{"id":4234,"date":"2010-02-19T14:35:39","date_gmt":"2010-02-19T11:35:39","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/02\/19\/hegelde-sanatin-olumu-tulin-bumin\/"},"modified":"2010-02-19T14:35:39","modified_gmt":"2010-02-19T11:35:39","slug":"hegelde-sanatin-olumu-tulin-bumin","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/02\/19\/hegelde-sanatin-olumu-tulin-bumin\/","title":{"rendered":"Hegel’de ‘Sanat\u0131n \u00f6l\u00fcm\u00fc’ | T\u00fclin Bumin"},"content":{"rendered":"![](\"http:\/\/www.departments.bucknell.edu\/history\/carnegie\/hegel\/hegel.jpg\")
Hegel s\u00f6ylemi, \u00abTarihin sonu\u00bb ba\u015fl\u0131\u011f\u0131 alt\u0131nda pek \u00e7ok \u015feyin sonundan, t\u00fckeni\u015finden, \u00f6l\u00fcm\u00fcnden s\u00f6z eder. Sanat da bunlardan biridir. Sanat, Hegel i\u00e7in insanl\u0131\u011f\u0131n ge\u00e7mi\u015fine ait bir \u015feydir. Sanat t\u00fcrlerini mimarl\u0131ktan ba\u015flay\u0131p heykel, resim, m\u00fczik ve \u015fiirden ge\u00e7erek nesre ula\u015fan ve giderek maddesel olandan, duyumlanabilir olandan uzakla\u015fan bir bi\u00e7imde s\u0131n\u0131fland\u0131ran Hegel, \u00e7a\u011f\u0131n\u0131n tipik sanat t\u00fcr\u00fcn\u00fcn roman oldu\u011funu s\u00f6yler. Bu sanat t\u00fcrlerinin kendi i\u00e7 geli\u015fim s\u00fcre\u00e7leri de ayn\u0131 yolu izlemektedir; giderek duyumlanabilir olandan yani k\u00f6kensel anlam\u0131yla estetik? olandan uzakla\u015fma. Bu \u00e7izgi \u00f6zellikle \u015fiirde \u00e7ok iyi bir bi\u00e7imde kendini a\u00e7\u0131\u011fa vurmaktad\u0131r. \u015eiir tinsellikten, Kavramdan, evrensellikten bir \u015feyler ald\u0131k\u00e7a estetik alan\u0131n d\u0131\u015f\u0131na d\u00fc\u015fer.<\/p>\n
Hegel’in \u00e7a\u011fda\u015flar\u0131 aras\u0131nda olduk\u00e7a yayg\u0131n olan \u00absanat\u0131n \u00f6l\u00fcm\u00fc\u00bb d\u00fc\u015f\u00fcncesi, \u00e7a\u011fda\u015flar\u0131n\u0131n tersine, Hegel’i \u00fczmemektedir. \u00c7\u00fcnk\u00fc sanat, bir dil-\u00f6ncesi, ya da ba\u015fka bir deyi\u015fle, k\u00f6t\u00fc konu\u015fulan bir dildi. Hegel’in bu d\u00fc\u015f\u00fcncesini nas\u0131l temellendirdi\u011fini g\u00f6rmeden \u00f6nce a\u00e7\u0131klamam\u0131z gereken iki nokta var:<\/p>\n
1. Hegel sanat\u0131, temsil edici olmayan bir etkinlik olarak almaktad\u0131r. Son derece \u00e7a\u011fc\u0131l nitelikte olan bu anlay\u0131\u015f Frankfurt Okulunun Hegel’den esinlenme noktalar\u0131ndan biridir.<\/p>\n
2. Estetik, insanl\u0131\u011f\u0131n Tin’e ula\u015f\u0131m s\u00fcrecinde ge\u00e7ti\u011fi evrelerden birinin, Yunan uygarl\u0131\u011f\u0131n\u0131n temel kategorisi olmu\u015ftur.<\/p>\n
Yunan tinselli\u011finin kendisi arac\u0131l\u0131\u011f\u0131yla anlat\u0131m\u0131n\u0131 buldu\u011fu din, estetik bir dindir. Hegel Yunanl\u0131lar\u0131n estetik dini ile H\u0131ristiyanl\u0131\u011f\u0131 kar\u015f\u0131la\u015ft\u0131rarak birincinin estetik nitelikte olu\u015funun Tanr\u0131 d\u00fcg\u00fcncesine tam olarak ula\u015fmada nas\u0131l bir engel olu\u015fturdu\u011funu a\u00e7\u0131klamaktad\u0131r: Estetik, beraberinde zorunlu olarak getirdi\u011fi maddesel, bireysel, duyumsal boyuttan \u00f6t\u00fcr\u00fc, ka\u00e7\u0131n\u0131lmaz olarak, Kavram-\u00f6ncesi yani Ak\u0131l-\u00f6ncesi ve (Hegel’de bu \u00fc\u00e7\u00fc ayn\u0131 \u015fey oldu\u011fu i\u00e7in) Dil-\u00f6neesi bir \u015feydir.<\/p>\n
Hegel’in antik Yunan ve H\u0131ristiyanl\u0131k konusundaki g\u00f6r\u00fc\u015f\u00fc gen\u00e7lik yap\u0131tlar\u0131nda (Frankfurt) ve olgunluk yap\u0131tlar\u0131nda (1802′-den sonra) farkl\u0131l\u0131klar g\u00f6stermektedir. Hegel gen\u00e7lik d\u00f6neminde oldu\u011fu gibi olgunluk d\u00f6neminde de Yahudili\u011fin bu d\u00fcnyadan uzak, korkutucu, y\u00fcce ama y\u00fcceli\u011finden \u00f6t\u00fcr\u00fc bu d\u00fcnya ile hi\u00e7bir uzla\u015f\u0131m kabul etmeyen Tanr\u0131s\u0131na g\u00f6re, Yunanl\u0131lar\u0131n estetik dininin ileri bir ad\u0131m oldu\u011funu d\u00fc\u015f\u00fcnmektedir.<\/p>\n
Buna kar\u015f\u0131l\u0131k olgunluk d\u00f6neminden farkl\u0131 olarak Hegel gen\u00e7lik d\u00f6neminde (l’Esprit du Christianisme), H\u0131ristiyanl\u0131\u011f\u0131n \u0130sa arac\u0131l\u0131\u011f\u0131yla ger\u00e7ekle\u015ftirdi\u011fi sonsuz ile sonlu, evrenselle bireysel, Tanr\u0131yla insan aras\u0131ndaki dolay\u0131ms\u0131z (immediate) birle\u015fimi ele\u015ftirmekte, Yunanl\u0131lar\u0131n estetik dininin \u00fcretti\u011fi fig\u00fcrlerinin daha geli\u015fmi\u015f, daha kal\u0131c\u0131 oldu\u011funu ileri s\u00fcrmektedir. \u0130sa bir bireydir. Oysa Yunan Tanr\u0131lar\u0131, insanbi\u00e7imsel g\u00f6r\u00fcn\u00fcmlerine kar\u015f\u0131n insanla Tanr\u0131 birle\u015fimini Tanr\u0131sal d\u00fczeyde kalarak; Tanr\u0131sall\u0131klar\u0131n\u0131, insans\u0131 d\u00fczeye indirgenmeksizin ger\u00e7ekle\u015ftirebiliyorlard\u0131. Yunan dininin Yahudili\u011fe olan \u00fcst\u00fcnl\u00fc\u011f\u00fc ise onun ilk olarak kendini a\u00e7\u0131\u011fa vuran, g\u00f6steren bir Tanr\u0131 anlay\u0131\u015f\u0131na ula\u015fmas\u0131ndan kaynaklan\u0131yordu. Yunanl\u0131lar\u0131n imge-tanr\u0131’s\u0131 Yahudili\u011fin sonsuz ile sonlu aras\u0131nda \u00f6rt\u00fclemez, kapat\u0131lamaz olarak nitelendirdi\u011fi u\u00e7urumu \u2014Tanr\u0131 idesini g\u00f6r\u00fclebilir, duyumlanabilir yani estetik k\u0131larak\u2014 kapat\u0131yordu.<\/p>\n
Oysa Phenomenologie’den ba\u015flayarak art\u0131k Hegel, H\u0131ristiyanl\u0131\u011f\u0131n Mutlak B\u00fcgi’ye (Savoir absolu) do\u011fru gidi\u015fte filozof olmayanlarca var\u0131labilecek en ileri a\u015fama oldu\u011funu d\u00fc\u015f\u00fcnmektedir. Yani H\u0131ristiyanl\u0131\u011f\u0131n din anlay\u0131\u015f\u0131, estetik olandan kurtulmu\u015f, s\u0131yr\u0131lm\u0131\u015f bir din anlay\u0131\u015f\u0131 olarak Tin’e, Yunan dininin estetik niteli\u011finden \u00f6t\u00fcr\u00fc ba\u015faramad\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde yakla\u015fabilmi\u015ftir. Yunanl\u0131lar\u0131n tinselli\u011finin Yahudilerinkine \u00fcst\u00fcnl\u00fc\u011f\u00fc, \u00f6 halde, \u00e7ift anlaml\u0131 bir \u00fcst\u00fcnl\u00fckt\u00fcr. Yunanl\u0131lar Tanr\u0131lar\u0131n\u0131 sergileyerek onlarla ortak bir \u015feyleri oldu\u011fu duygusuna ula\u015fabilmi\u015flerdir. Ama bu duygunun zorunlu olarak g\u00f6rme \u00f6\u011fesine ba\u011fl\u0131 olmas\u0131 \u2014Platon’un da demi\u015f oldu\u011fu gibi\u2014 Tanr\u0131 fikrinin evrenselli\u011fi, kavramsall\u0131\u011f\u0131 a\u00e7\u0131s\u0131ndan sak\u0131ncal\u0131 bir \u015feydi. \u0130\u015fte bu nedenle Yunanl\u0131lar Tin’e ula\u015famad\u0131lar. \u00c7\u00fcnk\u00fc dinin estetik yani duyumlanabilir \u00f6ge arac\u0131l\u0131\u011f\u0131 \u00eele (Tanr\u0131 heykelleri) ger\u00e7ekle\u015ftirdi\u011fi uzla\u015f\u0131m, esteti\u011fin bi\u00e7imle madde aras\u0131nda ger\u00e7ekle\u015ftirdi\u011fi uzla\u015f\u0131m\u0131n hakikat a\u00e7\u0131s\u0131ndan k\u00f6t\u00fc bir uzla\u015f\u0131m olmas\u0131 nedeniyle ba\u015far\u0131s\u0131zd\u0131r.<\/p>\n
\u00d6zetle, Hegel’in \u00e7a\u011fda\u015flar\u0131n\u0131n \u00e7o\u011fu gibi \u2014Winkelman’m Yunan sanat\u0131 \u00fczerine yaz\u0131lar\u0131n\u0131n uyand\u0131rd\u0131\u011f\u0131 b\u00fcy\u00fck etkinin de sonucu olarak\u2014 Frankfurt’ta Yunan sanat\u0131na kar\u015f\u0131 besledi\u011fi b\u00fcy\u00fck hayranl\u0131k sona ermi\u015ftir. Yunan \u00e7a\u011f\u0131 art\u0131k yitirilmi\u015f bir uyum \u00e7a\u011f\u0131 olmaktan \u00e7ok bir olgunluk \u00f6ncesi d\u00f6nemidir. \u015eimdi Hegel, Yunanl\u0131lar\u0131n ger\u00e7ekle\u015ftirdi\u011fi uzla\u015f\u0131m\u0131, dolay\u0131ms\u0131zl\u0131\u011f\u0131 ve g\u00f6r\u00fclebilirlik \u00fczerine temellenmi\u015fli\u011fiyie kusurlu bir uzla\u015f\u0131m olarak g\u00f6rmektedir: \u0130nsan gibi g\u00f6r\u00fcnmek, Yunan Tanr\u0131s\u0131n\u0131n bir estetik seyir konusu olmas\u0131n\u0131 getirmi\u015ftir ama seyretmek (contemplation), kavramak demek de\u011fildir. Tersine Tanr\u0131n\u0131n g\u00f6r\u00fclebilir olu\u015fu onun kavram\u0131na ula\u015fmada, onu evrenselli\u011finde tan\u0131mada bir engel olu\u015fturmu\u015ftur. Oysa Tanr\u0131n\u0131n ete kemi\u011fe b\u00fcr\u00fcnmesiyle insanl\u0131k, kendisiyle Tann aras\u0131nda seyirden farkl\u0131 bir ili\u015fkinin olabilece\u011fi bilincine eri\u015fti. Bu bilin\u00e7, estetik seyirin ger\u00e7ekle\u015ftirdi\u011fi ili\u015fkiden \u00e7ok farkl\u0131d\u0131r. \u00c7\u00fcnk\u00fc estetik seyirdeki ili\u015fki seyreden ile seyir konusunu kendi yerlerinde b\u0131rakan ve aralar\u0131nda d\u0131\u015fsal bir ba\u011f kuran bir ili\u015fkidir. \u0130\u015fte H\u0131ristiyanl\u0131\u011f\u0131n sildi\u011fi, bu d\u0131\u015fsall\u0131k ba\u011f\u0131d\u0131r.<\/p>\n
\u0130nsan-tanr\u0131nm ya\u015fad\u0131\u011f\u0131 en \u00f6nemli olay \u00f6l\u00fcm\u00fcd\u00fcr. \u0130sa \u00f6lmekle, \u00fcstelik gen\u00e7 \u00f6lmekle, insanla Tanr\u0131 aras\u0131nda ger\u00e7ekle\u015ftirdi\u011fi uzla\u015f\u0131mm duyumlanabilir boyutunu ortadan kald\u0131rm\u0131\u015f, b\u00f6ylece insanla Tanr\u0131 aras\u0131nda do\u011fru ili\u015fkinin nas\u0131l olaca\u011f\u0131n\u0131 g\u00f6stermi\u015ftir: Tanr\u0131 kendini seyir konusu olmaks\u0131z\u0131n da g\u00f6sterebilir (manifestation). Tanr\u0131 \u00f6lm\u00fc\u015ft\u00fcr. O art\u0131k g\u00f6rsel d\u00fczeyde \u00e7al\u0131\u015fan hayalg\u00fcc\u00fcn\u00fcn de\u011fil hat\u0131rlaman\u0131n konusu olacakt\u0131r.<\/p>\n
H\u0131ristiyanl\u0131\u011f\u0131n Yunan dinine \u00fcst\u00fcnl\u00fc\u011f\u00fc, hat\u0131rlaman\u0131n hayalg\u00fcc\u00fcne \u00fcst\u00fcnl\u00fc\u011f\u00fcnden kaynaklan\u0131yor. Evet, hat\u0131rlama Hegel’e g\u00f6re hen\u00fcz d\u00fc\u015f\u00fcnme de\u011fildir. Ama Tanr\u0131 hakiki anlam\u0131n\u0131 bedenle\u015fmeden \u00e7ok \u00f6l\u00fcm\u00fcyle dile getirmi\u015ftir. \u0130sa \u00f6lmekle insanl\u0131\u011f\u0131 duyumlanabilir olanm \u00e7\u0131kmaz\u0131ndan \u00f6nemli bir \u00f6l\u00e7\u00fcde kurtarm\u0131\u015f, b\u00f6ylelikle de evrensel olana Kavrama giden yolu g\u00f6stermi\u015ftir.<\/p>\n
Hegel’in Din Felsefesi ve genel olarak Tarih Felsefesi konusundaki bu de\u011ferlendirmeler, onun estetik etkinli\u011fin, genelde insanl\u0131\u011f\u0131n Tin’e ula\u015f\u0131m s\u00fcrecindeki yeri konusunda d\u00fc\u015f\u00fcnd\u00fcklerine de\u011fgin birtak\u0131m ipu\u00e7lar\u0131 vermektedir. Bundan kalkarak art\u0131k \u00abEstetik\u00bb kuram\u0131n\u0131n ana \u00e7izgileri daha do\u011frudan bir bi\u00e7imde belirtilebilir.<\/p>\n
Hegel’e g\u00f6re sanatsal etkinlik \u00fcretti\u011fi \u00abg\u00f6r\u00fcn\u00fc\u015f\u00bb (apparance) arac\u0131l\u0131\u011f\u0131yla, anlam\u0131 (sens) g\u00f6r\u00fcnebilir k\u0131lmaktad\u0131r. \u0130\u015fte sanat\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fc (sp\u00e9cificit\u00e9) buradad\u0131r. Yine bu noktad\u0131r ki sanat\u0131 salt bir kopya olmaktan al\u0131koyar. \u00c7\u00fcnk\u00fc sanat, i\u00e7eri\u011fin dile getirilmesine yaramayan \u00f6\u011feleri bir yana b\u0131rak\u0131r, yeniden \u00fcretmez. \u00d6rne\u011fin, Homer, A\u015fil’in g\u00fc\u00e7l\u00fc bedenini anlatmak i\u00e7in onun b\u00fct\u00fcn niteliklerini oldu\u011fu gibi betimlememektedir. O halde bir g\u00f6r\u00fcn\u00fc\u015f olarak sanat yap\u0131t\u0131n\u0131n i\u00e7eri\u011fi, do\u011fall\u0131\u011f\u0131m \u00f6zel olarak yitirmi\u015f bir varolu\u015ftur. Sanat yap\u0131t\u0131n\u0131 \u00e7ekici k\u0131lan da i\u015fte bu \u00abdo\u011fall\u0131\u011f\u0131n\u0131 yitiri\u015f\u00bbtir.<\/p>\n
Hegel, Kant’m tersine, sanat\u0131n, varolu\u015fun hakikatini (varolu\u015fu g\u00f6r\u00fcn\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcrme yoluyla) verebildi\u011fini d\u00fc\u015f\u00fcnmektedir. Yani sanat yap\u0131t\u0131, salt varolu\u015fa g\u00f6re daha y\u00fcksek bir hakikatin ta\u015f\u0131y\u0131c\u0131s\u0131d\u0131r. Bu nedenle de Kant’ta do\u011fa g\u00fczelli\u011fi sanat g\u00fczelli\u011fine \u00fcst\u00fcn tutulurken Hegel’de estetik \u00abtemsil etme\u00bb (representation) do\u011fal olan\u0131n hakikatini olu\u015fturmaktad\u0131r: Estetik \u00abtemsil etme\u00bbde, do\u011fal kabu\u011funda (maddesel, duyumlanabilir kabu\u011funda) kapal\u0131 bulunan i\u00e7erik kendini g\u00f6sterir, a\u00e7\u0131\u011fa vurur.<\/p>\n
Hegel’le Kant’\u0131 kar\u015f\u0131la\u015ft\u0131rmam\u0131z gereken bir ba\u015fka konu daha var. Kant i\u00e7in sanat yap\u0131t\u0131ndan duyulan estetik haz saf, ar\u0131 bir haz de\u011fildir. \u00c7\u00fcnk\u00fc sanat yap\u0131t\u0131 \u00fczerine verdi\u011fimiz yarg\u0131da \u2014ka\u00e7\u0131n\u0131lmaz olarak\u2014 bu yap\u0131t\u0131n \u00fcretilmesinde g\u00fcd\u00fclen niyetli ama\u00e7sall\u0131\u011f\u0131n g\u00f6z \u00f6n\u00fcne al\u0131nmas\u0131, s\u00f6z konusudur. Yani Kant i\u00e7in sanat yap\u0131t\u0131n\u0131n kusuru, onda sanat\u00e7\u0131y\u0131 \u2014onun ki\u015fili\u011finin, niyetlerinin izlerini\u2014 g\u00f6rmemizdir. Hegel i\u00e7in ise tersine, sanat yap\u0131t\u0131n\u0131n kusuru, \u00fcretenin etkinli\u011fi ile bir seyirci olarak ben’in etkinli\u011fi aras\u0131nda bir \u00abekran\u00bb rol\u00fc oynamas\u0131, yap\u0131m\u0131nda kullan\u0131lan eme\u011fi gizlemesidir. Yine Hegel, sanat nesnelerinin, Kant’\u0131n ileri s\u00fcrd\u00fc\u011f\u00fc gibi \u00e7ok do\u011fal olduklar\u0131 i\u00e7in de\u011fil, \u00e7ok do\u011fal \u015feyler olarak yap\u0131ld\u0131klar\u0131 i\u00e7in ho\u015fumuza gittiklerini s\u00f6ylerken de, estetik alan\u0131nda as\u0131l \u00f6nemli olan\u0131n sanat yap\u0131t\u0131ndan \u00e7ok sanatsal etkinlik oldu\u011funu belirtmektedir.<\/p>\n
Sanat yap\u0131t\u0131n\u0131n salt varolu\u015fu kopya etmedi\u011fini s\u00f6ylemi\u015ftir Hegel. Ona g\u00f6re en ger\u00e7ek\u00e7i sanat yap\u0131t\u0131nda (\u00f6rne\u011fin Hollanda resim gelene\u011finde) bile fig\u00fcre d\u00f6n\u00fc\u015fen ipek ve y\u00fcnden dokunmu\u015f kuma\u015ftan yap\u0131lan bir giysi asl\u0131nda renk ve \u0131\u015f\u0131ktan ba\u015fka bir \u015fey olarak g\u00f6r\u00fcnmez. B\u00f6yle olmakla da bu g\u00f6r\u00fcn\u00fc\u015f, ger\u00e7ek ipek ve y\u00fcn\u00fcn hakikatini bildirmektedir: \u0130pek ve y\u00fcn dedi\u011fimiz, b\u00f6yle alg\u0131lad\u0131\u011f\u0131m\u0131z \u015feylerin hakikati \u0131\u015f\u0131k ve renkten ba\u015fka bir \u015fey de\u011fildir. Resim, kendi d\u0131\u015f\u0131nda bir hakikati temsil etmiyor. Tersine resimde belirtke (signe) ve anlam (sens) birle\u015fiyor. Resmin hakikati konusu olan salt varolu\u015fta de\u011fil; salt varolu\u015fun hakikati, onu g\u00f6r\u00fcn\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcren, onda bulunan ve anlam\u0131 gizleyen ayr\u0131nt\u0131lar\u0131 ay\u0131klayan, se\u00e7en, yeniden bi\u00e7imlendiren resimdedir. Sanat yap\u0131t\u0131, varolu\u015fu idealle\u015ftirerek onun hakikatini a\u00e7\u0131\u011fa vurmaktad\u0131r.<\/p>\n
Bu idealle\u015ftirme salt varolu\u015fu, \u00f6zne i\u00e7in veri olan, onu edilgen (salt al\u0131c\u0131, duyumlay\u0131c\u0131) k\u0131lan varolu\u015fu yads\u0131y\u0131c\u0131 bir etkinliktir. Bu yads\u0131man\u0131n ta\u015f\u0131d\u0131\u011f\u0131 ba\u015fkald\u0131rma boyutu yine Frankfurt Okulunun Hegel’den ald\u0131\u011f\u0131 \u00f6nemli g\u00f6r\u00fc\u015flerden biridir. \u00d6rne\u011fin, Adorno’ya g\u00f6re sanat bir bi\u00e7im verme etkinli\u011fi olarak, var olan bi\u00e7imlerin, veri olan\u0131n ta\u015f\u0131d\u0131\u011f\u0131 bi\u00e7imlerin yads\u0131nmas\u0131 anlam\u0131n\u0131 ta\u015f\u0131r. \u0130\u015fte her sanat yap\u0131t\u0131n\u0131n (en tutucusunun bile) \u00f6z\u00fc gere\u011fi ta\u015f\u0131d\u0131\u011f\u0131 ele\u015ftirel, ba\u015fkald\u0131ran boyut bu yads\u0131madan kaynaklanmaktad\u0131r. Adorno’yu H\u00e8gel’e ba\u011flayan ba\u011f burada bitmiyor. Bi\u00e7im verme etkinli\u011finin yads\u0131y\u0131c\u0131 bir etkinlik olarak anla\u015f\u0131lmas\u0131n\u0131n yan\u0131s\u0131ra, Adorno i\u00e7in de bi\u00e7im verme, Hegel’de oldu\u011fu gibi, i\u00e7erik kazand\u0131rmaktan ayr\u0131 bir etkinlik de\u011fildir. \u00c7\u00fcnk\u00fc bi\u00e7im \u00f6ncesi bir i\u00e7erik, bir anlam yoktur. Bi\u00e7im verme etkinli\u011fi veri olan\u0131n ta\u015f\u0131d\u0131\u011f\u0131 d\u00fczene yeni bir d\u00fczen kazand\u0131r\u0131r. Alberti’nin perspektifinin \u00e7a\u011fda\u015f resimde k\u0131r\u0131lmas\u0131 yaln\u0131zca yeni bir tekni\u011fin, \u00abbi\u00e7im\u00bb in ya da bi\u00e7emin ortaya \u00e7\u0131k\u0131\u015f\u0131 de\u011fildir. Resimde perspektifin sorgulanmas\u0131, yads\u0131nmas\u0131 belli bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ve ak\u0131lsall\u0131k anlay\u0131\u015f\u0131n\u0131n sorgulanmas\u0131d\u0131r. \u0130\u015fte bu nedenle Adorno, \u00abbi\u00e7im, \u00e7\u00f6kertilmi\u015f sosyal i\u00e7eriktir\u00bb derken Hegel gibi d\u00fc\u015f\u00fcnmektedir.<\/p>\n
Hegel’in Estetiktim okumam\u0131z buraya kadar olumlu bir okumayd\u0131. \u00c7\u00fcnk\u00fc, onun sanatsal etkinlikte buldu\u011fu y\u00f6nle, salt varolu\u015fa g\u00f6re \u00fcst\u00fcn olan y\u00f6nle ilgilendik. Sanat, salt varolu\u015fu g\u00f6r\u00fcn\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken, yeniden bi\u00e7imlendirirken duyumlanabilir olan\u0131 yads\u0131d\u0131. Ama bu yads\u0131ma yeterli bir yads\u0131ma de\u011fildir Hegel i\u00e7in. \u00c7\u00fcnk\u00fc sanat yap\u0131t\u0131 duyumlanabilir olan\u0131 yads\u0131mak i\u00e7in yine duyumlanabilir bir \u015fey olmak zorundad\u0131r. Bu nedenle onun yaratt\u0131\u011f\u0131 g\u00f6r\u00fcn\u00fc\u015f hakikatle, tinsellikle yeterince b\u00fct\u00fcnle\u015femiyor. O, hakikati g\u00f6steriyor, \u00fcstelik kendi d\u0131\u015f\u0131nda bir \u015fey olarak, salt varolu\u015fta yer alan bir \u015fey olarak de\u011fil. Evet, sanat yap\u0131t\u0131 hakikati dile getiriyor, getiriyor ama, diyor Hegel, sofu ruhlular\u0131n hayat\u0131n anlam\u0131n\u0131 g\u00f6sterdikleri gibi, yani yine de hayatta kalarak.
Bu nedenle yukar\u0131da s\u00f6z\u00fcn\u00fc etti\u011fimiz idealle\u015ftirme s\u00fcreci eksik, kusurlu kal\u0131yor. \u015eair, ger\u00e7e\u011fin foto\u011fraf\u0131n\u0131 vermez, ayr\u0131nt\u0131lar\u0131 se\u00e7er, eler diyorduk. Evet ama bu se\u00e7imle ay\u0131klad\u0131\u011f\u0131, att\u0131\u011f\u0131 maddesel olan\u0131n ta\u015f\u0131d\u0131\u011f\u0131 olumsall\u0131k, kar\u0131\u015f\u0131kl\u0131k, yani anlam\u0131 gizleyen, karartan \u00f6\u011feler, sanat yap\u0131t\u0131nda t\u00fcm\u00fcyle ortadan kalkm\u0131yor. \u00c7\u00fcnk\u00fc sanat yap\u0131t\u0131, maddesellikten hi\u00e7bir zaman t\u00fcm\u00fcyle kurtulam\u0131yor. B\u00f6ylece o, fig\u00fcr de\u011fi\u015ftirmesine neden oldu\u011fu maddeselli\u011fin tutsa\u011f\u0131 olmaktan vazge\u00e7emiyor. Bunu t\u00fcm\u00fcyle ba\u015fard\u0131\u011f\u0131 an o, art\u0131k sanat yap\u0131t\u0131 olmaktan \u00e7\u0131kacakt\u0131r.<\/p>\n
Resme istedi\u011fimiz kadar bakal\u0131m, o yine de, ba\u011f\u0131ml\u0131 oldu\u011fu maddesellikten \u00f6t\u00fcr\u00fc kendi i\u00e7in bir nesnedir, bir anlam de\u011fil. Renklerin b\u00fcy\u00fcs\u00fc yine de uzaysal t\u00fcrden, d\u0131\u015fsal bir \u015feydir. Duyumlanabilir d\u0131\u015fsald\u0131k, yaln\u0131zca \u015fiirde en aza, hemen hemen s\u0131f\u0131ra yakla\u015f\u0131r ve sonunda belirtkeler (signe) maddeselliklerini kaybederler. Ama maddesellikten kurtulmu\u015f bir \u015fey olarak \u015fiir, Hegel’e g\u00f6re, estetik d\u0131\u015f\u0131 bir \u015feydir. \u00abTinsellik yani maddesel olmama durumu \u015fiirde eksik olan \u015feyin sorumlusudur\u00bb ve \u015fiir tinselle\u015ftik\u00e7e sanat\u0131n k\u00f6kensel tan\u0131m\u0131n\u0131n d\u0131\u015f\u0131na d\u00fc\u015fmeye ba\u015flar. Estetik g\u00f6r\u00fcn\u00fc\u015f yaln\u0131zca belirtkeye dayand\u0131\u011f\u0131nda kendi hakikatine o denli iyi ula\u015fmaktad\u0131r ki sanat art\u0131k hem olanaks\u0131z hem de yarars\u0131z olacakt\u0131r. \u00c7\u00fcnk\u00fc sanat, tan\u0131m\u0131 gere\u011fi varolu\u015fla hakikati aras\u0131ndaki maddesel dolay\u0131md\u0131r. Art\u0131k sanat k\u00f6kensel i\u015flevini yitirmi\u015ftir, \u00e7\u00fcnk\u00fc bu i\u015flev, Hegel’e g\u00f6re d\u00f6lay\u0131ms\u0131z olan\u0131n \u2014yaln\u0131zca varolu\u015fun, dilsiz varolu\u015fun\u2014 anlams\u0131zl\u0131\u011f\u0131n\u0131, hi\u00e7li\u011fini g\u00f6stermektir, bunu g\u00f6stermek i\u00e7inse sanat\u0131n maddeye gereksinmesi vard\u0131r. \u015eiirde art\u0131k d\u00f6lay\u0131ms\u0131z olarak var olan (salt varolu\u015f) t\u00fcm\u00fcyle ortadan kalkt\u0131\u011f\u0131 i\u00e7in, onun anlams\u0131zl\u0131\u011f\u0131n\u0131, hi\u00e7li\u011fini (resim \u00f6rne\u011finde, g\u00f6rm\u00fc\u015f oldu\u011fumuz gibi) g\u00f6sterme i\u015flevi yani sanat\u0131n k\u00f6kensel i\u015flevi de sona ermi\u015ftir.<\/p>\n
\u015eiir, sonu\u00e7ta, Tin’in do\u011fu\u015funu haz\u0131rlamakta bir bak\u0131ma da geciktirmektedir. \u015eiir sanatt\u0131r desek bile bunu, s\u00f6yledi\u011fimiz \u015feyin i\u00e7 \u00e7eli\u015fkisini bilerek s\u00f6ylemeliyiz. \u00c7\u00fcnk\u00fc \u015fiir \u00f6yle bir estetik t\u00fcr\u00fcd\u00fcr ki onun \u00f6z\u00fc duyumlanabilir olan\u0131n yok olmas\u0131, salt belirtkenin \u00fcst\u00fcn gelmesidir. Evet, \u015fair ve estetik\u00e7i \u015fiirin \u00e7evirilmezli\u011fini s\u00f6yleyerek onun maddesel boyutunu \u2014dilsel maddesiyle b\u00fct\u00fcnle\u015fmi\u015fli\u011fini\u2014 vurgulayacaklard\u0131r. Ama, iyi ya da k\u00f6t\u00fc, biliyoruz ki. \u015fiir \u00e7evrilebilir. Denilecektir ki \u015fiirsel s\u00f6z estetik (duyumlanabilir) \u00f6\u011feden t\u00fcm\u00fcyle yoksun de\u011fildir, \u00e7\u00fcnk\u00fc o, ne de olsa \u00abses\u00bb e ba\u011fl\u0131d\u0131r ve \u00abses\u00bb maddedir, salt belirtke de\u011fil. \u015eiir \u00abses\u00bbsiz de okunabilir. Bu durumda ise yaz\u0131l\u0131 belirtkeler ve anla\u015f\u0131labilirlik \u00f6\u011felerinden ba\u015fka bir \u015fey kalmaz geriye ve estetik, bir serap gibi yok olur.<\/p>\n
Yukar\u0131da resim \u00f6rne\u011finde g\u00f6rm\u00fc\u015ft\u00fck ki belirtke, g\u00f6r\u00fcn\u00fc\u015f’le hakikatle tam olarak b\u00fct\u00fcnle\u015femiyordu ve bu anlamda estetik g\u00f6r\u00fcn\u00fc\u015f Tin’e ula\u015fmada bir engel olu\u015fturmaktayd\u0131. Bunun nedenini daha iyi anlamak i\u00e7in estetik belirtkeyi dilsel belirtke ile kar\u015f\u0131la\u015ft\u0131rmak gerekiyor: Sanatta dolay\u0131ms\u0131z varl\u0131k idealle\u015fmi\u015ftir. Dilde ise, Hegel’e g\u00f6re, t\u00fcm\u00fcyle ortadan kalkm\u0131\u015ft\u0131r. \u0130kisi de dolay\u0131ms\u0131z olan\u0131n, \u00f6zne i\u00e7in veri olan salt varolu\u015fun yads\u0131nmasidir, ama iki farkl\u0131 t\u00fcrden yads\u0131ma. Birincisi hakikati g\u00f6r\u00fcn\u00fc\u015f k\u0131lar, ikincisi onu s\u00f6z haline sokar. Birincisi g\u00f6r\u00fcn\u00fc\u015ft\u00fcr, ikincisi deyi\u015f. Sanat k\u00f6kensel anlam\u0131nda dil-\u00f6tesi (para-langage) bir \u015feyken, \u015fiire d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcnde alt-dil (infra-langage) olur. Her sanat t\u00fcr\u00fc bu g\u00f6r\u00fcn\u00fc\u015f \/deyi\u015f u\u00e7lar\u0131 aras\u0131ndaki yerine g\u00f6re s\u0131n\u0131flanabilir. Sanat hakikati g\u00f6r\u00fcn\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcrmekte, s\u00f6yleyememektedir. Sanat Hegel i\u00e7in k\u00f6t\u00fc konu\u015fulan bir dildi, bir dil-\u00f6ncesiy\u00f6i. Bu nedenle onun \u00f6l\u00fcm\u00fc Hegel’e ac\u0131 vermemektedir. Sanat, Kavrama ula\u015famad\u0131, b\u00fcy\u00fcs\u00fcn\u00fc bu eksikli\u011finden getiriyordu. Ama b\u00fcy\u00fcleyen \u015feyin \u00f6l\u00fcm\u00fc, Akl\u0131n do\u011fu\u015funu bildirmektedir. Sanat bizim nesrimizin s\u00f6yleyemedi\u011fi bir \u015feyi s\u00f6yleyebiliyordu, diye d\u00fc\u015f\u00fcn\u00fcp yak\u0131nmak gerekmez. Onun \u00f6l\u00fcm\u00fc Dil’in do\u011fu\u015fudur.<\/p>\n
Ancak Hegel Dil’e ge\u00e7i\u015fle hemen Kavram’a ula\u015f\u0131laca\u011f\u0131n\u0131 da d\u00fc\u015f\u00fcnmemektedir. \u00c7\u00fcnk\u00fc bu dil Anl\u0131\u011f\u0131n (Entendement) dilidir. Akl\u0131n de\u011fil. Anl\u0131\u011f\u0131n (anlama yetisinin) dili ise hen\u00fcz temsil edici \u00f6\u011fenin tutsa\u011f\u0131d\u0131r, hen\u00fcz g\u00f6rme modelinden s\u0131yr\u0131lamam\u0131\u015ft\u0131r. Onun i\u00e7in filosoflar (Hege\u00ee burada Kant’\u0131 d\u00fc\u015f\u00fcnmektedir \u00f6zellikle) dilden yak\u0131nmakta, onun hakikati, mutlak olan\u0131 dile getirmek i\u00e7in yetersiz oldu\u011funu s\u00f6ylemektedirler. Oysa yanl\u0131\u015f olan onlar\u0131n dil anlay\u0131\u015f\u0131d\u0131r. Dile getirilemez d\u00fc\u015f\u00fcnce, Dil-\u00f6ncesi bir d\u00fc\u015f\u00fcnce olamaz Hegel’e g\u00f6re. Yaln\u0131z ya\u015fayan bir insan\u0131n bile, d\u00fc\u015f\u00fcnmek i\u00e7in dile gereksinmesi var. \u00c7\u00fcnk\u00fc hakikat dilsel bir \u015feydir. Bu nedenle, anakronizm yaparak diyebiliriz ki Hegel Feuerbach’\u0131n \u00abdilin \u015feylerle bir ilgisi yok\u00bb deyi\u015fine kat\u0131lmaktad\u0131r. Ancak, ona g\u00f6re bu, dilin kusuru de\u011fil, belirtke zaten imgeden farkl\u0131 olarak, duyumlanabilir benzerlikten koptu\u011fu i\u00e7in ortaya \u00e7\u0131km\u0131\u015ft\u0131r. \u0130nsanl\u0131k hen\u00fcz bu kopu\u015fu, benzerli\u011fin bir u\u00e7 durumu, belirtkeyi imgenin bir d\u00f6n\u00fc\u015f\u00fcm\u00fcym\u00fc\u015f gibi d\u00fc\u015f\u00fcn\u00fcyorsa, bu onun bir t\u00fcrl\u00fc s\u0131yr\u0131lamad\u0131\u011f\u0131 yanl\u0131\u015f dil bilincinden gelmektedir. Nesir dili, bizi imgesellikten kurtarmakta ama tam olarak Tin’e ula\u015ft\u0131ramamakta. Sanat, Tin i\u00e7in uygun bir yer de\u011fildir. Dilin de b\u00f6yle oldu\u011fu, ku\u015fkusuz b\u00f6yle oldu\u011fu, s\u00f6ylenemez. \u00c7\u00fcnk\u00fc spek\u00fclatif d\u00fc\u015f\u00fcnce \u00f6ncesi dil, temsil etmenin tuza\u011f\u0131ndan kurtulamad\u0131.<\/p>\n
Sezgi, hayalg\u00fcc\u00fc ve belirtke, asl\u0131nda hepsi soyutlamayla \u00e7al\u0131\u015f\u0131yor. Temsil edici d\u00fc\u015f\u00fcnce de duyumlanabilir olan\u0131 demekle onun yetkesini (salt alg\u0131laman\u0131n verdi\u011fi edilgenlikten gelen yetkesini) k\u0131rmakta, onu yads\u0131maktad\u0131r. Duyumlanabilir olana bu yolla kar\u015f\u0131 \u00e7\u0131k\u0131\u015f ne denli k\u00f6kl\u00fc olursa olsun, temsil edici d\u00fc\u015f\u00fcnce yine de, somut olana, duyumlanabilir olana ba\u015fvurmaktan al\u0131koyamaz kendini ve onu kavramlar\u0131n\u0131n maddesel temeli olarak korur.<\/p>\n
Bu a\u00e7\u0131dan, temsil edici dil ile sanat yap\u0131t\u0131 benze\u015fmektedirler: Sanat yap\u0131t\u0131, i\u00e7eri\u011fi, duyumlanabilir d\u00fczeyde g\u00f6r\u00fcn\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcrmekte, dil ise ayn\u0131 i\u00e7eri\u011fi demektedir. Bu anlamda belirtenle belirtilenin sanattaki birle\u015fimi ile onun dildeki ayr\u0131\u015f\u0131m\u0131 \u00e7ok b\u00fcy\u00fck bir fark olu\u015fturmaktad\u0131r. Dil arac\u0131l\u0131\u011f\u0131yla biz, Hegel’e g\u00f6re, imgeler kurmaktan vazge\u00e7iyoruz. \u00abAslan\u00bb s\u00f6zc\u00fc\u011f\u00fcn\u00fc kullan\u0131rken art\u0131k bu hayvan\u0131 ne sezmek ne de onun imgesini \u00fcretmek zorunda de\u011filiz. Ama dil bilincimiz geli\u015fmemi\u015f oldu\u011fu i\u00e7in yine de \u00abasian\u00bb s\u00f6zc\u00fc\u011f\u00fcn\u00fc k\u00fc\u00e7\u00fclt\u00fclm\u00fc\u015f bir imge gibi g\u00f6rmekteyiz.<\/p>\n
B\u00fct\u00fcn felsefe tarihi bu t\u00fcr bir dilsel yan\u0131lsama \u00fczerine kurulmu\u015ftur. Bu nedenle evrensel’e, Kavfam’a ula\u015f\u0131lamam\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc evrensel olan\u0131n anlat\u0131m\u0131 i\u00e7in imgesiz bir dil gerekmektedir. Biz h\u00e2l\u00e2 s\u00f6zc\u00fc\u011f\u00fc, \u015feylerin \u2014imgede oldu\u011fu gibi\u2014 bir yans\u0131mas\u0131 olarak g\u00f6r\u00fcyoruz. S\u00f6zc\u00fck sanki d\u0131\u015f bir \u015feyi g\u00f6stermek (indication) i\u00e7in kullan\u0131lan, imgeden daha kullan\u0131\u015fl\u0131 bir \u015fey gibi geliyor bize. Oysa s\u00f6zc\u00fck, g\u00f6sterme i\u015fleminin ortadan kalkmas\u0131d\u0131r asl\u0131nda. Biz g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi konu\u015fmay\u0131z ve dil daha k\u0131sa bir yoldan g\u00f6sterme de\u011fildir. Dil g\u00f6stermeksizin d\u00fc\u015f\u00fcnmedir. Dilin temsil edici kullan\u0131m\u0131, onun pagan \u00e7a\u011f\u0131ndan tan\u0131y\u0131p getirdi\u011fi bir saplant\u0131d\u0131r. Felsefe, sapland\u0131\u011f\u0131 dil ideolojisinden, varl\u0131kla kavram\u0131 ay\u0131rmaktan kurtuldu\u011fu zaman s\u0131yr\u0131lacakt\u0131r. \u00c7\u00fcnk\u00fc varl\u0131k bizim i\u00e7in Kavram\u0131ndan ba\u015fka bir \u015fey olamaz. Bu nedenle bilgi kuram\u0131n\u0131n sorunsal\u0131, hakikat sorunsal\u0131 yaln\u0131zca temsil edici d\u00fc\u015f\u00fcnce olan anl\u0131k i\u00e7in s\u00f6z konusudur. Felsefe ba\u015ftan a\u015fa\u011f\u0131 dil oldu\u011funun bilincine eri\u015fti\u011finde yani spek\u00fclatif d\u00fc\u015f\u00fcnce oldu\u011funda hakikat sorunsal\u0131 ortadan kalkacakt\u0131r.<\/p>\n
Hegel’e g\u00f6re anlam, her zaman \u00abg\u00f6rme\u00bbyi; anlaml\u0131 olma, g\u00f6r\u00fclebilir olmay\u0131 \u00f6rnek ald\u0131 ve Hegel’e kadar felsefe temsil etme \u00e7\u0131kmaz\u0131ndan kurtulamad\u0131. Eski Yunandaki \u00ab\u0131\u015f\u0131k\u00bb metaforunun bollu\u011fu, \u00abanlamaada her zaman \u00abg\u00f6rme\u00bbye bir g\u00f6nderi oldu\u011funu g\u00f6steriyor. Oysa Hegel i\u00e7in anlaml\u0131l\u0131k ve g\u00f6r\u00fclebilirlik aras\u0131nda hi\u00e7bir uzla\u015fma olamaz: Anlam\u0131n giderek ortaya \u00e7\u0131k\u0131\u015f\u0131 fig\u00fcr\u00fcn giderek silinmesiyle m\u00fcmk\u00fcnd\u00fcr. Hegel’e g\u00f6re insanl\u0131\u011f\u0131n estetik etkinlik tarihini incelersek imgelerin giderek azalan bir i\u015flevi oldu\u011fu anla\u015f\u0131l\u0131r. \u0130mge s\u0131k\u0131 s\u0131k\u0131ya fig\u00fcr’e, g\u00f6r\u00fclebilir olana ba\u011fl\u0131d\u0131r. \u0130mgenin azalan g\u00fcc\u00fc ile g\u00f6r\u00fclebilir olan\u0131n, dolay\u0131ms\u0131z olan\u0131n \u00f6nemi de azalacakt\u0131r. Sanat\u0131n \u00f6zelli\u011fi, salt varolu\u015ftaki i\u00e7eri\u011fi \u00abg\u00f6r\u00fcn\u00fc\u015f\u00bbe d\u00f6n\u00fc\u015ft\u00fcrerek, anlama giden yolu a\u00e7mas\u0131d\u0131r. Ama o, zorunlu olarak ta\u015f\u0131d\u0131\u011f\u0131 maddesel, dolay\u0131ms\u0131z \u00f6\u011feden \u00f6t\u00fcr\u00fc bu yolu, ayn\u0131 zamanda kapatmaktad\u0131r da.<\/p>\n
Sonu\u00e7 olarak Hegel, gezgin \u015fairi t\u00fcrl\u00fc arma\u011fanlar sunduktan sonra sitenin kap\u0131s\u0131ndan u\u011furlayan, ona ancak iktidarla \u00f6zde\u015fle\u015fmi\u015f felsefenin yani rasyonel s\u00f6ylemin buyru\u011funda olmay\u0131 benimsedi\u011fi \u00f6l\u00e7\u00fcde katlanabilece\u011fim s\u00f6yleyen Platon’la ayn\u0131 \u015feyi mi s\u00f6ylemektedir? Ba\u015fka bir deyi\u015fle Hegel’in sanatla Ak\u0131l aras\u0131nda kurdu\u011fu ili\u015fki \u2014daha do\u011frusu kesinti\u2014 Haton’un Devlet’inde yer alan sanat kavram\u0131n\u0131n yinelenmesinden ba\u015fka bir \u015fey de\u011fil midir?<\/p>\n
Bilindi\u011fi gibi Platon i\u00e7in sanat yap\u0131t\u0131 her \u015feyden \u00f6nce epistemolojik a\u00e7\u0131dan de\u011fersizdir. Sanat \u2014resim \u00f6rne\u011finde a\u00e7\u0131k\u00e7a g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi\u2014, idealar d\u00fcnyas\u0131n\u0131n kusurlu bir kopyas\u0131 olan bu d\u00fcnya \u00fczerine tek y\u00f6nl\u00fc bir bak\u0131\u015f a\u00e7\u0131s\u0131ndan ger\u00e7ekle\u015ftirilmi\u015f ikinci d\u00fczeyden bir kopya, bir yaland\u0131r. Ressam, d\u00fclgerin tan\u0131m\u0131n\u0131, \u00f6z\u00fcn\u00fc taklit ederek yapt\u0131\u011f\u0131 masan\u0131n birincisinden \u00e7ok daha kusurlu ikinci bir kopyas\u0131n\u0131 \u00fcretmekteydi. Bu durumda e\u011fer felsefe, \u00f6zlerin do\u011fru bilgisini ta\u015f\u0131yan rasyonel s\u00f6ylem olarak m\u00fcmk\u00fcnse, o zaman sanat\u00e7\u0131 zorunlu olarak ya dilden uzakla\u015facak ya da do\u011fru s\u00f6ylemin g\u00fcd\u00fcm\u00fcnde olmay\u0131 se\u00e7ecektir. Hegel i\u00e7in de sanat rasyonel s\u00f6ylemin do\u011fu\u015funun \u00f6ncesinde kalm\u0131\u015f bir \u015feydir, bir dil-\u00f6ncesi d\u00f6nemidir. Ama sanat, Platon’un dedi\u011fi gibi var olan\u0131n k\u00f6t\u00fc bir kopyas\u0131 de\u011fildir. Her \u015feyden \u00f6nce sanat bir kopya de\u011fildir. Ayr\u0131ca sanatsal etkinlik, daha \u00f6nce g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi, salt varolu\u015fun, dilsiz varolu\u015fun, kendinde bulunmayan hakikatini \u00fcretmektedir. Bu nedenle hakikat a\u00e7\u0131s\u0131ndan sanat salt varolu\u015fa, sanat yap\u0131t\u0131 da do\u011faya g\u00f6re bir ileri ad\u0131m olu\u015fturmakta. Ama bu ilerleme noktas\u0131n\u0131n Kavram’a ula\u015fmak i\u00e7in kendi kendini silmesi, yok etmesi yani sanat\u0131n \u00f6lmesi gerekmi\u015ftir.<\/p>\n
Hegel’le Platon aras\u0131ndaki t\u00fcm ayr\u0131l\u0131klara kar\u015f\u0131n ortak bir y\u00f6n s\u00f6z konusu: Platon sanat\u0131n hakikati \u2014k\u00f6t\u00fc kopya etti\u011fi i\u00e7in\u2014 veremedi\u011fini s\u00f6yleyerek onu de\u011fersiz hatta zararl\u0131 buluyor. Hegel i\u00e7in sanat hakikati bir \u00f6l\u00e7\u00fcde veriyor ama maddesel boyutundan \u00f6t\u00fcr\u00fc onunla tam olarak b\u00fct\u00fcnle\u015femiyor, Kavram olam\u0131yor ya da kavram oldu\u011fu an sanat d\u0131\u015f\u0131na d\u00fc\u015f\u00fcyor. Bu nedenle Hegel’in estetik anlay\u0131\u015f\u0131 b\u00fct\u00fcn \u00e7a\u011fc\u0131l y\u00f6nlerine kar\u015f\u0131n sonu\u00e7lar\u0131 a\u00e7\u0131s\u0131ndan pek savunulabilir g\u00f6r\u00fcnmemektedir. Kavram’\u0131 (Concept), kavramsal hakikati ama\u00e7lamayan bir k\u00fclt\u00fcrel etkinlik t\u00fcr\u00fcn\u00fcn var olabilece\u011finin, var oldu\u011funun ku\u015fku g\u00f6t\u00fcrmez oldu\u011fu \u00e7a\u011f\u0131m\u0131zda Hegel’in esteti\u011fi etki g\u00fcc\u00fcn\u00fc yitirmiyorsa bunu b\u00fcy\u00fck \u00f6l\u00e7\u00fcde yukar\u0131da a\u00e7\u0131klamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z dil-sanat ili\u015fkisine de\u011fgin \u00e7\u00f6z\u00fcmlemelerine bor\u00e7lu olmal\u0131d\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
Hegel s\u00f6ylemi, \u00abTarihin sonu\u00bb ba\u015fl\u0131\u011f\u0131 alt\u0131nda pek \u00e7ok \u015feyin sonundan, t\u00fckeni\u015finden, \u00f6l\u00fcm\u00fcnden s\u00f6z eder. Sanat da bunlardan biridir. Sanat, Hegel i\u00e7in insanl\u0131\u011f\u0131n ge\u00e7mi\u015fine ait bir \u015feydir. Sanat t\u00fcrlerini mimarl\u0131ktan ba\u015flay\u0131p heykel, resim, m\u00fczik ve \u015fiirden ge\u00e7erek nesre ula\u015fan ve giderek maddesel olandan, duyumlanabilir olandan uzakla\u015fan bir bi\u00e7imde s\u0131n\u0131fland\u0131ran Hegel, \u00e7a\u011f\u0131n\u0131n tipik sanat t\u00fcr\u00fcn\u00fcn roman oldu\u011funu […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41],"tags":[],"class_list":{"0":"post-4234","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-georg-wilhelm-friedrich-hegel"},"yoast_head":"\n
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