{"id":4024,"date":"2010-03-11T01:00:00","date_gmt":"2010-03-10T22:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/03\/11\/yaralarim-benden-once-vardi-ben-onlari-bedenimde-tasimak-icin-dogmusum-ulus-baker\/"},"modified":"2010-03-11T01:00:00","modified_gmt":"2010-03-10T22:00:00","slug":"yaralarim-benden-once-vardi-ben-onlari-bedenimde-tasimak-icin-dogmusum-ulus-baker","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/03\/11\/yaralarim-benden-once-vardi-ben-onlari-bedenimde-tasimak-icin-dogmusum-ulus-baker\/","title":{"rendered":"Yaralar\u0131m benden \u00f6nce vard\u0131, ben onlar\u0131 bedenimde ta\u015f\u0131mak i\u00e7in do\u011fmu\u015fum | Ulus Baker"},"content":{"rendered":"

<\/strong>Metafizi\u011fi altetmek, demi\u015fti Heidegger, imk\u00e2ns\u0131z! O, basit bir felsefi e\u011fitim y\u00f6ntemi de\u011fildir. Sanki birilerinin fikrini, kanaatini reddediyormu\u015f gibi onu silip atamazs\u0131n\u0131z. Nietzsche’nin “hakikat sorunu” konusunda vurgulad\u0131\u011f\u0131 gibi, D\u00fcnya’n\u0131n Bat\u0131s\u0131nda ya\u015fayan bir insan t\u00fcr\u00fc “metafizik” olmadan de\u011fil d\u00fc\u015f\u00fcnmek, ya\u015fayamaz bile. Bilginin “bir \u015feyleri bilmesi” modern metafizik varl\u0131kbiliminin temelini atan Descartes’tan beri, Bat\u0131 d\u00fc\u015f\u00fcncesinde neredeyse Varl\u0131\u011f\u0131n tan\u0131m\u0131n\u0131n ta kendisi haline geldi. Tan\u0131m ise kesinliktir.<\/p>\n

Freud, Heidegger ile paralel okunmas\u0131 gereken bir pasaj\u0131nda \u00e7a\u011f\u0131m\u0131z\u0131n \u00e7a\u011fr\u0131s\u0131n\u0131 d\u0131\u015favurmu\u015ftu: Bana hakikati de\u011fil, kesinli\u011fi ver. Nereden geliyor bu garip emniyet tutkusu, g\u00fcvenli kesinli\u011fe bunca yakar\u0131\u015f? Heidegger a\u015fa\u011f\u0131daki sat\u0131rlar\u0131 yazarken, bir anlamda onun felsefi damarlar\u0131ndan biri olan Ernst J\u00fcnger’in erken d\u00f6nem eskatolojisinden pek uzakta de\u011fildir: “Varl\u0131k ilk hakikatinde olurken, istem olarak Varl\u0131k k\u0131r\u0131lmal\u0131, d\u00fcnya mahvolup gitmeye b\u0131rak\u0131lmal\u0131, insanlar yaln\u0131zca emekleriyle ba\u015fba\u015fa b\u0131rak\u0131lmal\u0131. Ancak b\u00f6yle bir \u00e7\u0131k\u0131\u015f sonunda K\u00f6ken’in aniden bir yerlere oturmas\u0131 uzun bir zaman s\u00fcrecek \u015fekilde m\u00fcmk\u00fcn olacak… \u0130\u015fte bu olay daha \u015fimdiden ger\u00e7ekle\u015fti. Bu olay\u0131n sonu\u00e7lar\u0131 d\u00fcnya tarihinin bu y\u00fczy\u0131lda ba\u015f\u0131ndan ge\u00e7en olaylardan ba\u015fkas\u0131 de\u011fildir.” Bahsedilen “sonu\u00e7lar”\u0131n Ernst J\u00fcnger’in do\u011fumevi, yani Birinci ve \u0130kinci D\u00fcnya Sava\u015flar\u0131 oldu\u011fu besbelli. Onu Heidegger’den ay\u0131ran tek belirti, iki sava\u015f aras\u0131n\u0131n adam\u0131 olmaktan \u00e7ok, sava\u015f\u0131n kendisinin adam\u0131 olmas\u0131d\u0131r. Birinci sava\u015f\u0131n romantik gazisi; ikinci sava\u015f\u0131n ka\u00e7a\u011f\u0131… Ve iki sava\u015f aras\u0131nda, t\u0131pk\u0131 Heidegger gibi, bilim ve teknolojilere dair yaz\u0131p durmas\u0131 da t\u00fcrde\u015f k\u0131lm\u0131yor J\u00fcnger’in eserini -ne Heidegger’le ne de kendisiyle. Sonu\u00e7 olarak 1895’te orta s\u0131n\u0131f bir kimyac\u0131n\u0131n evinde ba\u015flay\u0131p 102 y\u0131l sava\u015flarla ve bar\u0131\u015flarla, umutsuz-umutlu \u00e7\u0131k\u0131\u015f ve gerileyi\u015flerle ge\u00e7en bir ya\u015famdan bahsediyoruz. J\u00fcnger’in “d\u00f6neme\u00e7leri” (Kehre) ku\u015fkusuz Heidegger’inkinden daha fazla say\u0131da ve daha belirgin: Orta s\u0131n\u0131f evde baba otoritesi (ileride Thomas Mann’\u0131n \u00fcslubundan s\u00fcrekli \u015fikayet edecektir), art\u0131 bask\u0131c\u0131 katolik okullar\u0131, ikili bir ka\u00e7\u0131\u015f istemini ka\u00e7\u0131n\u0131lmaz k\u0131lacakt\u0131r: A\u015f\u0131r\u0131 okumalar yoluyla ka\u00e7\u0131\u015f ve “d\u0131\u015far\u0131ya”, “ba\u015fka bir ya\u015fama” do\u011fru. Birincisi yazar J\u00fcnger’i, ikincisi asker J\u00fcnger’i yaratacakt\u0131r. Asl\u0131nda anti-semitizmden ba\u015fka pek bir \u00f6zelli\u011fi olmayan Wandervogel<\/em> (Yitik Ku\u015flar) gen\u00e7lik grubuna “belirsizce” kat\u0131l\u0131\u015f\u0131 hem ayd\u0131nl\u0131k de\u011fildir hem de onu kesmez. Frans\u0131z Yabanc\u0131 Lejyonuna yaz\u0131larak Afrika’ya gider, Kilimanjaro yollar\u0131nda kaybolunca, ailesi taraf\u0131ndan Alman D\u0131\u015fi\u015fleri marifetiyle geri getirtilir. Neyse ki, Birinci D\u00fcnya Sava\u015f\u0131 patlak verir de gen\u00e7 adam “burjuva” d\u00fcnyas\u0131ndan bir kez daha uzakla\u015fmak f\u0131rsat\u0131n\u0131 bulur -cephede \u00e7e\u015fitli birliklere kumanda eder, defalarca yaralan\u0131r, sava\u015f\u0131n sonunda Alman Ordusunun en y\u00fcksek Liyakat Ni\u015fan\u0131yla onurland\u0131r\u0131l\u0131r.<\/p>\n

Sava\u015f\u0131n J\u00fcnger’in hayat\u0131nda bir d\u00f6n\u00fcm noktas\u0131 oldu\u011funu s\u00f6ylemek yetmez. \u0130ki sava\u015f aras\u0131nda yazd\u0131\u011f\u0131 ilk eserlerin temalar\u0131, bir taraftan Jungkonservative (Gen\u00e7-Muhafazakar) sa\u011fc\u0131 ideolojilere ba\u011flan\u0131yorsa, \u00f6te yandan derinden derine bir “sava\u015f uygarl\u0131\u011f\u0131n\u0131n” portresini \u00e7izerler. \u00dcstelik, yak\u0131n dostu, Die Totale Staat<\/em>‘\u0131n (Topyek\u00fcn Devlet) kuramc\u0131s\u0131 Carl Schmitt’ten bile daha derin bir ele\u015ftiriyi “burjuva romantizmi”nin d\u00fcnyas\u0131na kar\u015f\u0131 y\u00f6neltecektir: Bu son sava\u015f \u00fclkeler aras\u0131nda ge\u00e7medi -biri ge\u00e7mekte olan, ikincisi gelmekte olan iki \u00e7a\u011f ve iki ya\u015fam tarz\u0131 aras\u0131nda ge\u00e7ti. 19. y\u00fczy\u0131l burjuva ferahl\u0131\u011f\u0131n\u0131n, gelece\u011fe y\u00f6nelik orta s\u0131n\u0131f d\u00fc\u015fleminin d\u00fcnyas\u0131, b\u00fct\u00fcn hatlar\u0131yla ve kurumlar\u0131yla gelece\u011fin bu sald\u0131r\u0131s\u0131 alt\u0131nda tuzla buz olmaya gidiyorlar. Ve kazanan\u0131 kaybedeni olmayacak bu sava\u015fta gelece\u011fin sald\u0131r\u0131s\u0131 global bir end\u00fcstriyel toplumdan gelmektedir -Der Arbeiter’da (\u0130\u015f\u00e7i) vurguland\u0131\u011f\u0131 gibi, bar\u0131\u015f zaman\u0131 emek \u00f6rg\u00fctlenmesi, a\u011f\u0131r demir-\u00e7elik ve metalurji end\u00fcstrilerinin gerektirdi\u011fi gibi, ordudaki askeri \u00f6rg\u00fctlenmenin t\u0131pk\u0131s\u0131 olmaya do\u011fru gitmiyor mu? \u0130\u015f\u00e7i=asker e\u015fitli\u011fi i\u015fte bu “gelecek d\u00fcnya”d\u0131r. Anl\u0131yoruz ki Nazilerle ilk fl\u00f6rt y\u0131llar\u0131ndaki J\u00fcnger, hen\u00fcz “\u00fctopyas\u0131z”d\u0131r ve bu ate\u015f, \u00e7elik, kan d\u00fcnyas\u0131n\u0131 belli belirsiz bir nihilizmle onaylam\u0131\u015f g\u00f6r\u00fcnmektedir. Yine de Max Weber gibi liberallerle, Sombart gibi “tutucu-devrimci” iktisat\u00e7\u0131lar\u0131n \u00f6zellikle Alman kulaklara ho\u015f gelen bir \u00e7\u00f6z\u00fcmlemesi s\u00f6z konusudur yaln\u0131zca: A\u011f\u0131r end\u00fcstriyel kurumla\u015fma otoriter devleti, hafif end\u00fcstriyel stratejiler ise Bat\u0131l\u0131, liberal ve demokratik devleti s\u0131rtlar\u0131nda ta\u015f\u0131rlar. Diyebiliriz ki “fa\u015fist” J\u00fcnger, liberal \u00f6nc\u00fclerinden daha samimidir bu form\u00fcl konusunda: Madem b\u00f6yle bir gelecek ka\u00e7\u0131n\u0131lmaz bir surette yery\u00fcz\u00fcn\u00fc egemenli\u011fi alt\u0131na alacakt\u0131r, o zaman her d\u00fczeyde onunla anla\u015fmaya \u00e7abalamak gerekir: Makine bireyi saracak ise, birey de makinayla b\u00fct\u00fcnle\u015fecek ve \u00fclkelerin \u00e7elik ve asfalt damarlar\u0131ndan akacakt\u0131r. Bu d\u00fc\u015f\u00fcncelerin e\u015f-titre\u015fime girdi\u011fi bir felsefe vard\u0131r: Spengler ile Stato totalitario <\/em>\u00f6\u011fretmeni Giovanni Gentile… Bir de siyasal grup vard\u0131r -sonradan Hitlercilere ters d\u00fc\u015fecek Ernst Niekisch’in “milliyet\u00e7i Bol\u015fevikleri”… K\u0131saca s\u00f6ylemek gerekirse, J\u00fcnger’in de hat\u0131r\u0131 say\u0131l\u0131r katk\u0131larda bulundu\u011fu kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131 had safhadad\u0131r.<\/p>\n

Yine de J\u00fcnger’in kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131, Nazilerin y\u00fckseldi\u011fi d\u00f6nem boyunca farkl\u0131 t\u00fcrden, kendine \u00f6zg\u00fcd\u00fcr: Erken gen\u00e7lik y\u0131llar\u0131nda ba\u015flatt\u0131\u011f\u0131 innere Emigration (i\u00e7eriden g\u00f6\u00e7), onu politik eylem alan\u0131na g\u00f6n\u00fcl ferahl\u0131\u011f\u0131yla dalma konusunda rahats\u0131z etmeyi s\u00fcrd\u00fcr\u00fcr. \u00c7ok ge\u00e7meden, onun iki ana form\u00fcl\u00fcn\u00fcn, \u015fu Neue Topografie <\/em>(Yeni Topo\u011frafya) ile Die Totale Mobilmachung’un (Topyek\u00fcn Seferberlik) \u00fczerine atlayan Naziler ile \u00f6rt\u00fck bir bozu\u015fma s\u00fcrecine girecektir. Form\u00fcl olduk\u00e7a politik ve tuhaft\u0131r: Her \u015fey tamam da Goering gibi bir adam\u0131n Reichswehr<\/em>‘in ba\u015f\u0131nda i\u015fi nedir? Sorunun daha derin \u00e7atlaklardan kaynakland\u0131\u011f\u0131 zamanla belli olur. J\u00fcnger, Hitler sava\u015f\u0131 \u00e7\u0131karana dek Nazilerden gizli uzakla\u015fmas\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Sava\u015f y\u0131llar\u0131 bir nevi s\u00fcrg\u00fcnd\u00fcr -Fransa ile Almanya s\u0131n\u0131r\u0131nda Kirchorst’da \u00e7ak\u0131l\u0131r kal\u0131r. 1944 y\u0131l\u0131nda ise, o\u011fullar\u0131ndan ikisini de kaybeder -birini cephede, \u00f6tekini kendisinin de destekledi\u011fi anla\u015f\u0131lan Hitler suikast\u0131 sonucu, kur\u015funa dizilmi\u015f olarak… Alman ordusu, Nazilerle s\u00fcregiden iktidar m\u00fccadelesi i\u00e7inde eski harb gazisine kol kanat germi\u015ftir.<\/p>\n

Ama sava\u015f y\u0131llar\u0131 bir kez daha Kehre’ye yol a\u00e7ar -art\u0131k \u00e7a\u011fda\u015f Alman edebiyat\u0131n\u0131n en g\u00fc\u00e7l\u00fc yazar\u0131 sahneye girmekte, b\u00fcy\u00fck d\u00f6n\u00fc\u015f\u00fcm yepyeni bir “topo\u011frafya” \u00fczerinde tamamlanmaktad\u0131r –Auf Der Marmorklippen<\/em> (Mermer Yal\u0131yar) kitab\u0131 1939’da, herhalde b\u00fcy\u00fck bir cesaret g\u00f6sterisi olarak yay\u0131mland\u0131\u011f\u0131nda art\u0131k ikinci bir J\u00fcnger ile kar\u015f\u0131 kar\u015f\u0131yay\u0131z. \u0130ki karde\u015f, Akdeniz’de bir kayal\u0131k yal\u0131da, sakin bir k\u00f6ye \u00e7ekilirler. Tehditkar Ormanl\u0131’n\u0131n sald\u0131r\u0131s\u0131 yakla\u015fmakta, kasaban\u0131n kenarlar\u0131n\u0131 sarmakta, i\u00e7 huzuru mahvetmektedir. Ve iki karde\u015f inan\u0131lmaz bir \u015fey yaparlar: Ba\u015fka bir sakin k\u00f6ye \u00e7ekilirler! Ka\u00e7\u0131\u015f \u00e7izgisinin b\u00f6yle bir form\u00fcl\u00fc hem e\u015fsiz hem de tuhaft\u0131r. Form\u00fclleri en yal\u0131n halleriyle tesbit edilmeksizin Ernst J\u00fcnger okumak, biraz edebi-\u015fiirsel hazdan \u00f6teye eserin ger\u00e7ek anlamda kavranmas\u0131na g\u00f6t\u00fcrmeyecektir. \u0130\u00e7eriden g\u00f6\u00e7\u00fcn form\u00fcl\u00fc \u015fudur: Sald\u0131r\u0131 ba\u015fg\u00f6sterdi\u011finde bir ad\u0131m geriye ka\u00e7acaks\u0131n…<\/p>\n

Benzeri bir form\u00fcl, o d\u00f6nemin jurnallerinde de ba\u015fg\u00f6sterir -sava\u015f ve y\u0131k\u0131m en \u00e7\u0131lg\u0131n deh\u015fetiyle devam etmekte iken “s\u00fckunet”! Bu s\u00fckunet ise asla teslimiyet de\u011fildir: Her \u015fey bittikten sonra sava\u015fa sarfedilen onca \u00f6mr\u00fcn ard\u0131nda, alayc\u0131, geride kalacak olan baz\u0131 \u015feylerle, do\u011fayla, yollarla, tarlalarla \u00e7ok gizli bir su\u00e7ortakl\u0131\u011f\u0131 vard\u0131r. \u0130kinci bir form\u00fcl ilkini tamamlamaya gelir: Nihilizm her t\u00fcrl\u00fc d\u00fc\u015f\u00fcnceye oranla daha \u015fansl\u0131d\u0131r. D\u00fcnyan\u0131n ak\u0131\u015f\u0131n\u0131n muazzam s\u00fcrati, en hareketsiz par\u00e7ac\u0131\u011f\u0131, bir tohum tanesini bile mutlak bir g\u00fcce eri\u015ftirir. Art\u0131k en yumu\u015fak en serttir…<\/p>\n

B\u00f6ylece Ernst J\u00fcnger’in eserinde baz\u0131 form\u00fcllerin i\u015fba\u015f\u0131nda olduklar\u0131n\u0131, yaz\u0131nsal uzam\u0131n i\u00e7inde \u00e7o\u011fu zaman apans\u0131z ama son derece b\u00fcy\u00fck bir keskinlikle sivrilmekte olduklar\u0131n\u0131 s\u00f6ylemi\u015f oluyoruz, Die Glasernen Bienen (S\u0131r\u00e7a Ar\u0131lar) tedirginlik verici \u00f6l\u00e7\u00fcde “ne\u015feli” birka\u00e7 form\u00fcl sunmaktad\u0131r -\u00f6zellikle etik ve ahlak konular\u0131nda. Her zamanki gibi bir sava\u015f gazisidir ve harb y\u0131llar\u0131nda ince beceriler gerektiren top mermisi sanayiinde istihdam edilmi\u015f, sava\u015f sonras\u0131n\u0131n “do\u011fal” ortam\u0131nda i\u015f bulamamaktad\u0131r… \u00c7e\u015fitli i\u015fler aras\u0131nda s\u00f6zgelimi sigortac\u0131l\u0131\u011f\u0131 deneyecektir. Sava\u015f sonras\u0131 i\u00e7in en “olanaks\u0131z” i\u015f! Hangi kap\u0131y\u0131 \u00e7alsan eksik kol ve bacaklar… Nihayet Hearst benzeri \u00fctopyac\u0131 bir zenginin malik\u00e2ne-fabrikas\u0131nda \u00fcst d\u00fczey sekreterlik gibi bir i\u015f bulur -hafiften ka\u00e7\u0131k patronu dev metal end\u00fcstrilerinin korkun\u00e7lu\u011fundan uzakta, \u00e7ok k\u00fc\u00e7\u00fck robot\u00e7uklar yap\u0131m\u0131na t\u00fcm sermayesini vakfetmi\u015ftir: Cam ar\u0131lar. Ve t\u0131pk\u0131 J\u00fcnger gibi koleksiyon merakl\u0131s\u0131d\u0131r: Sava\u015f ara\u00e7lar\u0131, yitik organ par\u00e7alar\u0131 ve sava\u015f hekimli\u011fi malzemeleri -“kopart\u0131lm\u0131\u015f kulaklar\u0131n, organlar\u0131n vah\u015fi sergisi \u015fok etmi\u015fti beni”, diyor J\u00fcnger. Eski sava\u015flar\u0131n imgeleri aras\u0131nda (ne \u0130lyada<\/em>‘da ne de ba\u015fka bir yerde) sava\u015f kol bacak kaybetmelerle, sakatl\u0131klarla ilgilenmez. Ancak hilkat garibesi devlere ya da demonlara yak\u0131\u015ft\u0131r\u0131l\u0131r sakatl\u0131klar: Tantalos, Prokrustes… Oysa g\u00fcn\u00fcm\u00fczden \u015fu manzaraya bak\u0131n hele: Utanga\u00e7 ve \u00f6v\u00fcngen, ikiy\u00fczl\u00fc sava\u015f hekimli\u011finin hemen sar\u0131l\u0131verdi\u011fi “ne\u015fter ahlak\u0131na” bak\u0131n. Ya da tren istasyonlar\u0131nda toplanan sakat dilenciler ordusuna. Ve i\u015fte eserin ana form\u00fcl\u00fc: Sakatl\u0131klar\u0131n kazalardan kaynakland\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmek “optik” bir yan\u0131lg\u0131dan ba\u015fka bir \u015fey de\u011fildir… D\u00fcnya ve tarih hen\u00fcz r\u00fc\u015feym halindeyken sakatlanm\u0131\u015f bir \u0131rk oldu\u011fumuzdan gelmektedir bunca kaza ba\u015f\u0131m\u0131za… B\u00f6yle bir “optik yan\u0131lg\u0131” temas\u0131 hem poetik hem de derinden felsefi-politik mesajlar ta\u015f\u0131maktad\u0131r: J\u00fcnger gibi I. D\u00fcnya Sava\u015f\u0131’nda yaralanan ve \u00f6m\u00fcr boyu bir yata\u011f\u0131n yaln\u0131zl\u0131\u011f\u0131na terkedilen Frans\u0131z \u015fair Joe Bousquet’nin Stoac\u0131 form\u00fcl\u00fcyle bulu\u015fmas\u0131 \u015fa\u015f\u0131rt\u0131c\u0131 de\u011fildir -“yaralar\u0131m benden \u00f6nce vard\u0131, ben onlar\u0131 bedenimde ta\u015f\u0131mak i\u00e7in do\u011fmu\u015fum…”<\/p>\n

\u0130lerlemenin, “kay\u0131p” ve “eksiklik” \u00fczerine kurulmu\u015f bir uygarl\u0131\u011f\u0131n vazge\u00e7emedi\u011fi bir efsane olmas\u0131 kolayca anla\u015f\u0131labiliyor. Muhafazakar J\u00fcnger art\u0131k baz\u0131 tedbirler \u00f6nermek zorunda hisseder kendini -Kant’\u0131n “ahlak doktrini”ne uygun ya\u015famaya \u00e7al\u0131\u015fmak ne mene bir hayat getirir? Biraz ana-baba terbiyesi daha \u00f6nemli de\u011fil mi? B\u00f6ylece, devler d\u00fcnyas\u0131na y\u00f6nelen erken J\u00fcnger’in aksine, sava\u015f sonras\u0131n\u0131n J\u00fcnger’i \u0131srarla “k\u00fc\u00e7\u00fck \u015feylere”, ufak ayr\u0131nt\u0131lara, minimalizme y\u00f6nelecektir. Adorno’nun Minima Moralia’s\u0131nda oldu\u011fu gibi, “efendiler k\u00fclt\u00fc”n\u00fcn, \u00e7a\u011fda\u015f tiranl\u0131klar\u0131n derin bir sosyal ele\u015ftirisidir bu.<\/p>\n

Ernst J\u00fcnger’in Kehre<\/em>‘sinin mutlak oldu\u011funu asla d\u00fc\u015f\u00fcnmemek gerekir. \u00d6nce onaylayarak ortaya att\u0131\u011f\u0131 temalar (sanayi-sava\u015f, ge\u00e7mi\u015f-gelecek, nihilizm) ge\u00e7 d\u00f6nem eserlerinde bir kez daha ortaya at\u0131l\u0131rlar: Bu kez derin ve minimal bir toplumsal ele\u015ftirinin ye\u011finli\u011fiyle. Yaz\u0131nsal saydaml\u0131k ve minimal etkilerin edebi kudreti bu eserin form\u00fcllerini g\u00f6lgelememektedir. Ernst J\u00fcnger’in eseri bize \u015funu s\u00f6yler: D\u00fcnya, Tarih ve Hayat, b\u00fcy\u00fck harflerle ba\u015flasalar da hep k\u00fc\u00e7\u00fck \u015feylerin g\u00fcc\u00fcyle ayakta dururlar.<\/p>\n

Ernst J\u00fcnger, Mermer Yal\u0131yar<\/em>, \u00e7eviren Ersel Kayao\u011flu (\u0130stanbul: Can Yay\u0131nlar\u0131, 1996), 128 s.<\/p>\n

Virg\u00fcl <\/em>4 , Ocak 1998, s. 42-43<\/p>\n","protected":false},"excerpt":{"rendered":"

Metafizi\u011fi altetmek, demi\u015fti Heidegger, imk\u00e2ns\u0131z! O, basit bir felsefi e\u011fitim y\u00f6ntemi de\u011fildir. Sanki birilerinin fikrini, kanaatini reddediyormu\u015f gibi onu silip atamazs\u0131n\u0131z. Nietzsche’nin “hakikat sorunu” konusunda vurgulad\u0131\u011f\u0131 gibi, D\u00fcnya’n\u0131n Bat\u0131s\u0131nda ya\u015fayan bir insan t\u00fcr\u00fc “metafizik” olmadan de\u011fil d\u00fc\u015f\u00fcnmek, ya\u015fayamaz bile. Bilginin “bir \u015feyleri bilmesi” modern metafizik varl\u0131kbiliminin temelini atan Descartes’tan beri, Bat\u0131 d\u00fc\u015f\u00fcncesinde neredeyse Varl\u0131\u011f\u0131n tan\u0131m\u0131n\u0131n […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[137],"tags":[],"class_list":{"0":"post-4024","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-edebiyat-turkiye"},"yoast_head":"\nYaralar\u0131m benden \u00f6nce vard\u0131, ben onlar\u0131 bedenimde ta\u015f\u0131mak i\u00e7in do\u011fmu\u015fum | Ulus Baker - 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\/03\/11\/yaralarim-benden-once-vardi-ben-onlari-bedenimde-tasimak-icin-dogmusum-ulus-baker\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yaralar\u0131m benden \u00f6nce vard\u0131, ben onlar\u0131 bedenimde ta\u015f\u0131mak i\u00e7in do\u011fmu\u015fum | Ulus Baker\" \/>\n<meta property=\"og:description\" content=\"Metafizi\u011fi altetmek, demi\u015fti Heidegger, imk\u00e2ns\u0131z! O, basit bir felsefi e\u011fitim y\u00f6ntemi de\u011fildir. Sanki birilerinin fikrini, kanaatini reddediyormu\u015f gibi onu silip atamazs\u0131n\u0131z. Nietzsche’nin “hakikat sorunu” konusunda vurgulad\u0131\u011f\u0131 gibi, D\u00fcnya’n\u0131n Bat\u0131s\u0131nda ya\u015fayan bir insan t\u00fcr\u00fc “metafizik” olmadan de\u011fil d\u00fc\u015f\u00fcnmek, ya\u015fayamaz bile. 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O, basit bir felsefi e\u011fitim y\u00f6ntemi de\u011fildir. Sanki birilerinin fikrini, kanaatini reddediyormu\u015f gibi onu silip atamazs\u0131n\u0131z. Nietzsche’nin “hakikat sorunu” konusunda vurgulad\u0131\u011f\u0131 gibi, D\u00fcnya’n\u0131n Bat\u0131s\u0131nda ya\u015fayan bir insan t\u00fcr\u00fc “metafizik” olmadan de\u011fil d\u00fc\u015f\u00fcnmek, ya\u015fayamaz bile. 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