birle\u015ftirici bir ilke de vard\u0131r : \u00f6rne\u011fin, toplumbilimin yasalar\u0131 fizik yasalar\u0131n\u0131 \u00e7\u00fcr\u00fctmez. Ayn\u0131 \u015fekilde \u015fiir de bu uygunlu\u011fu g\u00f6stermelidir : hangi fantastik d\u00fcnyada olursa olsun, onun ya\u015fant\u0131lar\u0131 hep ayn\u0131 \u00bbBen\u00abin ba\u015f\u0131ndan ge\u00e7er; romanlar da ayn\u0131 uygunlu\u011fu g\u00f6stermelidir : \u00bbBen\u00ab (karakter) ne olursa olsun, sahneler hep ayn\u0131 insan toplumunun ger\u00e7ek d\u00fcnyas\u0131nda uzan\u0131r; bu co\u015fkusal \u00bbben\u00abin yap\u0131s\u0131 ya da ger\u00e7ek d\u00fcnya estetik yarg\u0131y\u0131 belirler. Bu ego, i\u00e7inde belli bir sanat mant\u0131\u011f\u0131 bulunan \u00bbd\u00fcnya g\u00f6r\u00fc\u015f\u00fc\u00abd\u00fcr ger\u00e7ekte.<\/p>\n

Bu \u00bbkatk\u0131l\u0131l\u0131k\u00ab, ne bilimin ne de \u015fiirin \u00bbger\u00e7ekten\u00ab do\u011fru olmad\u0131klar\u0131 demek midir? Tam tersine. \u00c7\u00fcnk\u00fc hakikat yaln\u0131z ger\u00e7ekli\u011fe, ger\u00e7ek somut : ya\u015fama uygulanabilir, ve ger\u00e7ek somut ya\u015fam ne t\u00fcmden \u00f6znel ne de t\u00fcmden nesnel de\u011fil, iki \u015fey aras\u0131ndaki (insanla Do\u011fa) bir diyalektik etkin ili\u015fki oldu\u011fu i\u00e7indir ki bizim \u00bbdo\u011fru\u00ab \u00f6l\u00e7\u00fct\u00fcn\u00fc uygulayabilece\u011fimiz, m\u00fccadelenin bu \u00bbkatk\u0131l\u0131\u00ab \u00fcr\u00fcnleridir yaln\u0131z. Hakikat daima toplumsal insan\u0131 g\u00f6sterir -insanla ili\u015fkili olarak \u00bbdo\u011fru\u00abdur bir \u015fey. Dolay\u0131s\u0131yla, Russell’\u0131n da g\u00f6sterdi\u011fi gibi, matemati\u011fin \u00f6l\u00e7\u00fct\u00fc hi\u00e7bir zaman \u00bbdo\u011fru\u00ab de\u011fildir, de\u011fi\u015fmezliktir. Ayn\u0131 \u015fekilde m\u00fczi\u011fin \u00f6l\u00e7\u00fct\u00fc \u00bbg\u00fczellik\u00abdir. Dilin, b\u00fct\u00fcn \u00fcr\u00fcnlerinde her ikisinin kar\u0131\u015f\u0131m\u0131n\u0131 ta\u015f\u0131mas\u0131 insan\u0131n ya\u015fam\u0131nda daima Keats’in \u00f6ng\u00f6r\u00fcs\u00fcn\u00fc ger\u00e7ekle\u015ftirmeye can atmas\u0131ndand\u0131r: G\u00fczellik hakikattir, hakikatse g\u00fczellik; \u00e7evreyi i\u00e7g\u00fcd\u00fcye, de\u011fi\u015fmezli\u011fi g\u00fczelli\u011fe ve gereklili\u011fi arzuya uydurmaya -bir kelimeyle, \u00f6zg\u00fcr olmaya \u00e7abalamaktad\u0131r insan. Dil bu m\u00fccadelenin \u00fcr\u00fcn\u00fcd\u00fcr, \u00e7\u00fcnk\u00fc bir insan\u0131n de\u011fil, bir araya gelmi\u015f insanlar\u0131n m\u00fccadelesidir yap\u0131lan; dil ise bu birle\u015fik m\u00fccadelenin arac\u0131d\u0131r; onun i\u00e7in dilde, her yerde, insan\u0131n \u00e7evresinin oldu\u011fu kadar insanl\u0131\u011f\u0131n da damgas\u0131 vard\u0131r. Bilim nas\u0131l \u00e7evre kutbuna yak\u0131nsa \u015fiir de i\u00e7g\u00fcd\u00fcsel kutba yak\u0131nd\u0131r. De\u011fi\u015fmezlik, bilimin, g\u00fczellikse \u015fiirin erdemidir – hi\u00e7biri hi\u00e7bir zaman saf g\u00fczellik ya da saf de\u011fi\u015fmezlik olamaz, ama onlar\u0131 geli\u015fme yolunda ileri iten de bunu ba\u015farmak i\u00e7in verdikleri m\u00fccadeledir. Bilim matemati\u011fe, \u015fiirse m\u00fczi\u011fe \u00f6zlemdir daima.
g) \u015eiir yo\u011fun etkilenmelerle tan\u0131mlan\u0131r<\/strong><\/p>\n

Bunlar \u015fiire \u00f6zg\u00fc etkilenmelerdir, yani estetik etkilenmelerdir. \u00bbKar\u0131n\u0131z d\u00fcn \u00f6ld\u00fc\u00ab gibi bir telgraf, okuyanda ola\u011fan\u00fcst\u00fc yo\u011fun etkiler yapabilir, ama estetik etkiler de\u011fildir bunlar. Dil simgesel olarak kullan\u0131lm\u0131\u015ft\u0131r burada; bu telgraf\u0131 alan mutsuz koca, kar\u0131s\u0131n\u0131n tehlikede oldu\u011funu daha \u00f6nceden bilseydi ve (\u00e7ok cimri oldu\u011fu i\u00e7in) kar\u0131s\u0131n\u0131n \u00f6l\u00fcm\u00fc halinde bunun kendisine \u00bbKippers\u00ab (ringa bal\u0131klar\u0131) gibi bir parola ile haber verilmesini s\u00f6ylemi\u015f olsayd\u0131 bu k\u0131sac\u0131k haberin yarataca\u011f\u0131 etki yine ayn\u0131 g\u00fc\u00e7te olurdu. Telgraf \u015fiir bi\u00e7iminde de olsayd\u0131 ayn\u0131 \u015fey olacakt\u0131. The Times gazetesinin \u00f6l\u00fcm ilanlar\u0131 s\u00fctununda yay\u0131mlanan \u015fiir bi\u00e7imindeki haberler \u015fiirdeki bi\u00e7im \u00f6zelliklerini ta\u015f\u0131r ve onlar\u0131 oraya koyduranlar i\u00e7in kuvvetli etkilere sahiptir; ama bu etkiler estetik etkiler de\u011fildir.<\/p>\n

Bu iki durumda bir ba\u015fka \u015fey daha denenebilir. Bu \u00f6l\u00fcmlerle ilgili olmayan kimseler i\u00e7in s\u00f6zc\u00fckler ayn\u0131 etkileri ta\u015f\u0131mayacakt\u0131r. Estetik olmayan etkiler bireyseldir, ortak de\u011fil; ve toplumsal ya\u015fant\u0131lara de\u011fil, \u00f6zel ya\u015fant\u0131lara ba\u011fl\u0131d\u0131r. Bu y\u00fczden, co\u015fku toplumsal bir bi\u00e7im i\u00e7inde ger\u00e7ekle\u015ftirilemeyen ya da ger\u00e7ekle\u015fmemi\u015f bir \u00f6zel ki\u015fisel ya\u015fant\u0131dan geliyorsa \u015fiirin bu co\u015fkusal anlam y\u00fck\u00fcyle y\u00fckl\u00fc olmas\u0131 yetmez. Co\u015fku bir araya gelmi\u015f insanlar\u0131n ya\u015fant\u0131s\u0131ndan \u00e7\u0131km\u0131\u015f olmal\u0131d\u0131r; b\u00f6ylece \u015fiirsel \u00bbBen\u00abin neden ibaret oldu\u011funu g\u00f6r\u00fcr\u00fcz. Matemati\u011fin sonsuzu, ne derece, bir ki\u015finin alg\u0131 d\u00fcnyas\u0131n\u0131n sonsuzu ise, bu \u00bbBen\u00ab de uygar bir toplumda o derece bir tek bireydir. Matemati\u011fin sonsuzu, maddi d\u00fcnyan\u0131n : b\u00fct\u00fcn insanlar\u0131n alg\u0131 d\u00fcnyalar\u0131nca ortak d\u00fcnyan\u0131n sonsuzudur. \u015eiirin Ben’i ise bir arada ya\u015fayan b\u00fct\u00fcn insanlar\u0131n co\u015fkusal d\u00fcnyalar\u0131nca ortak bir \u00bbBen\u00abdir. \u00bbUygar toplumdaki birey\u00ab g\u00f6r\u00fc\u015f\u00fcn\u00fcn hi\u00e7bir zaman \u00fcst\u00fcne \u00e7\u0131kamam\u0131\u015f olan burjuva ele\u015ftirisi, estetik nesneler ve co\u015fkular\u0131 di\u011ferlerinden ay\u0131ran \u015feyin ne oldu\u011fu sorununu nas\u0131l \u00e7\u00f6zeb\u00eelir? Estetik nesneler, bireysel insana de\u011fil bir arada ya\u015fayan insanlara \u00f6zg\u00fc co\u015fkular uyand\u0131rd\u0131klar\u0131 s\u00fcrece estetiktirler. Estetik co\u015fkunun tarafs\u0131z, kesinliksiz ve nesnel \u00f6zelli\u011fi de buradan gelmektedir. (Christopher Caudwell)<\/p>\n","protected":false},"excerpt":{"rendered":"

Modern \u015eiir ve \u00d6zellikleri \u00c7a\u011f\u0131m\u0131z\u0131n ve g\u00fcn\u00fcm\u00fcz\u00fcn \u015fiirini yaln\u0131zca daha iyi, daha yak\u0131ndan tan\u0131d\u0131\u011f\u0131m\u0131z i\u00e7in de\u011fil, b\u00fct\u00fcn \u00e7a\u011flar\u0131n \u015fiirlerine kendimizinkinin sisleri aras\u0131ndan bakt\u0131\u011f\u0131m\u0131z i\u00e7in, \u015fiir derken modern \u015fiiri anlatmak istiyoruz. Modern \u015fiir, art\u0131k hikayeden ayr\u0131lm\u0131\u015f olan, geli\u015fen burjuva s\u0131n\u0131f\u0131n\u0131n, \u00e7evresinin bilincine varmas\u0131nda \u00f6zel bir rol oynam\u0131\u015f olan \u015fiirdir. Bu modern \u015fiirin -iyisinin de\u011fil, herhangi bir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[120],"tags":[],"class_list":{"0":"post-3585","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-siir-uzerine-bilgiler"},"yoast_head":"\n\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130 - 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\/siir-in-ozellikleri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130\" \/>\n<meta property=\"og:description\" content=\"Modern \u015eiir ve \u00d6zellikleri \u00c7a\u011f\u0131m\u0131z\u0131n ve g\u00fcn\u00fcm\u00fcz\u00fcn \u015fiirini yaln\u0131zca daha iyi, daha yak\u0131ndan tan\u0131d\u0131\u011f\u0131m\u0131z i\u00e7in de\u011fil, b\u00fct\u00fcn \u00e7a\u011flar\u0131n \u015fiirlerine kendimizinkinin sisleri aras\u0131ndan bakt\u0131\u011f\u0131m\u0131z i\u00e7in, \u015fiir derken modern \u015fiiri anlatmak istiyoruz. Modern \u015fiir, art\u0131k hikayeden ayr\u0131lm\u0131\u015f olan, geli\u015fen burjuva s\u0131n\u0131f\u0131n\u0131n, \u00e7evresinin bilincine varmas\u0131nda \u00f6zel bir rol oynam\u0131\u015f olan \u015fiirdir. Bu modern \u015fiirin -iyisinin de\u011fil, herhangi bir […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\" \/>\n<meta property=\"og:site_name\" content=\"narteks.net\" \/>\n<meta property=\"article:published_time\" content=\"2009-12-29T09:08:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\" \/>\n\t<meta property=\"og:image:width\" content=\"300\" \/>\n\t<meta property=\"og:image:height\" content=\"90\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\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=\"25 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\/29\/siir-in-ozellikleri\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\"},\"author\":{\"name\":\"Tar\u0131k\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\"},\"headline\":\"\u015e\u0130\u0130R’\u0130N \u00d6ZELL\u0130KLER\u0130\",\"datePublished\":\"2009-12-29T09:08:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\"},\"wordCount\":5021,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"articleSection\":[\"\u015e\u0130\u0130R \u00dcZER\u0130NE B\u0130LG\u0130LER\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\",\"url\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\",\"name\":\"\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130 - narteks.net\",\"isPartOf\":{\"@id\":\"https:\/\/narteks.net\/#website\"},\"datePublished\":\"2009-12-29T09:08:33+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\/\/narteks.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"\u015e\u0130\u0130R’\u0130N \u00d6ZELL\u0130KLER\u0130\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/narteks.net\/#website\",\"url\":\"https:\/\/narteks.net\/\",\"name\":\"narteks.net\",\"description\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"publisher\":{\"@id\":\"https:\/\/narteks.net\/#organization\"},\"alternateName\":\"K\u00fclt\u00fcr Sanat Edebiyat Felsefe\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/narteks.net\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/narteks.net\/#organization\",\"name\":\"narteks.net\",\"url\":\"https:\/\/narteks.net\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"contentUrl\":\"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png\",\"width\":300,\"height\":90,\"caption\":\"narteks.net\"},\"image\":{\"@id\":\"https:\/\/narteks.net\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/x.com\/narteks\",\"https:\/\/instagram.com\/narteksnet\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca\",\"name\":\"Tar\u0131k\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/narteks.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g\",\"caption\":\"Tar\u0131k\"},\"sameAs\":[\"http:\/\/narteks.net\"],\"url\":\"https:\/\/narteks.net\/index.php\/author\/narbak\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130 - narteks.net","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/","og_locale":"tr_TR","og_type":"article","og_title":"\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130","og_description":"Modern \u015eiir ve \u00d6zellikleri \u00c7a\u011f\u0131m\u0131z\u0131n ve g\u00fcn\u00fcm\u00fcz\u00fcn \u015fiirini yaln\u0131zca daha iyi, daha yak\u0131ndan tan\u0131d\u0131\u011f\u0131m\u0131z i\u00e7in de\u011fil, b\u00fct\u00fcn \u00e7a\u011flar\u0131n \u015fiirlerine kendimizinkinin sisleri aras\u0131ndan bakt\u0131\u011f\u0131m\u0131z i\u00e7in, \u015fiir derken modern \u015fiiri anlatmak istiyoruz. Modern \u015fiir, art\u0131k hikayeden ayr\u0131lm\u0131\u015f olan, geli\u015fen burjuva s\u0131n\u0131f\u0131n\u0131n, \u00e7evresinin bilincine varmas\u0131nda \u00f6zel bir rol oynam\u0131\u015f olan \u015fiirdir. Bu modern \u015fiirin -iyisinin de\u011fil, herhangi bir […]","og_url":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/","og_site_name":"narteks.net","article_published_time":"2009-12-29T09:08:33+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":"25 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"\u015e\u0130\u0130R’\u0130N \u00d6ZELL\u0130KLER\u0130","datePublished":"2009-12-29T09:08:33+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/"},"wordCount":5021,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"articleSection":["\u015e\u0130\u0130R \u00dcZER\u0130NE B\u0130LG\u0130LER"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/","url":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/","name":"\u015e\u0130\u0130R'\u0130N \u00d6ZELL\u0130KLER\u0130 - narteks.net","isPartOf":{"@id":"https:\/\/narteks.net\/#website"},"datePublished":"2009-12-29T09:08:33+00:00","breadcrumb":{"@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/narteks.net\/index.php\/2009\/12\/29\/siir-in-ozellikleri\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/narteks.net\/"},{"@type":"ListItem","position":2,"name":"\u015e\u0130\u0130R’\u0130N \u00d6ZELL\u0130KLER\u0130"}]},{"@type":"WebSite","@id":"https:\/\/narteks.net\/#website","url":"https:\/\/narteks.net\/","name":"narteks.net","description":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","publisher":{"@id":"https:\/\/narteks.net\/#organization"},"alternateName":"K\u00fclt\u00fcr Sanat Edebiyat Felsefe","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/narteks.net\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Organization","@id":"https:\/\/narteks.net\/#organization","name":"narteks.net","url":"https:\/\/narteks.net\/","logo":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/","url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","contentUrl":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","width":300,"height":90,"caption":"narteks.net"},"image":{"@id":"https:\/\/narteks.net\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/x.com\/narteks","https:\/\/instagram.com\/narteksnet"]},{"@type":"Person","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca","name":"Tar\u0131k","image":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/narteks.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/50865afb55632c4ae467e0af0930f6510aa2297d8014be502a55b14f3b7550cf?s=96&d=mm&r=g","caption":"Tar\u0131k"},"sameAs":["http:\/\/narteks.net"],"url":"https:\/\/narteks.net\/index.php\/author\/narbak\/"}]}},"_links":{"self":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/3585","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/comments?post=3585"}],"version-history":[{"count":0,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/posts\/3585\/revisions"}],"wp:attachment":[{"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/media?parent=3585"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/categories?post=3585"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/narteks.net\/index.php\/wp-json\/wp\/v2\/tags?post=3585"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}