{"id":4018,"date":"2010-01-17T14:13:31","date_gmt":"2010-01-17T11:13:31","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/01\/17\/eylul-1941-fasizm-kosullari-bir-sanatci-siyasi-beckett-mi-terry-eagleton\/"},"modified":"2010-01-17T14:13:31","modified_gmt":"2010-01-17T11:13:31","slug":"eylul-1941-fasizm-kosullari-bir-sanatci-siyasi-beckett-mi-terry-eagleton","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/01\/17\/eylul-1941-fasizm-kosullari-bir-sanatci-siyasi-beckett-mi-terry-eagleton\/","title":{"rendered":"Eyl\u00fcl 1941 – Fa\u015fizm ko\u015fullar\u0131 – Bir sanat\u00e7\u0131 – Siyasi Beckett mi? | Terry Eagleton"},"content":{"rendered":"

\"\"Eyl\u00fcl 1941\u2019de, yirminci y\u00fczy\u0131l\u0131n g\u00f6r\u00fcn\u00fc\u015fte en siyasi olmayan sanat\u00e7\u0131lar\u0131ndan biri fa\u015fizme kar\u015f\u0131 silaha sar\u0131ld\u0131. 1906\u2019n\u0131n Kutsal Cuma g\u00fcn\u00fc (ayn\u0131 zamanda 13. Cuma) do\u011fan ve 1937\u2019den beri Paris\u2019te ya\u015famakta olan \u00fcnl\u00fc bir k\u00f6t\u00fcmser i\u00e7in enfes bir zamanlamayla Samuel Beckett, g\u00f6zde irlandal\u0131 yazarlar\u0131n pek \u00e7o\u011funun yapt\u0131\u011f\u0131 \u015fekilde kendini bilerek anavatan\u0131ndan s\u00fcrg\u00fcn etmi\u015fti.Asl\u0131nda irlandal\u0131lar, bir zamanlar\u0131n s\u00f6m\u00fcrgeci m\u00fclk sahiplerinden farkl\u0131 olarak, orta\u00e7a\u011flar\u0131n g\u00f6\u00e7ebe ke\u015fi\u015flerinden Kelt Kaplan\u0131 d\u00f6neminin \u015firket y\u00f6neticilerine kadar her zaman kozmopolit bir ulus olagelmi\u015ftir.<\/p>\n

E\u011fer s\u00f6m\u00fcrge y\u00f6netiminin bask\u0131c\u0131 rejimi \u0130rlanda\u2019 l\u0131lar\u0131n baz\u0131lar\u0131n\u0131 milliyet\u00e7i hale getirdiyse, baz\u0131lar\u0131n\u0131 da d\u00fcnya vatanda\u015f\u0131 yapm\u0131\u015ft\u0131. Zaten iki ya da \u00fc\u00e7 k\u00fclt\u00fcr ile dil aras\u0131nda yakalanm\u0131\u015f olan Joyce, Synge, Beckett ve Thomas MacGreevy gibi yazarlar, az \u00e7ok yar\u0131m y\u00fczy\u0131l sonra Avrupa Birli\u011fi\u2019ni y\u00fcrekten\u00a0 benimseyecek olan hem\u015ferilerine benzer \u015fekilde, y\u00fcksek modernist Avrupa\u2019n\u0131n k\u00f6ks\u00fcz ve \u00e7ok dilli atmosferinde serpileceklerdi. Bu e\u011filim, dilsel a\u00e7\u0131dan bilin\u00e7li bir modernizme ayak uydururken, bir ulusun i\u00e7inden -siyasal bir may\u0131n tarlas\u0131 olarak- dilin hi\u00e7bir zaman verili olarak al\u0131namamas\u0131na katk\u0131da bulunmu\u015ftur.<\/p>\n

Beckett, 1940 y\u0131l\u0131nda Frans\u0131z g\u00fc\u00e7leri ad\u0131na g\u00f6n\u00fcll\u00fc olarak bir ambulansta \u015fof\u00f6rl\u00fck yapm\u0131\u015ft\u0131; fakat Almanlar \u00fclkeyi i\u015fgal ettiklerinde, Naziler kaz ad\u0131mlar\u0131yla Paris sokaklar\u0131nda y\u00fcr\u00fcmeye ba\u015flamadan sadece k\u0131rk sekiz saat \u00f6nce, kar\u0131s\u0131 Suzanna\u2019yla beraber g\u00fcneye ka\u00e7t\u0131. Kar\u0131 koca, Toulouse\u2019daki m\u00fclteci kamp\u0131nda k\u0131sa s\u00fcre kald\u0131ktan sonra, yorgunluktan t\u00fckenmi\u015f ve neredeyse tek kuru\u015fsuz bir halde Atlantik k\u0131y\u0131s\u0131ndaki Arcachon\u2019da ya\u015fayan bir arkada\u015flar\u0131n\u0131n evine vard\u0131lar. Birka\u00e7 ay sonra \u00e7ift, k\u0131smen Almanlar\u0131n ba\u015fkentteki tutumlar\u0131yla ilgili g\u00fcven verici s\u00f6ylentilere kanarak, bir avu\u00e7tan biraz fazla sebzeyle yetinip 1940-1941 k\u0131\u015f\u0131n\u0131n sert ko\u015fullar\u0131na g\u00f6\u011f\u00fcs germeye, Paris\u2019teki dairelerine geri d\u00f6nd\u00fcler.<\/p>\n

Beckett\u2019in resmi biyografisinin yazar\u0131 James Knowlson, i\u015fte bu k\u0131\u015f\u0131, Vladimir ile Estragon\u2019un Godot\u2019yu Beklerken\u2019deki havu\u00e7lar, turplar ve \u015falgamlarla ilgili ne\u015feli tart\u0131\u015fmalar\u0131n\u0131n k\u00f6keni sayar.\u00a0 Beckett\u2019in kendi sava\u015f zaman\u0131 tecr\u00fcbelerine tamamen sad\u0131k olarak \u00e7izilen karakterleri, \u00f6znellik kadar g\u00f6rkemli bir \u015feye biyolojik olarak kendilerini kapt\u0131rmayacak kadar \u00e7ok me\u015fgul, kaba materyalistlerdir.Onlar \u2018ruh\u2019tan ziyade \u2018beden\u2019dirler \u2013Swift, Sterne veya Flann O\u2019Brien\u2019\u0131n \u00dc\u00e7\u00fcnc\u00fc Polis Memuru\u2019ndaki gibi insan bedenlerinin, \u0131st\u0131rapl\u0131 bir \u015fekilde bisikletlerin i\u00e7ine kar\u0131\u015f\u0131p kaybolma e\u011filimine ihanet eden beden par\u00e7alar\u0131n\u0131n mekanik birer montaj\u0131ndan olu\u015fmaktad\u0131rlar. Tipperary do\u011fumlu Laurence Sterne i\u00e7in yaz\u0131lm\u0131\u015f bir sayfadaki siyah i\u015faretlerin esrar\u0131 gibi insan bedeninin esrar\u0131 da bu hareketsiz madde par\u00e7as\u0131n\u0131n nas\u0131l kendinden daha fazla bir \u015fey haline geli\u015finde yatmaktad\u0131r \u2013normalde bir ta\u015f kadar sessiz olmas\u0131 gerekirken, nas\u0131l s\u00fcr\u00fcnmeye ve c\u0131l\u0131z bir sesle inlemeye devam etmesidir bize esrarengiz gelen. Beckett\u2019in oyunu Ben De\u011fil\u2019in odakland\u0131\u011f\u0131 noktan\u0131n insan a\u011fz\u0131 olmas\u0131n\u0131n sebebi, anlam ile maddeselli\u011fin esrarengiz bir \u015fekilde birbirine yak\u0131nla\u015fmas\u0131d\u0131r.<\/p>\n

Tekrar Paris\u2019e d\u00f6n\u00fcp de Rezistans\u2019a kat\u0131l\u0131nca Beckett\u2019in Nazi rejimine duydu\u011fu nefret, bir Yahudi dostunun toplama kamp\u0131na g\u00f6t\u00fcr\u00fclmesiyle birlikte en \u00fcst raddesine ula\u015f\u0131r. Nitekim, kendine has c\u00f6mertli\u011fiyle, zaten yetersiz olan karne hakk\u0131n\u0131 dostunun kar\u0131s\u0131na ba\u011f\u0131\u015flayacakt\u0131r. Kendisinin de \u00fcye oldu\u011fu ve kurucular\u0131 aras\u0131nda \u00fcnl\u00fc Dadac\u0131 ressam\u0131n sayg\u0131 ve korku uyand\u0131ran k\u0131z\u0131 Jeannine Picabia\u2019n\u0131n da bulundu\u011fu seksen ki\u015filik, g\u00fc\u00e7l\u00fc Rezistans h\u00fccresi, Britanya \u00d6zel Operasyonlar Komutanl\u0131\u011f\u0131\u2019n\u0131n bir par\u00e7as\u0131yd\u0131. Resmi d\u00fczlemde tarafs\u0131z kalm\u0131\u015f olan irlanda devletindeki Nazi yanl\u0131s\u0131 Cumhuriyet\u00e7ilerin bak\u0131\u015f\u0131yla, Dublinli s\u00fcrg\u00fcn art\u0131k siyasal d\u00fc\u015fmanla ittifak halindeydi.<\/p>\n

Beckett\u2019in grup i\u00e7indeki rol\u00fc, edebi vas\u0131flar\u0131na dayanmaktayd\u0131: Ajanlar\u0131n Alman birliklerinin hareketleri hakk\u0131nda toplad\u0131klar\u0131 (ve daha sonra mikrofilme al\u0131n\u0131p Fransa\u2019dan ka\u00e7\u0131r\u0131lan) bilgileri terc\u00fcme etmek, s\u0131raya koymak, d\u00fczeltmek ve daktiloya \u00e7ekmekle u\u011fra\u015f\u0131yordu. T\u0131pk\u0131 Godot\u2019yu Beklerken\u2019deki o\u011flan \u00e7ocu\u011fu gibi ajanlar\u0131n mesajlar\u0131n\u0131n bir k\u0131sm\u0131n\u0131n g\u00fcvenilmez bilgilerden olu\u015ftu\u011fu k\u0131sa s\u00fcrede anla\u015f\u0131l\u0131yordu. Yapt\u0131\u011f\u0131 i\u015f, masa ba\u015f\u0131nda oturup durmaktan \u00f6tesini gerektirmemesine ra\u011fmen, olduk\u00e7a tehlikeliydi; nitekim, sava\u015ftan sonra, sava\u015f s\u0131ras\u0131ndaki hizmetlerinden \u00f6t\u00fcr\u00fc hem Croix de Guerre hem de M\u00e9daille de la Reconnaissance ni\u015fanlar\u0131na lay\u0131k g\u00f6r\u00fclecekti. Sanat\u0131nda da g\u00f6ze \u00e7arpan nitelikleri olan suskunlu\u011fu ve gizlili\u011fe yatk\u0131nl\u0131\u011f\u0131, bir maki\u2019nin dikkate de\u011fer \u00fcst\u00fcnl\u00fckleri haline gelmi\u015fti. Buna ra\u011fmen, h\u00fccrenin s\u0131rr\u0131 \u00e7ok ge\u00e7meden ortaya \u00e7\u0131kt\u0131. Bir yolda\u015f i\u015fkencede \u00e7\u00f6z\u00fcl\u00fcnce gruptan elliyi a\u015fk\u0131n ki\u015fi tutukland\u0131 ve yakalananlar\u0131n \u00e7o\u011fu toplama kamplar\u0131na g\u00f6nderildi. Ba\u015fkentten hemen ayr\u0131lmalar\u0131 tavsiye edilen Beckett\u2019ler, h\u00fccrenin \u00f6teki mensuplar\u0131n\u0131 uyarmak \u00fczere bask\u0131na u\u011frama tehlikesini g\u00f6ze alarak yola \u00e7\u0131kmay\u0131 ertelediler; hatta Suzanne bu d\u00f6nemde Gestapo taraf\u0131ndan tutukland\u0131, fakat ba\u015f\u0131na bela a\u00e7madan ellerinden kurtulmay\u0131 ba\u015fard\u0131. Beckett \u00e7ifti, gizli polisin kap\u0131lar\u0131n\u0131 \u00e7almaya gelmesinden \u00f6nce dakika fark\u0131yla dairelerini bo\u015falt\u0131p k\u0131l pay\u0131 ka\u00e7may\u0131 ba\u015fard\u0131lar. Sahte isimlerle k\u00fc\u00e7\u00fck oteller aras\u0131nda cirit att\u0131ktan sonra, bir s\u00fcre yazar Nathalie Sarraute\u2019un evinde bar\u0131nd\u0131lar; daha sonra da usul\u00fcne uygun olarak haz\u0131rlanm\u0131\u015f sahte belgelerle silahlanm\u0131\u015f bir \u015fekilde Provence\u2019teki Roussillon k\u00f6y\u00fcnde sakland\u0131lar. Burada ya\u015fayanlar\u0131n \u00e7o\u011fu, Beckett \u00e7iftinin m\u00fclteci Yahudiler oldu\u011funu zannediyordu.<\/p>\n

Beckett 1944\u2019te burada, yeniden bir Rezistans h\u00fccresine kat\u0131ld\u0131;evinin mahzeninde patlay\u0131c\u0131 saklad\u0131, t\u00fcfek kullanabilmek \u00fczere temel e\u011fitimden ge\u00e7ti ve baz\u0131 geceler Almanlara kurulan pusulara kat\u0131ld\u0131. Vladimir\u2019le Estragon nas\u0131l hendeklerde uyudularsa, yarat\u0131c\u0131lar\u0131 da ayn\u0131 yerlerde uyudu. Do\u011frusunu s\u00f6ylemek gerekirse, Beckett onlar\u0131n oldu\u011fundan daha serseriydi; \u00e7\u00fcnk\u00fc oyun asl\u0131nda bizlere Vladimir\u2019le Estragon\u2019un aylak serseriler oldu\u011funu anlatmaz.
Beckett \u00e7ifti, sava\u015f bitip de Paris\u2019e d\u00f6nd\u00fcklerinde, \u015fehir halk\u0131n\u0131n geri kalan\u0131 gibi kendilerini gene bir deri bir kemik ve yar\u0131 a\u00e7 halde buldular. Beckett kalemine sar\u0131ld\u0131\u011f\u0131nda bazen parmaklar\u0131n\u0131n ucunun so\u011fuktan morard\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyordu. i\u015fte, Beckett\u2019in o d\u00f6nemin bir noktas\u0131nda a\u011f\u0131r bir psikolojik \u00e7\u00f6k\u00fcnt\u00fcye u\u011frad\u0131\u011f\u0131 da s\u00f6ylenmektedir \u2013Wilfred Bion\u2019dan psikoterapi seans\u0131 almadan on y\u0131l \u00f6nce. Angst ve S\u00fcrg\u00fcn Beckett o zamanlar, sa\u011fdan ziyade solun militan\u0131 haline gelen \u00e7ok az say\u0131daki modernist sanat\u00e7\u0131dan biriydi. Nitekim, James Knowlson \u00e7ok yerinde bir saptamayla \u015f\u00f6yle demektedir: \u201cBeckett\u2019in daha sonraki d\u00fczyaz\u0131 ve oyunlar\u0131n\u0131n bir\u00e7o\u011funun kayna\u011f\u0131, do\u011frudan onun ciddi belirsizlik, y\u00f6nelimsizlik, s\u00fcrg\u00fcn, a\u00e7l\u0131k ve muhta\u00e7l\u0131k tecr\u00fcbeleridir.\u201d Onun eserlerinde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz, zamand\u0131\u015f\u0131 bir insanl\u0131k durumu (condition humaine) de\u011fil, sava\u015f\u0131n harabeye d\u00f6nd\u00fcrd\u00fc\u011f\u00fc yirminci y\u00fczy\u0131l Avrupa\u2019s\u0131d\u0131r.<\/p>\n

Bu -Adorno\u2019nun i\u015faret etti\u011fi \u00fczere-, ciddi bir minimalizm ile suskunluk, deh\u015fet ve var olmaman\u0131n e\u015flik etti\u011fi kal\u0131c\u0131 bir kasvete ili\u015fkin inanc\u0131n\u0131 koruyan Auschwitz\u2019den sonraki sanatt\u0131r. Beckett\u2019in yaz\u0131lar\u0131 g\u00fc\u00e7 bela kavranabilecek \u00f6l\u00e7\u00fcde seyreltilmi\u015ftir. Hatta, kendimizde yanl\u0131\u015f olan\u0131 adland\u0131rabilmeye yetecek kadar anlam dahi s\u00f6z konusu de\u011fildir. Perspektifsiz bir anlat\u0131, sadece ba\u015fka, e\u015fit derecede beyhude bir hik\u00e2yeyi bo\u015fa \u00e7\u0131karmak i\u00e7in hayli zahmetli \u015fekilde kendini yerden kald\u0131rmaya \u00e7al\u0131\u015fmaktad\u0131r. Art\u0131k ihtiyatl\u0131l\u0131k ve k\u0131l\u0131 k\u0131rk yaran bir kesinlik, hakikate en \u00e7ok yakla\u015fabilenlerdir.<\/p>\n

Bir keresinde Beckett, dostu James Joyce\u2019un elindeki materyale s\u00fcrekli olarak bir \u015feyler ekledi\u011fini belirtmi\u015f ve \u015f\u00f6yle devam etmi\u015fti:
\u201cHalbuki ben kendi tarz\u0131m\u0131n yoksulla\u015fmada, bilgi yoksunlu\u011funda,al\u0131p g\u00f6t\u00fcrmede, eklemekten \u00e7ok \u00e7\u0131karmakta yatt\u0131\u011f\u0131n\u0131n fark\u0131na varm\u0131\u015ft\u0131m.\u201d\u00a0 Beckett, memleketlisi Swift\u2019le birlikte, eksilmekten al\u0131nan vah\u015fi bir hazz\u0131 payla\u015fmaktad\u0131r.Beckett\u2019in sanat\u0131, Nazi utkuculu\u011fuyla do\u011frudan \u00f6rt\u00fc\u015fen ba\u015far\u0131s\u0131zl\u0131\u011f\u0131, onun \u00f6l\u00fcmc\u00fcl mutlakiyetini, m\u00fcphemlik ve belirsizlik silahlar\u0131yla mahvederek tamamlar. Kendi yorumunca, en \u00e7ok sevdi\u011fi s\u00f6zc\u00fck \u2018galiba\u2019yd\u0131. Fa\u015fizmin megalomanyak totalliklerine kar\u015f\u0131, par\u00e7al\u0131 ve bitmemi\u015f olan\u0131 m\u00fccadeleye dahil ediyordu. Kendine \u00f6zg\u00fc Sokrates\u00e7i tavr\u0131yla -muhtemelen \u00e7ok daha az cesete yol a\u00e7t\u0131\u011f\u0131ndan- cehaleti bilgiye tercih etmekteydi. E\u011fer eserleri somurtkanca bulunuyorsa, belki de hi\u00e7bir zaman var olmayabilecekleri ger\u00e7e\u011finin ne\u015feyle bilincinde olarak -ki evrenin kendisi kadar onlar\u0131n varl\u0131\u011f\u0131n\u0131n da g\u00fcl\u00fcn\u00e7 \u015fekilde mant\u0131kl\u0131 hi\u00e7bir sebebi yoktu-, bunun sebebinin komik oldu\u011fu kadar trajik ve gereklili\u011fin cani mitolojilerine kar\u015f\u0131 duyulan olumsall\u0131k hissi oldu\u011funu s\u00f6yleyebiliriz.<\/p>\n

Orta\u00e7a\u011f\u0131n b\u00fcy\u00fck filozofu ve menfi teologu John Scotus Eriuge\u2019na\u2019dan, y\u00fccelik esteti\u011fini haiz Edmund Burke\u2019e, Flann O\u2019Brien\u2019a ve \u00e7a\u011fda\u015f irlandal\u0131 filozof Conor Cunningham\u2019a4 de\u011fin pek \u00e7ok irlandal\u0131 yazar gibi Beckett\u2019in de, hevesli bir Heraklitos okuyucusu olarak, \u2018hi\u00e7lik\u2019 nosyonuna kar\u015f\u0131 yok edici bir ilgisi vard\u0131 \u2013Sterne\u2019e g\u00f6re bu ilgi hayli zarars\u0131zd\u0131, g\u00f6zlemledi\u011fi kadar\u0131yla Beckett, \u201cd\u00fcnyada nelerin k\u00f6t\u00fc oldu\u011funu d\u00fc\u015f\u00fcnmekle me\u015fguld\u00fc\u201d.<\/p>\n

\u201cBiz irlandal\u0131lar,\u201d diye yaz\u0131yordu Piskopos Berkeley, \u201c\u2018bir \u015fey\u2019 ile \u2018hi\u00e7bir \u015fey\u2019i yak\u0131n kom\u015fular saymaya yatk\u0131n\u0131z\u201d. Beckett\u2019in endi\u015fe verici \u015fekilde Lacanc\u0131 anlam\u0131yla meyilli karakterlerle dolu seyreltilmi\u015f d\u00fcnyas\u0131, b\u00fct\u00fcn belagatl\u0131 \u015fi\u015firmelere ve ideolojik taml\u0131\u011fa alerjik bir anti-edebiyat formu olarak, bu alacakaranl\u0131k b\u00f6lgenin bir yerlerinde varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrmekteydi. Godot\u2019yu Beklerken Londra\u2019da 1955\u2019te ilk defa sahnelendi\u011finde, bir skandalla kar\u015f\u0131 kar\u015f\u0131ya olduklar\u0131n\u0131 d\u00fc\u015f\u00fcnen dinleyici s\u0131ralar\u0131 aras\u0131ndan y\u00fcksek sesle, \u201cS\u00f6m\u00fcrgeleri b\u00f6yle kaybettik!\u201d hayk\u0131r\u0131\u015flar\u0131 duyulacakt\u0131.
irlandavari \u00c7\u00f6k\u00fc\u015fler Yine de Beckett\u2019in i\u00e7i bo\u015falm\u0131\u015f, s\u0131f\u0131r derece -Shakespeare\u2019inkine k\u0131yasla Descartes ile Racine\u2019in dilinin ona daha dostane g\u00f6r\u00fcnd\u00fc\u011f\u00fc- yaz\u0131s\u0131, Hitlervari olana k\u0131yasla \u00e7ok daha merhametli bir milliyet\u00e7ilik \u015fekli olan irlanda Cumhuriyet\u00e7ili\u011finin g\u00f6steri\u015fli retori\u011fine kar\u015f\u0131 bir misillemedir de. Joyce gibi Beckett\u2019teki g\u00fc\u00e7l\u00fc irlandal\u0131l\u0131k duygusu da asla mek\u00e2na k\u00f6k salmadan y\u0131llar boyunca varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr ve onu sersemleten, k\u0131smen irlanda\u2019ya \u00f6zg\u00fc say\u0131lan bir t\u00fcr umutsuzluk ve kolayca incinebilirlik kar\u015f\u0131s\u0131nda \u00e7\u0131plak g\u00f6zle fark edilen bir g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fc her zaman olmu\u015ftur.<\/p>\n

Beckett, Paris\u2019ten ge\u00e7erken bir \u00fclkeda\u015f\u0131yla iki kadeh i\u00e7mekten her zaman mutlu oluyordu; zaten onun kara mizah duygusu ve i\u011fneleyici esprileri, ki\u015fisel hasletleri (erken eserlerinden birisi, Dream of Fair to Middling Women ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131yordu) oldu\u011fu kadar k\u00fclt\u00fcrel hasletlerini de yans\u0131tmaktad\u0131r. Eserlerinde a\u00e7l\u0131\u011f\u0131n kol gezdi\u011fi,dura\u011fan ve cans\u0131z manzaralar Auschwitz sonras\u0131n\u0131 temsil etmekle beraber, y\u0131pranm\u0131\u015f, tekd\u00fcze s\u00f6m\u00fcrge k\u00fclt\u00fcr\u00fc ve kay\u0131ts\u0131zca, asla gelmeyen Mesiyanik kurtulu\u015fu bekleyen yabanc\u0131la\u015fm\u0131\u015f kitleleriyle birlikte, a\u00e7l\u0131ktan k\u0131r\u0131lan irlanda\u2019ya dair bilin\u00e7alt\u0131yla alg\u0131lanan bir haf\u0131zay\u0131 olu\u015fturur. Bu a\u00e7\u0131dan bakt\u0131\u011f\u0131m\u0131zda \u2018Vladimir\u2019 ismine herhalde \u00f6zel bir ironi y\u00fcklenmi\u015ftir. B\u00f6yle bile olsa, 18. y\u00fczy\u0131l Hugenot g\u00f6\u00e7menlerinin soyundan gelen G\u00fcney irlandal\u0131 bir Protestan olarak Beckett, ba\u011f\u0131ms\u0131zl\u0131k sava\u015f\u0131 esnas\u0131nda evleri yak\u0131l\u0131p y\u0131k\u0131lan ve 1922\u2019den sonra bir\u00e7o\u011fu Londra \u00e7evresindeki semtlere g\u00f6\u00e7 etmek zorunda kalan k\u00fclt\u00fcrel haklar\u0131ndan mahrum, ku\u015fat\u0131lm\u0131\u015f bir az\u0131nl\u0131\u011fa mensuptu. Orta s\u0131n\u0131flar\u0131n ya\u015fad\u0131\u011f\u0131 Foxrock\u2019tan gelen m\u00fcnzevi, gen\u00e7 bir Trinity Koleji \u00f6\u011frencisinin abart\u0131l\u0131 bir Gal ba\u011fnazl\u0131\u011f\u0131 olarak hakir bak\u0131\u015f\u0131yla ku\u015fat\u0131lan G\u00fcney irlandal\u0131 Protestanlar, daha sonra kendilerini Serbest Devlet b\u00f6lgesinin Katolik darkafal\u0131l\u0131\u011f\u0131na s\u0131k\u0131\u015fm\u0131\u015f halde bulmu\u015flard\u0131. Babas\u0131n\u0131n \u00f6l\u00fcrken belki de siyasal bir t\u0131n\u0131yla Beckett\u2019e s\u00f6yledi\u011fi son s\u00f6zlerin \u2018sava\u015f, sava\u015f, sava\u015f\u2019 olmas\u0131na ra\u011fmen Beckett, bu sava\u015f \u00e7a\u011fr\u0131s\u0131n\u0131 oldu\u011fundan hafif g\u00f6steren bir ifade -\u201cNe kadar g\u00fczel bir sabah!\u201d- ile birlikte okuyarak h\u00fck\u00fcms\u00fcz k\u0131lm\u0131\u015ft\u0131r. Bu, tam olarak o\u011fluna yak\u0131\u015fan bir \u015fekilde, \u00e7ok \u00f6nemli bir d\u00fc\u015f\u00fcnceye aniden dudakb\u00fck\u00fc\u015ft\u00fcr. Tecrit edilen ve ya\u015fad\u0131\u011f\u0131 yeri terk etmek zorunda kalan Beckett, teokratik ve otoriteryan De Valera iktidara geldikten bir y\u0131l sonra, 1933\u2019te bir s\u00fcreli\u011fine irlanda\u2019y\u0131 terk eder ve Londra\u2019ya gider. Bundan sonra hayat\u0131n\u0131n di\u011fer bir-iki y\u0131l\u0131n\u0131 daha irlanda\u2019da ge\u00e7irmek durumunda kalacakt\u0131r.Ya\u015fad\u0131\u011f\u0131 \u00fclke i\u00e7inde g\u00f6\u00e7men olan herkes gibi, \u00fclke d\u0131\u015f\u0131nda oldu\u011fu kadar i\u00e7inde de evsiz olmak ona mant\u0131kl\u0131 g\u00f6r\u00fcn\u00fcyordu. \u0130rlandal\u0131 sanat\u00e7\u0131n\u0131n geleneksel yabanc\u0131la\u015fmas\u0131, daha \u00e7ok Avrupa avangard\u0131n\u0131n hayli g\u00f6z al\u0131c\u0131 Angst\u2019\u0131na terc\u00fcme edilebilirdi. Sanat veya dilin,modern zamanlar\u0131n en huzursuz milliyet\u00e7ili\u011fi ufukta belirirken, bir ka\u00e7 dilin konu\u015fuldu\u011fu bohem kafelerinde bir modas\u0131 ge\u00e7mi\u015f olarak nitelendirilen ve alay konusu olan ulusal kimli\u011fin yerine ikame edilmesi hayli m\u00fcmk\u00fcn bir fenomendi bu. Ayn\u0131 zamanda, ironik bir \u015fekilde Beckett\u2019teki \u00e7\u00f6k\u00fcnt\u00fcn\u00fcn ay\u0131rt edici irlandal\u0131 niteli\u011finin, bug\u00fcnlerde \u2018Oirishness\u2019 olarak adland\u0131r\u0131lmas\u0131 m\u00fcmk\u00fcnd\u00fcr. \u00d6ncelikle, hi\u00e7bir \u015fey kirli \u00e7ama\u015f\u0131rlar\u0131n ortaya \u00e7\u0131kar\u0131lmas\u0131ndan daha irlandavari de\u011fildir. Ba\u015fka bir nokta da, Beckett\u2019in t\u0131pk\u0131 Joyce gibi ulusunu reddetmesinin, tuhaf \u015fekilde \u00f6zel ve aile i\u00e7inde kalmas\u0131 gereken t\u00fcrden bir durumu yans\u0131tt\u0131\u011f\u0131d\u0131r. Kendini a\u015fa\u011f\u0131lamak, sadece i\u00e7eriden olanlar\u0131n yerine getirebildi\u011fi (ve ingilizlere kesinlikle izin verilmeyen), zaman\u0131n ta\u00e7land\u0131rd\u0131\u011f\u0131 eski bir irlanda g\u00f6rene\u011fidir. Bu g\u00f6renek, irlanda a\u00e7\u0131s\u0131ndan s\u00f6z konusu yerin d\u0131\u015f\u0131na \u00e7\u0131kmak kadar yerli bir niteli\u011fe sahiptir. Kar\u015f\u0131t g\u00f6r\u00fc\u015fl\u00fc bir\u00e7ok irlandal\u0131, t\u0131pk\u0131 irlanda Katolik Kilisesi\u2019nin ateizmi te\u015fvik etti\u011fi iddias\u0131na benzer \u015fekilde milliyet\u00e7i olarak tasvir edilip \u00e7arpt\u0131r\u0131lm\u0131\u015flard\u0131r. Beckett ise daha \u00e7ok Oscar Wilde gibi, iddial\u0131 ve yeni bir k\u00fclt\u00fcrel ortodoksinin i\u00e7inde yaln\u0131z kalm\u0131\u015f marjinal bir non-konformist olarak, irlandal\u0131 Protestan n\u00fcfustan olman\u0131n \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc daha derin bir \u015fekilde m\u00fclks\u00fczl\u00fc\u011fe sadakate terc\u00fcme etmenin yollar\u0131n\u0131 bulmu\u015ftur. Wolfe Tone ve Thomas Davis\u2019ten Parnell ve Yeats\u2019e kadar bir\u00e7ok \u0130rlandal\u0131 Protestan fig\u00fcr\u00fcn radikal ama\u00e7lar u\u011fruna fikirlerini de\u011fi\u015ftirdi\u011fi g\u00fc\u00e7l\u00fc bir nesil tan\u0131mlamak m\u00fcmk\u00fcnd\u00fcr. Beckett\u2019teki \u015fi\u015fkin retori\u011fin s\u00f6nmesine yard\u0131mc\u0131 olan \u015fey, ayn\u0131 zamanda i\u00e7ten ve s\u0131cak h\u00fcmanist duyarl\u0131l\u0131klar\u0131n gizini a\u00e7\u0131\u011fa \u00e7\u0131karmaktad\u0131r. Bu, i\u00e7inde az say\u0131da ayn\u0131 tekd\u00fcze tuhafl\u0131k ve sonucun klinik bir gayr\u0131 ki\u015fisellikle farkl\u0131 \u015fekillerde s\u0131raland\u0131r\u0131ld\u0131\u011f\u0131 -daha sonra dan yap\u0131salc\u0131l\u0131k diye adland\u0131r\u0131lacak olan- birle\u015fim (combinatoire) ayg\u0131t\u0131d\u0131r. Beckett\u2019in sanat\u0131nda ke\u015fi\u015fvari bir bilgi\u00e7lik vard\u0131r; ba\u015fka \u015feylerin yan\u0131 s\u0131ra mecnun bir titizlik, dikba\u015fl\u0131 Protestan rasyonalizminin surat\u0131nda bir tokat gibi patlar.<\/p>\n

Benzer bir boyut, teskin edici Kelt d\u00fc\u015flerini b\u00fcy\u00fcn\u00fcn nevrotik \u015fekilde sistematize edilmi\u015f d\u00fcnyas\u0131yla s\u0131k\u0131 f\u0131k\u0131 olan Dublinli orta s\u0131n\u0131f Protestan meslekta\u015f\u0131 Yeats i\u00e7in de s\u00f6z konudur. Beckett\u2019in Molloy\u2019u emece\u011fi ta\u015flar\u0131, elbisesine \u00f6zel bi\u00e7imde dikilmi\u015f ceplerin i\u00e7ine dizer ve emilen her ta\u015f\u0131 farkl\u0131 bir cebe ge\u00e7irir, b\u00f6ylece hi\u00e7bir ta\u015f belirli bir s\u0131ran\u0131n d\u0131\u015f\u0131nda emilmi\u015f olmayacakt\u0131r. Burada akla, Sterne\u2019nin deli profes\u00f6r\u00fc Walter Shandy veya Swift\u2019in ka\u00e7\u0131k\u00e7a projeleri gelmektedir. S\u0131n\u0131rlar\u0131na dek zorlanan rasyonalizm, alt \u00fcst edilmi\u015f ve kar\u015f\u0131t\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Felsefi olarak idealist bir k\u00fclt\u00fcrde, asla esasl\u0131 bir rasyonalizm veya ampirisizm yaratmam\u0131\u015f k\u0131ymetli bir irlanda hiciv gelene\u011fi vard\u0131r.<\/p>\n

B\u00fct\u00fcn Beckettci metinler birbirine benzer az say\u0131da par\u00e7a ve d\u00f6k\u00fcnt\u00fcn\u00fcn marifetli bir el \u00e7abuklu\u011fuyla kar\u0131\u015ft\u0131r\u0131lmas\u0131yla yarat\u0131lm\u0131\u015ft\u0131r. Bu cimrilik teatral olarak y\u0131k\u0131c\u0131 iken, dramatik a\u00e7\u0131dan da \u00e7ekici ve al\u0131ml\u0131d\u0131r. Okur veya tiyatro izleyicisini pek kuvvetli olmayan bir \u015fekilde ama d\u00fcr\u00fcst\u00e7e sarmalar. Bizleri \u00e7arpan, insanlar\u0131 cahil b\u0131rakma yanl\u0131s\u0131 oldu\u011fu farz edilen adam\u0131n r\u00fczg\u00e2r\u0131 kovalamaya kalk\u0131\u015ft\u0131\u011f\u0131 s\u0131rad\u0131\u015f\u0131 kesinlik; hi\u00e7li\u011fi somutla\u015ft\u0131rd\u0131\u011f\u0131 ve kendi ifadesiyle \u2018anlat\u0131lamayan\u0131 anlatma\u2019ya \u00e7al\u0131\u015ft\u0131\u011f\u0131 a\u00e7\u0131k g\u00f6r\u00fc\u015fl\u00fcl\u00fckt\u00fcr. Tak\u0131nt\u0131l\u0131 bir titizlik tamamen \u015fekilsiz g\u00f6r\u00fcnenden daha ince n\u00fcanslar \u00e7\u0131karabilir. Beckett\u2019in malzemeleri i\u015flenmemi\u015f ve geli\u015fig\u00fczel se\u00e7ilmi\u015f olabilir; fakat onun bu malzemeleri, t\u0131pk\u0131 bir\u00e7ok Anglo-irlanda sanat\u00e7\u0131s\u0131 gibi, ele al\u0131\u015f \u00fcsl\u00fbbu balevari bir zarafet ve tutumlulukla s\u00fcsl\u00fcd\u00fcr. i\u00e7eri\u011fi uzun s\u00fcredir s\u0131zd\u0131r\u0131yor olmas\u0131na ra\u011fmen b\u00fct\u00fcn \u015fekilsel hakikat, ak\u0131l ve mant\u0131k ayg\u0131t\u0131n\u0131n eksiksizmi\u015f gibi varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrmesi e\u011fer irlanda a\u015f\u0131r\u0131l\u0131\u011f\u0131na kar\u015f\u0131 bir panzehirse, bu durum irlanda-Katolik okuluna \u00e7ok \u015fey bor\u00e7ludur. Auschwitz-sonras\u0131 d\u00fcnyada her \u015fey m\u00fcphemdir ve belirlenimsizdir; fiziksel ac\u0131n\u0131n neden bu derece kabaca varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrmesi gerekti\u011fini anlamay\u0131 zorla\u015ft\u0131r\u0131r. Belirsizlik derinle\u015ftik\u00e7e ger\u00e7ekle\u015fen,hi\u00e7bir \u015feyin olmamas\u0131 de\u011fil, herhangi bir \u015feyin olup olmad\u0131\u011f\u0131ndan veya neyin hadise olarak say\u0131laca\u011f\u0131ndan emin olman\u0131n zorla\u015fmas\u0131d\u0131r. Beklemek bir \u015fey yapmak m\u0131d\u0131r, yoksa bunun ertelenmesi mi? Bu kesinlikle bir t\u00fcr ertelemedir, fakat ayn\u0131 zamanda Beckett\u2019in g\u00f6z\u00fcnde, t\u0131pk\u0131 nihai bir anlam\u0131n s\u00fcrekli olarak ertelenmesiyle varl\u0131\u011f\u0131n\u0131 devam ettiren Derridac\u0131 \u2018farkl\u0131l\u0131k\u2019 gibi insan varolu\u015funun kendisine dair bir ger\u00e7ektir. Tek bilebildi\u011fimiz, teleolojinin b\u00fct\u00fcn kar\u015f\u0131 konamaz g\u00fcc\u00fcyle fakat herhangi bir manadan yoksun, Endgame\u2019deki Clov\u2019un ifadesiyle, \u201cbir \u015feyler olaca\u011f\u0131na varmaktad\u0131r\u201d.<\/p>\n

Nihaili\u011fi Reddetmek belki de nihai anlam \u2018\u00f6l\u00fcm\u2019 olacakt\u0131r ve bu, ac\u0131n\u0131n tek afyonunun al\u0131\u015fkanl\u0131k oldu\u011fu, sayg\u0131 duyulan Burkevari bir g\u00f6renekten mekanik bir reflekse d\u00f6n\u00fc\u015ferek de\u011fersizle\u015fmi\u015f bir d\u00fcnyada arzu edilebilir. Asl\u0131nda, Beckett\u2019in eserinde h\u00e2l\u00e2 \u00f6l\u00fcm yoktur; daha \u00e7ok, v\u00fccut kaskat\u0131 kesilip soyulmaya devam ettik\u00e7e d\u00fczenli bir par\u00e7alanma s\u00f6z konusudur. \u00d6l\u00fcm bu i\u00e7i bo\u015falm\u0131\u015f fig\u00fcrlerin ba\u015fa \u00e7\u0131kabilece\u011finden \u00e7ok daha m\u00fchim ve kati bir olayd\u0131r. Hatta intihar bile bu fig\u00fcrlerin bir araya toplayabildi\u011fi kimlik hissinden daha fazlas\u0131n\u0131 gerektirir. Dolay\u0131s\u0131yla, Beckett\u2019in karakterleri g\u00fcl\u00fcn\u00e7 ba\u015fkahramanlar\u0131n b\u00fct\u00fcn \u00f6ld\u00fcr\u00fclemezli\u011fine, kurnazca edinilen hi\u00e7bir ba\u015far\u0131 veya ne\u015feli bir gayret olmaks\u0131z\u0131n sahip olmaktad\u0131r. Bir sa\u00e7 tokas\u0131 ya da melon \u015fapka y\u00fcz\u00fcnden dikkati da\u011f\u0131lan bu karakterler, sadece repliklerini yanl\u0131\u015f okurlar ve aptalca hatalarla b\u00fcy\u00fck an\u0131 mahvederler. Burada, Lucky\u2019nin \u00f6nemli metafizik konu\u015fmas\u0131, a\u011fz\u0131ndan \u00e7\u0131kt\u0131\u011f\u0131 anda par\u00e7alara ayr\u0131l\u0131r. Y\u00fcce bir dramadan ziyade ucuz bir maskaral\u0131\u011f\u0131n ya da siyah bir karnaval\u0131n huzurunday\u0131zd\u0131r.<\/p>\n

Ku\u015fkusuz Godot\u2019nun er ge\u00e7 geli\u015fi b\u00fcy\u00fck bir an olacakt\u0131r. Fakat bu ger\u00e7ekle\u015fti\u011fi zaman, had safhada kavramsal k\u0131tl\u0131\u011f\u0131n i\u00e7inde herkese yetecek kadar anlam\u0131n mevzu bahis oldu\u011fu bir d\u00fcnyada, bunun \u00f6neminin kavranabilir oldu\u011funu kim s\u00f6yleyebilir? Belki de Godot, asl\u0131nda Pozzo\u2019dur; Vladimir ile Estragon, onun ismini pek\u00e2l\u00e2 yanl\u0131\u015f duymu\u015f olabilirler; bu m\u00fcmk\u00fcnd\u00fcr. Veya belki de, ge\u00e7mi\u015fin silindi\u011fi ve her an kendinizi s\u0131f\u0131rdan ba\u015flayarak yeniden tan\u0131mlamak zorunda oldu\u011funuz zaman\u0131n b\u00fct\u00fcn bu \u0131st\u0131rap verici donu\u015fu, Walter Benjamin\u2019in tarihin b\u00fcy\u00fck felaketini Mesih\u2019in yak\u0131ndaki tehdidi olarak tarif etti\u011fi anlam\u0131yla Godot\u2019nun geli\u015fidir. Belki de kefaret dilenerek yalvarmaktan daha \u00f6nemli bir \u015fey hi\u00e7 olmam\u0131\u015ft\u0131r ve bu, karakterlerin hatas\u0131d\u0131r. Mesiyanik d\u00fc\u015f\u00fcncenin bir nesline g\u00f6re, Mesih d\u00fcnyay\u0131 k\u00fc\u00e7\u00fck uyarlamalar yaparak de\u011fi\u015ftirecektir.
Asl\u0131nda sorun, Beckett\u2019in evreninin, kefaret fikrinin ger\u00e7ekten anlam ta\u015f\u0131d\u0131\u011f\u0131 fakat ayn\u0131 zamanda ve ac\u0131 bir \u015fekilde bundan yoksun bir yere benzemesidir. Bu ac\u0131nas\u0131 durumun tam ortas\u0131nda anlam\u0131 \u015fekillendiren bir delik vard\u0131r, \u00e7\u00fcnk\u00fc daha tecr\u00fcbesiz postmodern torunundan farkl\u0131 olarak modernizm, \u00e7ok say\u0131da hakikat ve ger\u00e7eklik oldu\u011funu hat\u0131rlayacak kadar ya\u015fl\u0131d\u0131r ve bunun ortadan kaybolmas\u0131 ona \u0131st\u0131rap vermeye devam etmektedir. Burada a\u015f\u0131r\u0131 bir nostalji tehlikesi yoktur, fakat bellek ve dolay\u0131s\u0131yla kimlik ba\u015fka her \u015feyle birlikte darmada\u011f\u0131n olmu\u015ftur.Birinin teselliyle kurtarmay\u0131 d\u00fc\u015f\u00fcnebilece\u011fi tek \u015fey ger\u00e7eklik hakikaten belirsizse- umutsuzlu\u011fun m\u00fcmk\u00fcn olmad\u0131\u011f\u0131d\u0131r. Belirlenemeyen bir evren, mant\u0131ki olarak umuda yer b\u0131rakmak zorundad\u0131r; bunu bir kenara not etmek gerekir. E\u011fer birtak\u0131m mutlaklar yoksa, Godot\u2019nun gelmeyece\u011fine veya Nazilerin zafere ula\u015faca\u011f\u0131na dair herhangi bir mutlak kesinlik olamaz. E\u011fer d\u00fcnya ge\u00e7iciyse, bu durum bilgimiz a\u00e7\u0131s\u0131ndan da ge\u00e7erlilik ta\u015f\u0131mak durumundad\u0131r. Bu noktada, tamamen farkl\u0131 bir a\u00e7\u0131dan ele al\u0131nan hilkat garibelerinin,sakatlar\u0131n ve \u00fcst \u00fcste y\u0131\u011f\u0131l\u0131 v\u00fccutlar\u0131n d\u00fcnya de\u011fi\u015ftirmenin e\u015fi\u011finde olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyebilmek s\u00f6z konusu de\u011fildir. Kefaret ihtimaline tutunman\u0131n en az\u0131ndan b\u00f6yle bir faydas\u0131 bulundu\u011funu bilelim: Bu neyi sa\u011flar, kederli bir \u015fekilde ondan ne kadar uzakla\u015ft\u0131\u011f\u0131m\u0131z\u0131 \u00f6l\u00e7memizi. Beckett, herkesin bildi\u011fi \u00fczere, bazen nihilizmle su\u00e7lanmaktad\u0131r; fakat e\u011fer onun evreninde herhangi bir \u015fekilde alt\u0131 \u00e7izilebilecek bir de\u011fer duygusu yoksa, bu derece feryat etmenin de asl\u0131nda herhangi bir sebebi yoktur.<\/p>\n

Dolay\u0131s\u0131yla, bir de\u011fer duygusu olmadan \u00e7ekti\u011fimiz ac\u0131y\u0131, itiraz edilebilir olarak tan\u0131mlayabilmemiz bile s\u00f6z konusu de\u011fildir; bu sebeple, i\u00e7inde bulundu\u011fumuz k\u00f6t\u00fc durumu farkl\u0131 \u015fekilde de\u011fil de normal olarak kavrar\u0131z. B\u00f6ylesi bir de\u011fer ideolojikle\u015ftirilme, duygusal bir h\u00fcmanizm kat\u0131na y\u00fckseltilme korkusu y\u00fcz\u00fcnden a\u00e7\u0131k\u00e7a konu\u015fulmaz ve dolay\u0131s\u0131yla \u00e7\u00f6z\u00fcmden ziyade sorunun bir par\u00e7as\u0131 haline gelir. Bunun yerine de\u011fer, kendini negatif bir \u015fekilde ve de\u011fi\u015fmez bir berrakl\u0131kla ortaya koymal\u0131d\u0131r; b\u00f6ylelikle yaz\u0131, konu\u015fulamaz olan\u0131 kar\u015f\u0131s\u0131na al\u0131r. \u00c7\u00fcnk\u00fc yaz\u0131n\u0131n bu kar\u015f\u0131s\u0131na alma i\u00e7in ihtiya\u00e7 duydu\u011fu ayr\u0131lma, ayn\u0131 zamanda komedi ile maskaal\u0131\u011f\u0131n birbirinden ayr\u0131lmas\u0131d\u0131r; bizim zek\u00e2 olarak bildi\u011fimiz de\u011fer de irlanda yaz\u0131n\u0131nda s\u0131k s\u0131k g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi- hazin bir \u015fekilde bask\u0131c\u0131 olan d\u00fcnyan\u0131n bu anl\u0131k ve a\u00e7\u0131klanamaz a\u015fk\u0131nsall\u0131\u011f\u0131nda yatar. Delilik, ukalal\u0131k, beden, kendiyle istihza, keyfilik, sonsuz tekrar,mekanik bir indergemecilik: Burada s\u0131ralanan b\u00fct\u00fcn bu motifler, ayn\u0131 zamanda \u00e7ok e\u011flenceli olabilecek ac\u0131mas\u0131z motiflerdir ve dolay\u0131s\u0131yla, post-insan\u0131n g\u00fcl\u00fcn\u00e7 maestrosu Samuel Beckett\u2019in pay\u0131na uygun birer besin olu\u015ftururlar.<\/p>\n

Sonu\u00e7 olarak, e\u011fer Beckett bir komedyen olarak nitelenebiliyorsa, bunun a\u00e7\u0131k\u00e7a g\u00f6sterilebilecek sebebi, en az\u0131ndan trajediyi bir ideoloji formu olarak reddetmemesinden kaynaklanmaktad\u0131r. T\u0131pk\u0131 Freud ve Adorno gibi Beckett de, umutlu \u00fctopyac\u0131lardan ziyade temkinli ve cesaret k\u0131r\u0131c\u0131 bak\u0131\u015flara sahip realistlerin, insan \u00f6zg\u00fcrle\u015fmesi davas\u0131na daha sad\u0131k bir \u015fekilde hizmet edeceklerini \u00e7ok iyi bilmektedir.<\/p>\n

(T\u00fcrk\u00e7esi: Osman Ak\u0131nhay – Aykut Tun\u00e7 K\u0131l\u0131\u00e7)<\/p>\n","protected":false},"excerpt":{"rendered":"

Eyl\u00fcl 1941\u2019de, yirminci y\u00fczy\u0131l\u0131n g\u00f6r\u00fcn\u00fc\u015fte en siyasi olmayan sanat\u00e7\u0131lar\u0131ndan biri fa\u015fizme kar\u015f\u0131 silaha sar\u0131ld\u0131. 1906\u2019n\u0131n Kutsal Cuma g\u00fcn\u00fc (ayn\u0131 zamanda 13. Cuma) do\u011fan ve 1937\u2019den beri Paris\u2019te ya\u015famakta olan \u00fcnl\u00fc bir k\u00f6t\u00fcmser i\u00e7in enfes bir zamanlamayla Samuel Beckett, g\u00f6zde irlandal\u0131 yazarlar\u0131n pek \u00e7o\u011funun yapt\u0131\u011f\u0131 \u015fekilde kendini bilerek anavatan\u0131ndan s\u00fcrg\u00fcn etmi\u015fti.Asl\u0131nda irlandal\u0131lar, bir zamanlar\u0131n s\u00f6m\u00fcrgeci m\u00fclk […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-4018","post","type-post","status-publish","format-standard","category-tiyatro-kritikleri"],"yoast_head":"\nEyl\u00fcl 1941 - Fa\u015fizm ko\u015fullar\u0131 - Bir sanat\u00e7\u0131 - Siyasi Beckett mi? | Terry Eagleton - 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\/2010\/01\/17\/eylul-1941-fasizm-kosullari-bir-sanatci-siyasi-beckett-mi-terry-eagleton\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eyl\u00fcl 1941 - Fa\u015fizm ko\u015fullar\u0131 - Bir sanat\u00e7\u0131 - Siyasi Beckett mi? | Terry Eagleton\" \/>\n<meta property=\"og:description\" content=\"Eyl\u00fcl 1941\u2019de, yirminci y\u00fczy\u0131l\u0131n g\u00f6r\u00fcn\u00fc\u015fte en siyasi olmayan sanat\u00e7\u0131lar\u0131ndan biri fa\u015fizme kar\u015f\u0131 silaha sar\u0131ld\u0131. 1906\u2019n\u0131n Kutsal Cuma g\u00fcn\u00fc (ayn\u0131 zamanda 13. 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