{"id":4142,"date":"2010-02-04T00:38:39","date_gmt":"2010-02-03T21:38:39","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/04\/derridanin-kurgusokumu-oznesiz-bir-soyleme-dogru-hasan-unal-nalbantoglu\/"},"modified":"2010-02-04T00:38:39","modified_gmt":"2010-02-03T21:38:39","slug":"derridanin-kurgusokumu-oznesiz-bir-soyleme-dogru-hasan-unal-nalbantoglu","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/04\/derridanin-kurgusokumu-oznesiz-bir-soyleme-dogru-hasan-unal-nalbantoglu\/","title":{"rendered":"Derrida\u2019n\u0131n ‘Kurgus\u00f6k\u00fcm’\u00fc: ‘\u00d6zne’siz bir S\u00f6yleme Do\u011fru | Hasan \u00dcnal Nalbanto\u011flu"},"content":{"rendered":"

D\u00fc\u015f\u00fcn d\u00fcnyas\u0131n\u0131n yak\u0131nlarda yitirdi\u011fi Jacques Derrida \u00fczerine kapsaml\u0131 bir \u00e7al\u0131\u015fma yapman\u0131n \u00f6zellikle bir dergi yaz\u0131s\u0131n\u0131n boyutlar\u0131n\u0131 fazlas\u0131yla a\u015ft\u0131\u011f\u0131n\u0131 san\u0131r\u0131m hepimiz kabul ederiz. Ba\u015ftan pek de kestiremeyece\u011fi bir d\u00fc\u015f\u00fcnce ser\u00fcveninde kendini bularak bir \u00e7ok konuda geni\u015f bir yaz\u0131 tayf\u0131n\u0131 \u00f6n\u00fcm\u00fcze seren Frans\u0131z d\u00fc\u015f\u00fcn\u00fcr\u00fcn\u00fcn evrili\u015fiyle bizzat \u00f6zd\u00fc\u015f\u00fcn\u00fcnde bile diff\u00e9rance yaratm\u0131\u015f olabilece\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcrse, tart\u0131\u015fmam\u0131z\u0131 bu ser\u00fcven i\u00e7inde hep \u00f6ne \u00e7\u0131kan tema ve anlaml\u0131 bir ka\u00e7 ayr\u0131nt\u0131yla s\u0131n\u0131rl\u0131 y\u00fcr\u00fctmek daha do\u011fru olacak gibi g\u00f6r\u00fcn\u00fcyor:<\/p>\n

\u2018Kurgus\u00f6k\u00fcm\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn ba\u015fl\u0131ca esin kayna\u011f\u0131 ku\u015fkusuz Destruktion ve Abbau kavramlar\u0131yla Heidegger. Derrida\u2019n\u0131n k\u0131smen Freud\u2019dan da ald\u0131\u011f\u0131n\u0131, ama s\u0131n\u0131rl\u0131 \u00f6l\u00e7\u00fcde yerinden etti\u011fini s\u00f6yledi\u011fi Abbau yan\u0131nda Destruktion s\u00f6zc\u00fc\u011f\u00fcn\u00fcn \u201cdeconstruction\u201da babal\u0131k etti\u011fini s\u00f6ylerken, Heidegger\u2019in \u015fu saptamas\u0131n\u0131 da g\u00f6zden ka\u00e7\u0131rmak olmaz: ister bir dilden ba\u015fkas\u0131na aktar\u0131l\u0131rken ister ayn\u0131 dild\u00fcnyas\u0131nda ger\u00e7ekle\u015fsin b\u00f6yle bir etkinlik ayn\u0131 zamanda hem bir \u00e7eviri (\u00dcbersetzung) hem de bir \u2018yeniden-konu\u015fland\u0131rma\u2019d\u0131r (\u00dcbersetzung). Hepsinden de \u00f6te, olanaklar\u0131n\u0131n ve s\u0131n\u0131rlar\u0131n\u0131n da ayn\u0131 s\u00fcre\u00e7te s\u0131nand\u0131\u011f\u0131, bir ba\u015fka \u015feyle kar\u015f\u0131la\u015fmad\u0131r \u00e7eviri (Auseinandersetzung).[1]<\/p>\n

Ama tam da bu noktada \u2018dil\u2019 (Sprache; Langue) ile ilgili bir sorun \u00e7\u0131kar ortaya. Do\u011fal dilin kum tepeleri alt\u0131nda kalan hazinesini kazarak m\u0131, yoksa o kum tepelerinin katmanla\u015fmas\u0131na az\u0131msanmayacak katk\u0131da bulunan modernli\u011fe \u00f6zg\u00fc yapay ve \u015fablon dillerle mi bu \u2018\u00e7eviri\u2019 ve \u2018yeniden-konu\u015fland\u0131rma\u2019y\u0131\u00a0 ger\u00e7ekle\u015ftirecek, bir ba\u015fkas\u0131yla \u2018kar\u015f\u0131la\u015facak,\u2019 hatta \u2018kar\u015f\u0131tla\u015faca\u011f\u0131z\u2019? Heidegger\u2019in ileri ya\u015f\u0131nda eri\u015fti\u011fi \u2018a\u00e7\u0131kl\u0131k\u2019tan (Offene) d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, ister istemez Derrida\u2019n\u0131n benimsedi\u011fi, izledi\u011fi, biraz da epigone takip\u00e7ileri y\u00fcz\u00fcnden ba\u015f\u0131na dert olan felsefi m\u00fcdahaleyi Frans\u0131z dilinin do\u011fal tarihsel ak\u0131\u015f\u0131nda olu\u015fmu\u015f ve belki de unutulmu\u015f bir s\u00f6zc\u00fckle adland\u0131rmak yerine, neden Bat\u0131 metafizi\u011finin teknik yavrular\u0131ndan \u2018mekanik\u2019 biliminin s\u0131n\u0131rl\u0131 ama belirleyici da\u011farc\u0131\u011f\u0131ndan \u00f6d\u00fcn\u00e7 \u201cdeconstruction\u201d s\u00f6zc\u00fc\u011f\u00fcyle vaftiz etmi\u015f olmas\u0131 elbette sorgulanmaya de\u011fer.[2]<\/p>\n

\u2018Kurgus\u00f6k\u00fcm\u2019 olarak \u00e7evirmeyi\/konu\u015fland\u0131rman\u0131n daha do\u011fru olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm \u201cdeconstruction\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fcn[3] k\u00f6kenini ve ne olup olmad\u0131\u011f\u0131n\u0131 mucidinin a\u011fz\u0131ndan duyal\u0131m biz gene de. Derrida kendisiyle yaz\u0131\u015fan Japon Profes\u00f6r Toshihiko Izutsu\u2019ya cevaben kaleme ald\u0131\u011f\u0131 10 Temmuz 1983 tarihli mektubunda misyonu \u00bbDestruktion\u00ab ve \u00bbAbbau\u00ab s\u00f6zc\u00fcklerince \u00f6ng\u00f6r\u00fclen, kullan\u0131ma sokuldu\u011funda ise belirli bir farkl\u0131l\u0131k da yaratan bu \u2018mekanik\u2019 dilinden dev\u015firme Frans\u0131zca s\u00f6zc\u00fc\u011f\u00fc se\u00e7i\u015finin nedenini \u015f\u00f6yle a\u00e7\u0131klar:<\/p>\n

\u201cBu s\u00f6zc\u00fc\u011f\u00fc se\u00e7ti\u011fimde, daha do\u011frusu o kendini bana empoze etti\u011finde \u2013san\u0131r\u0131m ilk kez De la Grammatologie kitab\u0131mda kullanm\u0131\u015ft\u0131m- o s\u0131ralarda ilgilendi\u011fim s\u00f6ylemde ona bu denli merkezi bir rol bi\u00e7ilece\u011fini pek de d\u00fc\u015f\u00fcnmemi\u015ftim. Ba\u015fka \u015feyler yan\u0131nda Heidegger\u2019in \u00bbDestruktion\u00ab ve \u00bbAbbau\u00ab s\u00f6zc\u00fcklerini \u00e7evirerek kendi ama\u00e7lar\u0131m i\u00e7in kullanmay\u0131 arzuluyordum. Bu ba\u011flamda s\u00f6zc\u00fcklerin her ikisi de ontolojinin ya da Bat\u0131 metafizi\u011fine \u00f6zg\u00fc temel kavramlar\u0131n olu\u015fturdu\u011fu yap\u0131 ya da geleneksel mimariyi etkileyen bir operasyona i\u015faret etmekteydiler. Kar\u015f\u0131l\u0131k olarak Frans\u0131zca \u2018destruction\u2019 s\u00f6zc\u00fc\u011f\u00fc kullan\u0131ld\u0131\u011f\u0131nda bu d\u00fcped\u00fcz bir yokedi\u015f ya da olumsuz bir indirgemecilik olacak, anlam\u0131 da Heidegger\u2019in yorumu ya da benim \u00f6nerdi\u011fim okumadan daha \u00e7ok Nietzsche\u2019nin \u2018y\u0131k\u0131m\u2019 [Zerst\u00f6rung] s\u00f6zc\u00fc\u011f\u00fcne yak\u0131n d\u00fc\u015fecekti. B\u00f6ylece o s\u00f6zc\u00fc\u011f\u00fc safd\u0131\u015f\u0131 b\u0131rakt\u0131m. Onun yerine, o zamanlar kendili\u011finden \u00f6n\u00fcme \u00e7\u0131k\u0131vermi\u015f g\u00f6r\u00fcnen \u2018kurgus\u00f6k\u00fcm\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn Frans\u0131zca\u2019da\u00a0 iyi bir kar\u015f\u0131l\u0131k olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fc hat\u0131rl\u0131yorum. S\u00f6zc\u00fc\u011f\u00fc Littr\u00e9\u2019de** bulmu\u015ftum. S\u00f6zc\u00fc\u011f\u00fcn gramatik, lenguistik, ya da retorik anlamlar\u0131 [port\u00e9es] mekanik bir y\u00fcklenim [port\u00e9es \u2018machinique\u2019] ta\u015f\u0131maktayd\u0131. Bu ba\u011flant\u0131n\u0131n en az\u0131ndan benim \u00f6nermeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m \u015feye uyarlanabilir olu\u015fu mutlu bir raslant\u0131, benim i\u00e7in tam bir \u015fanst\u0131.\u201d[4]<\/p>\n

\u00d6zetle, hem Derrida\u2019n\u0131n hem de onun d\u00fc\u015f\u00fcncesine hakk\u0131n\u0131 vermeye \u00e7al\u0131\u015fanlar\u0131n g\u00f6z\u00fcnde\u00a0 \u2018kurgus\u00f6k\u00fcm\u2019 hi\u00e7 de bir y\u0131k\u0131m hareketi olmay\u0131p bir olumlay\u0131\u015f, \u2018affirmation\u2019dur. Asl\u0131nda \u2018\u00e7\u00f6z\u00fcmleme\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn \u00f6zg\u00fcn, ba\u015ftaki anlam\u0131na yani bir yap\u0131 ya da kurgunun par\u00e7alar\u0131na ayr\u0131lmas\u0131na \u00e7ok da yak\u0131nd\u0131r bu okuma stratejisinin anlam\u0131. E\u011fer kurgus\u00f6k\u00fcm i\u015flerken bir \u015feyler y\u0131k\u0131l\u0131p yok oluyorsa bu metnin kendisi olamaz; olsa olsa bu yolla bir t\u00fcr g\u00f6sterme kipinin (mode of signifying) olas\u0131 \u00f6teki g\u00f6sterme kipleri \u00fczerindeki kay\u0131ts\u0131z \u015farts\u0131z sultas\u0131na, egemenli\u011fine son verilmektedir. Kurgus\u00f6k\u00fcmleyici bir okuma yap\u0131ld\u0131\u011f\u0131nda bu edim herhangi bir metnin (ya da bir yap\u0131n\u0131n, bir kurgunun) kritik bir bi\u00e7imde nas\u0131l kendinden farkl\u0131la\u015ft\u0131\u011f\u0131na dikkatleri \u00e7ekmekten ibarettir. Kurgus\u00f6k\u00fcm\u00fcn i\u015fleyi\u015fi, \u00f6zellikle Descartes sonras\u0131 geleneksel felsefenin ya da Heidegger\u2019in deyi\u015fiyle \u2018Bat\u0131 metafizi\u011fi\u2019nin saplant\u0131s\u0131 haline gelmi\u015f \u015fu a\u00e7\u0131kse\u00e7iklik ve tutarl\u0131l\u0131k \u00e7abas\u0131 i\u00e7inde hep varolan gerilimin su y\u00fcz\u00fcne vuru\u015fudur. Bu da bizlere s\u00fcrekli ak\u0131\u015fkan olan\u0131n asl\u0131nda \u2018dil\u2019 oldu\u011funu hat\u0131rlat\u0131r. K\u0131sacas\u0131, anlam darals\u0131n ya da geni\u015flesin, hep oynar. Oynamayan anlama da anlam denemez. Derrida\u2019n\u0131n genelge\u00e7er bir \u015fablon gibi \u00f6n\u00fcm\u00fcze \u00e7\u0131kan her kurguya asla uygulanamayaca\u011f\u0131n\u0131, bizler i\u00e7in meseleye d\u00f6n\u00fc\u015fm\u00fc\u015f her kurguya g\u00f6re farkl\u0131 \u015fekillendi\u011fini s\u00fcrekli vurgulad\u0131\u011f\u0131 kurgus\u00f6k\u00fcm\u00fcn oyunsu i\u015flevi de burada ortaya \u00e7\u0131kar zaten. Bunun aymam\u0131za yol a\u00e7t\u0131\u011f\u0131 \u00f6nemli bir ger\u00e7ek de vard\u0131r ki, o da dilin i\u00e7ine do\u011fan, orada ya\u015fayarak \u00e7al\u0131\u015fan, sonunda da gene dil i\u00e7inde \u00f6len bizlerdeki Da-sein\u2019\u0131n da bu duruma big\u00e2ne kalamayaca\u011f\u0131 ve kurgusunun sabitlenemeyece\u011fidir.<\/p>\n

Derrida mektubunda yeni entellekt\u00fcel bebe\u011fe ad olana dek s\u00f6zl\u00fckte ba\u015fka (ve a\u011f\u0131rl\u0131kla \u2018mekanik) anlamlar\u0131yla uyuklayan bu s\u00f6zc\u00fc\u011f\u00fcn \u2018ba\u011flam\u0131\u2019 hakk\u0131nda da bilgi verir. Elbette ki \u2018Yap\u0131salc\u0131\u2019l\u0131\u011f\u0131n egemen oldu\u011fu s\u0131ralarda s\u00f6zc\u00fc\u011f\u00fcn yap\u0131 ve kurgulara y\u00f6nelik i\u015fe ko\u015fulmas\u0131 (daha do\u011frusu, \u201ckendini i\u015fe ko\u015fmas\u0131\u201d), ama ayn\u0131 s\u00fcre\u00e7te hem Yap\u0131salc\u0131 hem de Yap\u0131salc\u0131-kar\u015f\u0131t\u0131 bir tav\u0131r, bir jest (mektupta \u2018gesture\u2019) ka\u00e7\u0131n\u0131lmazd\u0131, diye ekliyor Derrida. Biz de \u00f6zne-temellili\u011fe kar\u015f\u0131 bir s\u00f6zc\u00fck nas\u0131l olur da bir \u00f6zne gibi jest (gesture) de bulunabiliyor sorusunu zihnimizde ta\u015f\u0131yarak Derrida\u2019n\u0131n \u00f6nerdi\u011fi stratejiyi kendi ad\u0131n\u0131 ta\u015f\u0131yan metinler tayf\u0131na y\u00f6neltmenin m\u00fcmk\u00fcn olup olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmeliyiz. Ama Derrida b\u00f6yle bir giri\u015fimin kurgusunun \u00e7\u00f6z\u00fclme olas\u0131l\u0131\u011f\u0131na de\u011finirken kendi yaz\u0131lar\u0131n\u0131n da kurgus\u00f6k\u00fcmlenmeye aday olabilece\u011fi konusunda pek fazla bir ipucu vermiyor bizlere.<\/p>\n

Derrida ayn\u0131 mektubunda, \u00f6nerdi\u011fi ama asla bir \u015fablona d\u00f6n\u00fc\u015ft\u00fcr\u00fclmemesi gerekti\u011fi ve zaten d\u00f6n\u00fc\u015ft\u00fcr\u00fclemeyece\u011fi ikaz\u0131n\u0131 s\u00fcrekli verdi\u011fi \u2018kurgus\u00f6k\u00fcm\u2019\u00fcn \u00f6n\u00fcne \u00e7\u0131kan her\u015feye \u2018y\u00f6ntem\u2019 olarak uygulanamayaca\u011f\u0131n\u0131n da alt\u0131n\u0131 \u0131srarla \u00e7iziyordu.[5]<\/p>\n

Bunun anlam\u0131 sonunda \u015fundan m\u0131 ibaret?: Bilgimizin ilerlemesinde esas \u00f6nemli olan, bir \u015fey g\u00f6z\u00fcm\u00fcz ve g\u00f6nl\u00fcm\u00fcze \u2018mesele\u2019 (Sache) olarak d\u00fc\u015ft\u00fc m\u00fc bir kere, ondan sonra hakimiyet kay\u0131ts\u0131z \u015farts\u0131z o meselenin ya da yetersiz bir deyi\u015fle kar\u015f\u0131m\u0131za dikiliveren bir nesne ya da d\u00fc\u015f\u00fcnce nesnesinin (Gegenstand; Objekt) olmal\u0131; bundan sonraki \u00e7aba da belki yeni durum i\u00e7in hi\u00e7 ge\u00e7erli olmayabilecek eskinin \u00f6rneklerinden s\u00fczme genelge\u00e7er bir \u2018Y\u00f6ntem\u2019in sultas\u0131 alt\u0131na sokulmamal\u0131, yapay hepge\u00e7er bir kurallar cenderesine teslim edilmemelidir. Ama Derrida\u2019ya g\u00f6re salt \u00f6yle de de\u011filmi\u015f gibi.<\/p>\n

Derrida kendisinin de k\u0131sa zamanda ayd\u0131\u011f\u0131 \u00fczere, \u00f6zellikle ABD\u2019deki ortalama taraftar kitlesince her okuma ve yoruma deva bir yeni metodoloji diye alg\u0131lanan \u2019kurgus\u00f6k\u00fcm\u2019\u00fcn ne bir \u2018\u00e7\u00f6z\u00fcmleme\u2019 (\u00e7\u00fcnk\u00fc s\u00f6k\u00fcm sonunda ula\u015f\u0131lacak b\u00f6l\u00fcnmez en k\u00fc\u00e7\u00fck bir eleman yoktur) ne de genel ya da Kant\u2019gil anlam\u0131yla bir Kritik olamayaca\u011f\u0131n\u0131 da ekleyiveriyor. \u00c7\u00fcnk\u00fc onun g\u00f6z\u00fcnde kurgus\u00f6k\u00fcm Kritik\u2019i de s\u00f6k\u00fcmlemeye y\u00f6neliktir.<\/p>\n

\u00dcst\u00fcne \u00fcstl\u00fck, her bir kurgus\u00f6k\u00fcm \u00f6rne\u011finden (olay\u0131ndan) \u00e7\u0131karak sonraki olas\u0131 s\u00f6k\u00fcmler i\u00e7in bir beklentiye de girilemez; \u00e7\u00fcnk\u00fc gerideki \u00f6rnekte bile bir imza bulamazs\u0131n\u0131z. Burada geride bir k\u00f6kene yani bireysel ya da kollektif bir \u00f6znenin niyet ve sorumlulu\u011funa ta\u015f\u0131nabilecek bir operasyon s\u00f6z konusu de\u011fildir (Derrida\u2019n\u0131n metinleri d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde bu biraz kar\u015f\u0131l\u0131ks\u0131z \u00e7ek yazmaya benziyor). Bunlar\u0131n alt\u0131n\u0131 \u00e7izerken Derrida\u2019n\u0131n kafas\u0131nda Heidegger\u2019in \u015fu \u2018\u00f6zg\u00fcnolay\u2019\u0131 [Ereignis] var m\u0131yd\u0131 acaba?<\/p>\n

Peki \u00f6yle olsun diyelim \u015fimdilik ve bizzat onun uyar\u0131lar\u0131na kulak kabartarak ba\u015fka s\u00f6ylemleri alabildi\u011fine s\u00f6kerken tam bir dil ustal\u0131\u011f\u0131yla kendi s\u00f6ylemini kurgus\u00f6k\u00fcme ba\u011f\u0131\u015f\u0131k k\u0131lmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 izlenimini ister istemez bizde uyand\u0131ran Derrida\u2019y\u0131 \u2018mesele\u2019 edinmi\u015f yaz\u0131m\u0131z\u0131 s\u00fcrd\u00fcrelim. \u00d6znelli\u011fimizin istenci ve bilinci d\u0131\u015f\u0131na bile ta\u015farak onun elegelmez devingenlikteki s\u00f6ylemini kurgus\u00f6k\u00fcmleme \u015fans\u0131n\u0131 ele ge\u00e7irir miyiz acaba bu oyunsu \u015fenbilimde? Bunu arzulayal\u0131m ya da b\u0131rakal\u0131m felek bildi\u011fin okusun, Derrida\u2019n\u0131n vurgulad\u0131klar\u0131n\u0131 \u00e7arp\u0131tmamaya \u00f6zen g\u00f6stermek ve bu arada att\u0131k kenara yazar\u0131n\u0131, \u015fu anda okunan metnin de bu s\u00fcre\u00e7te kurgus\u00f6k\u00fcmlenebilme olas\u0131l\u0131\u011f\u0131n\u0131 g\u00f6ze almak zorunday\u0131z.<\/p>\n

Derrida\u2019n\u0131n bir \u00e7ok yaz\u0131s\u0131 yan\u0131nda kendisiyle yap\u0131lan g\u00f6r\u00fc\u015fme ve s\u00f6yle\u015filerde[6] a\u00e7\u0131kca belirtti\u011fi gibi, \u2018kurgus\u00f6k\u00fcm\u2019 en ba\u015fta \u2018dizge\u2019lerle, \u00f6zellikle de d\u00fc\u015f\u00fcn dizgeleri ile ilgili. Burada s\u00f6z konusu olan m\u00fcdahale y\u0131k\u0131c\u0131l\u0131ktan uzak da olsa, bence asgari isten\u00e7 gerektiren \u00f6zne kaynakl\u0131 bir m\u00fcdahale; bir dizgenin s\u00f6k\u00fcl\u00fcp par\u00e7alar\u0131na ayr\u0131l\u0131p ba\u015fka bir yerde ve bi\u00e7imde toparlanabilece\u011fine, bu arada da eski toplan\u0131m\u0131n anlam\u0131nda bir kayma ger\u00e7ekle\u015febilece\u011fine vurgu yapan bir istencin m\u00fcdahalesi.<\/p>\n

\u00d6te yandan, \u015fu dev\u015firme \u2018kurgus\u00f6k\u00fcm\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn ger\u00e7ekten hakk\u0131n\u0131 verdi\u011fini Derrida\u2019n\u0131n da teslim etti\u011fi arkada\u015f\u0131 edebiyat ele\u015ftirmeni Paul De Man\u2019a sorarsan\u0131z, bir kurgunun s\u00f6k\u00fclmesi i\u00e7in b\u00fcy\u00fck bir isten\u00e7 g\u00fcc\u00fcne de gerek yoktur. Dikkatli bak\u0131\u015f ve okuma alt\u0131nda herhangi bir kurgu, diyelim ki bir metin, kendi i\u00e7 \u00e7eli\u015fk, ve gerilimlerini d\u0131\u015fa vurarak s\u00f6k\u00fcme a\u00e7\u0131l\u0131r. B\u00f6ylece Paul de Man da m\u00fcdahalenin asgarili\u011fine ra\u011fmen istencin varl\u0131\u011f\u0131na dikkatleri \u00e7ekmi\u015f bulunuyor.[7]<\/p>\n

Gene de kurgus\u00f6k\u00fcm sonunda, b\u0131rakt\u0131k metin yazar\u0131n\u0131n \u00f6znel niyetini bir yana, herhangi bir metnin ba\u011f\u0131ms\u0131z kendine ra\u011fmen bile tek bir \u015feyi g\u00f6stermedi\u011fini bizlere g\u00f6steren yekp\u00e2re bir \u015fablona, yeg\u00e2ne bir y\u00f6nteme indirgenemez. Bu durumda esnek ama kapristen uzak, sorumlu bir okuma stratejisi s\u0131fat\u0131yla kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r. B\u00f6yle d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde kurgus\u00f6k\u00fcm\u00fc d\u00fc\u015f\u00fcnsel giderek de kurumsal bir dizgenin (\u00f6rne\u011fin bir siyasi sistem) kurgusunun kapan\u0131m\u0131 ve a\u00e7\u0131l\u0131m olanaklar\u0131 \u00fczerine bir d\u00fc\u015f\u00fcn\u00fcm, hatta yeniden yaz\u0131m\u0131 ve alternatif yap\u0131land\u0131r\u0131l\u0131\u015f\u0131-kurgulan\u0131\u015f\u0131 gibi anlamak da m\u00fcmk\u00fcn h\u00e2le gelmektedir.<\/p>\n

Do\u011fald\u0131r ki, t\u00fcm olumlay\u0131c\u0131l\u0131\u011f\u0131na (affirmation) kar\u015f\u0131n, giderek ba\u015fta sergilenen isten\u00e7ten uzakla\u015fan b\u00f6ylesi bir m\u00fcdahale s\u00f6k\u00fcm sonucu ortaya \u00e7\u0131kabilecek yeni bir dizgenin m\u00fcjdecisi olamaz; hele\u00a0 g\u00fcvencesini hi\u00e7 veremez. Derrida\u2019n\u0131n le futur kar\u015f\u0131s\u0131na dikti\u011fi l\u2019avenir, daha do\u011frusu \u00e0-venir\u2019in bir anlamda burada da i\u015fledi\u011fini \u00f6ne s\u00fcrebiliriz. Derrida\u2019n\u0131n \u201cgelece\u011fi\u201d iki frans\u0131zca s\u00f6zc\u00fckle kar\u015f\u0131lay\u0131\u015f\u0131n\u0131 d\u00fc\u015f\u00fcnelim bir an. Bunlardan ilki \u201cle futur (la future=evlenilecek kad\u0131n?)\u201d yani beklenir, tahmin edilebilir saatte takvimde g\u00f6r\u00fclen gelecek zamand\u0131r. \u0130kincisi ise. \u201cl\u2019avenir\u00e0 \u00e0-venir\u201d yani \u201cgelmeyebilir-gelecek\u201d ama hi\u00e7 beklenmezken de \u201cgeliverebilen,.\u201d ans\u0131z\u0131n gelebilece\u011fi gibi, daha da b\u00fcy\u00fck bir olas\u0131l\u0131kla, hi\u00e7 de gelmeyebilir oland\u0131r. Bir anlamda da \u201c\u00f6teki\u2019nin geli\u015fi,\u201d metinler ba\u011flam\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde de alternatif okumalar aras\u0131ndan \u00f6ne \u00e7\u0131kan bir \u2018\u00f6teki okuma\u2019d\u0131r bu.<\/p>\n

Ama neye niyet,neye k\u0131smet. G\u00f6r\u00fcn\u00fcrde olan \u015fu ki, bu se\u00e7imin gerisinde yatan anlam y\u00fck\u00fcn\u00fcn \u00e7o\u011fu zaman ba\u015fkalar\u0131n\u0131n g\u00f6z\u00fcnde mu\u011flak kal\u0131\u015f\u0131, yanl\u0131\u015f anla\u015f\u0131lmas\u0131, hatta bilerek ya da bilin\u00e7siz\u00a0 \u00e7arp\u0131t\u0131lmas\u0131 kar\u015f\u0131s\u0131nda, Derrida\u2019n\u0131n kendisi bu okuyarak s\u00f6kme eylemini – genellikle de \u2018kurgus\u00f6k\u00fcm\u2019\u00fcn ne oldu\u011fundan \u00e7ok ne olmad\u0131\u011f\u0131n\u0131 anlatarak – s\u0131kl\u0131kla a\u00e7\u0131klamak zorunda kal\u0131yor. Onun buna zorlanmas\u0131n\u0131n ba\u015fl\u0131ca nedeni \u2018kurgus\u00f6k\u00fcm\u2019 denen d\u00fc\u015f\u00fcnce eyleminin Anglo-Saxon ve \u00f6zellikle \u0130ngiliz d\u00fcnyas\u0131nda, orada da a\u011f\u0131rl\u0131kla hegemonik yap\u0131 ve kurgular i\u00e7indeki yerle\u015fik d\u00fc\u015f\u00fcn\u00fcr ve akademisyenlerce, s\u0131k\u0131\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda m\u00fcrekkep sa\u00e7an bir s\u00fcbye \u00f6rne\u011fi, omurgas\u0131z, yumu\u015fak kar\u0131nl\u0131, zay\u0131f, gev\u015fek, kaypak gibi talihsiz nitelemelere de u\u011fram\u0131\u015f olmas\u0131d\u0131r. Bu d\u00fcnyalardan bak\u0131ld\u0131\u011f\u0131nda, a\u00e7\u0131klama bekleyen tarihsel nedenler sonucu belki de \u00f6zellikle de medya \u00e7a\u011f\u0131n\u0131n kimi Frans\u0131z entellekt\u00fcelleri aras\u0131nda s\u0131kl\u0131kla g\u00f6zlenen, \u00e7abuk k\u0131v\u0131rtarak konum de\u011fi\u015ftirme ve entellekt\u00fcel poseur\u2019l\u00fck su\u00e7lamas\u0131n\u0131n \u00f6rt\u00fck ya da a\u00e7\u0131k olarak Derrida\u2019ya da y\u00f6neltildi\u011fine tan\u0131k oluyoruz. Bu saptama yer yer ve k\u0131smen do\u011fruluk pay\u0131 ta\u015f\u0131yabilir; gene de Derrida\u2019ya y\u00f6neltilen ele\u015ftiriler ve sonu\u00e7lar\u0131 i\u00e7inde sapla saman\u0131 dikkatle birbirinden ay\u0131rmak gerekmekte.<\/p>\n

Bu vesileyle akademik pazar\u0131n buyru\u011funa teslim olmu\u015f ve \u2018sinik\u2019le\u015fmi\u015f epigonelar eline d\u00fc\u015ft\u00fc\u011f\u00fcnde savunucusunun hi\u00e7 kastetmedi\u011fi bir h\u00e2le geldi\u011fini bildi\u011fimiz kurgus\u00f6k\u00fcm\u00fcn kader \u00e7izgisiyle resimde \u2018k\u00fcbizm\u2019 ve \u2018izlenimcilik\u2019 ak\u0131mlar\u0131n\u0131n kaderi aras\u0131nda paralellik bile kurulabilir.[8]<\/p>\n

Heidegger\u2019in \u201cEreignis\u201dine \u00e7ok yakla\u015fan bir \u201c\u00f6zg\u00fcnolay\u201d\u0131n i\u00e7inde kendini buluvermenin (hele beklenmedik bir bi\u00e7imde ans\u0131z\u0131n \u2018geliveren\u2019 bir olay d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde) \u201crisk\u201dsiz olmayaca\u011f\u0131n\u0131 Derrida\u2019n\u0131n kendisi de hep s\u00f6yledi\u011fine g\u00f6re, onun da yaz\u0131n\/d\u00fc\u015f\u00fcn etkinli\u011finde ya\u015fad\u0131\u011f\u0131 olaylarda risk almas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131. Modernlik ko\u015fullar\u0131nda, M. Arnold ve O. Wilde gibi d\u00fc\u015f\u00fcn insanlar\u0131n\u0131n \u201cnesnelerin maskesi\u201dni (conceptual personae) indirme giri\u015fimlerinin \u201cele\u015ftirmen\u201d denen bir arac\u0131ya\/tipe yol a\u00e7t\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrsek, kurgus\u00f6k\u00fcm\u00fcn ele\u015ftiriden farkl\u0131 oldu\u011funda israr eden Derrida\u2019n\u0131n ald\u0131\u011f\u0131 \u2018risk\u2019ler\u00a0 hakk\u0131nda ne diyebiliriz?<\/p>\n

Bu vesileyle, Derrida\u2019n\u0131n d\u00fc\u015f\u00fcncesini kendiyle birlikte bizlere tan\u0131tma iddias\u0131ndaki bir belgeselde[9] bir \u2018\u00f6zne\u2019 olarak sergileni\u015finin salt belgeseli \u00e7ekenlerden kaynaklanmad\u0131\u011f\u0131n\u0131 belirtelim. Derrida\u2019n\u0131n da belgesele al\u0131nan konferanslar\u0131nda biyografinin \u00f6nemine yapt\u0131\u011f\u0131 vurgu sanki s\u00f6z konusu \u201c\u00d6zne\u201d temellili\u011fi \u2018mecburen\u2019 hakl\u0131 \u00e7\u0131karma u\u011fra\u015f\u0131 gibi. Bir yanda i\u00e7ine \u00e7ekildi\u011fi \u00fcnl\u00fcler ge\u00e7idine kat\u0131lmayla gelen durumun bilincinde olmak ile\u00a0 \u00f6te yanda \u201ckuyuya d\u00fc\u015fen\u201d d\u00fc\u015f\u00fcn\u00fcrl\u00fc\u011f\u00fc (\u00f6rnek verdi\u011fi de tabii ki Thales) s\u00fcrd\u00fcrmek aras\u0131nda tak\u0131l\u0131 kalman\u0131n getirdi\u011fi beceriksiz konum. Derrida\u2019n\u0131n sahte-entellekt\u00fcel bir \u201cr\u00f6ntgencilik\u201d sergileyen belgeselin kurgusu d\u0131\u015f\u0131na yer yer ta\u015fmaya \u00e7abalamas\u0131 ba\u015far\u0131l\u0131 m\u0131? Kuyuya d\u00fc\u015fen d\u00fc\u015f\u00fcn\u00fcr olman\u0131n alt\u0131n\u0131 \u00e7izerken kendisi de bilerek bu belgeselin kapan\u0131nda.olabilir mi? Bu yolun al\u0131mlay\u0131c\u0131\/okuyucu\/yeniden-yazan taraf\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde de, \u00e7a\u011f\u0131m\u0131zda ister istemez \u201c\u00fcnl\u00fcler ge\u00e7idi,\u201d \u201centellekt\u00fcel jet sosyete\u201d i\u00e7ine \u00e7ekilmeyle ortaya \u00e7\u0131kan a\u00e7maz\u0131n kentsoylu romantizmine \u00f6zg\u00fc ideolojiden ne \u00f6l\u00e7\u00fcde farkl\u0131 oldu\u011fu bir soru olarak zihinlerde beliriyor. Ama hakk\u0131n\u0131 vermek gerekirse, ayn\u0131 belgeselde o g\u00fcnlerde Amerika\u2019da zirvede duran \u2018Seinfeld\u2019 dizisine dikkatini \u00e7eken televizyonculara Derrida\u2019n\u0131n \u015fu s\u00f6ylediklerini hat\u0131rlayabiliriz: \u201cKurgus\u00f6k\u00fcm\u00fcn yapmad\u0131\u011f\u0131 bir \u015fey varsa o da \u2018sit-com\u2019 \u00fcretmeyi\u015fidir…Ki\u015filer gitsin de ev \u00f6devlerini yaps\u0131n.\u201d<\/p>\n

Derrida\u2019n\u0131n kurgus\u00f6k\u00fcm\u00fcn etkinlik alan\u0131n\u0131 entellekt\u00fcel egzersizlerin \u00f6tesine de geni\u015fletti\u011fini g\u00f6r\u00fcyoruz. \u00d6rne\u011fin, kurgus\u00f6k\u00fcm\u00fcn salt s\u00f6ylemlerle yetinmeyip, kurumlara da bir t\u00fcr meydan okuma oldu\u011funu en az\u0131ndan ima edi\u015fi, k\u0131sacas\u0131 \u201csiyasi olan\u201d\u0131n alan\u0131na y\u00f6neldi\u011fini g\u00f6stermekte. Derrida\u2019n\u0131n felsefi-d\u00fc\u015f\u00fcnsel m\u00fcdahalesi yer yer i\u015fleyi\u015fiyle temelde etkisiz bir anlama\/ele\u015ftirme oyunu izlenimini baz\u0131lar\u0131nda uyand\u0131rsa bile, en ba\u015fta kendinin de eyleyicileri aras\u0131nda bulundu\u011fu akademik ya\u015fam, giderek de k\u00fclt\u00fcr kapitalizmi alan\u0131nda ve hatta d\u00fcped\u00fcz ulusal ve uluslararas\u0131 siyaset platformlar\u0131nda egemen hiyerar\u015fi ve iktidar s\u00fcre\u00e7lerini, bunlar\u0131n empoze etti\u011fi kimlik kurgular\u0131n\u0131 ve her birine \u00f6zg\u00fcl s\u0131valar\u0131 (ideolojik s\u00f6ylemleri) kaz\u0131mak, didik didik etmek, s\u00f6k\u00fcmlemek gibi bir meziyeti oldu\u011funu teslim etmeliyiz.[10]<\/p>\n

Derrida yeni bir okumaya giri\u015firken beyaz bir ka\u011f\u0131tla ba\u015flanamayaca\u011f\u0131, hi\u00e7 bir \u2018ar\u0131l\u0131k\u2019 olmad\u0131\u011f\u0131 ger\u00e7e\u011fini ba\u015ftan kabul edi\u015fiyle, kurgus\u00f6k\u00fcm\u00fcn klasik anlamdaki \u201cele\u015ftiri\u201dden (Kant) ayr\u0131ld\u0131\u011f\u0131 iddias\u0131nda. Yukar\u0131da da belirtti\u011fimiz gibi, \u00f6n\u00fcm\u00fczdeki bir s\u00f6ylem ya da metnin asgari m\u00fcdahaleyle kendi kendini s\u00f6k\u00fcyor, \u00e7\u00f6z\u00fcl\u00fcyor olmas\u0131 kurgus\u00f6k\u00fcm\u00fcn temel bir \u00f6zelli\u011fi. Kurgus\u00f6k\u00fcm\u00fc klasik felsefi \u00e7\u00f6z\u00fcmleme ve ele\u015ftiriden ayr\u0131 bir yere koyarken onun dayand\u0131\u011f\u0131 nokta, \u2018ar\u0131\u2019l\u0131\u011f\u0131 \u00f6rne\u011fin Kant\u2019ca bir belit oldu\u011fu kabul edilen bir \u201ca\u015fk\u0131n \u00f6zne\u201d taraf\u0131ndan yarg\u0131 \u00f6ncesi ve sonras\u0131 g\u00f6z\u00f6n\u00fcnde tutularak ele\u015ftirinin yap\u0131l\u0131yor olu\u015fu. Oysa Derrida\u2019n\u0131n iddias\u0131na g\u00f6re kurgus\u00f6k\u00fcm i\u00e7in \u00f6zne-temelli b\u00f6ylesi bir yarg\u0131 asla nihai yetke olamaz. Kant\u2019\u0131n ger\u00e7ekten b\u00f6yle d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc konusunda baz\u0131 ku\u015fkular\u0131m olsa da, Kant\u2019dan \u00e7ok Kant\u2019\u00e7\u0131lar akla geldi\u011finde buraya dek bence b\u00fcy\u00fck bir sorun yok; bu anlam\u0131yla kurgus\u00f6k\u00fcm \u201cele\u015ftiri\u201dnin de kurgus\u00f6k\u00fcm\u00fcd\u00fcr. Gene s\u00f6z\u00fcn\u00fc etti\u011fimiz belgeseli d\u00fc\u015f\u00fcn\u00fcrsek, y\u00f6netmenlerinden biri kad\u0131n da olsa Derrida\u2019n\u0131n bizleri kar\u015f\u0131nda hep uyan\u0131k olmaya \u00e7a\u011f\u0131rd\u0131\u011f\u0131 \u201cYasa\u201dya – ki s\u00f6zc\u00fck her dilde mutlaka erkek egemenli\u011finin g\u00f6stergesi de\u011fildir [\u00f6rn. la loi \/ das Gesetz] – uyar teknolojik bir \u00e7er\u00e7evelemenin kapan\u0131nda riskle y\u00fczle\u015fen bir Derrida ile y\u00fczy\u00fczeyiz. Bu minvalde giderek denilebilir ki, \u00f6rne\u011fin feminist \u2018ele\u015ftiri\u2019 de \u2018\u00f6zc\u00fcl\u00fc\u011fe\u2019 ka\u00e7t\u0131\u011f\u0131, yani \u201cYasa\u201dya uyarak soyut bir \u00f6zne (kad\u0131n) varsayd\u0131\u011f\u0131 s\u00fcrece kurgus\u00f6k\u00fcme u\u011framas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131r.[11] Yoksa, gene s\u00f6zgelimi \u201ckad\u0131n\/di\u015fil\u201d sorunu salt bir kuramsal s\u00f6ylemin \u201cnesnesi\u201d olarak i\u015flenecekse yani gizli \u2018Yasa\u2019ya tabi olmay\u0131 s\u00fcrd\u00fcrecekse, bunun akademik-k\u00fclt\u00fcrel i\u015fletmenin baz\u0131 \u00e7al\u0131\u015fanlar\u0131na \u201ck\u00fclt\u00fcrel sermaye\u201d sa\u011flamaktan \u00f6teye gidece\u011fi yoktur.<\/p>\n

Demem \u015fu ki, tam da bu noktada kurgus\u00f6k\u00fcm\u00fcn s\u00f6ylem dizgeleri \u00f6tesine ta\u015ft\u0131\u011f\u0131, yerle\u015fik kurumlar ve siyasete bula\u015fmaya ba\u015flad\u0131\u011f\u0131 g\u00f6lge alana girmeye ba\u015flan\u0131r. <\/p>\n

Tabii burada da \u201chak\u201d ve \u201chukuk\u201d (le droit) konusuna, \u00f6zellikle de \u015fimdilerde akademia\u2019n\u0131n k\u00fc\u00e7\u00fck sermayedarlar\u0131nca metala\u015ft\u0131r\u0131lan cilal\u0131 s\u00f6zc\u00fckle, \u201c\u00f6teki\u201dnin haklar\u0131na gelip dayan\u0131r\u0131z. Bu ise \u201cadalet\u201d (la justice) sorunudur.<\/p>\n

\u0130\u015fin ilginci, her\u015feyin kurgus\u00f6k\u00fcm\u00fcn\u00fcn (\u2018Yasa\u2019 dahil) yap\u0131labilece\u011fini s\u00f6yleyen Derrida \u201cadalet\u201d metafizi\u011finin \u00f6n\u00fcnde duraksayarak, adaleti kurgus\u00f6k\u00fcm\u00fc yap\u0131lamayacak tek \u015fey gibi g\u00f6r\u00fcyor. En az\u0131ndan, kurgus\u00f6k\u00fcm\u00fcn adalete pek el atmad\u0131\u011f\u0131 ortaya \u00e7\u0131k\u0131yor.\u00a0 . \u2018Yasa\u2019 \u00f6rt\u00fck a\u00e7\u0131k bir zorlay\u0131c\u0131l\u0131\u011fa sahip, dolay\u0131s\u0131yla \u201c\u015fiddet\u201d (Gewalt) i\u00e7erirken, Derrida\u2019n\u0131n g\u00f6z\u00fcnde yasay\u0131 a\u015fan bir yan var \u2018Adalet\u2019de.[12]<\/p>\n

Biz gene de \u2018adil\u2019 olmaya \u00e7al\u0131\u015fal\u0131m Derrida\u2019n\u0131n felsefi m\u00fcdahalesiyle ilgili olarak. Geldik ba\u015ftan ima edilen son noktam\u0131za: Derrida\u2019n\u0131n yazd\u0131klar\u0131, s\u00f6yledikleri ve yapt\u0131klar\u0131n\u0131n ne denli \u00f6nemli oldu\u011funu ileride ortaya \u00e7\u0131karman\u0131n bir yolu, onun\u00a0 bizzat savundu\u011fu kurgus\u00f6k\u00fcm\u00fc onun metinlerine y\u00f6neltmekten ge\u00e7ebilir.\u00a0 <\/p>\n

Derrida, de\u011findi\u011fimiz belgesele al\u0131nan bir konferans\u0131nda ve kan\u0131mca retorik olarak klasik felsefenin biyografiyi neden d\u0131\u015flad\u0131\u011f\u0131n\u0131 sorgularken Heidegger\u2019in Aristoteles hakk\u0131nda s\u00f6ylediklerini biraz yanl\u0131\u015f hat\u0131rlayarak \u015f\u00f6yle \u00f6zetler:<\/p>\n

\u201cBir keresinde sormu\u015flar Heidegger’e: \u2018Aristo’nun ya\u015fam\u0131 nas\u0131ld\u0131?\u2019 [B\u00f6yle] bir soruya ne yan\u0131t verilebilir ki?\u00a0 Basit\u00e7e: \u2018Aristo bir filozoftu.\u2019 Ard\u0131ndan tek c\u00fcmlelik bir yan\u0131t:. “Do\u011fdu, d\u00fc\u015f\u00fcnd\u00fc ve \u00f6ld\u00fc.” Gerisi anekdottan ibaret.\u201d[13]<\/p>\n

Derrida\u2019n\u0131n biyografiye verdi\u011fi \u00f6nem k\u0131smen do\u011fruluk ta\u015f\u0131makla birlikte – Derrida dahil hangi d\u00fc\u015f\u00fcn\u00fcr\u00fcn \u00fcretimine onun ya\u015fam\u00f6yk\u00fcs\u00fc dolayl\u0131 dolays\u0131z akmam\u0131\u015ft\u0131r ki zaten? -, nas\u0131l ki bir sanat eseri ortaya \u00e7\u0131kar, burdala\u015f\u0131rken, kendisi de de\u011fi\u015fen, d\u00f6n\u00fc\u015fen sanat\u00e7\u0131s\u0131na, sanat\u00e7\u0131n\u0131n m\u00fclkiyet\u00e7i imzas\u0131na bayrak kald\u0131r\u0131p ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 il\u00e2n edi\u015fi gibi, Derrida\u2019n\u0131n eserleri de bu \u00f6nemli d\u00fc\u015f\u00fcn sanat\u00e7\u0131s\u0131ndan ba\u011f\u0131ms\u0131zla\u015fm\u0131\u015ft\u0131r art\u0131k. Hakk\u0131nda \u00e7uvallar dolusu yaz\u0131lm\u0131\u015f yazar\u0131n\u0131n \u00f6znelli\u011fine, ki\u015fisel niyetlerine indirgemeksizin bu geni\u015f tayfl\u0131 oeuvre\u2019\u00fcn tam ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131yla bize sesleni\u015fine kulak kabartman\u0131n belki de tam zaman\u0131d\u0131r. Dilerseniz insanda zaman zaman kendi \u2018kurgus\u00f6k\u00fcm\u00fc\u2019ne f\u0131rsat vermez\u00a0 izlenimi uyand\u0131ran bir ya\u015fam boyu \u00e7al\u0131\u015fman\u0131n \u2018kurgus\u00f6k\u00fcm\u00fcn\u00fc\u2019 yapmaya ba\u015flaman\u0131n zaman\u0131. Ama buna nas\u0131l giri\u015fmeli?.<\/p>\n

Derrida\u2019n\u0131n temel esin kaynaklar\u0131ndan Heidegger\u2019in Aristoteles konulu o erken d\u00f6nem dersindeki c\u00fcmlelerini aynen kullanarak bu i\u015fe giri\u015febilirsiniz:<\/p>\n

\u201cBir filozofun ki\u015fili\u011finde ilgilenilecek yaln\u0131zca \u015fudur: filanca zamanda do\u011fdu; \u00e7al\u0131\u015ft\u0131; \u00f6ld\u00fc. Filozofun nas\u0131l bilindi\u011fi ya da benzeri \u015feyler bu noktada [art\u0131k] gerekmez.\u201d<\/p>\n

G\u00fcn\u00fcm\u00fcz\u00fcn imajlar d\u00fcnyas\u0131nda bir tarih d\u00f6nemini payla\u015ft\u0131\u011f\u0131m\u0131z Derrida hakk\u0131nda \u201cnas\u0131l bilirdiniz?\u201d diye sorduklar\u0131nda, d\u00fc\u015f\u00fcn\u00fcr\u00fcn de d\u00fc\u015f\u00fcncesinin de hakk\u0131n\u0131 vermeye gene bu ifadeyle ba\u015flamak bence daha do\u011fru g\u00f6r\u00fcn\u00fcyor.<\/p>\n

* Prof. Dr. ODT\u00dc Sosyoloji B\u00f6l\u00fcm\u00fc.<\/strong><\/p>\n

Notlar:<\/p>\n

[1] Heidegger tek bir s\u00f6zc\u00fckte uyuklayan bu \u00f6nemli n\u00fcansa H\u00f6lderlin\u2019in\u201cDer Ister\u201d (Tuna) il\u00e2hisi \u00fczerine 1942\u2019de s\u00fcrd\u00fcrd\u00fc\u011f\u00fc\u00a0 seminerinde dikkatleri \u00e7ekmektedir. Bkz. M. Heidegger, H\u00f6lderlins Hymne \u201cDer Ister,\u201d (Frankfurt am Main: V. Klostermann, 1984): 80.\u00a0 \/ H\u00f6lderlin\u2019s Hymn \u201cThe Ister,\u201d tr. W. McNeill and J. Davis (Bloomington and Indianapolis: Indiana University Press, 1996): 65.<\/p>\n

[2] Heidegger\u2019in kat\u0131l\u0131m\u0131yla ger\u00e7ekle\u015fen 1969 tarihli Le Thor seminerinde hem Jean Beaufret hem de Roger Munier taraf\u0131ndan geli\u015ftirilen bu noktay\u0131 Heidegger\u2019in Varl\u0131k ve Zaman\u2019\u0131n (1927) esas eksikli\u011fi \u00fczerinden \u00e7arp\u0131c\u0131 bir bi\u00e7imde a\u00e7mas\u0131 hem Destruktion ve Abbau hem de deconstruction s\u00f6zc\u00fcklerinin yetersizli\u011fi, hatta yapayl\u0131\u011f\u0131 konusunda bize \u00e7ok \u00f6nemli bir ipucu verir. Ona gore, Varl\u0131k ve Zaman metafizi\u011fi a\u015fmak y\u00f6n\u00fcnde bir \u00e7abad\u0131r ama bunu pek de ba\u015faramam\u0131\u015ft\u0131r. Bunun da esas nedeni, eserin dilinin metafizik a\u011f\u0131ndan \u00e7\u0131kamay\u0131\u015f\u0131, s\u0131rf bu nedenle de Heidegger\u2019in meram\u0131n\u0131 anlatabilmek i\u00e7in, b\u0131rakt\u0131k yabanc\u0131 dildeki \u00e7evirilerden onu okuyanlar\u0131, bir \u00e7ok Alman\u0131 yad\u0131rgatan s\u00f6zc\u00fckler t\u00fcretmek zorunda kal\u0131\u015f\u0131d\u0131r. T\u00e2 ki H\u00f6lderlin \u015fiirinin il\u00e2h\u00ee dili onu sarana, ya da Gadamer\u2019in 1959\u2019daki saptay\u0131\u015f\u0131yla, \u201cH\u00f6lderlin onun dilinin ba\u011f\u0131n\u0131 \u00e7\u00f6zene dek [\u00bbErst H\u00f6lderlin hat ihm die Zunge gel\u00f6st.\u00ab].\u00a0 Seminer protokol\u00fcnde yeralan \u015fu te\u015fhis Derrida\u2019n\u0131n hakk\u0131n\u0131 vermek bak\u0131m\u0131ndan da \u00f6nem ta\u015f\u0131r: \u201c\u015eimdi ise Heidegger daha da kesinlikle \u015funu s\u00f6yler: H\u00f6lderlin sayesinde yeni s\u00f6zc\u00fckler icad etmenin ne denli gereksiz oldu\u011funu anlad\u0131(m) [wie nutzlos es ist, neue Worte zu pr\u00e4gen] Ama dilin olageli\u015findeki yal\u0131nl\u0131\u011fa d\u00f6nme gereklili\u011fi ancak Varl\u0131k ve Zaman yaz\u0131ld\u0131ktan sonra apa\u00e7\u0131k g\u00f6r\u00fclebildi.[nach \u00bbSein und Zeit\u00ab erst ist er sich \u00fcber die Notwendigkeit klar geworden, zur wesentlichen Einfachheit der Sprache zur\u00fcckzukehren]\u201d Bkz. M. Heidegger, Seminare (Frankfurt am Main: V. Klostermann, 1986), 89. \/\u00a0 Four Seminars, tr. by Andrew Mitchell and Fran\u00e7ois Raffoul (Bloomington and Indianapolis: Indiana University Press, 2003): 51.<\/p>\n

[3] \u00d6nceleri \u00fczerine fazla d\u00fc\u015f\u00fcn\u00fclmeden T\u00fcrk\u00e7e\u2019de dola\u015f\u0131ma sokulan \u2018yap\u0131bozum\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn yerini g\u00f6rece daha do\u011fru \u2018yap\u0131s\u00f6k\u00fcm\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn almas\u0131 ku\u015fkusuz olumlu bir ad\u0131m olmakla birlikte, \u2018\u2018kurgus\u00f6k\u00fcm\u2019\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fc tercih etmemin nedeni \u2018kurgu-\u2018 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn, salt mimarl\u0131k prati\u011fine indirgemeye yatk\u0131n ve g\u00f6rece dar anlaml\u0131 \u2018yap\u0131-\u2018 s\u00f6zc\u00fc\u011f\u00fcnden daha kapsaml\u0131 anlamland\u0131rmalara mecazi olarak da gebe olmas\u0131ndand\u0131r. B\u00f6yle d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, \u2018kurgus\u00f6k\u00fcm\u2019 salt yaz\u0131 ve metinlerle s\u0131n\u0131rl\u0131 kalm\u0131yor ve Derrida\u2019n\u0131n da \u00f6rt\u00fck ya da a\u00e7\u0131k i\u015faret etti\u011fi \u00fczere, her t\u00fcr kimlik s\u00f6z konusu oldu\u011funda da s\u00f6zc\u00fckle ge\u00e7erli bir sorgulama stratejisinin kastedildi\u011fini anlamak kolayla\u015f\u0131yor. Netekim, her t\u00fcr siyasetin i\u015flerger\u00e7ekli\u011fi \u00fczerine kendisiyle yap\u0131lan g\u00f6r\u00fc\u015fmelerde Derrida\u2019n\u0131n insanlara dayat\u0131lan kurgular\u0131 sorgulay\u0131\u015f tarz\u0131 da bu tercihimi destekler y\u00f6nde. \u00d6te yandan, Derrida\u2019n\u0131n hem \u201cdeconstruction\u201du ehven-i \u015fer se\u00e7ilmi\u015f \u00e7irkin bir s\u00f6zc\u00fck olarak niteleyi\u015fi hem de bir dilden \u00f6tekine \u00e7evirinin nerdeyse imk\u00e4ns\u0131zl\u0131\u011f\u0131 \u00fczerine yazd\u0131klar\u0131n\u0131 (\u00abl\u2019impossibilit\u00e9 de traduire \u00e9conomiquement une langue dans une autre\u00bb) hat\u0131rlad\u0131\u011f\u0131m\u0131zda, \u00f6erdi\u011fim \u2018kurgus\u00f6k\u00fcm\u2019 s\u00f6zc\u00fc\u011f\u00fcn\u00fcn de h\u00e2l\u00e2 benzer bir \u00e7irkinlikten muztarip oldu\u011funu ba\u015ftan teslim ediyorum. Bu noktalar\u0131n Derrida taraf\u0131ndan k\u0131saca tart\u0131\u015f\u0131ld\u0131\u011f\u0131 metin i\u00e7in bkz. Jacques Derrida, \u201cLetter to a Japanese Friend,\u201d Derrida and Diff\u00e9rance, ed. by David Wood and Robert Bernasconi (Evanston, Ill.: Northwestern University Press, 1988) i\u00e7inde: 1-2. [Mektubun Frans\u0131zcas\u0131:. \u00abLettre \u00e0\u00a0 un ami japonais\u00bb, Psych\u00e9 – Invention de l\u2019autre (Paris: Galil\u00e9e, 1987): 387 – 93]<\/p>\n

** Derrida\u2019n\u0131n s\u00f6z\u00fcn\u00fc etti\u011fi kaynak, ilk bask\u0131s\u0131 4 cilt olarak 1872\u2019de, eki de 1877\u2019de \u00e7\u0131km\u0131\u015f bulunan, ad\u0131n\u0131 bir felsefeci ve filolog Paul-\u00c9mile Littr\u00e9\u2019den (1801-1881) alan, uzun ad\u0131yla da Dictionnaire le Littr\u00e9 dictionnaire de r\u00e9f\u00e9rence du fran\u00e7ais classique olarak bilinen Frans\u0131zcan\u0131n en geni\u015f kapsaml\u0131 s\u00f6zl\u00fcklerinden biridir.<\/p>\n

[4] Jacques Derrida, \u201cLetter to a Japanese Friend\u201d: 1-2. \/\u00a0 \u00ab Lettre \u00e0\u00a0 un ami japonais \u00bb,: 387-88.<\/p>\n

[5] Asl\u0131nda \u201cy\u00f6ntem\u201d ya da \u201cbilimsel y\u00f6ntem\u201d diye bir \u015fablon benimsemeyle gelen bilgiye ket vurma tehlikesi hakk\u0131nda daha \u00f6nce ikaz \u0131\u015f\u0131\u011f\u0131 yakan biri varsa o da Friedrich Nietzsche\u2019ydi. Nietzsche kendi y\u00fczy\u0131l\u0131ndaki bilimlerin ahvali hakk\u0131nda 1888 y\u0131l\u0131 Bahar\u0131nda not defterine (15 [51]) \u015f\u00f6yle yazm\u0131\u015ft\u0131: \u201cOndokuzuncu Y\u00fczy\u0131l\u0131m\u0131z\u0131n ay\u0131rdeden \u015fey bilimin zaferi de\u011fil, bilimsel y\u00f6ntemin bilim \u00fczerindeki zaferidir.\u201d \/ \u00bbNicht der Sieg der Wissenschaft ist das, was unser 19tes Jahrhundert ausseichnet, sondern der wissenschaftlichen Methode \u00fcber die Wissenschaft.\u00ab, Friedrich Nietzsche, Kritische Studienausgabe, Band 13: Nachla\u00df 1887-1889, Herausgegeben von Giorgio Colli und Mazzino Montinari (Berlin: Walther de Gruyter, 1999): 442.<\/p>\n

[6] Burada Derrida ile yap\u0131lm\u0131\u015f ya da onun da kat\u0131ld\u0131\u011f\u0131, yay\u0131nlanm\u0131\u015f her s\u00f6yle\u015finin ba\u015far\u0131l\u0131 oldu\u011fu ve hatta bir diyalog olu\u015fturdu\u011fu s\u00f6ylenemez. Onun bir \u2018\u00fcnl\u00fc profil\u2019 durumuna getirilerek modern zaman\u0131n k\u00fclt\u00fcr-akademi end\u00fcstrisinin program \u00e7er\u00e7eveleriyle ku\u015fat\u0131l\u0131\u015f\u0131n\u0131n bunda pay\u0131 az olmasa gerek. Bunun en tipik \u00f6rne\u011fi, \u00f6ncelikle Hans-Georg Gadamer\u2019le aralar\u0131nda planlanan s\u00f6yle\u015finin (Gadamer\u2019in t\u00fcm diyalog \u00e7abas\u0131na ra\u011fmen) ba\u015far\u0131s\u0131zl\u0131kla sonu\u00e7lanm\u0131\u015f olmas\u0131d\u0131r. \u00d6te yandan, en az\u0131ndan ka\u00e7\u0131r\u0131lan bu ender f\u0131rsatta Derrida\u2019n\u0131n sorumluluk pay\u0131n\u0131n da az olmad\u0131\u011f\u0131 g\u00f6ze \u00e7arp\u0131yor. Paris\u2019te 1981\u2019de yer alan bu bulu\u015fman\u0131n kapsaml\u0131 metinleri i\u00e7in bkz. Dialogue and Deconstruction: The Gadamer-Derrida Encounter, ed. by Diane P. Michelfelder and Richard E. Palmer (New York: State University of New York, 1989): 121-222, 192-198 ve \u00f6zellikle 268. S\u00f6yle\u015fiye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc bile s\u00f6ylenemeyecek bu ender entellekt\u00fcel kar\u015f\u0131la\u015fma f\u0131rsat\u0131 san\u0131r\u0131m Martin Heidegger\u2019in \u015fu sav\u0131n\u0131 do\u011frulayan bir \u00f6rnek olarak hat\u0131rlanmal\u0131d\u0131r: \u201c \u2018S\u00f6yle\u015fi\u2019 s\u00f6zc\u00fc\u011f\u00fc ku\u015fkusuz s\u00f6yle\u015fenlerin y\u00fczlerini birbirine d\u00f6nd\u00fc\u011f\u00fc anlam\u0131n\u0131 verir. Her s\u00f6yle\u015fi bir t\u00fcr diyalogdur. Ama hakiki bir diyalog asla bir s\u00f6yle\u015fi de\u011fildir. S\u00f6yle\u015fi konu\u015fulmam\u0131\u015f olana dokunmaks\u0131z\u0131n konunun kenar\u0131nda k\u00f6\u015fesinde dola\u015fmaktan ibarettir. \u201d \/ \u00bbDer Name >Konversation< nennt zwar die wechselweise Zuwendung der Sprechenden. Jede Konversation is eine Art von Gespr\u00e4ch. Aber das eigentliche Gespr\u00e4ch ist niemals Konversation. Diese besteht darin, da\u00df man sich am jeweils Gesprochenen entlang schl\u00e4ngelt und sich auf das Ungesprochene gerade nicht einl\u00e4\u00dft.\u00ab Martin Heidegger, Was Heisst Denken? (T\u00fcbingen: Max Niemeyer, 1954): 110. Gadamer ve Derrida\u2019n\u0131n durumunda bir s\u00f6yle\u015finin ger\u00e7ekle\u015fti\u011fini s\u00f6yleyebilmemiz bile pek m\u00fcmk\u00fcn g\u00f6r\u00fcnm\u00fcyor. Nitekim, Gadamer kendisiyle yap\u0131lan bir s\u00f6yle\u015fide de kurgus\u00f6k\u00fcm hakk\u0131ndaki d\u00fc\u015f\u00fcncesini \u015f\u00f6yle a\u00e7\u0131\u011fa vurur: \u201cKurgus\u00f6k\u00fcme gelince,…g\u00f6z\u00fcmde ciddiye bir u\u011fra\u015f al\u0131nacak de\u011fil. \u00d6rne\u011fin Derrida\u2019n\u0131n Mahmuzlar (\u00c9perons) ba\u015fl\u0131kl\u0131 kitab\u0131 bir edebiyat oyunu. \u0130nsan\u00ee, din\u00ee, ahl\u00e2k\u00ee ilgi ve istemlerimiz d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde bir yere yerle\u015ftiremiyorsunuz. Kurgus\u00f6k\u00fcmc\u00fcn\u00fcn [sofuluktan uzak, \u015fen bilim yapmay\u0131] k\u0131l\u0131\u015f\u0131yla Nietzsche\u2019ninki ayn\u0131 de\u011fildir. Nietzsche g\u00fcn\u00fcn\u00fcn fosille\u015fmi\u015f sahte-Hristiyan toplumuna kar\u015f\u0131 \u00e7\u0131kmaktayd\u0131. Ama Nietzsche\u2019gil ge\u00e7inen \u015fimdiki tutumun bir tarafa y\u00f6nelebildi\u011fini g\u00f6rm\u00fcyorum. Kendisiyle fazla ha\u015f\u0131r-ne\u015fir; bunun sonucu da bir t\u00fcr kendini tatmin.\u201d Roy Boyne, \u201cInterview with Hans-Georg Gadamer,\u201d Theory, Culture & Society, V\/1 (February 1988): 5.<\/p>\n

[7] Paul de Man\u2019\u0131n T\u00fcrkiye\u2019de yeterince tart\u0131\u015f\u0131lmam\u0131\u015f \u00e7apl\u0131 bir d\u00fc\u015f\u00fcn\u00fcr oldu\u011fu kan\u0131s\u0131nday\u0131m. \u00d6l\u00fcm\u00fcnden sonra, \u2018konjonkt\u00fcrel\u2019 nedenlerle Heidegger\u2019in bir kez daha g\u00fcnah ke\u00e7isi yap\u0131lmas\u0131n\u0131n etkisini katlama ve daha fazla mahsul kald\u0131rma \u00e7abas\u0131 i\u00e7indeki Realpolitik g\u00fcd\u00fcml\u00fc mal\u00fbm \u00e7evrelerce Paul de Man\u2019\u0131n Bel\u00e7ika\u2019daki gen\u00e7lik y\u0131llar\u0131ndan se\u00e7me-s\u00fczme \u2018hakikatler\u2019 kar\u015f\u0131s\u0131nda Derrida\u2019n\u0131n \u00f6rnek bir d\u00fcr\u00fcstl\u00fckle arkada\u015f\u0131n\u0131 savunusu ve \u00e7arp\u0131tmalarla, iftiralar\u0131 yan\u0131tlay\u0131\u015f\u0131 i\u00e7in bkz. \u201cLike the Sound of the Sea Deep within a Shell: Paul de Man\u2019s War,\u201d Critical Inquiry, 14 (Spring 1988): 590-652.<\/p>\n

[8]\u00a0 Derrida\u2019n\u0131n da i\u00e7inde Bat\u0131 metafizi\u011fine \u00f6zg\u00fc felsefi formasyonunu ald\u0131\u011f\u0131 Frans\u0131z kartezyen gelene\u011finin doyen\u2019lerinden Claude L\u00e9vi-Strauss\u2019un bu iki ak\u0131m hakk\u0131ndaki de\u011ferlendirmeleri baz\u0131lar\u0131m\u0131za \u00e7arp\u0131c\u0131 gelebilecek bir benzerli\u011fe i\u015faret ediyor. Bkz. Claude L\u00e9vi-Strauss, The View from Afar, tr. By Joachim Neugroschel and Phoebe Hoss (Oxford: Basil Blackwell, 1985), Chp. 20: \u201cTo a Young Painter,\u201d 248-257; Structural Anthropology, Vol. II, tr. By Monique Layton (New York: Basic Books, 1976), Chp. XV: \u201cAnswers to Some Questions,\u201d \u00f6zellikle 276-287.<\/p>\n

[9] Derrida, A film by Kirby Dick and Amy Ziering Kofman (2002). Derrida\u2019n\u0131n d\u00fc\u015f\u00fcncesine giri\u015f i\u00e7in g\u00f6rsel k\u00fclt\u00fcr piyasas\u0131n\u0131n \u015fablonlar\u0131n\u0131 zorlamak y\u00f6n\u00fcnde yetersiz bir \u201ccelebrity profile\u201d olu\u015fturan bu belgesel \u00fclkemizde de bir zaman \u00f6nce \u201cU\u00e7an S\u00fcp\u00fcrge Film Festivali\u201d \u00e7er\u00e7evesinde g\u00f6sterilmi\u015f, kendim de bu filmi izleyen tart\u0131\u015fmada yer alm\u0131\u015ft\u0131m. Filmi daha \u00f6nce g\u00f6renlerden de yararland\u0131\u011f\u0131m (\u00f6rn. Christopher Tayler, \u201cSit-com with a difference,\u201d TLS, # 5210 (Feb. 7, 2003): 19.) bu tart\u0131\u015fmada Derrida metinlerindeki a\u00e7\u0131l\u0131mlar, yeniden-okuma ve \u2018\u2018kurgus\u00f6k\u00fcm\u2019\u2019 denilen \u201cd\u00fc\u015f\u00fcn\/yeniden-yaz\u0131m\u201d m\u00fcdahalelerinin, eldeki\u00a0 belgeselle gelen teknolojik \u00e7er\u00e7eveleme [Ge-stell] ve \u00e7o\u011fu zaman bu \u00e7er\u00e7evelemeye e\u015flik eden, metni yeniden \u201c\u00f6znele\u015ftirici\u201d ideoloji taraf\u0131ndan hakk\u0131n\u0131n verilip verilmedi\u011fine dikkatleri \u00e7ekmeye \u00e7al\u0131\u015fm\u0131\u015ft\u0131m. \u00dcstelik, filmin g\u00f6steriminin ba\u011flam\u0131 \u00f6ncelikle \u201ckad\u0131n,\u201d ortak rejis\u00f6r\u00fc de kad\u0131n (Amy Ziering Kofman) oldu\u011funda, Derrida metinlerinde sergilenen d\u00fc\u015f\u00fcn m\u00fcdahalelerinin belgeselde ne \u00f6l\u00e7\u00fcde hakk\u0131n\u0131n verildi\u011fi de vurgulanmas\u0131 gereken bir ba\u015fka noktayd\u0131.<\/p>\n

[10]\u00a0 S\u00f6ylemindeki kayganl\u0131\u011fa kar\u015f\u0131n Derrida\u2019n\u0131n meziyeti esas \u2018\u00fcniversite i\u015fletmesi\u2019-devlet ittifak\u0131na kar\u015f\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fc m\u00fccadelede ve Kant\u2019\u0131n \u2018d\u00fcnya yurtta\u015fl\u0131\u011f\u0131\u2019 idealini g\u00fcn\u00fcm\u00fcz ko\u015fullar\u0131na ta\u015f\u0131ma \u00e7abalar\u0131nda ortaya \u00e7\u0131kmaktad\u0131r. \u015eimdilik bkz.\u00a0 \u201cThe Principle of Reason: The University in the Eyes of\u00a0 Its Pupils,\u201d Diacritics, XIII\/3 (Fall 1983): 3-20; \u201cThe University without Condition,\u201d Without Alibi (Stanford, California: Stanford Univ. Press, 2002): 202-237;\u00a0 “Of the Humanities and the Philosophical Discipline:The Right to Philosophy from the Cosmopolitical Point of View (the Example of an International Institution)” Surfaces, Vol. IV (1994) [http:\/\/pum12.pum.umontreal.ca\/revues\/surfaces\/vol4\/derridaa.html]<\/p>\n

[11] Derrida\u2019ca \u201cyay\u0131nlanmas\u0131na izin verilmi\u015f ama yazars\u0131z\u201d [\u201cthis text, authorized but authorless\u201d] (sic ) \u015fu kaynaktaki tart\u0131\u015fmay\u0131 buna \u00f6rnek olarak g\u00f6sterebiliriz: \u201cWomen in the Beehive: A Seminar with Jacques Derrida,\u201d Men in Feminism, ed. by Alice Jardine and Paul Smith (New York and London: Methuen, 1987): 189-203.<\/p>\n

[12] Bu noktay\u0131 ili\u015fkin ku\u015fkular\u0131m\u0131z\u0131 dile getiren bir yaz\u0131 i\u00e7in bkz. Erdo\u011fan Y\u0131ld\u0131r\u0131m ve Hasan \u00dcnal Nalbanto\u011flu\u00a0 \u201cAdaletin Kurgu S\u00f6k\u00fcm\u00fc Yap\u0131labilir mi? Derrida’n\u0131n Bir Sav\u0131 \u00dczerine \u00c7e\u015fitlemeler\u201dHukuk Felsefesi ve Sosyolojisi Arkivi (HFSA), 9. Kitap: [Mu\u011fla \u00dcniv. \u201cFelsefe G\u00fcnleri\u201d (9-12 Ekim 2003) \/ \u201cAdalet\u201d Sempozyumu Bildirileri], yay.\u00a0 Hayrettin \u00d6k\u00e7esiz (\u0130stanbul: \u0130stanbul Barosu Yay., 2004): 96-113.<\/p>\n

[13] Heidegger\u2019in bir soruya yan\u0131t olarak de\u011fil de Aristoteles\u2019le ilgili bir dersinde filozofla ilgili s\u00f6yledikleri tam \u015f\u00f6yledir: \u00bbBei der Pers\u00f6nlichkeit eines Philosophen hat nur das Interesse: Er war dann und dann geboren, er arbeitete und starb. Die Gestalt des Philosophen oder \u00e4hnliches wird hier nicht gegeben werden.\u00ab, Martin Heidegger, Grundbegriffe der Aristotelischen Philosophie [Gesamtausgabe, Band 18] (Frankfurt am Main: Vittorio Klostermann, 2002): 5; ayr\u0131ca kr\u015f. 4-5, 333 (Handschrift zu \u00a7 1).<\/p>\n","protected":false},"excerpt":{"rendered":"

D\u00fc\u015f\u00fcn d\u00fcnyas\u0131n\u0131n yak\u0131nlarda yitirdi\u011fi Jacques Derrida \u00fczerine kapsaml\u0131 bir \u00e7al\u0131\u015fma yapman\u0131n \u00f6zellikle bir dergi yaz\u0131s\u0131n\u0131n boyutlar\u0131n\u0131 fazlas\u0131yla a\u015ft\u0131\u011f\u0131n\u0131 san\u0131r\u0131m hepimiz kabul ederiz. Ba\u015ftan pek de kestiremeyece\u011fi bir d\u00fc\u015f\u00fcnce ser\u00fcveninde kendini bularak bir \u00e7ok konuda geni\u015f bir yaz\u0131 tayf\u0131n\u0131 \u00f6n\u00fcm\u00fcze seren Frans\u0131z d\u00fc\u015f\u00fcn\u00fcr\u00fcn\u00fcn evrili\u015fiyle bizzat \u00f6zd\u00fc\u015f\u00fcn\u00fcnde bile diff\u00e9rance yaratm\u0131\u015f olabilece\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcrse, tart\u0131\u015fmam\u0131z\u0131 bu ser\u00fcven i\u00e7inde hep […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[103],"tags":[],"class_list":{"0":"post-4142","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-felsefe-genel"},"yoast_head":"\nDerrida\u2019n\u0131n 'Kurgus\u00f6k\u00fcm'\u00fc: '\u00d6zne'siz bir S\u00f6yleme Do\u011fru | Hasan \u00dcnal Nalbanto\u011flu - 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\/04\/derridanin-kurgusokumu-oznesiz-bir-soyleme-dogru-hasan-unal-nalbantoglu\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Derrida\u2019n\u0131n 'Kurgus\u00f6k\u00fcm'\u00fc: '\u00d6zne'siz bir S\u00f6yleme Do\u011fru | Hasan \u00dcnal Nalbanto\u011flu\" \/>\n<meta property=\"og:description\" content=\"D\u00fc\u015f\u00fcn d\u00fcnyas\u0131n\u0131n yak\u0131nlarda yitirdi\u011fi Jacques Derrida \u00fczerine kapsaml\u0131 bir \u00e7al\u0131\u015fma yapman\u0131n \u00f6zellikle bir dergi yaz\u0131s\u0131n\u0131n boyutlar\u0131n\u0131 fazlas\u0131yla a\u015ft\u0131\u011f\u0131n\u0131 san\u0131r\u0131m hepimiz kabul ederiz. 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