{"id":4107,"date":"2010-02-01T14:32:36","date_gmt":"2010-02-01T11:32:36","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/"},"modified":"2010-02-01T14:32:36","modified_gmt":"2010-02-01T11:32:36","slug":"kurt-dili-ve-kurt-edebiyati-ismail-besikci","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/","title":{"rendered":"K\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i"},"content":{"rendered":"

Edebiyat\u0131 besleyen dildir. Dili zenginle\u015ftiren edebiyatt\u0131r. Dil ve edebiyat aras\u0131nda \u00e7ok yo\u011fun bir ili\u015fki vard\u0131r. Bu ili\u015fki K\u00fcrt dili ve K\u00fcrt edebiyat\u0131 s\u00f6z konusu oldu\u011fu zaman da b\u00f6yledir.<\/p>\n

Boya olmadan resim d\u00fc\u015f\u00fcn\u00fclemez. Ses olmadan m\u00fczik yap\u0131lamaz. Bu, resmin temel malzemesinin boya, m\u00fczi\u011fin temel malzemesinin ses oldu\u011funu g\u00f6sterir. Heykelin temel malzemesinin de ta\u015f oldu\u011fu s\u00f6ylenebilir. Edebiyat\u0131n temel malzemesi de dildir. Boya olmadan resim, ses olmadan m\u00fczik, ta\u015f olmadan heykel yap\u0131lamazsa, d\u00fc\u015f\u00fcn\u00fclemezse, dil olmadan da edebiyat yap\u0131lamaz, d\u00fc\u015f\u00fcn\u00fclemez.<\/p>\n

Bug\u00fcn, T\u00fcrk dilini zenginle\u015ftirenler, T\u00fcrk Dil Kurumu\u2019ndan \u00e7ok, Naz\u0131m Hikmet, Orhan Kemal, Ya\u015far Kemal, \u00c7etin Altan, Vedat T\u00fcrkali gibi yazarlard\u0131r. K\u00fcrt\u00e7e yazan K\u00fcrt yazarlar\u0131n\u0131n K\u00fcrt diline katk\u0131s\u0131 bu bak\u0131mdan \u00e7ok b\u00fcy\u00fckt\u00fcr. Mehmet Emin Bozarslan\u2019\u0131n, Mehmet Uzun\u2019un, Firat Ceweri\u2019nin, Malmisan\u0131j\u2019\u0131n, Ro\u015fan Lezgin\u2019in\u2026 yaz\u0131lar\u0131 bu bak\u0131mdan \u00f6nemlidir.<\/p>\n

1992 y\u0131l\u0131nda N\u00fbdem Dergisi yay\u0131na ba\u015flad\u0131. N\u00fbdem, \u0130sve\u00e7\u2019te bas\u0131l\u0131yordu ama K\u00fcrtlerin ya\u015fad\u0131klar\u0131 her alana g\u00f6nderiliyordu. On y\u0131l boyuncu d\u00fczenli olarak yay\u0131mland\u0131. Firat Ceweri\u2019nin y\u00f6netti\u011fi N\u00fbdem, K\u00fcrt dili bilincinin, K\u00fcrt edebiyat\u0131 bilicinin, K\u00fcrt alfabesi bilincinin geli\u015fmesine \u00e7ok b\u00fcy\u00fck katk\u0131lar sa\u011flad\u0131. N\u00fbdem\u2019in \u00e7eviri faaliyeti de oldu. D\u00fcnya edebiyat\u0131n\u0131n \u00f6nemli eserlerinin, \u00f6nemli edebi yaz\u0131lar\u0131n K\u00fcrt\u00e7eye \u00e7evrilmesi ama\u00e7lan\u0131yordu. Bu \u00e7aban\u0131n, \u00e7eviri \u00e7abalar\u0131n\u0131n s\u00fcrmesinde de b\u00fcy\u00fck yarar var. D\u00fcnya edebiyat\u0131n\u0131n temel\u00a0 eserlerinin K\u00fcrt\u00e7eye kazand\u0131r\u0131lmas\u0131 K\u00fcrt\u00e7enin geli\u015fmesinde ciddi rol oynayacakt\u0131r. Doz Yay\u0131nevi\u2019nin Orhan Pamuk\u2019un Benim Ad\u0131m K\u0131rm\u0131z\u0131, Cervantes\u2019in Don Ki\u015fot eserlerini K\u00fcrt\u00e7eye kazand\u0131rmas\u0131 olumlu bir geli\u015fmedir. Diyarbak\u0131r\u2019daki Lis Yay\u0131nevi\u2019nin \u201cD\u00fcnya Edebiyat\u0131ndan Y\u00fcz Temel Eser\u201d dizisi, \u00e7eviri \u00e7abalar\u0131 bu bak\u0131mdan dikkate de\u011fer.<\/p>\n

Homeros, \u0130bn Haldun, Shakespeare, Cervantes, Moliere, Montaigne, Honere de Balzac, Victor Hugo, Goethe, Henrich Heine, Dostoyevsky, Tolstoy, Turgenyev, Gogol, Gan\u00e7arov, Gustave Flaubert, Stendhal, Charles Dickens, Knut Hamsun, Henrik \u0130bsen, Marcel Proust, Oscar Wilde, Jack London, Ednest Hemingway, Tagore, Willaam Faulkner, John Steinbeck, \u015eolohov, Gabriel Garcia Marquez gibi yazarlar\u0131n, d\u00fc\u015f\u00fcn\u00fcrlerin K\u00fcrt\u00e7e\u2019ye \u00e7evrilmesi K\u00fcrt dilini zenginle\u015ftirecektir.

T\u00fcrk\u00e7e yazan K\u00fcrt yazarlar\u0131<\/strong><\/p>\n

T\u00fcrk\u00e7e yazan K\u00fcrt yazarlar\u0131 epeyce vard\u0131r. Bunlar\u0131n K\u00fcrt\u00e7eye \u00e7evrilmesi de b\u00fcy\u00fck \u00f6nem arzetmektedir. Ya\u015far Kemal, Ahmet Arif, Orhan Kotan, Y\u0131lmaz G\u00fcney, Hasan Bildirici, Metin Akta\u015f gibi yazarlar\u0131n, roman ve \u015fiirlerinin K\u00fcrt\u00e7eye kazand\u0131r\u0131lmas\u0131 gerekir. Ahmet Arif\u2019in, Orhan Kotan\u2019\u0131n baz\u0131 \u015fiirlerinin K\u00fcrt\u00e7eye \u00e7evrildi\u011fi biliniyor. Fakat bunlar\u0131n K\u00fcrt\u00e7e okundu\u011funa ki\u015fi olarak rastlamad\u0131m. Nedim Baran, cezaevinde d\u00fczenlenen gecelerde,\u00a0 Orhan Kotan\u2019\u0131n Gururla Bak\u0131yorum D\u00fcnyaya kitab\u0131ndaki, \u201cHalklar\u0131n Karde\u015fli\u011fi Ad\u0131na\u201d ba\u015fl\u0131kl\u0131 destans\u0131 \u015fiiri s\u0131k s\u0131k okurdu. Ama K\u00fcrt\u00e7e okuyana rastlamad\u0131m. Ahmet Arif\u2019in kitab\u0131n\u0131n yeni bir \u00e7evirisi yap\u0131ld\u0131. M\u00fckemmel bir \u00e7eviri oldu\u011fu s\u00f6ylenebilir. Orhan Kotan\u2019\u0131n yeni \u00e7evirileri de yap\u0131lmal\u0131d\u0131r.<\/p>\n

Ahmet Arif<\/strong> (1927-1991), \u00fc\u00e7l\u00fc, gruplar i\u00e7inde, d\u00f6rtl\u00fc gruplar i\u00e7inde, K\u00fcrtlere ili\u015fkin duygular\u0131n\u0131 ve d\u00fc\u015f\u00fcncelerini efkarl\u0131 bir \u015fekilde dile getirirdi. Ama kamuya a\u00e7\u0131k toplant\u0131larda, bas\u0131nda, bunlar\u0131 dile getirmekten uzak dururdu. Ahmet A\u011fabey\u2019le 1974-1975 y\u0131llar\u0131nda, Ankara\u2019da, Zafer Pasaj\u0131\u2019nda, \u00dcmit F\u0131rat\u2019\u0131n, Bar\u0131\u015f Kitabevi\u2019nde\u00a0 tan\u0131\u015fm\u0131\u015ft\u0131m. Daha sonra, \u00e7e\u015fitli mekanlarda, farkl\u0131 zamanlarda bir arada olduk. \u015eiirlerini i\u00e7tenlikle okurdu. T\u00fcrk\u00e7e olarak okurdu. Bazen ezik, bazen diren\u00e7li bir K\u00fcrtt\u00fc.\u00a0 Hasretinden Prangalar Eskittim kitab\u0131n\u0131, Cem Yay\u0131nevi, \u201cT\u00fcrk \u015eairleri Dizisi\u2019nde yay\u0131ml\u0131yordu. Ahmet A\u011fabey, bu tutuma, \u201cben K\u00fcrt \u015fairiyim\u201d diye tepki g\u00f6stermezdi. Bu konularla ilgili konu\u015fmalar\u0131m\u0131z olmazd\u0131.<\/p>\n

Orhan Kotan<\/strong> (1944-1998) da T\u00fcrk\u00e7e yazan bir K\u00fcrt \u015fairiydi, bir K\u00fcrt d\u00fc\u015f\u00fcn\u00fcr\u00fcyd\u00fc.\u00a0 Orhan Kotan d\u00fc\u015f\u00fcnceleriyle, duygular\u0131yla bir K\u00fcrtt\u00fc. Bas\u0131nda, kamuya a\u00e7\u0131k toplant\u0131larda duygular\u0131n\u0131 d\u00fc\u015f\u00fcncelerini s\u0131k s\u0131k dile getirirdi. Orhan Kotan\u2019\u0131n ya\u015fam\u0131nda, Komal-R\u0131zgari, K\u00fcrdistan Presss d\u00f6nemi belirleyici bir \u00f6neme haizdir. Ya\u015fam\u0131n\u0131n son y\u0131llar\u0131nda, Realite Pres diye 4-5 say\u0131l\u0131k bir d\u00f6nem de vard\u0131r. Bu ilk d\u00f6neme g\u00f6re bir sapmad\u0131r. Ama Orhan Kotan\u2019\u0131n ya\u015fam\u0131n\u0131 belirleyen ilk d\u00f6nemdir. Orhan Kotan\u2019dan geriye kalanlar ilk d\u00f6nemden geriye kalanlard\u0131r. Bu ikinci d\u00f6nem de elbette yok say\u0131lamaz, kesip at\u0131lamaz. Ama, duygular, d\u00fc\u015f\u00fcnceler, ya\u015fam bi\u00e7imi, duru\u015f, direni\u015f, ilk d\u00f6neme daha uyarl\u0131 \u00f6zellikler ta\u015f\u0131maktad\u0131r. T\u00fcrk edebiyat\u0131 incelemeleri yay\u0131mlayan hi\u00e7bir dergide, Orhan Kotan\u2019\u0131n \u201cT\u00fcrk \u015fairi\u201d olarak alg\u0131land\u0131\u011f\u0131n\u0131 g\u00f6rmedim. Hi\u00e7bir T\u00fcrk \u015fiiri antolojisinde Orhan Kotan\u2019a yer verildi\u011fini g\u00f6rmedim.<\/p>\n

Hasan Bildirici<\/strong>, Ahlat\u2019daki ailesiyle, ya\u015fam \u00f6yk\u00fcs\u00fcyle ilgili bilgiler vermektedir. Bir T\u00fcrk aileye, K\u00fcrtlerden bir gelin geldi\u011fi zaman, s\u00fcrecin nas\u0131l geli\u015fti\u011fi, incelenmeye de\u011fer bir konudur. Bu konuda, gelinin s\u0131n\u0131fsal konumuna bakmak gerekir. Yoksul bir K\u00fcrt aileden,\u00a0 bir k\u0131z, bir T\u00fcrk aileye gelin geliyorsa, bu, gelinin asimilasyon s\u00fcrecini h\u0131zland\u0131r\u0131c\u0131 bir etki yarat\u0131r. \u00c7evresinde etkili bir K\u00fcrt aileden, bir K\u00fcrt a\u015firetinden, yoksul bir T\u00fcrk aileye gelin gelmesi, ender rastlanan bir olgu oluyor. Kad\u0131n taraf\u0131 day\u0131lar, teyzeler bak\u0131m\u0131ndan g\u00fc\u00e7l\u00fcyse, yayg\u0131nsa asimilasyon ters y\u00f6nde geli\u015febiliyor.<\/p>\n

\u0130lerigelen bir K\u00fcrt aileye, diyelim, \u00e7evresinde etkili olan bir K\u00fcrt a\u015firetine, b\u00f6lgede ilerigelen bir T\u00fcrk aileden veya T\u00fcrkmen aileden bir gelin geliyorsa, bu da K\u00fcrtlerin asimilasyonuna yol veren bir etki yarat\u0131yor. Aile T\u00fcrk veya T\u00fcrkmen gelinleriyle ileti\u015fim, ili\u015fki kurabilmek, dolay\u0131s\u0131yla onun dilini \u00f6\u011frenebilmek i\u00e7in \u00e7ok yo\u011fun bir \u00e7aba harc\u0131yor. \u00c7evresinde etkili bir T\u00fcrk aileden, bir T\u00fcrkmen a\u015firetinden, yoksul bir K\u00fcrt aileye gelin gelmesi olay\u0131na ender rastlan\u0131yor. Bu durumun \u00e7e\u015fitli nedenleri olabilir. Bu durumda asimilasyon ters y\u00f6nde geli\u015febiliyor.<\/p>\n

Hasan Bildirici\u2019nin anas\u0131, gen\u00e7 ya\u015f\u0131nda, Hasan bebekken \u00f6lmeseydi, Hasan, anas\u0131ndan, anas\u0131n\u0131n ailesinden, day\u0131lar\u0131ndan, teyzelerinden bir \u015feyler kapabilirdi. Hasan, ana taraf\u0131ndan \u00e7ok baba taraf\u0131ndan, amcalar\u0131ndan, halalar\u0131ndan s\u00f6z ediyor.<\/p>\n

Anadil, Kadir Cang\u0131zbay Hoca\u2019n\u0131n vurgulad\u0131\u011f\u0131 gibi, Mithat Sancar Hoca\u2019n\u0131n da belirtti\u011fi gibi, \u00f6\u011frenmenin bilincine var\u0131lmayan, bunun i\u00e7in bilin\u00e7li bir \u00e7aba sarfedilmeyen,\u00a0 \u00f6\u011frenme s\u00fcrecinin fark\u0131n\u0131 var\u0131lmayan bir dil oluyor. Yemek yemek gibi, su i\u00e7mek gibi, Bunun da iki \u00f6nemli kayna\u011f\u0131 var. Aile ortam\u0131, ana-\u00e7ocuk ili\u015fkileri, sokak, \u00e7ocu\u011fun sokaktaki arkada\u015flar\u0131yla ili\u015fkileri\u2026 Ahlat\u2019da n\u00fcfus da\u011f\u0131l\u0131m\u0131n\u0131n, mahallelere g\u00f6re incelenmesi \u00f6nemli olmal\u0131. (Mithat Sancar, Lisan Bizi Nas\u0131l B\u00f6ler, Taraf, 3 Eyl\u00fcl 2009, s. 13)<\/p>\n

T\u00fcrk\u00e7e yazan K\u00fcrt yazarlar\u0131, K\u00fcrt k\u00fclt\u00fcr\u00fcn\u00fcn, K\u00fcrdolojinin geli\u015fmesinde \u00f6nemli bir yere sahiptir. Bu yazarlar\u0131n K\u00fcrt\u00e7eye \u00e7evrilmesi, K\u00fcrt edebiyat\u0131nda da \u00f6nemli bir geli\u015fme sa\u011flayaca\u011f\u0131 a\u00e7\u0131kt\u0131r. Ulusla\u015fma s\u00fcrecinde terc\u00fcmenin \u00e7ok b\u00fcy\u00fck rol\u00fc vard\u0131r. D\u00fcnya edebiyat\u0131n\u0131n, d\u00fcnya d\u00fc\u015f\u00fcn hayat\u0131n\u0131n \u00f6nemli eserlerinin K\u00fcrt\u00e7eye terc\u00fcmesi, K\u00fcrt\u00e7enin, K\u00fcrt d\u00fc\u015f\u00fcn hayat\u0131n\u0131n zenginle\u015fmesine katk\u0131 yapacakt\u0131r. T\u00fcrk\u00e7e yazan K\u00fcrt \u015fairlerini, K\u00fcrt yazarlar\u0131n\u0131n terc\u00fcmesinin ise, K\u00fcrt\u00e7eye \u00e7ok daha b\u00fcy\u00fck katk\u0131lar yapaca\u011f\u0131 kan\u0131s\u0131nday\u0131m.

De\u011finmeler<\/strong><\/p>\n

\u201cK\u00fcrt Edebiyat\u0131 \u00dczerine\u201d ba\u015fl\u0131kl\u0131 yaz\u0131yla ilgili olarak Ro\u015fan Lezgin\u2019den ve Recep Mara\u015fl\u0131\u2019dan iletiler ald\u0131m. Yaz\u0131n\u0131n sonunda, \u201cK\u00fcrtler a\u00e7\u0131k kimlikleriyle yazmal\u0131d\u0131r\u201d \u015feklinde bir b\u00f6l\u00fcm vard\u0131. Ro\u015fan Lezgin bu g\u00f6r\u00fc\u015fe kar\u015f\u0131 \u015f\u00f6yle diyor: \u201cRo\u015fan Lezgin, benim K\u00fcrtl\u00fck ad\u0131m. Devletin bana verdi\u011fi isimi kabul etmiyorum. K\u00fcrtl\u00fck ad\u0131m\u0131 kullan\u0131yorum.\u201d Firat Ceweri, Ro\u015fan Lezgin, Berzan Boti, Malmisanij, Asa Zagrosi, Salih Agir Qoseri, Menice Brusk gibi isimler kan\u0131mca bilinen isimler. Bunlar, Ro\u015fan Lezgin\u2019in dedi\u011fi gibi takma isimler de\u011fil, esas isimler, K\u00fcrtl\u00fck isimleri\u2026<\/p>\n

K\u00fcrt sorunu \u00e7ok b\u00fcy\u00fck bir sorun. \u00c7\u00f6z\u00fcm\u00fc \u00e7ok gecikmi\u015f, gecikti\u011fi i\u00e7in de g\u00fc\u00e7le\u015fmi\u015f bir sorun. 1920\u2019lerde \u00e7\u00f6z\u00fcm daha kolayd\u0131. 1920\u2019lerde, Milletler Cemiyeti d\u00f6neminde, Irak, \u00dcrd\u00fcn, Filistin, Suriye, L\u00fcbnan gibi, bir de K\u00fcrdistan mandas\u0131 (s\u00f6m\u00fcrgesi) kurulsayd\u0131, g\u00fcn\u00fcm\u00fcze kadar b\u00f6yle bir sorun gelmezdi. 85 y\u0131l\u0131 a\u015fk\u0131n bir zamand\u0131r, sorun \u00e7apra\u015f\u0131kla\u015fm\u0131\u015f, \u00e7etrefille\u015fmi\u015ftir. Soruna m\u00fcdahil olanlar\u0131n say\u0131s\u0131 artm\u0131\u015ft\u0131r. B\u00fct\u00fcn bunlar\u00a0 sorunun \u00e7\u00f6z\u00fcm\u00fcn\u00fc zorla\u015ft\u0131r\u0131c\u0131 etkenler oluyor. O zaman 1920\u2019lerden beri ya\u015fanan bu s\u00fcreci, yani K\u00fcrtlerin ve K\u00fcrdistan\u2019\u0131n b\u00f6l\u00fcnmesini, par\u00e7alanmas\u0131n\u0131 ve payla\u015f\u0131lmas\u0131n\u0131 bilimin, siyasetin ve diplomasinin kavramlar\u0131yla incelemek gerekir.<\/p>\n

\u201cK\u00fcrtler a\u00e7\u0131k kimlikleriyle yazmal\u0131d\u0131r\u201d derken teknik bir konuyu dile getirmeye \u00e7al\u0131\u015f\u0131yordum. Bilgisayar, internet, \u015f\u00fcphesiz \u00e7ok yararl\u0131 bir alet. \u0130leti\u015fim olanaklar\u0131n\u0131n h\u0131zla geli\u015fmesi K\u00fcrt yazarlar\u0131n\u0131 da \u00e7o\u011faltt\u0131. Bu da g\u00fczel. Ama \u015f\u00f6yle bir sak\u0131nca da geli\u015fiyor. Bu da dikkatlerden uzak tutulmamal\u0131. Yazarlar\u0131n bir k\u0131sm\u0131 takma isimler kullanarak, baz\u0131 yazarlara hakaret ediyor, onlar\u0131 a\u015fa\u011f\u0131l\u0131yor. A\u00e7\u0131k kimlikleriyle yazsalar bunlar\u0131 yapacaklar\u0131n\u0131 hi\u00e7 sanm\u0131yorum. \u0130nsanlar, bunlar\u0131, ancak, kendini takma adlarla gizledi\u011fi zaman yapabilir. Ele\u015ftiri, \u00f6zele\u015ftiri elbette \u00e7ok \u00f6nemli y\u00f6ntemler, vazge\u00e7ilmez y\u00f6ntemler\u2026 Ama hakaret, a\u015fa\u011f\u0131lama, bunlar\u0131n bilin\u00e7li olarak yap\u0131lmas\u0131 kabul edilemez.<\/p>\n

G\u00fcn\u00fcm\u00fcze kadar, hep, \u00e7ocuklara K\u00fcrt\u00e7e isimler koyamamaktan, Q,W,X,\u00ca harflerinin \u00f6zg\u00fcrce kullan\u0131lamamas\u0131ndan konu\u015fuyorduk. \u015eimdi, art\u0131k \u015f\u00f6yle bir soru da g\u00fcndeme geliyor. T\u00fcrk, Hept\u00fcrk, T\u00fcmt\u00fcrk, T\u00fcrko\u011flu, \u00d6zt\u00fcrk, Cant\u00fcrk, T\u00fcrky\u0131lmaz, T\u00fcrkg\u00fcc\u00fc, T\u00fcrker, T\u00fcrkeri gibi soyadlar\u0131 daha \u00e7ok K\u00fcrtlere veriliyor. Bunun yan\u0131nda, Kaya, Deniz, Y\u0131ld\u0131z, Toprak, Demir, Bulut, I\u015f\u0131k, G\u00fcne\u015f gibi isimler ve soyadlar\u0131 da veriliyor. \u00c7ocu\u011funa K\u00fcrt\u00e7e isimler koymaya \u00e7al\u0131\u015fan ana-baban\u0131n, devletin kendilerine verdi\u011fi isimlerle, soyadlar\u0131yla ciddi bir sorunu olmamas\u0131 dikkate de\u011fer bir konu oluyor.<\/p>\n

Selim \u00c7\u00fcr\u00fckkaya, Aysel \u00c7\u00fcr\u00fckkaya, 1990\u2019larda, PKK saflar\u0131nda m\u00fccadele y\u00fcr\u00fcten militanlard\u0131. \u00c7ok fedakar ve vefakar bir m\u00fccadele y\u00fcr\u00fctt\u00fcler. Ama, devletin kendilerine verdi\u011fi isimlerle bir sorunlar\u0131 olmam\u0131\u015f. PKK\u2019de b\u00f6yle sorunlar yok\u2026 \u201dK\u00fcrtl\u00fck ad\u0131m\u0131 alay\u0131m. M\u00fccadeleyi K\u00fcrtl\u00fck ad\u0131mla s\u00fcrd\u00fcreyim\u2026\u201d \u015feklinde bir anlay\u0131\u015f yok. Aysel \u00c7\u00fcr\u00fckkaya ve Selim \u00c7\u00fcr\u00fckkaya k\u0131zlar\u0131n\u0131n ad\u0131na Soma Ma Diya koymu\u015flar. \u0130\u015fte esas K\u00fcrtl\u00fc\u011fe d\u00f6n\u00fc\u015f,\u00a0 \u00f6ze d\u00f6n\u00fc\u015f, kendi de\u011ferlerine d\u00f6n\u00fc\u015f burada ba\u015fl\u0131yor. K\u00fcrt sorunun \u00e7ok b\u00fcy\u00fck bir sorun.\u00a0 \u0130nsan K\u00fcrtler hakk\u0131nda daha \u00e7ok \u015fey bildik\u00e7e, \u00f6\u011frendik\u00e7e, sorunlar insan\u0131n bilincine daha \u00e7ok \u00e7arpt\u0131k\u00e7a, K\u00fcrtler hakk\u0131ndaki bilgisinin ne kadar az oldu\u011funu da fark ediyor.<\/p>\n

Recep Mara\u015fl\u0131, bana g\u00f6nderdi\u011fi yaz\u0131da, Osmanl\u0131 d\u00f6neminde, daha sonra da Cumhuriyet d\u00f6neminde, T\u00fcrk\u00e7e\u2019nin, \u0130ngilizce, Frans\u0131zca, \u0130spanyolca gibi emperyal bir dil olarak alg\u0131lanabilece\u011fini, T\u00fcrk\u00e7e yazan K\u00fcrtlerin bu ili\u015fkiler \u00e7er\u00e7evesinde geli\u015fti\u011fini, onlar\u0131 da K\u00fcrt edebiyat\u0131 \u00e7er\u00e7evesinde de\u011ferlendirmek gerekti\u011fini anlat\u0131yor. Bu d\u00fc\u015f\u00fcnceye kar\u015f\u0131 \u015f\u00f6yle bir itiraz geli\u015ftirilebilir. \u00d6rne\u011fin, B\u00fcy\u00fck Britanya. Hi\u00e7bir s\u00f6m\u00fcrgesinde, yerli dilleri inkar etmedi onlar\u0131 imhaya y\u00f6nelmedi. Bilakis onlar\u0131 geli\u015ftirmek i\u00e7in enstit\u00fcler kurdu. \u00d6rne\u011fin, 1858 y\u0131l\u0131nda, Hindistan\u2019da, Sanskrit Entit\u00fcs\u00fc, B\u00fcy\u00fck Britanya taraf\u0131ndan kuruldu. T\u00fcrkiye\u2019nin, K\u00fcrtlere, K\u00fcrt\u00e7eye kar\u015f\u0131 temel politikas\u0131 ise inkara, imhaya dayal\u0131 bir politikad\u0131r. T\u00fcrk\u00e7e yazd\u0131\u011f\u0131n\u0131z zaman devletin bu politikalar\u0131n\u0131 olumlam\u0131\u015f oluyorsunuz.<\/p>\n","protected":false},"excerpt":{"rendered":"

Edebiyat\u0131 besleyen dildir. Dili zenginle\u015ftiren edebiyatt\u0131r. Dil ve edebiyat aras\u0131nda \u00e7ok yo\u011fun bir ili\u015fki vard\u0131r. Bu ili\u015fki K\u00fcrt dili ve K\u00fcrt edebiyat\u0131 s\u00f6z konusu oldu\u011fu zaman da b\u00f6yledir. Boya olmadan resim d\u00fc\u015f\u00fcn\u00fclemez. Ses olmadan m\u00fczik yap\u0131lamaz. Bu, resmin temel malzemesinin boya, m\u00fczi\u011fin temel malzemesinin ses oldu\u011funu g\u00f6sterir. Heykelin temel malzemesinin de ta\u015f oldu\u011fu s\u00f6ylenebilir. Edebiyat\u0131n […]<\/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-4107","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\nK\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i - 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\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"K\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i\" \/>\n<meta property=\"og:description\" content=\"Edebiyat\u0131 besleyen dildir. Dili zenginle\u015ftiren edebiyatt\u0131r. Dil ve edebiyat aras\u0131nda \u00e7ok yo\u011fun bir ili\u015fki vard\u0131r. Bu ili\u015fki K\u00fcrt dili ve K\u00fcrt edebiyat\u0131 s\u00f6z konusu oldu\u011fu zaman da b\u00f6yledir. Boya olmadan resim d\u00fc\u015f\u00fcn\u00fclemez. Ses olmadan m\u00fczik yap\u0131lamaz. Bu, resmin temel malzemesinin boya, m\u00fczi\u011fin temel malzemesinin ses oldu\u011funu g\u00f6sterir. Heykelin temel malzemesinin de ta\u015f oldu\u011fu s\u00f6ylenebilir. 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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\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/","og_locale":"tr_TR","og_type":"article","og_title":"K\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i","og_description":"Edebiyat\u0131 besleyen dildir. Dili zenginle\u015ftiren edebiyatt\u0131r. Dil ve edebiyat aras\u0131nda \u00e7ok yo\u011fun bir ili\u015fki vard\u0131r. Bu ili\u015fki K\u00fcrt dili ve K\u00fcrt edebiyat\u0131 s\u00f6z konusu oldu\u011fu zaman da b\u00f6yledir. Boya olmadan resim d\u00fc\u015f\u00fcn\u00fclemez. Ses olmadan m\u00fczik yap\u0131lamaz. Bu, resmin temel malzemesinin boya, m\u00fczi\u011fin temel malzemesinin ses oldu\u011funu g\u00f6sterir. Heykelin temel malzemesinin de ta\u015f oldu\u011fu s\u00f6ylenebilir. Edebiyat\u0131n […]","og_url":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/","og_site_name":"narteks.net","article_published_time":"2010-02-01T11:32:36+00:00","og_image":[{"url":"http:\/\/i.radikal.com.tr\/644x385\/2009\/11\/06\/fft5_mf284917.Jpeg","type":"","width":"","height":""}],"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\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"K\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i","datePublished":"2010-02-01T11:32:36+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/"},"wordCount":2137,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"image":{"@id":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/#primaryimage"},"thumbnailUrl":"http:\/\/i.radikal.com.tr\/644x385\/2009\/11\/06\/fft5_mf284917.Jpeg","articleSection":["Kuram"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/","url":"https:\/\/narteks.net\/index.php\/2010\/02\/01\/kurt-dili-ve-kurt-edebiyati-ismail-besikci\/","name":"K\u00fcrt Dili ve K\u00fcrt Edebiyat\u0131 | \u0130smail Be\u015fik\u00e7i - 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