{"id":4047,"date":"2010-05-07T01:00:00","date_gmt":"2010-05-06T22:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/"},"modified":"2010-05-07T01:00:00","modified_gmt":"2010-05-06T22:00:00","slug":"sanatin-felsefesi-felsefenin-sanati-albert-camus","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/","title":{"rendered":"Sanat\u0131n Felsefesi Felsefenin Sanat\u0131 | Albert Camus"},"content":{"rendered":"

Sanatta ba\u015fkald\u0131r\u0131, ger\u00e7ek yaratma ediminde tamamlan\u0131r Ve s\u00fcreklilik kazan\u0131r; ele\u015ftiride ya da yorumda de\u011fil. \u00d6te yandan devrim de kendini yaln\u0131zca uygarl\u0131kta kan\u0131tlar; ter\u00f6rde, diktada de\u011fil. Yaratma olanakl\u0131 m\u0131? Devrim olanakl\u0131 m\u0131? \u00c7\u0131kmaza saplanm\u0131\u015f bir topluma \u00e7a\u011f\u0131m\u0131z\u0131n sordu\u011fu bu iki soru, uygarl\u0131\u011f\u0131n yeniden do\u011fu\u015funa ili\u015fkin bir tek sorudur asl\u0131nda.<\/p>\n

Yirminci y\u00fczy\u0131l\u0131n sanat\u0131 ve devrimi, ayn\u0131 yok say\u0131c\u0131l\u0131\u011fa ba\u011fl\u0131d\u0131rlar, ayn\u0131 \u00e7eli\u015fkide ya\u015farlar. Ne ki, bunlar kendi eylemlerinde bile, savlar\u0131n\u0131 ink\u00e2r ettikleri gibi, y\u0131ld\u0131rma y\u00f6ntemiyle olanaks\u0131z bir \u00e7\u00f6z\u00fcm bulmaya \u00e7al\u0131\u015f\u0131rlar.<\/p>\n

\u00c7a\u011fda\u015f devrim yeni bir d\u00fcnya kurdu\u011funa inanmaktad\u0131r; oysa eski d\u00fcnyan\u0131n \u00e7eli\u015fkili sonu\u00e7lar\u0131ndan ba\u015fka bir \u015fey de\u011fildir. Sonu\u00e7 olarak, kapitalist toplum da devrimci toplum da kendileri ayn\u0131 ara\u00e7lara (end\u00fcstriyel \u00fcretim ara\u00e7lar\u0131na ve ayn\u0131 s\u00f6yleme) ba\u011fl\u0131 kald\u0131klar\u0131 \u00f6l\u00e7\u00fcde birdir ve ayn\u0131 \u015feydir. Ancak birisi, ya\u015fama ge\u00e7irmekte pek de yeterli olamayaca\u011f\u0131 ve kulland\u0131\u011f\u0131 y\u00f6ntemlerce reddedilen bi\u00e7imsel ilkeler ad\u0131na s\u00f6z verir. Di\u011feri ise \u00f6ng\u00f6r\u00fcs\u00fcn\u00fc yaln\u0131zca tan\u0131d\u0131\u011f\u0131 ger\u00e7eklik ad\u0131na hakl\u0131 \u00e7\u0131kar\u0131r ve onu ger\u00e7ekli\u011fi \u00f6rseleme pahas\u0131na sonu\u00e7land\u0131r\u0131r.\u00dcretime dayal\u0131 bir toplum yaln\u0131zca \u00fcreticidir, yarat\u0131c\u0131 de\u011fil. Hi\u00e7leyici olu\u015fundan \u00f6t\u00fcr\u00fc, \u00e7a\u011fda\u015f sanat, ayn\u0131 zamanda bi\u00e7imcilik ve ger\u00e7ek\u00e7ilik aras\u0131nda da bocalamaktad\u0131r. \u00dcstelik, ger\u00e7ek\u00e7ilik iyi bir \u00f6rnek oldu\u011funda ne denli toplumcu ise, \u2019kat\u0131\u2019 oldu\u011funda o denli burjuvad\u0131r. Bi\u00e7imcilik as\u0131ls\u0131z soyutlama bi\u00e7imine b\u00fcr\u00fcnd\u00fc\u011f\u00fcnde ge\u00e7mi\u015fin toplumuna ne denli ba\u011fl\u0131 ise, propagandaya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcnde, gelece\u011fin toplumu olmaya soyunan topluma da o denli ba\u011fl\u0131d\u0131r. Usd\u0131\u015f\u0131 olumsuzlama ile y\u0131k\u0131lan dil, s\u00f6zel sanr\u0131lama i\u00e7inde yitip gider; gerekirci d\u00fc\u015f\u00fcnce dizgesine ba\u011fl\u0131 oldu\u011fundan, buyruk s\u00f6zc\u00fc\u011f\u00fc ile \u00f6zedenir. \u0130kisi aras\u0131ndaysa sanat yer al\u0131r. E\u011fer ba\u015fkald\u0131ran, yok etme \u00e7\u0131\u011fl\u0131\u011f\u0131m ve totaliter zihniyeti e\u015fzamanl\u0131 bi\u00e7imde reddetmek zorundaysa, sanat\u00e7\u0131 da bi\u00e7imcilik tutkusundan ve ger\u00e7ek\u00e7ili\u011fin totaliter esteti\u011finden e\u015fzamanl\u0131 olarak kurtulmak durumundad\u0131r. G\u00fcn\u00fcm\u00fczde d\u00fcnya birdir ger\u00e7ekte, fakat bu birlik hi\u00e7li\u011fin birli\u011fidir. E\u011fer d\u00fcnya, bi\u00e7imsel ilkelerin hi\u00e7li\u011fini ve ilkesiz hi\u00e7li\u011fi d\u0131\u015flayarak, yarat\u0131c\u0131 bire\u015fime giden yolu yeniden ke\u015ffederse, uygarl\u0131k ancak o zaman olanakl\u0131d\u0131r. Ayn\u0131 \u015fekilde, sanatta s\u00fcrekli yorum ve r\u00f6portaj d\u00f6nemi \u00f6l\u00fcm\u00fcn e\u015fi\u011finde olup, yarat\u0131c\u0131 sanat\u00e7\u0131lar\u0131n geli\u015fini haber vermektedir.<\/p>\n

Fakat sanatla toplum, yaratmayla devrim, bu olaya haz\u0131rl\u0131kl\u0131 olmak i\u00e7in, reddetme ve benimsemenin; \u00f6zg\u00fcn ve evrensel, bireysel ve tarih i\u00e7indeki en a\u015f\u0131r\u0131 gerilim ortam\u0131nda birbirini dengeledi\u011fi yerdeki isyan\u0131n kayna\u011f\u0131m yeniden ke\u015ffetmek zorundad\u0131r. Ba\u015fkald\u0131r\u0131n\u0131n kendisi bir uygarl\u0131k unsuru de\u011filse de t\u00fcm uygarl\u0131klar\u0131n ba\u015flang\u0131c\u0131d\u0131r. Yaln\u0131z ba\u015f\u0131na isyan, ya\u015fad\u0131\u011f\u0131m\u0131z \u00e7\u0131kmaz sokakta Nietzsche\u2019nin d\u00fc\u015fledi\u011fi gelecek i\u00e7in umutlu olmam\u0131za izin verir: \u2019Yarg\u0131c\u0131n ve diktat\u00f6r\u00fcn yerine, yarat\u0131c\u0131\u2019. Bu form\u00fcl elbet, sanat\u00e7\u0131larca denedenen g\u00fcl\u00fcn\u00e7 bir uygarl\u0131k yan\u0131lsamas\u0131na izin vermez. O, yaln\u0131zca t\u00fcm\u00fcyle \u00fcretimin g\u00f6lgesinde
kalan i\u015fin art\u0131k yarat\u0131c\u0131 olamad\u0131\u011f\u0131, g\u00fcn\u00fcm\u00fcz\u00fcn \u00e7arp\u0131c\u0131 olaylar\u0131n\u0131 ayd\u0131nlat\u0131r. End\u00fcstriyel toplum, ancak, i\u015f\u00e7iye yarat\u0131c\u0131l\u0131k onurunu yeniden kazand\u0131rarak, ba\u015fka bir deyi\u015fle ona, ilgisini de bilgisini de \u00fcrettiklerine oldu\u011fu kadar i\u015fine de verdirerek a\u00e7abilir yeni bir uygarl\u0131\u011f\u0131n yolunu. Ka\u00e7\u0131n\u0131lmaz olan uygarl\u0131k t\u00fcr\u00fc, bireyde oldu\u011fu kadar s\u0131n\u0131flar aras\u0131nda da, i\u015f\u00e7iyi yarat\u0131c\u0131dan; sanatsal yaratma olay\u0131n\u0131n bi\u00e7im ve temel, tarih ve ak\u0131l \u00fcst\u00fcne d\u00fc\u015fledi\u011fi ayr\u0131m\u0131ndan daha fazla ay\u0131ramayacakt\u0131r. B\u00f6ylece herkese, ba\u015fvurunun savundu\u011fu a\u011f\u0131rba\u015fl\u0131l\u0131\u011f\u0131 kazand\u0131racakt\u0131r. Shakespear\u2019in kundurac\u0131lar birli\u011fini y\u00f6netmesi haks\u0131zl\u0131k, dahas\u0131 \u00dctopik olurdu. \u00d6te yandan kundurac\u0131lar birli\u011finin Shakespear\u2019i g\u00f6z ard\u0131 etmesi de ayn\u0131 \u00f6l\u00e7\u00fcde tuhaf olurdu. Kundurac\u0131lar olmaks\u0131z\u0131n Shakespeare, dikta i\u00e7in bir \u00f6z\u00fcr bahanesi olurdu. Shakespeare olmaks\u0131z\u0131n kundurac\u0131, olu\u015fumuna katk\u0131da bulunmad\u0131\u011f\u0131 zaman dikta taraf\u0131ndan emilip sindirilir. Her yaratma eylemi, salt var olu\u015fuyla, efendi-k\u00f6le d\u00fcnyas\u0131n\u0131 reddeder, i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z \u015fa\u015f\u0131rt\u0131c\u0131 efendi-k\u00f6le toplumu \u00f6l\u00fcm\u00fcn\u00fc de ba\u015fkala\u015f\u0131m\u0131m da yaln\u0131zca yaratma d\u00fczeyinde anlar.<\/p>\n

Ancak yaratman\u0131n gerekli olmas\u0131, onun kesinkes m\u00fcmk\u00fcn oldu\u011fu anlam\u0131na gelmez. Sanatta yarat\u0131c\u0131 bir d\u00f6nem, belirli bir zaman\u0131n bozuklu\u011funa uygulanan \u00f6zel bir bi\u00e7emin d\u00fczenince belirlenir. \u00c7a\u011fda\u015f tutkular\u0131 bi\u00e7imlendirir ve form\u00fclle\u015ftirir o. (…) G\u00fcn\u00fcm\u00fczde toplumsal tutkular bireysel tutkular\u0131 sinsice bast\u0131rd\u0131\u011f\u0131nda, sevginin co\u015fkusu sanat\u00e7a her zaman denedenebi-lir. Fakat ka\u00e7\u0131n\u0131lmaz sorun toplumsal tutkuyu ve tarihsel \u00e7abay\u0131. da denedeyecektir. Sanat\u0131n kapsam\u0131, ba\u015fkalar\u0131n\u0131n yap\u0131dar\u0131ndan \u00e7al\u0131nt\u0131c\u0131lar\u0131n pi\u015fmanl\u0131klar\u0131na kar\u015f\u0131n, psikolojiden insan\u0131n durumuna dek geni\u015fletilmi\u015ftir. D\u00f6nemlerin tutkular\u0131 t\u00fcm d\u00fcnyan\u0131n kaderiyle oynad\u0131\u011f\u0131 zaman; yaratma, yazg\u0131n\u0131n t\u00fcm\u00fcne egemen olmak ister. Fakat ayn\u0131 zamanda, b\u00fct\u00fcnc\u00fcll\u00fc\u011f\u00fcn (totalitenin) kar\u015f\u0131s\u0131nda, birli\u011fin sa\u011flamla\u015ft\u0131r\u0131lmas\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Yal\u0131n anlat\u0131mla, yaratma ilkin kendisince, daha sonra da b\u00fct\u00fcnc\u00fcll\u00fck d\u00fcrt\u00fcs\u00fcyle tehlikeye at\u0131l\u0131r. G\u00fcn\u00fcm\u00fczde yaratmak, tehlikeli bir bi\u00e7imde yaratmakt\u0131r.<\/p>\n

Ger\u00e7ekte, toplumsal tutkular\u0131n en az\u0131ndan g\u00f6receli olarak ya\u015fanmas\u0131 gerekir. Sanat\u00e7\u0131, onlar\u0131 ya\u015fad\u0131\u011f\u0131 ayn\u0131 zaman i\u00e7inde, onlar taraf\u0131ndan yenir, yutulur. Sonu\u00e7 olarak, bizim d\u00f6nemimiz sanatsal yap\u0131t d\u00f6nemi olmaktan \u00e7ok, r\u00f6portaj d\u00f6nemidir. Bu tutkular\u0131n ya\u015fanmas\u0131, sonu\u00e7ta, sevgi ve tutku d\u00f6nemindekine g\u00f6re, daha \u00e7ok \u00f6l\u00fcm olas\u0131l\u0131\u011f\u0131 i\u00e7erir; \u00e7\u00fcnk\u00fc toplumsal tutkular\u0131 ya\u015faman\u0131n tek yolu, onlar u\u011fruna ya da onlar\u0131n eliyle \u00f6lmeye haz\u0131r olmaktan ge\u00e7er. Bug\u00fcn sahicilik ad\u0131na en b\u00fcy\u00fck f\u0131rsat sanat\u0131n en b\u00fcy\u00fck yenilgisi demektir. Sava\u015flar ve devrimler s\u0131ras\u0131nda yaratma olanaks\u0131zsa, o zaman yarat\u0131c\u0131 sanat\u00e7\u0131lar\u0131m\u0131z olmayacak demektir; \u00e7\u00fcnk\u00fc sava\u015f ve devrim yazg\u0131m\u0131zd\u0131r. S\u0131n\u0131rs\u0131z \u00fcretim mucizesi t\u0131pk\u0131 bulutlar\u0131n bir f\u0131rt\u0131nay\u0131 bildirmesi gibi ka\u00e7\u0131n\u0131lmaz olarak sava\u015f getirir. Sava\u015flar Bat\u0131\u2019y1 yerle bir eder ve birka\u00e7 dahiyi can\u0131ndan eder. Burjuva d\u00fczeni, devrimci d\u00fczenin ayak seslerinin yakla\u015fmakta oldu\u011funu duydu\u011funda, y\u0131k\u0131nt\u0131lar i\u00e7inden neredeyse hi\u00e7 \u00e7\u0131kamam\u0131\u015ft\u0131r. Dahi yeniden do\u011fmaya bile zaman bulamam\u0131\u015ft\u0131r; bizleri tehdit eden sava\u015f, belki de dahi olmu\u015f olabileceklerin hepsini \u00f6ld\u00fcrecektir. Yine de, yarat\u0131c\u0131 klasisizmin olas\u0131l\u0131\u011f\u0131 kan\u0131tlan\u0131rsa, bilmeliyiz ki, yaln\u0131zca bir isim alt\u0131nda sunulsa da, t\u00fcm bir ku\u015fa\u011fa ait bir yap\u0131t olacakt\u0131r o. Y\u0131k\u0131m y\u00fczy\u0131l\u0131nda yenilgi olas\u0131l\u0131\u011f\u0131 (riski) say\u0131 zarar\u0131yla giderilebilir ancak; bir ba\u015fka deyi\u015fle, otantik sanat\u00e7\u0131lardan, hi\u00e7 de\u011filse, onda birinin ya\u015fayabilme \u015fans\u0131 karde\u015f sanat\u00e7\u0131lar\u0131n ilk s\u00f6zlerine uyacak ve kendi ya\u015fam\u0131nda, hem tutku i\u00e7in hem de yaratma i\u00e7in zaman bulacakt\u0131r. Sevsin sevmesin, sanat\u00e7\u0131, di\u011fer sanat\u00e7\u0131 arkada\u015flar\u0131na bor\u00e7lu oldu\u011fu melankolinin tutsa\u011f\u0131 oldu\u011fu zamanlar d\u0131\u015f\u0131nda, art\u0131k yaln\u0131z ba\u015f\u0131na olamaz. Ba\u015fkald\u0131rm\u0131\u015f sanat, ayn\u0131 zamanda \u2019Var\u0131z\u2019\u0131 ve onunla birlikte yaman bir al\u00e7akg\u00f6n\u00fcll\u00fcl\u00fc\u011f\u00fcn yolunu g\u00f6sterir.<\/p>\n

Bu s\u0131rada muzaffer devrim, hi\u00e7li\u011finin sapmalar\u0131nda, ona kafa tutarak, b\u00fct\u00fcnc\u00fcll\u00fck ba\u011flam\u0131ndaki birli\u011fin var olu\u015funu s\u00fcrd\u00fcrme sav\u0131nda olanlara g\u00f6zda\u011f\u0131 vermektedir. Bug\u00fcn\u00fcn tarihinin, bunun da \u00f6tesinde yar\u0131n\u0131n tarihinin anlatmak istediklerinden biri, sanat\u00e7\u0131larla yeni fatihler aras\u0131nda yarat\u0131c\u0131 devrimin tan\u0131klar\u0131yla hi\u00e7lik\u00e7i devrimin kurucular\u0131 aras\u0131ndaki sava\u015f\u0131md\u0131r. Bu sava\u015f\u0131m\u0131n sonu\u00e7lar\u0131na gelince, ancak esinsel tahminler yap\u0131labilir. En az\u0131ndan biliyoruz ki, bundan b\u00f6yle o, ac\u0131 sona ta\u015f\u0131nmal\u0131d\u0131r. Modern fatihler \u00f6ld\u00fcrebilirler; ama \u00f6yle g\u00f6r\u00fcn\u00fcyor ki yaratamazlar. Sanat\u00e7\u0131lar nas\u0131l yaratacaklar\u0131m bilirler de ger\u00e7ek anlamda \u00f6ld\u00fcremezler. Sanat\u00e7\u0131lar aras\u0131nda katillere ancak ayr\u0131ks\u0131 olarak rasdanabilir. Bu nedenle, eninde sonunda devrimci toplumlar\u0131m\u0131z\u0131n sanat\u0131 \u00f6lmek durumundad\u0131r. Ancak o zaman devrim kendi \u00f6mr\u00fcn\u00fc tamamlam\u0131\u015f olacakt\u0131r. Devrim, bir adam\u0131n ki\u015fili\u011finde boy atabilmi\u015f bir sanat\u00e7\u0131y\u0131 her \u00f6ld\u00fcr\u00fc\u015f\u00fcnde, kendini biraz daha belli eder. E\u011fer sonu\u00e7ta fatihler d\u00fcnyay\u0131 kendi kurallar\u0131na g\u00f6re bi\u00e7imlendirmeyi ba\u015far\u0131rlarsa, bu kalitenin kral oldu\u011fu; bu d\u00fcnyan\u0131nsa cehennem oldu\u011fu anlam\u0131na gelmez. Bu cehennemde, sanat\u0131n yeri ala\u015fa\u011f\u0131 edilmi\u015f ba\u015fkald\u0131r\u0131yla rastla\u015fa-cakt\u0131r; umars\u0131zl\u0131\u011f\u0131n k\u00f6r kuyusunda bo\u015f bir umut k\u0131r\u0131nt\u0131s\u0131.
Ernst Dwinger, Sibirya G\u00fcnl\u00fc\u011f\u00fcmde -so\u011fuk ve a\u00e7l\u0131\u011f\u0131n neredeyse dayan\u0131lmaz boyudarda oldu\u011fu bir kamptaki y\u0131llarca tutsakl\u0131\u011f\u0131 s\u0131ras\u0131nda- kendisine tu\u015flar\u0131 a\u011fa\u00e7tan bir piyano yapan bir Alman te\u011fmeninin \u00f6yk\u00fcs\u00fcn\u00fc anlat\u0131r. Baya\u011f\u0131, onur k\u0131r\u0131c\u0131 bir mutsuzluk i\u00e7inde, pejm\u00fcrde kaba-saba bir kabal\u0131\u011f\u0131n i\u00e7inde, yaln\u0131zca kendisinin duyabilece\u011fi garip bir m\u00fczik par\u00e7as\u0131 bestelemi\u015fti bu te\u011fmen. Cehenneme at\u0131lm\u0131\u015f bizler i\u00e7in, gizemli melodilerle bozulmu\u015f g\u00fczelli\u011fin azap verici imgeleri, bize, su\u00e7 ve d\u00fc\u015f\u00fckl\u00fc\u011f\u00fcn kol gezdi\u011fi ortamda, y\u00fczy\u0131llar boyunca insanl\u0131\u011f\u0131n y\u00fcceli\u011fine tan\u0131kl\u0131k eden uyumlu isyan\u0131n yank\u0131s\u0131n\u0131 getirir her zaman.
Ne var ki cehennem, sadece s\u0131n\u0131rl\u0131 bir d\u00f6nem i\u00e7in ayakta kalabilir; ya\u015fam bir g\u00fcn yeniden ba\u015flar. Tarih belki bir g\u00fcn sona ere-bilir; fakat bizlere d\u00fc\u015fen onu sona erdirmek de\u011fil, bundan b\u00f6yle do\u011fru bildi\u011fimiz \u015feyin imgesi i\u00e7inde, yaratmakt\u0131r. Sanat, en az\u0131ndan, bize insan\u0131n salt tarih ba\u011flam\u0131nda anlat\u0131lamayaca\u011f\u0131n\u0131 ve onun, ayn\u0131 zamanda do\u011fan\u0131n d\u00fczeni i\u00e7inde kendi varl\u0131\u011f\u0131 (ya\u015fam\u0131) i\u00e7in de bir neden bulabildi\u011fini \u00f6\u011fretir. Onun i\u00e7in, b\u00fcy\u00fck tanr\u0131 Pan \u00f6lmemi\u015ftir. Onun en se\u00e7kin ba\u015fkald\u0131r\u0131 eylemi, t\u00fcm insanlar i\u00e7in ortak olan de\u011feri ve onuru g\u00fc\u00e7lendirirken birli\u011fe olan a\u00e7l\u0131\u011f\u0131n\u0131 gidermek i\u00e7in, ad\u0131 g\u00fczellik olan ger\u00e7ekli\u011fin ayr\u0131lmaz bir par\u00e7as\u0131 \u00fczerinde inatla hak iddia eder. Bir kimse tarihi t\u00fcm\u00fcyle redde-debilirse de deniz ve y\u0131ld\u0131zlar d\u00fcnyas\u0131n\u0131 kabul eder. Do\u011fay\u0131, g\u00fczelli\u011fi g\u00f6z ard\u0131 etmek isteyen asiler, ya\u015fam\u0131n ve eme\u011fin y\u00fcceli\u011fini kurmak isterken yararland\u0131klar\u0131 her \u015feyi tarihten \u00e7\u0131kar\u0131p atmaya yazg\u0131l\u0131d\u0131rlar.<\/p>\n

Her b\u00fcy\u00fck yenilik\u00e7i, Shakespeare\u2019in, Cervantes\u2019in, Tolstoy\u2019un ve de herkesin g\u00f6nl\u00fcnde ta\u015f\u0131d\u0131\u011f\u0131 \u00f6zg\u00fcrl\u00fck ve onura olan a\u00e7l\u0131\u011f\u0131 gidermeye her zaman haz\u0131r olan bir d\u00fcnyan\u0131n nas\u0131l yarat\u0131laca\u011f\u0131m bildi\u011fi \u015feyi tarihte yaratmaya \u00e7al\u0131\u015f\u0131r. G\u00fczellik devrim yapamaz elbet; fakat bir g\u00fcn gelir devrimler g\u00fczelli\u011fe gereksinim duyar. G\u00fczelli\u011fin y\u00f6ntemi; ki bu, ger\u00e7ekli\u011fe direnirken ona birlik vermektir, isyan\u0131n da y\u00f6ntemidir. \u0130nsan\u0131n do\u011fas\u0131na ve d\u00fcnyan\u0131n g\u00fczelli\u011fine alk\u0131\u015f tutmay\u0131 b\u0131rakmaks\u0131z\u0131n, haks\u0131zl\u0131\u011f\u0131 s\u00fcrekli bi\u00e7imde reddetmek m\u00fcmk\u00fcn m\u00fcd\u00fcr? Buna yan\u0131t\u0131m\u0131z evettir. Boyun e\u011f-mezlikle ba\u011f\u0131ml\u0131l\u0131\u011f\u0131 bir arada bar\u0131nd\u0131ran bu etik anlay\u0131\u015f\u0131, her durumda, tam anlam\u0131yla ger\u00e7ek\u00e7i devrime giden yolu ayd\u0131nlatan tek anlay\u0131\u015ft\u0131r. G\u00fczelli\u011fi elimizde tutarak, tarihin bi\u00e7imsel ve a\u015fa\u011f\u0131l\u0131k ilkelerinin \u00f6tesinde, bir yandan, d\u00fcnyan\u0131n ve insan\u0131n ortak onurunu kuracak bir erdeme yer verece\u011fi, uygarl\u0131\u011f\u0131n yeniden do\u011fu\u015f g\u00fcn\u00fcne giden yolu d\u00f6\u015f\u00fcyoruz; di\u011fer yandan da kendini al\u00e7altan bu d\u00fcnyada bu erdemi tan\u0131maya \u00e7al\u0131\u015f\u0131yoruz.<\/p>\n

Albert Camus<\/p>\n

Sanat\u0131n Felsefesi Felsefenin Sanat\u0131
\u00dctopya Yay\u0131nlar\u0131
221-227<\/p>\n","protected":false},"excerpt":{"rendered":"

Sanatta ba\u015fkald\u0131r\u0131, ger\u00e7ek yaratma ediminde tamamlan\u0131r Ve s\u00fcreklilik kazan\u0131r; ele\u015ftiride ya da yorumda de\u011fil. \u00d6te yandan devrim de kendini yaln\u0131zca uygarl\u0131kta kan\u0131tlar; ter\u00f6rde, diktada de\u011fil. Yaratma olanakl\u0131 m\u0131? Devrim olanakl\u0131 m\u0131? \u00c7\u0131kmaza saplanm\u0131\u015f bir topluma \u00e7a\u011f\u0131m\u0131z\u0131n sordu\u011fu bu iki soru, uygarl\u0131\u011f\u0131n yeniden do\u011fu\u015funa ili\u015fkin bir tek sorudur asl\u0131nda. Yirminci y\u00fczy\u0131l\u0131n sanat\u0131 ve devrimi, ayn\u0131 yok […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[138],"tags":[],"class_list":{"0":"post-4047","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-edebiyat-dunya"},"yoast_head":"\nSanat\u0131n Felsefesi Felsefenin Sanat\u0131 | Albert Camus - 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\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sanat\u0131n Felsefesi Felsefenin Sanat\u0131 | Albert Camus\" \/>\n<meta property=\"og:description\" content=\"Sanatta ba\u015fkald\u0131r\u0131, ger\u00e7ek yaratma ediminde tamamlan\u0131r Ve s\u00fcreklilik kazan\u0131r; ele\u015ftiride ya da yorumda de\u011fil. \u00d6te yandan devrim de kendini yaln\u0131zca uygarl\u0131kta kan\u0131tlar; ter\u00f6rde, diktada de\u011fil. 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Yaratma olanakl\u0131 m\u0131? Devrim olanakl\u0131 m\u0131? \u00c7\u0131kmaza saplanm\u0131\u015f bir topluma \u00e7a\u011f\u0131m\u0131z\u0131n sordu\u011fu bu iki soru, uygarl\u0131\u011f\u0131n yeniden do\u011fu\u015funa ili\u015fkin bir tek sorudur asl\u0131nda. Yirminci y\u00fczy\u0131l\u0131n sanat\u0131 ve devrimi, ayn\u0131 yok […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/","og_site_name":"narteks.net","article_published_time":"2010-05-06T22:00:00+00:00","og_image":[{"width":300,"height":90,"url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","type":"image\/png"}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"11 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Sanat\u0131n Felsefesi Felsefenin Sanat\u0131 | Albert Camus","datePublished":"2010-05-06T22:00:00+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/"},"wordCount":2153,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"articleSection":["Edebiyat ( D\u00fcnya )"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/","url":"https:\/\/narteks.net\/index.php\/2010\/05\/07\/sanatin-felsefesi-felsefenin-sanati-albert-camus\/","name":"Sanat\u0131n Felsefesi Felsefenin Sanat\u0131 | Albert Camus - 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