![](\"http:\/\/kaderheperkenzamanhepgec.files.wordpress.com\/2011\/02\/albert-camus.jpg?w=500&h=652\")
<\/p>\n<\/p>\n
Camus denilince, edebiyat alan\u0131nda ilk akla gelen yap\u0131t, 1942 y\u0131l\u0131nda yay\u0131nlanan \u201cYabanc\u0131\u201dd\u0131r. Konusu \u00e7ok basittir. \u00d6yk\u00fcdeki her \u015fey \u00e7ok k\u0131sa bir zaman aral\u0131\u011f\u0131nda olup biter. Cezayir\u2019de, bir rastlant\u0131 sonucu, bir Arap\u2019\u0131 \u00f6ld\u00fcren orta s\u0131n\u0131ftan bir Frans\u0131z, Mersault, kendisini ad\u0131m ad\u0131m \u00f6l\u00fcme g\u00f6t\u00fcren s\u00fcreci kay\u0131ts\u0131z bi\u00e7imde izler. Di\u011fer ki\u015filerin ad\u0131 an\u0131lsa da, roman kahraman\u0131n\u0131n ad\u0131n\u0131 bile \u00f6\u011frenemeyiz (burada Kafka etkisinden s\u00f6z edilebilir). Camus\u2019n\u00fcn yabanc\u0131s\u0131n\u0131n yabanc\u0131la\u015fmas\u0131n\u0131 kendi a\u011fz\u0131ndan \u015f\u00f6yle aktarabiliriz; \u2018yani bu i\u015fin benim d\u0131\u015f\u0131mda g\u00f6r\u00fcl\u00fcyor gibi bir hali vard\u0131.<\/p>\n
Her \u015fey, ben kar\u0131\u015ft\u0131r\u0131lmaks\u0131z\u0131n olup bitiyordu, kaderim bana sorulmadan tayin olunuyordu (…) \u0130yi d\u00fc\u015f\u00fcn\u00fcnce s\u00f6ylenecek bir \u015feyim olmad\u0131\u011f\u0131n\u0131 anlamaktayd\u0131m. Kendi kendimi seyrediyormu\u015f gibi bir hisse kap\u0131ld\u0131m.\u2019<\/p>\n
Ki\u015fi ya\u015fama ve eylemlerine yabanc\u0131la\u015fm\u0131\u015ft\u0131r. Ancak buradaki yabanc\u0131la\u015fman\u0131n Camus i\u00e7in Marksist bir yabanc\u0131la\u015fma \u00f6\u011fretisi ile bir ili\u015fkisi olmad\u0131\u011f\u0131n\u0131 vurgulamak gerekiyor. Buradaki yabanc\u0131la\u015fma Camus\u2019n\u00fcn \u00fcnl\u00fc \u2018abs\u00fcrd\u2019 (sa\u00e7ma) felsefi kategorisinden \u00e7\u0131kar. Yine kahraman\u0131na s\u00f6yletti\u011fi \u2018herkes bilir ki, hayat ya\u015famak zahmetine de\u011fmeyen bir \u015feydir, asl\u0131nda 30 yada 70 ya\u015f\u0131nda \u00f6lmenin \u00f6nemli olmad\u0131\u011f\u0131n\u0131 bilmez de\u011fildim, \u00e7\u00fcnk\u00fc her iki halde de gayet tabii olarak ba\u015fka erkekler ve kad\u0131nlar yine ya\u015fayacaklar ve bu binlerce y\u0131l devam edecektir (…) \u0130nsan madem ki \u00f6lecektir, bunun nas\u0131l ve nezaman olaca\u011f\u0131n\u0131n \u00f6nemi yoktur\u2019 s\u00f6zleri, \u00e7a\u011fda\u015f nihilizmin sa\u00e7ma kavram\u0131 alt\u0131nda irdelenmesidir<\/p>\n
Bu sa\u00e7ma\/abs\u00fcrd kavram\u0131 o d\u00f6nem Varolu\u015f\u00e7ular\u0131n\u0131n \u00f6nemli bir tezi. Daha sonra Sartre, Marksizmle Varolu\u015f\u00e7ulu\u011fu bulu\u015fturma \u00e7abas\u0131yla, sa\u00e7ma\u2019y\u0131 ile daha anlaml\u0131 bir bi\u00e7imde, eylemsel zorunlulu\u011fun alt\u0131n\u0131 \u00e7izmek ad\u0131na kullanmaya \u00e7al\u0131\u015ft\u0131. Ama Camus\u2019n\u00fcn sa\u00e7mas\u0131 daima metafizik \u00f6\u011feler ta\u015f\u0131d\u0131 ve nihilizmin yerine ahlaki bir eylemlilikten s\u00f6z etti.<\/p>\n
\u00d6zetle s\u00f6ylersek, d\u00fcnya bo\u015f ve manas\u0131z, her \u015fey, insan, hayat, toplum sa\u00e7mad\u0131r. Evrensel bir sa\u00e7mal\u0131kt\u0131r bu. Bunu d\u00fc\u015f\u00fcnmek \u00e7ok yorucu, hayattan bezdiricidir. Ya\u015fam\u0131n tekd\u00fczeli\u011fi alt\u0131nda, makinala\u015fm\u0131\u015f bir d\u00fcnyada makinala\u015fm\u0131\u015f insan , \u00f6l\u00fcm\u00fc bile rahatl\u0131kla kabul eder. Hayat ya\u015famaya de\u011fmez. Yabanc\u0131\u2019y\u0131 okurken, b\u00fct\u00fcn ola\u011fan d\u0131\u015f\u0131l\u0131\u011f\u0131na ra\u011fmen \u00f6yk\u00fcn\u00fcn do\u011fall\u0131\u011f\u0131, kahraman\u0131n \u00f6l\u00fcm\u00fc kabulleni\u015findeki do\u011fall\u0131k bizi rahats\u0131z eder, d\u00fcnyan\u0131n sa\u00e7mal\u0131\u011f\u0131 vurgusunu kuvvetlendirir. Mersault\u2019un ya\u015fama s\u0131k\u0131nt\u0131s\u0131n\u0131 paralel bir s\u0131k\u0131nt\u0131 okuyucuda da uyan\u0131r. B\u00fct\u00fcn ki\u015filerin ya\u015famlar\u0131 ve eylemleri de bo\u015f ve anlams\u0131z gelir size.<\/p>\n
Bir felsefi\/ideolojik g\u00f6r\u00fc\u015f\u00fcn bir edebiyat yap\u0131t\u0131na yedirili\u015finin en iyi \u00f6rneklerinden birisidir \u2018Yabanc\u0131\u2019. Ancak \u2018Sisyphos S\u00f6ylemi\u2019 adl\u0131 denemesinde Camus, savl\u0131 edebiyat\u0131 \u015fiddetle reddederek kendisiyle \u00e7eli\u015fir. Ard\u0131ndan, \u00f6yk\u00fc anlat\u0131c\u0131lar\u0131n\u0131 de\u011fil filozoflar\u0131 b\u00fcy\u00fck romanc\u0131lar sayar ve onlar\u0131 Balzac, Sade, Melville, Dostoyevski, Proust, Malraux, Kafka gibi adlarla \u00f6rnekler. Herhalde Camus\u2019n\u00fcn kastetti\u011fi sav, a\u00e7\u0131k bir politik g\u00f6r\u00fc\u015f anlam\u0131ndad\u0131r ama kullan\u0131l\u0131\u015f\u0131 pek de a\u00e7\u0131k de\u011fil.<\/p>\n
Camus\u2019n\u00fcn felsefesi<\/strong><\/p>\n Bir \u00f6nemli roman ve bir \u00f6nemli felsefi denemenin artarda geli\u015fini Camus\u2019n\u00fcn ya\u015fam\u0131nda iki kez g\u00f6zleriz. \u2018Yabanc\u0131\u2019 ve \u2018Sisyphos S\u00f6ylemi\u2019 bu \u00e7iftlerden ilkidir. Daha sonra \u2018Veba\u2019 ve \u2018Ba\u015fkald\u0131ran \u0130nsan\u2019 \u00e7ifti gelir. \u0130lk \u00e7iftte sa\u00e7ma kavram\u0131 ve intihar, ikincisinde ba\u015fkald\u0131r\u0131 ve cinayet temalar\u0131 i\u015flenmi\u015ftir. Birincisi bireysel ikincisi toplumsal alanlarda ge\u00e7er. Hepsindeki ortak nokta sa\u00e7ma ya\u015fant\u0131y\u0131 \u00f6ne \u00e7\u0131karan \u00f6l\u00fcm olgusudur. \u00c7ocuklu\u011funda babas\u0131n\u0131n \u00f6l\u00fcm\u00fc ile ba\u015flayan, ya\u015fl\u0131 ve hastal\u0131kl\u0131 insanlarla ayn\u0131 ortam\u0131 teneff\u00fcs eden ve o y\u0131llar i\u00e7in ya\u015fam\u0131 tehdit eden verem hastal\u0131\u011f\u0131na yakalan ve son olarak da 20. y\u00fczy\u0131l\u0131n ilk yar\u0131s\u0131ndaki b\u00fcy\u00fck sava\u015f felaketlerini ya\u015fayan yazar i\u00e7in \u00f6l\u00fcm duygusu her an yan\u0131 ba\u015f\u0131nda giden bir d\u00fc\u015f\u00fcnce bi\u00e7imi olmu\u015ftur.<\/p>\n Sisyphos S\u00f6ylemi Camus\u2019\u00fc ve onun tarz\u0131 Varolu\u015f\u00e7ulu\u011fu anlamak i\u00e7in \u00f6nemli. D\u00fcnyan\u0131n sa\u00e7mal\u0131\u011f\u0131 ve ya\u015fam\u0131n anlams\u0131zl\u0131\u011f\u0131n\u0131 tarih ve edebiyat i\u00e7erisinden belirli ki\u015filikler arac\u0131l\u0131\u011f\u0131yla ele al\u0131r. Sisyphos ise bunlara alternatiftir. \u00c7\u00fcnk\u00fc o cezas\u0131n\u0131 bilin\u00e7li olarak kabul etmi\u015ftir. Cezas\u0131na yol a\u00e7an b\u00fct\u00fcn ya\u015fam\u0131n\u0131 evetlemekle kendi kaderine egemen olur. Ta\u015f kendi ta\u015f\u0131d\u0131r.<\/p>\n Kitap bir soruya verilen yan\u0131tla ba\u015flar; \u201c\u00f6nemli olan tek bir felsefe sorunu vard\u0131r, intihar. Ya\u015fam\u0131n ya\u015fanmaya de\u011fip de\u011fmedi\u011finde bir yarg\u0131ya varmak felsefenin temel sorununa bir yan\u0131t vermektir.\u201d Bir felsefecinin sayg\u0131de\u011fer olabilmesi i\u00e7in, ba\u015fkalar\u0131na \u00f6\u011f\u00fctledi\u011fini \u00f6nce kendisi yapmas\u0131 gerekti\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcrse, Camus\u2019n\u00fcn kitap boyu bu olgu ile nas\u0131l ba\u015f edece\u011fi \u00f6nem kazan\u0131r. Camus bu sorudan bir felsefe oyunu ile kurtuluverir; ya\u015fam sa\u00e7ma oldu\u011fu i\u00e7in intihar\u0131 se\u00e7mek, ya\u015fam\u0131 anlaml\u0131 bulmak gibi sa\u00e7mal\u0131\u011fa d\u00fc\u015fmektir, yani intihar da sa\u00e7mad\u0131r. \u201cD\u00fcnyan\u0131n sa\u00e7mal\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrmekte metafizik bir mutluluk vard\u0131r\u201d diyen yazar, Grek d\u00fc\u015f\u00fcncesinden H\u0131ristiyan felsefesine, oradan Nietzche\u2019ye giden bir \u00e7izginin 20.y\u00fczy\u0131l ayd\u0131n\u0131ndaki devam\u0131d\u0131r.<\/p>\n Dostoyevski, Kafka ve Camus<\/strong><\/p>\n Camus kendisini \u00e7ok etkileyen Dostoyevski ve \u00f6zellikle Kafka ile kar\u015f\u0131la\u015ft\u0131r\u0131larak okundu\u011funda daha iyi anla\u015f\u0131lacakt\u0131r. Yabanc\u0131\u2019n\u0131n giri\u015finde kahraman\u0131na annesinin \u00f6l\u00fcm haberi verildi\u011finde, onun hissetti\u011fi s\u0131k\u0131nt\u0131, Kafka\u2019n\u0131n \u201cDe\u011fi\u015fim\u201d inde Bay Samsa\u2019n\u0131n b\u00f6cek oldu\u011funda hissetti\u011fi s\u0131k\u0131nt\u0131 gibidir, her iki karakter de patronlar\u0131n\u0131n keyfinin ka\u00e7aca\u011f\u0131 d\u00fc\u015f\u00fcncesi ile tedirgin olurlar.<\/p>\n Yabanc\u0131 \u201cDava\u201ddaki Joseph K.\u2019ya benzer. Birini \u00f6ld\u00fcrm\u00fc\u015ft\u00fcr ama mahkemede bu olay de\u011fil hayat\u0131n\u0131n ba\u015fka y\u00f6nleri tart\u0131\u015fma konusu edilir. Bu anlamda savunma yapmak ister ama s\u00f6yleyecek bir \u015feyi de yoktur. Yarg\u0131lan\u0131r ama mahkemeden bir \u015fey anlamaz. Mahkum oldu\u011fu kesindir ama cezas\u0131 ile pek ilgilenmez. \u0130kisinde de sonu\u00e7 \u00f6l\u00fcmle biter. \u0130ki yazar da ruhsal trajedilerini d\u00fc\u015f\u00fcnce ile somuta d\u00f6kerler. \u201cDava\u201d ve \u201cYabanc\u0131\u201ddaki trajedi, Yunan trajedilerini and\u0131r\u0131r. Oidipus\u2019ta da yazg\u0131 daha ba\u015ftan a\u00e7\u0131klanm\u0131\u015ft\u0131r. Yazg\u0131 mant\u0131\u011f\u0131n ve do\u011fal\u0131n ak\u0131\u015f\u0131 i\u00e7erisinde hep vard\u0131r. Yabanc\u0131\u2019da da cinayet i\u015flendi\u011finde, ilk sorgu yap\u0131ld\u0131\u011f\u0131nda sonu\u00e7 bellidir. Ama okuyucuya ger\u00e7ek gibi gelmez. \u00d6yk\u00fc yava\u015f yava\u015f i\u015fler ve bize kahraman\u0131n sonunu getirecek mant\u0131ksal \u00e7er\u00e7eveyi kurar. Camus bu \u00f6rg\u00fcy\u00fc Yunan trajedisinin b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fcn gizi olarak a\u00e7\u0131kl\u0131yor. \u0130nsan yaln\u0131zca kendisini ezeni yazg\u0131 olarak g\u00f6r\u00fcr. Ama mutluluk da ka\u00e7\u0131n\u0131lmaz oldu\u011funa g\u00f6re ayn\u0131 \u015fekilde ak\u0131lsal dayanaktan yoksundur, ama \u00e7a\u011fda\u015f insan mutlulu\u011fu kendi yap\u0131t\u0131 olarak g\u00f6rme e\u011filimindedir.<\/p>\n Kafka ve Camus\u2019de \u00f6yk\u00fcn\u00fcn ba\u015far\u0131s\u0131 ayr\u0131nt\u0131lardad\u0131r. Ger\u00e7ekli\u011fi ve sa\u00e7may\u0131 bu ayr\u0131nt\u0131larda yakalar\u0131z. Mesela Kafka\u2019n\u0131n \u201cDe\u011fi\u015fim\u201dindeki Samsa, elbette ki v\u00fccudundaki farkl\u0131la\u015fmaya \u015fa\u015far ama vurguyu yapt\u0131\u011f\u0131 ayr\u0131nt\u0131d\u0131r sa\u00e7ma kavram\u0131n\u0131n alt\u0131n\u0131 \u00e7izen; \u201dhafif bir s\u0131k\u0131nt\u0131\u201d vermi\u015ftir bu de\u011fi\u015fim. Yabanc\u0131\u2019ya d\u00f6nersek, Marie\u2019nin evlenme teklifine \u2018valla bence hepsi bir\u2019 yan\u0131t\u0131n\u0131 veren kahraman\u0131n ruh durumunu en iyi b\u00f6ylesi ayr\u0131nt\u0131lardan anlar\u0131z.<\/p>\n Kolay bir yazar de\u011fildir Camus. Yap\u0131tlar\u0131 simgeseldir ve \u00e7ok katmanl\u0131d\u0131r; yani iki ya da daha fazla okumas\u0131 yap\u0131labilir. \u00dcstelik her t\u00fcr okumas\u0131n\u0131n da ayr\u0131 bir \u00e7ekicili\u011fi var. Dili i\u00e7in , bu kitaplar\u0131 T\u00fcrk\u00e7e \u00e7evirisinden okumu\u015f bir ki\u015fi olarak bir \u015fey s\u00f6ylemem \u2018sa\u00e7ma\u2019 olur. Ama \u00f6yk\u00fcs\u00fc, kurgusu, olay \u00f6rg\u00fcs\u00fc ve zaman\u0131n kullan\u0131m\u0131 y\u00f6nlerinden romanlar\u0131 ve \u00f6yk\u00fcleri son derece ba\u015far\u0131l\u0131d\u0131r ve ya\u015fad\u0131\u011f\u0131 d\u00f6nemi hem edebi hem de felsefi olarak etkilemi\u015flerdir.<\/p>\n A. \u00d6mer T\u00fcrke\u015f<\/p>\n","protected":false},"excerpt":{"rendered":" Camus denilince, edebiyat alan\u0131nda ilk akla gelen yap\u0131t, 1942 y\u0131l\u0131nda yay\u0131nlanan \u201cYabanc\u0131\u201dd\u0131r. Konusu \u00e7ok basittir. \u00d6yk\u00fcdeki her \u015fey \u00e7ok k\u0131sa bir zaman aral\u0131\u011f\u0131nda olup biter. Cezayir\u2019de, bir rastlant\u0131 sonucu, bir Arap\u2019\u0131 \u00f6ld\u00fcren orta s\u0131n\u0131ftan bir Frans\u0131z, Mersault, kendisini ad\u0131m ad\u0131m \u00f6l\u00fcme g\u00f6t\u00fcren s\u00fcreci kay\u0131ts\u0131z bi\u00e7imde izler. Di\u011fer ki\u015filerin ad\u0131 an\u0131lsa da, roman kahraman\u0131n\u0131n ad\u0131n\u0131 bile […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[],"class_list":{"0":"post-4050","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\n