{"id":4332,"date":"2010-03-10T14:04:24","date_gmt":"2010-03-10T11:04:24","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/03\/10\/lukacsin-gercekciligi-cem-taylan\/"},"modified":"2010-03-10T14:04:24","modified_gmt":"2010-03-10T11:04:24","slug":"lukacsin-gercekciligi-cem-taylan","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/03\/10\/lukacsin-gercekciligi-cem-taylan\/","title":{"rendered":"Lukacs’\u0131n Ger\u00e7ek\u00e7ili\u011fi | Cem Taylan"},"content":{"rendered":"

Lukacs’\u0131n eserlerindeki kuramsal ilkelerin tart\u0131\u015f\u0131lmas\u0131na, onun \u00abyans\u0131ma\u00bb (reflection) kategorisine verdi\u011fi \u00f6nemin de\u011ferlendirilmesiyle ba\u015flanmal\u0131d\u0131r. Lukacs’\u0131n kuramsal giri\u015fiminde \u00abyans\u0131ma\u00bbya bu denli \u00f6nemli bir yer vermesini do\u011fal kar\u015f\u0131lamak gerekir; \u00e7\u00fcnk\u00fc Lukacs, \u00abyans\u0131ma\u00bb da ger\u00e7ekli\u011fin bilin\u00e7 arac\u0131l\u0131\u011f\u0131yla kuramsal ve pratik d\u00fczlemlerde kavran\u0131\u015f bi\u00e7imlerine ortak bir temel sa\u011flad\u0131\u011f\u0131na inanm\u0131\u015ft\u0131r.<\/p>\n

Lukacs’a g\u00f6re Yans\u0131ma kuram\u0131n\u0131n, idealist ya da mekanik maddeci varyantlar\u0131n \u00e7\u0131kmazlar\u0131n\u0131 do\u011furmad\u0131\u011f\u0131 i\u00e7in diyalektik bir kuram saymak gerekir. Ger\u00e7ekli\u011fin bir yans\u0131mas\u0131 olarak edebiyat, yans\u0131lamac\u0131d\u0131r (mimetic), bununla birlikte kopyas\u0131 yap\u0131lan\u0131n kopyadan farkl\u0131 olmas\u0131ndan dolay\u0131 yap\u0131nt\u0131sall\u0131k (fictionality) ka\u00e7\u0131n\u0131lmazd\u0131r: \u00abYans\u0131lama, kopya ile ger\u00e7eklik aras\u0131na bir uzakl\u0131k koyar, bu b\u00fcy\u00fc t\u00f6renlerinde g\u00f6r\u00fclmeyen bir uzakl\u0131kt\u0131r. B\u00fcy\u00fc, nesnenin t\u00f6rensel \u00e7er\u00e7eveye alm\u0131\u015f\u0131n\u0131 da i\u00e7erir.\u00bb \u0130\u015fte bu nedenlerle Lukacs, ‘ger\u00e7ek\u00e7ilik’in tek ve yeterli bir \u00aba\u015fma kipi\u00bb, (mode of supersession) oldu\u011fu yolundaki inanc\u0131n\u0131 do\u011frulayabilmi\u015ft\u00eer. Ba\u015fka kipler, sanat\u0131 b\u00fcy\u00fc d\u00fcnyas\u0131na geri g\u00f6ndererek, onu insanbi\u00e7imcilikten uzakla\u015ft\u0131rm\u0131\u015flard\u0131r (deanthropomorphized). B\u00f6ylelikle Lukacs, \u00abger\u00e7ek\u00e7ilik bir bi\u00e7em de\u011fil, ger\u00e7ekten b\u00fcy\u00fck her edebiyat\u0131n toplumsal temelidir\u00bb diyebilmi\u015ftir.<\/p>\n

Bu c\u00fcmle \u00e7ok k\u0131sa olmas\u0131na kar\u015f\u0131n, dikkat \u00e7ekmektedir: \u00e7\u00fcnk\u00fc burada \u00f6ne s\u00fcr\u00fclen g\u00f6r\u00fc\u015f Lukacs’\u0131n sisteminin her noktas\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131kar. \u015eematik bir bi\u00e7imde s\u00f6ylemek istersek, bu, epistemolojik bir nosyon olarak ger\u00e7ek\u00e7ilik ile tarihsel a\u00e7\u0131dan belirli bir edebi d\u00f6nem olarak ger\u00e7ek\u00e7ilik’in birle\u015fmesidir. Pek \u00e7ok incelemecinin g\u00f6zlemledi\u011fi gibi Lukacs, Balzac ile Homeros’tan sanki birbirleriyle \u00e7a\u011fda\u015f imi\u015fler gibi s\u00f6z edebilmektedir.<\/p>\n

Lukacs’\u0131n \u00abyans\u0131ma\u00bb kuram\u0131n\u0131 ele al\u0131\u015f\u0131ndaki en ilgi \u00e7ekici yan, belki de, ger\u00e7ekten k\u00f6ktenci Martsist yenilikleri tan\u0131mamakta ayak diremesidir. B\u00f6ylece Lukacs, \u00abyans\u0131ma\u00bb kavram\u0131n\u0131n temellerine Platon’u yerle\u015ftirir ve Marksizmin bu kuram\u0131n ‘sa\u011f yan\u0131n\u0131’ kald\u0131rd\u0131\u011f\u0131n\u0131 eklemeyi unutmaz. Burada ama\u00e7 salt bir sanat eserinin \u00fcretti\u011fi ‘bilgi’ t\u00fcr\u00fcn\u00fcn temel ilkelerini g\u00f6z \u00f6n\u00fcne sermek ise, Lukacs’\u0131n neden b\u00f6yle dolamba\u00e7l\u0131 bir yoldan gitti\u011fi \u015fa\u015f\u0131rt\u0131c\u0131d\u0131r. Asl\u0131nda onun \u00e7abas\u0131, Platon’dan beri b\u00fct\u00fcn b\u00fcy\u00fck estetik kuramlar\u0131ndaki egemen \u00f6\u011fenin \u00abyans\u0131ma\u00bb kategorisi oldu\u011funu kabul ettirmektir.<\/p>\n

\u00abYans\u0131lama gelene\u011fi\u00bb nin (mimetic tradition) Bat\u0131 esteti\u011finde \u00f6nemli bir rol oynad\u0131\u011f\u0131n\u0131 reddetmek e\u011filiminde de\u011filiz \u00dcstelik, Lukacs’\u0131n incelemesinin dayanaklar\u0131n\u0131n, \u00e7ok soyut bir d\u00fczeyde olu\u015flar\u0131ndan \u00f6t\u00fcr\u00fc kesin ayr\u0131mlar sa\u011flayabileceklerinin ku\u015fkulu oldu\u011fu bile d\u00fc\u015f\u00fcn\u00fclebilir. Yaln\u0131z b\u00f6yle d\u00fc\u015f\u00fcnmekle birtak\u0131m noktalar\u0131n g\u00f6zden ka\u00e7\u0131r\u0131lm\u0131\u015f olaca\u011f\u0131 da belirtilmelidir. \u00c7\u00fcnk\u00fc bu dayanaklar ince ayr\u0131mlar yapmak amac\u0131yla ortaya at\u0131lm\u0131\u015f de\u011fildirler. Burada Lukacs’\u0131n yapt\u0131\u011f\u0131, \u00abbir t\u00fcr k\u00fclt\u00fcrel ultra-solculuk’u\u00bb ele\u015ftirmek i\u00e7in, Marksist kuram\u0131n kendine \u00f6zg\u00fc \u00abay\u0131rt edici\u00bb yan\u0131n\u0131 g\u00f6z ard\u0131 etmektir:
Marksist esteti\u011fin bu \u00f6nemli soruna [yans\u0131ma], k\u00f6ktenci bir yenili\u011fe \u00f6zenmeden yakla\u015fmas\u0131, her t\u00fcrl\u00fc temel ya da ger\u00e7ek bilgiden yoksun olarak emek\u00e7ilerin k\u00fclt\u00fcrel kurtulu\u015funun ge\u00e7mi\u015fin b\u00fct\u00fcn\u00fcyle bir yana b\u0131rak\u0131lmas\u0131nda yatt\u0131\u011f\u0131 inanc\u0131yla emek\u00e7i ideolojisinin, ‘k\u00f6ktenci yenilik’ yani, artistik yenilik\u00e7ilik (avantgarde-ism) ile birle\u015ftirilmesi gerekti\u011fini d\u00fc\u015f\u00fcnenleri \u015fa\u015f\u0131rt\u0131r ancak .
Burada Lukacs, \u00abger\u00e7ek\u00e7i gelenek\u011fin egemenli\u011fini sa\u011flamaya \u00e7al\u0131\u015fmaktad\u0131r a\u00e7\u0131k\u00e7a. G\u00f6r\u00fcnd\u00fc\u011f\u00fc kadar\u0131yla bu gelene\u011fin y\u00fcceltilmesi de kar\u015f\u0131t edebi ak\u0131mlara (\u00f6rne\u011fin, d\u0131\u015favurumculuk gibi), kesin bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131 gerektirir. Yukar\u0131daki al\u0131nt\u0131da Lukacs’ \u0131n b\u00fcy\u00fck bir olas\u0131l\u0131kla Brecht’i kastetti\u011fini \u00f6ne s\u00fcrebiliriz Bu konuya birazdan de\u011finece\u011fiz.<\/p>\n

Bununla birlikte, Lukacs her ne kadar kendi eseriyle geleneksel estetik\u00e7iler aras\u0131ndaki ilgiyi vurgulamak isterse istesin (ki bu kendi i\u00e7inde anlaml\u0131 bir strateji say\u0131labilir), kuram\u0131n\u0131n zorunlu bir \u00f6zg\u00fcll\u00fck ta\u015f\u0131d\u0131\u011f\u0131 da ortadad\u0131r. Bununla ilgili olarak, yans\u0131ma kategorisinin i\u015flerlik kazand\u0131\u011f\u0131 birtak\u0131m ‘mekanizmalar’a g\u00f6z ataca\u011f\u0131z.<\/p>\n

Lukacs’a g\u00f6re, bir sanat eseri ‘burada ve \u015fimdi’siz var olamayaca\u011f\u0131 i\u00e7in, t\u00fcmellik kategorisi taraf\u0131ndan y\u00f6netilemez. Ama ‘burada ve \u015fimdi’, \u00f6rne\u011fin bir tarihsel s\u00fcreyi temsil edebilece\u011fi i\u00e7in tikellik de b\u00f6ylece a\u015f\u0131lm\u0131\u015f olacakt\u0131r (transcended). Sanat eserinde t\u00fcmellik ve tikellik bir arada ya\u015far: Lukacs’\u0131n da kulland\u0131\u011f\u0131 Hegelci terminolojiyle s\u00f6ylersek burada bir \u00absomut t\u00fcmel\u00bb s\u00f6z konusudur. \u0130\u015fte buradan Lukacs’\u0131n ‘tipik’e verdi\u011fi temel rol\u00fc \u00e7\u0131karabiliriz:
Ger\u00e7ek\u00e7i edebiyat\u0131n ana kategorisi ve \u00f6l\u00e7\u00fct\u00fc tiptir. Buna karakterler ve durumlardaki t\u00fcmel ile tikeli organik bir bi\u00e7imde birbirine ba\u011flayan al\u0131\u015f\u0131lmam\u0131\u015f bir bire\u015fim (sentez) de diyebiliriz… onu tip yapan, i\u00e7indeki b\u00fct\u00fcn insani ve toplumsal temel belirlenimlerin en y\u00fcksek bir geli\u015fme d\u00fczeyinde bulunmas\u0131 ve gizil olanaklar\u0131n, sonunda, g\u00f6zler \u00f6n\u00fcne ser\u00fcmesidir…
\u00d6yleyse, Vautrin ve Julien Sorel davran\u0131\u015flar\u0131nda ‘tipik’tirler, \u00e7\u00fcnk\u00fc i\u00e7lerinde yo\u011funla\u015ft\u0131r\u0131lm\u0131\u015f bir bi\u00e7imde belirli bir tarihsel evrenin belirleyici etkenlerini bulabiliriz. Ama onlar kaba birer \u00f6rnek olarak da g\u00f6r\u00fclmemelidirler; \u00e7\u00fcnk\u00fc karakterlerinin, birey ile tipi\u011fi birle\u015ftiren bir ‘diyalektik’i de bulunmaktad\u0131r.<\/p>\n

Bu y\u00fczden tip, \u00abtikel\u00bb ile \u00abt\u00fcmel\u00bb aras\u0131ndaki birbiriyle \u00e7eli\u015fen (\u00e7eli\u015fkili) bir \u00f6zde\u015fli\u011fin ortaya \u00e7\u0131kt\u0131\u011f\u0131 \u00f6zel bir bire\u015fim t\u00fcr\u00fcd\u00fcr. (Burada \u015fimdilik bu \u00e7eli\u015fkili durumun sadece bi\u00e7imsel oldu\u011fu konusu \u00fczerinde durmuyorum.) Buradaki ger\u00e7ek g\u00fc\u00e7l\u00fc\u011f\u00fcn, bu \u00abt\u00fcmel\u00bb in yo\u011funlu\u011funda, giderek \u00e7ift anlaml\u0131l\u0131\u011f\u0131nda yatt\u0131\u011f\u0131n\u0131 belirtmeliyiz. Lukacs, \u00abt\u00fcmel\u00bb terimini iki anlamda kullanm\u0131\u015f gibi g\u00f6r\u00fcn\u00fcyor: 1) insanda ‘temel’ olan ve, 2) b\u00fct\u00fcn tikel g\u00f6r\u00fcng\u00fcleri belirleyen tarihsel boyut. Lukacs’\u0131n birbirinden b\u00fct\u00fcn\u00fcyle ayr\u0131 bu iki eksen aras\u0131nda tam bir s\u0131n\u0131r \u00e7ekmemesinin epeyce \u015fa\u015f\u0131rt\u0131c\u0131 oldu\u011funu belirtmeliyiz.
Bir tipin temsili ile somut, t\u00fcmel ve temel nitelikler, insandaki kal\u0131c\u0131, bireysel ve toplumsal a\u00e7\u0131dan t\u00fcmel yanlar tipik sanatta birle\u015firler.
Elbette, burada sorun bu olan ‘birle\u015fme’nin kesinle\u015ftirilmesi gereken ifadesidir. Bu ba\u011flamda tikelin, bir b\u00fct\u00fcn\u00fcn par\u00e7as\u0131 olarak, t\u00fcmeli i\u00e7erdi\u011fi sonucunu \u00e7\u0131karmaktan ka\u00e7\u0131nmak zor olacakt\u0131r. B\u00f6ylelikle, Lukacs’\u0131n b\u00fct\u00fcnsellik anlay\u0131\u015f\u0131n\u0131n Hegelci (yani, g\u00f6r\u00fcng\u00fclerinin \u00e7oklu\u011fu arkas\u0131ndaki \u00f6z, oldu\u011fu s\u00f6ylenebilir. Bunun ayr\u0131nt\u0131lar\u0131na birazdan girece\u011fiz.<\/p>\n

ART\u0130ST\u0130K B\u0130\u00c7\u0130MLER <\/strong><\/p>\n

Hegel’e g\u00f6re, \u00abg\u00fczellik, ussal olan\u0131n, duyumsanabilir k\u0131l\u0131nmas\u0131d\u0131r; duyumsan\u0131r g\u00f6r\u00fcn\u00fcm (sensible appearence) [ise], i\u00e7indeki ussal \u00f6z\u00fcn kendini belli etti\u011fi bir bi\u00e7imdir.\u00bb” Bu duyumsanan yap\u0131 \u00fc\u00e7 ana yolla ger\u00e7ekle\u015fir: klasik sanat, simgesel sanat, romantik sanat. Klasik sanat, duyumsanan anlat\u0131m\u0131n, tekab\u00fcl etti\u011fi idea’ya ‘yeterli’ oldu\u011fu ve belli belirsiz bir bi\u00e7imde onu a\u015fmad\u0131\u011f\u0131 durumlarda ortaya \u00e7\u0131kar. Simgesel sanatta ise duyumsan\u0131r bi\u00e7im, sadece ussal \u00f6z\u00fc simgeler: gizemsel bir bi\u00e7imde onu a\u015fan uzak bir ussall\u0131\u011fa g\u00f6ndermeler yapar. \u00d6te yandan romantik sanat, denge ve uyumdan sonsuz de\u011ferli say\u0131lan bir \u00f6znellik karga\u015fas\u0131na kayma ile nitelendirilir. Bu Hegelci bi\u00e7imler Lukacs’ in eserlerinde, s\u0131ras\u0131yla Ger\u00e7ek\u00e7ilik, Do\u011falc\u0131l\u0131k ve Bi\u00e7imcilik olarak g\u00f6r\u00fcl\u00fcrler.<\/p>\n

Helga Gallas’\u0131n g\u00f6sterdi\u011fi gibi, Lukacs’\u0131n artistik bi\u00e7imleri \u00fc\u00e7e ay\u0131rmas\u0131, ger\u00e7ekli\u011fin kavran\u0131\u015f\u0131na ili\u015fkin epistemolojik verilerle (g\u00f6r\u00fcn\u00fc\u015f, \u00f6z, \u00f6z\/g\u00f6r\u00fcn\u00fc\u015f) \u00f6rt\u00fc\u015fmektedir. Do\u011falc\u0131l\u0131k, ger\u00e7ekli\u011fin \u00abdolay\u0131ms\u0131z g\u00f6r\u00fcn\u00fc\u015f\u00fc\u00bbn\u00fc kavramak olarak nitelendirilir: buna \u00absomut g\u00f6r\u00fcn\u00fc\u015fler\u00bbi yeniden \u00fcretmede ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011framak da diyebiliriz; kald\u0131 ki, ger\u00e7ekli\u011fin sadece ‘\u00f6z’\u00fcn\u00fc kavramaya \u00e7al\u0131\u015fmak idealizm (bi\u00e7imcilik) demektir; buna kar\u015f\u0131 ger\u00e7ek\u00e7ilik, \u00f6z ve g\u00f6r\u00fcn\u00fc\u015f\u00fcn birli\u011fini kavramas\u0131yla ay\u0131rt edilebilir:
Her b\u00fcy\u00fck sanattaki ama\u00e7, g\u00f6r\u00fcn\u00fc\u015f ile ger\u00e7eklik, tikel ile t\u00fcmel, do\u00eeay\u0131ms\u0131z ile kavramsal olan aras\u0131ndaki \u00e7eli\u015fmeyi, bu ikiliklerin sanat eserinin do\u011frudan izlenimindeki kendili\u011finden (spontaneous) bir b\u00fct\u00fcnl\u00fckte toplanan ve b\u00f6l\u00fcnmez bir b\u00fct\u00fcnl\u00fck duygusu uyand\u0131ran bir ger\u00e7eklik izd\u00fc\u015f\u00fcm\u00fc sa\u011flayarak \u00e7\u00f6z\u00fcmlemektir.
Yukar\u0131daki b\u00f6l\u00fcm, Lukacs’\u0131n Ger\u00e7ek\u00e7ilik, Do\u011falc\u0131l\u0131k ve Bi\u00e7imcilik kategorilerinin, d\u00f6nemlerin ve \u00fcsluplar\u0131n tarihsel \u00f6zg\u00fcll\u00fc\u011f\u00fcne iyice n\u00fcfuz etmek amac\u0131yla d\u00fc\u015f\u00fcn\u00fclmedi\u011fini, san\u0131r\u0131z, a\u00e7\u0131k\u00e7a ortaya \u00e7\u0131karm\u0131\u015ft\u0131r. Yap\u0131lan, asl\u0131nda, bir dizi \u00abartistik bi\u00e7imler tipolojisi anlam\u0131nda, temel ve a\u015fk\u0131n belirlemedir.\u00bb Dolay\u0131s\u0131yla, herhangi bir eser, ancak Lukacs\u00e7\u0131 \u015femaya \u00abtekab\u00fcl etti\u011fi\u00bb \u00f6l\u00e7\u00fcde incelenme durumunda olabilir.<\/p>\n

Lukacs’\u0131n ‘bi\u00e7im’ nosyonu, Hegel k\u00f6kenli epistemolojik bir kavramd\u0131r: \u00ab…i\u00e7erik, bi\u00e7imin i\u00e7eri\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesinden; bi\u00e7im ise i\u00e7eri\u011fin bi\u00e7ime d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesinden ba\u015fka bir \u015fey de\u011fildir.\u00bb Lukacs, ‘teknik’in plastik yan\u0131na pek ilgi g\u00f6stermez. Buna kar\u015f\u0131l\u0131k, i\u00e7eri\u011fi ‘yeterli’ bir bi\u00e7imde ifade etme \u00e7abas\u0131 g\u00f6steren yazar\u0131n, artistik bi\u00e7imleri kurmas\u0131yla ilgilenir. Asl\u0131nda Lukacs’\u0131n yapt\u0131\u011f\u0131, \u00abbi\u00e7imlere kendi i\u00e7lerinde bir ontolojik varolu\u015f y\u00fcklemektir.\u00bb:
Bi\u00e7imi, i\u00e7eri\u011fin bir \u00fcr\u00fcn\u00fc olarak g\u00f6rd\u00fc\u011f\u00fcn\u00fc ileri s\u00fcrmesine kar\u015f\u0131n, Lukacs uygulamada (\u00f6rne\u011fin, Tarihsel Roman) bir genel bi\u00e7imler ontolojisiyle i\u015fe ba\u015flar ve bunun i\u00e7ine sanat\u00e7\u0131n\u0131n tarihle olan \u00f6zg\u00fcl ba\u011f\u0131nt\u0131s\u0131na ili\u015fkin problemleri sokar… Scott’un romanlanndaki Yabanc\u0131 (Gentile) toplumun g\u00f6r\u00fcn\u00fcm\u00fcyle 18. y\u00fczy\u0131l \u0130sko\u00e7 toplumunun ger\u00e7ekli\u011finin kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131 sorunu pek ilgilendirmez onu. Ger\u00e7ekten, Lukacs’\u0131n eserlerinde pek az fenomenolojik Tarih tan\u0131mlamas\u0131 vard\u0131r.
Arada bir Lukacs’\u0131n ‘generik yasalar’\u0131n i\u00e7kin moment’inden s\u00f6z etti\u011fi de g\u00f6r\u00fcl\u00fcr ama Julia Kristeva’n\u0131n ortaya koydu\u011fu gibi hi\u00e7bir ‘metin’, \u00f6teki metinlerden ba\u011f\u0131ms\u0131z olarak d\u00fc\u015f\u00fcn\u00fclemez.Lukacs, \u00abintertextualit\u00e9\u00bb kavram\u0131yla ya \u00e7ok az ilgilenir ya da hi\u00e7 \u00fcst\u00fcne e\u011filmez. B\u00f6ylelikle, Lukacs’\u0131n ‘bi\u00e7imler ontolojisi’nin, yeni artistik bi\u00e7imlerin do\u011fu\u015funu belirleyenin sadece burjuvazinin ideolojik geli\u015fmesi olup olmad\u0131\u011f\u0131 sorununu \u00f6zenle inceleyemeyi\u015finde \u00f6nemli bir rol oynad\u0131\u011f\u0131m g\u00f6r\u00fcr\u00fcz.<\/p>\n

1848: BURJUVA K\u00dcLT\u00dcR\u00dcN\u00dcN B\u00d6L\u00dcNMES\u0130 <\/strong><\/p>\n

Lukacs i\u00e7in temel soru \u015fudur: Burjuvazi ‘tarihsel a\u00e7\u0131dan ilerici’ bir rol oynamay\u0131 hangi noktada sona erdirmi\u015ftir? Lukacs bu soruyu, \u00abParis emek\u00e7ilerinin 1848’deki Haziran sava\u015f\u0131,\u00bb diye yan\u0131tlamaktad\u0131r. 1848 den sonra burjuvaziye a\u00e7\u0131k olan \u2014nesnel olanaklar\u2014 (burjuvazinin ‘olu\u015fturulabilece\u011fi en \u00fcst bilin\u00e7 d\u00fczeyi’), b\u00fct\u00fcn\u00fcyle, kar\u015f\u0131-devrimci bir nitelik kazanm\u0131\u015ft\u0131r. Burjuvazi, ancak ‘devrimci’ evresinde bulundu\u011fu s\u00fcrece, ger\u00e7eklikle (‘s\u0131radan ya\u015fam’) al\u0131\u015fveri\u015finin geni\u015fli\u011finden do\u011fan bir anlaml\u0131l\u0131\u011fa sahip olmu\u015ftur. Burjuvazi savunmaya ge\u00e7ti\u011finde ve art\u0131k kendinden \u00f6tede bir ‘perspektifi olmad\u0131\u011f\u0131 zaman, ger\u00e7ekli\u011fin hemen b\u00fct\u00fcn alanlar\u0131ndan kendini giderek yal\u0131tmak zorunda kalm\u0131\u015ft\u0131r. B\u00f6ylesine \u00ablanetlenmi\u015f\u00bb bir s\u0131n\u0131f\u0131n edebi \u00fcr\u00fcnlerinin, daha \u00f6nceki \u00e7a\u011flardaki d\u00fczeyi tutturabilmesi elbette olanaks\u0131zd\u0131r.<\/p>\n

On dokuzuncu y\u00fczy\u0131l\u0131n birinci yar\u0131s\u0131nda doru\u011funa ula\u015fan, ‘b\u00fcy\u00fck ger\u00e7ek\u00e7llik’in temeli say\u0131lan on sekizinci y\u00fczy\u0131l burjuva k\u00fclt\u00fcr\u00fc, toplumsal dayana\u011f\u0131n\u0131, feodalizmi tasfiyeye y\u00f6nelik ilerici g\u00fc\u00e7lere, nesnel a\u00e7\u0131dan yol g\u00f6sterici olmas\u0131nda bulmu\u015ftur. Bu ‘tarihsel g\u00f6rev’:
“…s\u0131n\u0131f\u0131n (burjuvazinin) \u00f6nemli ideolojik temsilcilerine s\u0131radan ya\u015famdan kaynaklanan b\u00fct\u00fcn problemleri ortaya koyabilmek i\u00e7in bir y\u00fcreklilik ve at\u0131l\u0131m (\u00e9lan) vermi\u015f, b\u00f6ylelikle- onlar\u0131n g\u00fcnl\u00fck ya\u015famdaki g\u00fc\u00e7ler ve \u00e7at\u0131\u015fmalar\u0131 derinden kavramalar\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r. Sorunlar\u0131 ortaya koymak ve \u00e7\u00f6zmek burjuvazinin dar ve s\u0131n\u0131rl\u0131 \u00e7\u0131karlar\u0131yla \u00e7eli\u015fse bile, ayn\u0131 burjuvazi edebiyatta insansal ilerleme amac\u0131n\u0131 temsil etmeyi elden b\u0131rakmam\u0131\u015ft\u0131r.”
Burjuvazinin ideolojik ‘temsilcileri’, kendi s\u0131n\u0131flar\u0131n\u0131 tehdit alt\u0131nda g\u00f6r\u00fcnce, \u00e7a\u011f\u0131n a\u011f\u0131r basan toplumsal \u00e7eli\u015fkilerini daha \u00f6nce tan\u0131mlarken kulland\u0131klar\u0131 o, ‘kendi \u00e7\u0131kar\u0131m g\u00f6zetmeyen y\u00fcreklili\u011fi” g\u00f6sterememi\u015flerdir. Klasik ger\u00e7ek\u00e7ili\u011fin \u00f6l\u00fcm\u00fc, burjuvazinin irade g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fc’n\u00fcn, ‘ger\u00e7eklikle y\u00fczy\u00fcze gelmek’ten ka\u00e7\u0131nmas\u0131n\u0131n edebi terimlerle ifadesi demektir.<\/p>\n

Lukacs’\u0131n klasik ger\u00e7ekli\u011fi destekleyen g\u00f6r\u00fc\u015f\u00fcn\u00fcn temel \u00f6\u011felerinden biri. yazar\u0131n \u00abs\u0131radan ya\u015famadan kaynakland\u0131\u011f\u0131d\u0131r. Lukacs’a g\u00f6re, Goethe, Tolstoy ve Balzac R\u00f6nesans ve Ayd\u0131nlanma \u00e7a\u011f\u0131 entelekt\u00fcellerinin gelene\u011fini izlemi\u015flerdir. Bu yazarlar\u0131n, kendi \u00e7a\u011flar\u0131ndaki b\u00fcy\u00fck toplumsal m\u00fccadelelere etkin katk\u0131lar\u0131 olmu\u015ftur; bu y\u00fczden de eserleri, sanatla toplum aras\u0131ndaki derin etkile\u015fimin yetkin \u00f6rnekleridir.<\/p>\n

Bunun, \u00fczerinde durulmas\u0131 gereken bir nokta oldu\u011funu kabul etmeliyiz: \u00d6rne\u011fin David Copperfield (1850) ile Sanat\u00e7\u0131n\u0131n bir Gen\u00e7 Adam Olarak Portresi (1915) kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda, bu eserlerde ‘yaz\u0131’ya ili\u015fkin tavr\u0131n, k\u00f6kl\u00fc bir de\u011fi\u015fimden ge\u00e7ti\u011fi g\u00f6r\u00fclebilir. Copperfield i\u00e7in ‘yaz\u0131’, toplumda bir sayg\u0131nl\u0131k sa\u011flama arac\u0131d\u0131r; oysa Dedalus’a g\u00f6re, toplumda bu yolla sa\u011flanm\u0131\u015f bir \u00fcn, eserini lanetlemek i\u00e7in yeter de artar bile. Ne yaz\u0131k ki s Lukacs sorunu kaba bir etkinlik\/edilginlik ikilemi i\u00e7inde irdelemeye o kertede kararl\u0131d\u0131r ki, sav\u0131n\u0131 desteklemek amac\u0131yla getirdi\u011fi kan\u0131tlar \u015fa\u015f\u0131rt\u0131c\u0131 bir bi\u00e7imde ampirik kalmaktad\u0131r. Nitekim on sekizinci y\u00fczy\u0131l estetik\u00e7ilerinden birinden yapt\u0131\u011f\u0131 al\u0131nt\u0131ya dayanarak Lukacs, ger\u00e7ekten tipik olan\u0131 verebilmek i\u00e7in bir yazar\u0131n \u00abzengin bir ya\u015fam\u00bb (bu ne anlama geliyorsa!) s\u00fcrd\u00fcrmesi gerekti\u011fini \u00f6ne s\u00fcrmekten \u00e7ekinmez.<\/p>\n

\u00d6te yandan Zola ve Flaubert, edebi ya\u015famlar\u0131na, 1848 Haziran ba\u015fkald\u0131r\u0131s\u0131ndan sonra iktidar\u0131n\u0131 peki\u015ftiren bir burjuva toplumunda ba\u015flam\u0131\u015flard\u0131r. “S\u0131radan ya\u015famla” herhangi bir ili\u015fki kurmak \u015f\u00f6yle dursun, burjuva toplumuna kar\u015f\u0131 \u00f6lmalon, onlar\u0131 bu toplumun uza\u011f\u0131nda durmaya zorlam\u0131\u015ft\u0131r. Kapitalist i\u015fb\u00f6l\u00fcm\u00fc dolay\u0131s\u0131yla ya\u015famdan kopmu\u015flard\u0131r bu yazarlar. Yeni t\u00fcr ger\u00e7ek\u00e7i yazar\u0131n, \u00e7e\u015fitli toplumsal kat\u0131l\u0131mlar\u0131ndan uzak kalmas\u0131, onun sanat\u0131yla d\u00f6n\u00fc\u015ft\u00fcrebilece\u011fi \u00e7ok dar ve s\u0131n\u0131rl\u0131 bir ‘ya\u015fam hammaddesi’ \u00fcretmesine neden olur.<\/p>\n

\u00abS\u0131radan ya\u015fam\u00bb nosyonunun, (‘kavram’ bunu tam olarak kar\u015f\u0131lamamaktad\u0131r) Lukacs’\u0131n ger\u00e7ek\u00e7i edebiyat\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fc sav\u0131n\u0131 ge\u00e7erli k\u0131lma \u00e7abas\u0131nda b\u00fcy\u00fck \u00f6nem ta\u015f\u0131d\u0131\u011f\u0131 a\u00e7\u0131kt\u0131r. Balzac’\u0131n birtak\u0131m kapitalist s\u00fcre\u00e7lerle ili\u015fkisinin, ona burjuva toplumunu ele\u015ftirebilmek i\u00e7in gerekli ‘hammadde’yi sa\u011flad\u0131\u011f\u0131 do\u011frudur, ama \u00abs\u0131radan ya\u015fam\u00bb gibi belirsiz bir nosyonun, Balzac t\u00fcr\u00fcnden bir borsa spek\u00fclat\u00f6r\u00fcn\u00fcn edebi eserlerinde, bu denli k\u00f6ktenci bir ‘ideolojik yerde\u011fi\u015ftirme’yi (ideological displacement) nas\u0131l ba\u015farabildi\u011fini a\u00e7\u0131klamakta yetersiz kald\u0131\u011f\u0131 da a\u00e7\u0131kt\u0131r. Lukacs’a g\u00f6re, tersine, yazar\u0131n \u00abs\u0131radan ya\u015fam\u00bb\u0131n i\u00e7inden gelmesi, onun kendi s\u0131n\u0131fsal konumunu a\u015fmas\u0131n\u0131, ‘yanl\u0131\u015f bilin\u00e7’ine kar\u015f\u0131n tarihsel ger\u00e7ekli\u011fin do\u011fas\u0131n\u0131 kavramas\u0131n\u0131 sa\u011flar. (Sanat\/ideoloji sorunsal\u0131na ba\u015fka bir yaz\u0131da ayr\u0131nt\u0131l\u0131 olarak de\u011finece\u011fiz. Burada, sadece, Lukacs’\u0131n bu \u00abs\u0131radan ya\u015fam\u00bb temeline g\u00f6re yapt\u0131\u011f\u0131 tarihsel d\u00f6nemselle\u015ftirmeyi kabul etmenin m\u00fcmk\u00fcn olmad\u0131\u011f\u0131n\u0131 belirtmek isteriz.)<\/p>\n

Sparks’\u0131n belirtti\u011fi gibi , burjuvazinin d\u00fcnya \u00f6l\u00e7e\u011finde art\u0131k ilerici bir rol oynayamayaca\u011f\u0131n\u0131 belirtmenin, bu y\u00fczden de \u00abs\u0131radan ya\u015fam\u00bbm birtak\u0131m yanlar\u0131ndan kendini b\u00fct\u00fcn\u00fcyle yal\u0131tmas\u0131n\u0131n ka\u00e7\u0131n\u0131lmaz oldu\u011funu \u00f6ne s\u00fcrmenin hi\u00e7bir dayana\u011f\u0131 yoktur. Lukacs’\u0131n kendisi, burjuvazinin ‘devrimci’ d\u00f6neminde bile, tam anlam\u0131yla ‘tutarl\u0131’ bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ortaya koyamad\u0131\u011f\u0131 g\u00f6r\u00fc\u015f\u00fcndedir. Burada kar\u015f\u0131m\u0131za yine Lukacs’\u0131n artistik bi\u00e7imler s\u0131n\u0131flamas\u0131 \u00e7\u0131k\u0131yor:
“…klasik tarihsel roman, bu pop\u00fcler karakterinin sonucu olarak, bir model bi\u00e7iminde epik’in genel yasalar\u0131na uymu\u015f; gerileme d\u00f6neminin roman\u0131 ise, ya\u015famdan kopuk olarak, anlat\u0131 sanat\u0131n\u0131n bu genel yasalar\u0131n\u0131 yerle bir etmi\u015ftir.”
Bu b\u00f6l\u00fcm, Lukacs’m ele\u015ftirel program\u0131n\u0131 niteleyen ‘bi\u00e7imcili\u011fin’ ana \u00e7izgilerini kapsamaktad\u0131r. Bu bi\u00e7imcili\u011fin, edebi \u00fcr\u00fcnleri, bir dizi keyfi yasayla s\u0131n\u0131rlamaya \u00e7al\u0131\u015fmas\u0131, daha da tehlikeli olmaktad\u0131r. Ger\u00e7ekten, Lukacs’\u0131n sav\u0131n\u0131n tersine, edebi bi\u00e7imlerin geli\u015fmesinin bir b\u00f6l\u00fcm\u00fcne itici g\u00fc\u00e7 sa\u011flayan, yasalara uyum de\u011fil ‘yasalar\u0131 \u00e7i\u011fneme’ bi\u00e7iminde ortaya \u00e7\u0131kan s\u00fcrekli olgudur.<\/p>\n

Bize g\u00f6re, bu b\u00f6l\u00fcmden \u00e7\u0131kar\u0131lacak sonu\u00e7, Lukacs’\u0131n burjuva roman\u0131n\u0131n ger\u00e7ek geli\u015fmesini kavramakta ba\u015far\u0131l\u0131 olmad\u0131\u011f\u0131d\u0131r. Edebiyat\u0131 bir dolay\u0131ml\u0131 siyasal m\u00fcdahale olarak g\u00f6r\u00fcrsek, roman\u0131n ‘e\u015fitsiz’ geli\u015fmesini kavrayamay\u0131\u015f\u0131, Lukacs i\u00e7in siyasal ya da kuramsal bir gerileme kayna\u011f\u0131 say\u0131lamaz m\u0131? Az ilerde g\u00f6r\u00fclece\u011fi gibi, 1930’larda, Brecht ile Lukacs aras\u0131nda ortaya \u00e7\u0131kan \u00fcnl\u00fc tart\u0131\u015fman\u0131n temelini olu\u015fturan da budur.<\/p>\n

GER\u00c7EK\u00c7\u0130L\u0130K \u2014 DO\u011eALCILIK \u2014 B\u0130\u00c7\u0130MC\u0130L\u0130K <\/strong><\/p>\n

Lukacs’a g\u00f6re 1843, ger\u00e7ekli\u011fin bir ‘temsil bi\u00e7imi’ olan ger\u00e7ek\u00e7ilik’ten (realizm) bir ba\u015fka temsil bi\u00e7imi olan do\u011falc\u0131l\u0131k’a (nat\u00fcralizm) ge\u00e7ildi\u011fi ve bunlar\u0131 fazladan bi\u00e7imcili\u011fin (formalizm) izledi\u011fi \u00f6zel bir t\u00fcr ‘epistemolojik kopma’dan olu\u015fmu\u015ftur. Lukacs i\u00e7in do\u011falc\u0131l\u0131k, duruk ve sansasyonel say\u0131l\u0131r: \u00f6z\u00fcmsenmemi\u015f bir belirlenimcili\u011fin destekledi\u011fi bir dizi s\u0131radan olaylara ba\u011fl\u0131d\u0131r. Do\u011falc\u0131l\u0131k ya\u015fam\u0131n ‘y\u00fczeyde’ temsil edilmesiyle onun “temeli olu\u015fturan’ etkinlikleri yakalad\u0131\u011f\u0131n\u0131 san\u0131r. Bunun sonucu olarak da, b\u00fct\u00fcnsellikte \u00e7atlaklar olu\u015fur ve do\u011falc\u0131 yazarlar ‘ya\u015fam\u0131n anlams\u0131zl\u0131\u011f\u0131’ \u00fczerinde yo\u011funla\u015f\u0131rlar. B\u00fct\u00fcn bunlardan \u015funu \u00e7\u0131karabiliriz: Lukacs’a g\u00f6re Zola ile Flaubert’in karakterleri birer izleyici, anlatt\u0131klar\u0131 olaylar birer tablo, biz okuyucular ise g\u00f6zlemcilerizdir.<\/p>\n

Lukacs’\u0131n \u00f6ne s\u00fcrd\u00fc\u011f\u00fc ger\u00e7ek\u00e7ilik\/do\u011falc\u0131l\u0131k b\u00f6l\u00fcnmesinde kat\u0131lmad\u0131\u011f\u0131m\u0131z yanlar olsa da, hi\u00e7 de\u011filse bunun genellikle ince eleyip s\u0131k dokuyan bir bilgi kuram\u0131na (Hegelci de olsa) oturtuldu\u011funu kabul etmeliyiz. Bununla birlikte daha da \u015fa\u015f\u0131rt\u0131c\u0131 nokta \u2014nedenlerine daha ileride de\u011finece\u011fiz\u2014 Lukacs’\u0131n b\u00fcy\u00fck ger\u00e7ek\u00e7ilerin belleklerde yer edecek ‘karakterler’ yaratma yetilerini \u00f6vmek i\u00e7in sayfalar doldurmas\u0131d\u0131r. Onun i\u00e7in Zola’y\u0131 \u00abhi\u00e7bir zaman, tip say\u0131labilecek, herkesin dilinden d\u00fc\u015fmeyecek bir deyim durumuna d\u00f6n\u00fc\u015febilecek, neredeyse ya\u015fayan ki\u015fi say\u0131lacak karakterler\u00bb yaratmad\u0131\u011f\u0131ndan dolay\u0131 sert bir dille azarlar Lukacs. Sadece bu y\u00fczden bile Lukacs’\u0131, \u00f6rne\u011fin Dickens’\u0131 Micawber, Pecksniff, Gamp gibi \u0130ngilizler a\u00e7\u0131s\u0131ndan \u00ab\u00f6l\u00fcms\u00fcz ki\u015filer\u00bb yaratt\u0131\u011f\u0131ndan dolay\u0131 \u00f6ven burjuva ele\u015ftirmenleri ile ayn\u0131 ideolojik \u00e7izgiye koymamak i\u00e7in ge\u00e7erli nedenler yitirilmi\u015f olabilir. Garip bir raslant\u0131: Lukacs da bu sorundan s\u00f6z ederken ‘\u00f6l\u00fcms\u00fcz ki\u015filer’ s\u00f6zc\u00fcklerine ba\u015fvurmadan edemez.<\/p>\n

Bir Marksist i\u00e7in edebiyat eserlerinin \u00fcretildi\u011fi tarihsel d\u00f6nemler aras\u0131nda dikkatli bir ay\u0131r\u0131m yapman\u0131n, her\u015feyin \u00fcst\u00fcnde \u00f6ncelik ta\u015f\u0131d\u0131\u011f\u0131 a\u00e7\u0131k se\u00e7ik ortadad\u0131r. Bu durumda Lukacs’\u0131n do\u011falc\u0131l\u0131k ile bi\u00e7imcili\u011fi birle\u015ftirmesi \u00fczerine ne denebilir? Lukacs’a g\u00f6re ger\u00e7ek\u00e7ilik ile do\u011falc\u0131l\u0131k aras\u0131ndaki ay\u0131r\u0131m \u015funa dayanmaktad\u0131r:
“…bir sanat ‘eserinde g\u00f6zler \u00f6n\u00fcne serilen durumlar ve karakterlerde ‘anlam hiyerar\u015fisinin bulunup bulunmamas\u0131. Buna oranla formel kategoriler ikincil say\u0131l\u0131rlar. B\u00f6ylelikle yenilik\u00e7i edebiyat\u0131n temelde do\u011falc\u0131 niteli\u011finden ve burada bir ideolojik s\u00fcreklili\u011fin edebi ifadesinden s\u00f6z edilebilir. Bu, \u00fcsluptaki farkl\u0131l\u0131klar\u0131n toplumdaki de\u011fi\u015fmeleri yans\u0131tt\u0131\u011f\u0131n\u0131 reddetmek anlam\u0131na gelmez. Ama do\u011falc\u0131 keyfilik ilkesinin ve hiyerar\u015fik yap\u0131 yoksunlu\u011funun alabilece\u011fi \u00f6zel bi\u00e7im kesin de\u011fildir. ”
Lukacs’\u0131n do\u011falc\u0131l\u0131k ve bi\u00e7imcilik kavramlar\u0131n\u0131 ay\u0131rt etmeye \u00e7al\u0131\u015f\u0131rken kar\u015f\u0131la\u015f\u0131lan zorluk, b\u00f6ylelikle kolayca a\u00e7\u0131klanmaktad\u0131r: ona g\u00f6re bu kavramlar sadece tikellik temas\u0131 \u00fczerine farkl\u0131l\u0131klar\u0131 temsil ederler.<\/p>\n

Lukacs’a g\u00f6re, hem do\u011falc\u0131l\u0131k hem de bi\u00e7imcilikte (‘betimleyici y\u00f6ntem’) ayr\u0131nt\u0131lar, kendileri i\u00e7inde \u00f6nem kazan\u0131rlar: roman\u0131n kompozisyonu ayr\u0131\u015f\u0131ma u\u011frar ve roman, art\u0131k, de\u011fi\u015fken bir kaos durumuna gelir. Hegel’in de dedi\u011fi gibi, benzemezl’\u011fin en u\u00e7 noktas\u0131n\u0131 olu\u015fturdu\u011fu, i\u00e7in ‘burada ve \u015fimdi olan’ mutlak soyut say\u0131l\u0131r. Lukacs Joyce’da \u00f6rne\u011fini buldu\u011fu a\u015f\u0131r\u0131 tikelle\u015ftirmenin, bireyselli\u011fi ortadan kald\u0131rd\u0131\u011f\u0131n\u0131 ve \u00abeninde sonunda kaba bir ampirizme, ola\u011fana, rastlant\u0131sala dayanan bir ‘soyut t\u00fcmellik’le sonu\u00e7land\u0131\u011f\u0131n\u0131\u00bb d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcr. Ayr\u0131ca bi\u00e7imcilik d\u0131\u015f d\u00fcnyan\u0131n de\u011ferinin azalmas\u0131 ile birlikte d\u0131\u015fsal ger\u00e7ekli\u011fin de\u011fi\u015ftirilmez oldu\u011fu kan\u0131s\u0131n\u0131 da uyand\u0131r\u0131r. Bu s\u00fcre\u00e7 i\u00e7inde insan etkenli\u011fi iktidars\u0131z k\u0131l\u0131n\u0131r ve bu e\u011filimin en u\u00e7 bir \u00f6rne\u011finin Ses ve \u00d6fke’nin ilk b\u00f6l\u00fcm\u00fcnde ve Molloy’la, ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. Her iki \u00f6rnekte de \u00f6znelle\u015ftirmenin bir ‘k\u00f6t\u00fc sonsuzlu\u011fu’ bulunmaktad\u0131r. \u00d6yleyse son \u00e7\u00f6z\u00fcmlemede \u015fu s\u00f6ylenebilir: yenilik\u00e7iler ya\u015fam\u0131 dinamik bir bi\u00e7imde anlatma yetene\u011fini yitirmi\u015flerdir;
‘betimleyici y\u00f6ntem’, insanlar\u0131 birer ‘\u00f6l\u00fc do\u011fa’ya d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n

Buraya kadar s\u00f6ylediklerimizde, genel olarak, Lukacs’\u0131n ger\u00e7ek\u00e7ili\u011fe kar\u015f\u0131 olan yaz\u0131 bi\u00e7imlerine d\u00fc\u015fmanl\u0131\u011f\u0131n\u0131n, bilgi kuram\u0131 y\u00f6n\u00fcnden \u00f6zellikleri \u00fczerinde durduk. Lukacs’\u0131n bu kesin muhalefetinin alt\u0131nda yatan, onun her yerde kar\u015f\u0131m\u0131za \u00e7\u0131kard\u0131\u011f\u0131 Us’la Ussal olmayan’\u0131n \u00e7at\u0131\u015fmak konumudur:
Us, (Lukacs’a g\u00f6re) insano\u011flunun tarihsel ve toplumsal geli\u015fmesinin \u00fcst\u00fcnde bir \u015fey de\u011fil, tersine, Hegelcilikte oldu\u011fu gibi insanl\u0131k tarihinin ve toplumunun kendi geli\u015fmesinin i\u00e7kin unsurudur. Onun (Lukacs’\u0131n) g\u00f6z\u00fcnde belirleyici etken materyalizm ile idealizm aras\u0131ndaki sava\u015f\u0131mdan (kr\u015f. Lenin) \u00e7ok, \u00abustan yana ya da usa kar\u015f\u0131\u00bb olma karand\u0131r. Usu savunan biri olarak \u00f6zellikle ‘usd\u0131\u015f\u0131 \u00f6znellik’ ve ‘bilin\u00e7alt\u0131 k\u00fclt\u00fc’ gibi usd\u0131\u015f\u00e7\u0131h\u011f\u0131n b\u00fct\u00fcn bi\u00e7imlerine kar\u015f\u0131 amans\u0131z bir d\u00fc\u015fman kesilmi\u015ftir?<\/p>\n

BURJUVA ROMANI VE GER\u00c7EK\u00c7\u0130L\u0130\u011e\u0130N EGEMENL\u0130\u011e\u0130 <\/strong><\/p>\n

Lukacs’\u0131n ger\u00e7ek\u00e7ilikten anlad\u0131\u011f\u0131, ilke olarak ger\u00e7eklikteki etkinlik ve ak\u0131mlar\u0131n birbirleriyle olan ili\u015fkilerinin diyalektik yans\u0131mas\u0131d\u0131r. Pratikte Lukacs ger\u00e7ek\u00e7ili\u011fin ‘yeterli’ ifadesini, ondokuzuncu y\u00fczy\u0131l burjuva ger\u00e7ek\u00e7i roman\u0131n\u0131n artistik bi\u00e7imine ba\u011flam\u0131\u015ft\u0131r. Lukacs ger\u00e7ek\u00e7i roman\u0131n \u00fcst\u00fcnl\u00fc\u011f\u00fc ile ilgili sav\u0131n\u0131 destekleyen t\u00fcrl\u00fc g\u00f6r\u00fc\u015fler \u00f6ne s\u00fcrer. Ona g\u00f6re bunlar\u0131n i\u00e7inde en belirleyici olan\u0131, bu roman\u0131n g\u00f6z\u00fcn\u00fc budaktan sak\u0131nmayan insanc\u0131ll\u0131\u011f\u0131d\u0131r:
Lukacs, Hegel’in artistik bi\u00e7imler hiyerar\u015fisi nosyonunu hem benimsemi\u015f hem de uyarlam\u0131\u015ft\u0131r: b\u00f6ylelikle klasik ger\u00e7ek\u00e7i roman\u0131n, b\u00fct\u00fcn insanc\u0131l edebiyat gelene\u011finin nihai ve en g\u00fczel ifadesi oldu\u011fu sonucuna varm\u0131\u015ft\u0131r?
Lukacs b\u00fcy\u00fck sanat, hakiki ger\u00e7ek\u00e7ilik ve insanc\u0131ll\u0131\u011f\u0131n birbirinden kopmayacak bir bi\u00e7imde ba\u011fland\u0131klar\u0131na inan\u0131r; insanc\u0131ll\u0131\u011f\u0131n, Marksist esteti\u011fin temeli olmas\u0131 konusunda \u0131srar eder. Stendhal’i, burjuvazi i\u00e7in besledi\u011fi umutlar bo\u015fa \u00e7\u0131ksa da \u00f6ver Lukacs; \u00abinsanc\u0131l idealler\u00bbine ba\u011fl\u0131 kalmas\u0131, Stendhal’in bu umutlar\u0131n\u0131n \u00abtarihsel a\u00e7\u0131dan ge\u00e7erli, temelde de ilerici birer yan\u0131lsama\u00bb olmas\u0131na yola\u00e7m\u0131\u015ft\u0131r. B\u00f6ylece Stendhal’deki \u00abedebi verimlili\u011fin kayna\u011f\u0131\u00bb da ortaya \u00e7\u0131kmaktad\u0131r. Lukacs, \u00abprokterya insanc\u0131ll\u0131\u011f\u0131\u00bbn\u0131n y\u00fckselmesi ile \u00abburjuvazinin devrimci insanc\u0131ll\u0131\u011f\u0131n\u0131n\u00bb \u00e7\u00f6k\u00fc\u015f\u00fc aras\u0131nda yer alan ge\u00e7i\u015f d\u00f6nemindeki \u00abburjuva insanc\u0131ll\u0131\u011f\u0131n\u0131n b\u00fcy\u00fck miras\u0131\u00bbn\u0131 korudu\u011fu d\u00fc\u015f\u00fcncesiyle Balzac’\u0131 da y\u00fcceltir.”<\/p>\n

Lukacs’\u0131n kulland\u0131\u011f\u0131 bir ba\u015fka sald\u0131r\u0131 bi\u00e7imini, yani etkinlik\/edilginlik kar\u015f\u0131tl\u0131\u011f\u0131n\u0131 da art\u0131k tan\u0131m\u0131\u015f bulunuyoruz. Lukacs, ger\u00e7ek\u00e7ili\u011fe duydu\u011fu hayranl\u0131\u011f\u0131, ger\u00e7ek\u00e7ili\u011fin dinamik ve geli\u015fmeye a\u00e7\u0131k olu\u015fuyla do\u011frular. Do\u011falc\u0131l\u0131k ile ger\u00e7ek\u00e7ilik aras\u0131ndaki fark\u0131 g\u00f6sterebilmek i\u00e7in Lukaes Zola’n\u0131n Nana’s\u0131 ile Tolstoy’un Anna Karenina’s\u0131ndaki at yar\u0131\u015f\u0131 sahnelerini kar\u015f\u0131la\u015ft\u0131r\u0131r. Nana’daki at yar\u0131\u015f\u0131n\u0131n betimlenmesi Zola’n\u0131n bu konudaki ‘ustal\u0131\u011f\u0131n\u0131’ yetkin bir bi\u00e7imde ortaya \u00e7\u0131kar\u0131r: akla gelebilecek her ayr\u0131nt\u0131 ‘kesin’ \u00e7izgilerle ve renkli olarak betimlenmektedir. Burada, hatta Zola’n\u0131n \u00e7a\u011f\u0131n\u0131n at yar\u0131\u015flar\u0131 konusunda ger\u00e7ek bir monografi say\u0131lacak bir b\u00f6l\u00fcm yazd\u0131\u011f\u0131 da s\u00f6ylenebilir. Ama betimlenen olaylar\u0131n konunun genel do\u011frultusuyla ili\u015fkisi ancak \u00fcst\u00fcnk\u00f6r\u00fc bir bi\u00e7imde kurulmu\u015ftur. Oysa Anna Karenina’da, yar\u0131\u015f, b\u00fcy\u00fck bir dram\u0131n geli\u015fimi i\u00e7indeki krizi temsil eder. Yar\u0131\u015f sadece bir tablo de\u011fildir art\u0131k; \u00f6yle \u00f6yk\u00fclenir ki (narrated), bununla birbirine yo\u011fun bir bi\u00e7imde kenetlenmi\u015f ki\u015fisel ve toplumsal olgular a\u011f\u0131 ortaya \u00e7\u0131kar.<\/p>\n

Bir ba\u015fka yakla\u015f\u0131m da Lukacs’\u0131n edebi karakterlere y\u00fckledi\u011fi \u00f6nemli rold\u00fcr. Bu, daha \u00f6nceden de belirtti\u011fimiz gibi Lukacs’\u0131n kuram\u0131n\u0131n hi\u00e7 ku\u015fkusuz en zay\u0131f noktas\u0131d\u0131r. Karakterlerin sunulmas\u0131 i\u00e7in model, Platon’un \u015e\u00f6len’inden ba\u015fkas\u0131 de\u011fildir:
“G\u00f6z\u00fcm\u00fcz\u00fcn \u00f6n\u00fcnde, bireysellikleri unutulmaz bir bi\u00e7imde vurgulanm\u0131\u015f bir grup ya\u015fayan insan belirir. B\u00fct\u00fcn bu insanlar yaln\u0131z entelekt\u00fcel fizyonomileriyle bireyselle\u015ftirilmi\u015flerdir; birbirlerinden ayr\u0131lm\u0131\u015flar ve ayn\u0131 zamanda birer tip say\u0131lan bireyler durumuna gelmi\u015flerdir.”
Lukaes i\u00e7in d\u00fcnya edebiyat\u0131n\u0131n b\u00fcy\u00fck eserleri, ‘entelekt\u00fcel fizyonomi’yi dikkatli bir bi\u00e7imde \u00e7izmeleriyle tan\u0131n\u0131rlar. Bu fizyonomi, ‘dekadans’ d\u00f6nemlerinde belirsizle\u015fmeye y\u00fcz tutar. B\u00fcy\u00fck ger\u00e7ek\u00e7iler, karakterlerinin kar\u015f\u0131l\u0131kl\u0131 ba\u011f\u0131ml\u0131l\u0131klar\u0131n\u0131 ortaya koymay\u0131 ba\u015farm\u0131\u015flar ve bu kar\u015f\u0131l\u0131kl\u0131 etkilenme, karakterlerin ‘ya\u015famlar\u0131n\u0131’ yarat\u0131c\u0131 ve zengin bir bi\u00e7imde ya\u015famalar\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

Scott, Balzac ya da Tolstoy’da \u00f6z\u00fcnde anlaml\u0131 olan olaylar\u0131 ya\u015far\u0131z, \u00e7\u00fcnk\u00fc hem karakterler dolays\u0131z bir bi\u00e7imde olaylar\u0131n i\u00e7indedirler hem de karakterlerin ya\u015famlar\u0131n\u0131n sergilenmesinde bunun genel toplumsal anlam\u0131 belirir. Karakterlerin etkin birer rol ald\u0131klar\u0131 olaylara seyirci oluruz. Kendimiz bu olaylar\u0131 ya\u015far\u0131z.<\/p>\n

Lukacs’\u0131n \u00e7ok \u00f6nem verdi\u011fi ‘kal\u0131c\u0131 insan tipleri’, b\u00f6ylelikle, ki\u015fisel ili\u015fkilerindeki toplumsal e\u011filimleri bi\u00e7imlendirmeleriyle tan\u0131mlan\u0131rlar. \u0130\u015fte bu nokta, Lukacs’\u0131n \u00abb\u00fct\u00fcn b\u00fcy\u00fck sanat\u00e7\u0131lar\u0131n materyalizmine\u00bb olan inanc\u0131n\u0131 do\u011frulayan bir etmendir. Asl\u0131nda sorunun bir ‘bi\u00e7imlendirme’ sorunu say\u0131lmas\u0131ndan dolay\u0131 insan tipinin ‘temsil edilebilirli\u011fi’, onun sanat eseri i\u00e7inde ‘kendi kendini etkinle\u015ftirmesine’, ‘kendi diyalekti\u011fine sahip olmas\u0131na’ ba\u011fl\u0131d\u0131r.<\/p>\n

Sonu\u00e7 olarak, Lukacs’\u0131n yukar\u0131da s\u00f6ylediklerini \u015f\u00f6yle toparlayabiliriz: b\u00fcy\u00fck edebiyat, ancak ge\u00e7mi\u015fteki b\u00fcy\u00fck burjuva ger\u00e7ek\u00e7ilerinin artistik ilkelerini ge\u00e7meye \u00e7al\u0131\u015fmakla ortaya \u00e7\u0131kar\u0131labilir. Modern d\u00f6nem i\u00e7in bu, Thomas Mann’\u0131n romanlar\u0131nda en yetkin ifadesini bulan ‘ele\u015ftirel ger\u00e7ek\u00e7ilik’ anlam\u0131na gelir. \u00d6yleyse, Lukacs’a g\u00f6re Joyce’daki bilin\u00e7 ak\u0131m\u0131 ‘tekni\u011fi’ sadece bir ‘stilistik ara\u00e7’ de\u011fildir, bir kurucu ve temel ilkedir. Oysa Mann i\u00e7in, i\u00e7 monolog (\u00f6rnek: Lotte Weimar’da) sadece bir ‘teknik ara\u00e7’t\u0131r: geleneksel epik’in kompozisyon ilkesinden ba\u015fka bir \u015fey de\u011fildir. Bunun gibi Mann’m g\u00f6r\u00fcn\u00fcrde bir ‘modern’ \u00e7o\u011ful-zaman mekanizmas\u0131 kullanmas\u0131, (\u00f6rnek: Sihirli Da\u011f) \u00abzaman\u0131n toplumsal ve tarihsel bir birlik olarak ‘geleneksel’ ger\u00e7ek\u00e7i a\u00e7\u0131dan ele alm\u0131\u015f\u0131n\u0131 (karma\u015f\u0131k ve dolayl\u0131 bir yoldan da olsa) peki\u015ftirir\u00bb Lukacs’\u0131n burada konunun sadece bir yan\u0131m sunmas\u0131n\u0131n dilin maddi g\u00fcc\u00fcn\u00fc iyi kavrayamay\u0131\u015f\u0131 ve buna ba\u011fl\u0131 olarak belli artistik ara\u00e7lar\u0131n ger\u00e7ek i\u015flevini saptayamay\u0131\u015f\u0131ndan kaynakland\u0131\u011f\u0131 s\u00f6ylenebilir. B\u00fct\u00fcn bunlardan dolay\u0131 Lukacs’\u0131n d\u0131\u015ftan koydu\u011fu ko\u015fullar, onun k\u00fclt\u00fcr politikas\u0131n\u0131 k\u00f6ktenci sanat\u00e7\u0131ya pratikte \u00f6nc\u00fcl\u00fck yapamayan despotik bir ‘bi\u00e7imcili\u011fe’ d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr. Brecht b\u00f6yle bir ele\u015ftiriye ‘yasamal\u0131’ (legislative) demi\u015f, biraz sonra de\u011finece\u011fimiz gibi, bunun siyasal etkilerinin ancak yozla\u015ft\u0131r\u0131c\u0131 olabilece\u011fini \u00f6ne s\u00fcrm\u00fc\u015ft\u00fc.<\/p>\n

BRECHT – LUKACS TARTI\u015eMASI <\/strong><\/p>\n

1930’larda Lukacs Alman edebi solu’nun saflar\u0131nda yava\u015f yava\u015f etkili bir konuma gelmi\u015fti. Linkskurve (Devrimci Proleter Yazarlar Birli\u011fi’nin organ\u0131) yazarlar\u0131ndan biri olarak Lukacs, kendini ilk kez Willi Bredel ve Ernst Ottwalt’\u0131n proleter romanlar\u0131na y\u00f6neltti\u011fi sald\u0131r\u0131larla g\u00f6stermi\u015ftir. Lukacs, s\u0131n\u0131f m\u00fccadelesine g\u00f6z\u00fc kapal\u0131 inanman\u0131n, Halk Cephesi nosyonuna ayk\u0131r\u0131 bir sekterli\u011fe yola\u00e7t\u0131\u011f\u0131 uyar\u0131s\u0131nda bulunmu\u015ftur; \u00e7\u00fcnk\u00fc ona g\u00f6re, bu g\u00f6z\u00fc kapal\u0131l\u0131k yaln\u0131z burjuvaziyi de\u011fil onun k\u00fclt\u00fcrel miras\u0131n\u0131da mahk\u00fbm etmektedir. Resmen kurulu\u015fundan y\u0131llarca \u00f6nce, Lukacs’\u0131n Halk Cephesine ili\u015fkin bir k\u00fclt\u00fcr kuram\u0131 geli\u015ftirdi\u011fi an\u0131msan\u0131rsa, onun Bredel ve Ottwalt’\u0131n proleter romanlar\u0131n\u0131 hi\u00e7 de iyi kar\u015f\u0131lamam\u0131\u015f olu\u015funa \u015fa\u015fmamak gerekir. Proleter edebiyat\u0131n, siyasal rol\u00fcn\u00fc daha etkin bir bi\u00e7imde oynayabilmesi i\u00e7in estetik haz vermekten vazge\u00e7mesi g\u00f6r\u00fc\u015f\u00fcne gelince Lukacs, pek de yararl\u0131 say\u0131lmayacak, \u015fu sav\u0131 \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr: Marx’\u0131n kendisi bile sanat eserleriyle \u00f6zdeki niteliklerinden dolay\u0131 ilgilenmi\u015f, \u00f6zellikle de eski sanata hayranl\u0131k duymu\u015ftur.<\/p>\n

Ottwalt’\u0131n kat\u0131ks\u0131z haz duymaya kar\u015f\u0131 ortaya att\u0131\u011f\u0131 siyasal eylemcilik, Lukacs’a g\u00f6re, Brecht’in Aristoteles\u00e7ili\u011fe kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131yla benzerlikler g\u00f6sterir. Ayr\u0131ca Lukacs’a g\u00f6re Brecht’in \u00abyabanc\u0131la\u015ft\u0131rma effekti\u00bbni kullanmas\u0131, ‘toplumsal i\u00e7eri\u011fi’, onunla diyalektik ili\u015fkisi bulunan insansal \u00f6z’den ayr\u0131 g\u00f6rmekten ba\u015fka bir\u015fey de\u011fildir.<\/p>\n

\u00c7\u00fcnk\u00fc bu i\u00e7erikler, onlar\u0131 somut bir duruma getirmek i\u00e7in yap\u0131lan \u00f6vg\u00fcye de\u011fer \u00e7abaya ra\u011fmen, soyut yani dolays\u0131z y\u00fczey g\u00f6r\u00fcng\u00fcler olarak kalmaktad\u0131rlar. Ayr\u0131ca bunlar, Devrimin nesnel itici g\u00fc\u00e7leri say\u0131lmad\u0131klar\u0131ndan, devrimcilik ruhlar\u0131 gene soyut bir vaaz ya da bir ‘e\u011filim’ olarak kalmaktad\u0131rlar.<\/p>\n

Lukacs’\u0131n s\u00f6z konusu metinlere y\u00fcklemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 e\u015fmerkezli insanc\u0131l \u00f6rg\u00fctlenme sav\u0131ndan ba\u015fka, kendi metnindeki en yozla\u015fm\u0131\u015f yan, Brecht’in \u00f6nemli ilkelerinden birini, artistik deneyimlerde ba\u015far\u0131s\u0131z olma hakk\u0131n\u0131, g\u00f6r\u00fcn\u00fcrde ge\u00e7ersiz k\u0131lmaya kalk\u0131\u015fmas\u0131d\u0131r. Ama biraz sonra de\u011finece\u011fimiz gibi Brecht, Lukacs’\u0131n g\u00f6r\u00fc\u015flerindeki ele\u015ftirel tutars\u0131zl\u0131klar\u0131 \u2014bunlar\u0131n kaynakland\u0131\u011f\u0131 kuramsal dizge ile birlikte\u2014 saptayabilmi\u015f ve \u00e7\u00fcr\u00fctm\u00fc\u015ft\u00fcr.<\/p>\n

1938’de Brecht, d\u0131\u015favurumculukla ilgili \u00f6nemli bir tart\u0131\u015fman\u0131n b\u00fct\u00fcn h\u0131z\u0131yla s\u00fcrd\u00fc\u011f\u00fc Das Wort adl\u0131 dergiye bir dizi yaz\u0131 yazd\u0131. Bu yaz\u0131larda Brecht, Lukacs’a kar\u015f\u0131 i\u011fneleyici ve alayl\u0131 bir dille sald\u0131r\u0131yor, ancak Lukacs’\u0131n ‘teknik’in feti\u015fle\u015ftirilmesi ile ilgili ele\u015ftirilerine kat\u0131ld\u0131\u011f\u0131n\u0131 da belirtmekten geri kalm\u0131yordu. Ama Lukacs’\u0131n \u00f6nerilerinin olumlu ve yap\u0131c\u0131 yanlar\u0131na gelince Brecht bunlardan hi\u00e7 etkilenmi\u015f g\u00f6r\u00fcnmemekteydi. Lukacs’\u0131n \u00f6nerilerinin, b\u00fct\u00fcn\u00fcyle uygulanamaz olduklar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyordu. Brecht i\u00e7in sorun, teknikleri s\u00f6k\u00fcp atma sorunu de\u011fil, tersine onlar\u0131 geli\u015ftirme ve \u00abeski g\u00fczel g\u00fcnlere\u00bb de\u011fil \u00abk\u00f6t\u00fc ama yeni g\u00fcnlere\u00bb ba\u011flamakt\u0131r. ‘ Brecht’in siyasal d\u00fczeyde ba\u011f\u0131\u015flanmaz buldu\u011fu, Lukacs’\u0131n uyar\u0131lar\u0131n\u0131n alt\u0131nda yatt\u0131\u011f\u0131na inand\u0131\u011f\u0131 boyun e\u011fme ve geri \u00e7ekilme \u00f6\u011feleriydi.<\/p>\n

Brecht, Das Wort okuyucular\u0131ndan baz\u0131lar\u0131 ad\u0131na, Lukacs’\u0131n tan\u0131m\u0131ndaki s\u0131n\u0131rl\u0131l\u0131kla ‘ger\u00e7ek\u00e7ilik’ nosyonunu daraltt\u0131\u011f\u0131na ili\u015fkin kayg\u0131lar\u0131 dile getirmi\u015ftir: \u00abBirtak\u0131m okuyucular, bundan (Lukacs’m g\u00f6r\u00fc\u015flerinden) bir kitab\u0131n ancak ‘ge\u00e7en y\u00fczy\u0131l\u0131n burjuva romanlar\u0131 gibi yaz\u0131lm\u0131\u015fsa’ ger\u00e7ek\u00e7i say\u0131laca\u011f\u0131 sonucunu \u00e7\u0131karm\u0131\u015flard\u0131r\u00bb. Brecht’e g\u00f6re Lukacs, yenilik\u00e7i edebiyat\u0131 ‘bi\u00e7imcilik’le su\u00e7larken \u015fu \u00f6nemli noktay\u0131 g\u00f6rememektedir: kat\u0131ks\u0131z bir edebiyat gelene\u011finden bir dizi normlar \u00e7\u0131karsad\u0131\u011f\u0131 i\u00e7in tarih-\u00f6tesi bir bi\u00e7imcili\u011fi temellendiren Lukacs’\u0131n kendisidir. Buna kar\u015f\u0131l\u0131k Brecht \u015f\u00f6yle d\u00fc\u015f\u00fcn\u00fcr: e\u011fer Baizae ve Tolstoy’un romanlar\u0131 belli bir tarihsel d\u00f6nemin kesin \u00fcr\u00fcnleri iseler, bu romanlar\u0131n ‘yap\u0131nt\u0131sal ilkeleri’ s\u0131n\u0131f m\u00fccadelesinin temelden farkl\u0131 bir evresinde yeniden nas\u0131l yarat\u0131labilirler? Brecht i\u00e7in Lukacs’\u0131n pratik \u00f6nerilerindeki (\u00abTolstoy gibi olun ama onun zay\u0131f noktalar\u0131n\u0131 almay\u0131n. Balzac gibi olun ama daha \u00e7a\u011fda\u015f!\u00bb) sa\u00e7mal\u0131\u011f\u0131n alt\u0131n\u0131 \u00e7izmek zor olmam\u0131\u015ft\u0131r.<\/p>\n

Ondokuzuncu y\u00fczy\u0131l Alman esteti\u011finin belli ba\u015fl\u0131 belitlerinden biri bireycilik ile ilgilidir. Alman tiyatrosundaki ac\u0131 deneyim den dolay\u0131 Brecht, ‘birey k\u00fclt\u00fc’n\u00fcn g\u00fc\u00e7s\u00fczle\u015ftirici etkilerinin fark\u0131ndayd\u0131 ve b\u00f6yle bir olas\u0131l\u0131\u011fa kar\u015f\u0131 Lukacs’\u0131n eserlerinin bu konuda yeterli \u00f6nlemler getirmedi\u011fini de biliyordu. Brecht’e g\u00f6re Lukacs, i\u00e7ini \u00abAntigone’den Nana’ya, Aeneas’tan Nekhlyudov’a dek balmumundan tiplerin doldurdu\u011fu bir t\u00fcr mumya m\u00fczesi\u00bb d\u00fc\u015f\u00fcnmekteydi. Lukacs, bir b\u00fcy\u00fck romanda belirleyici olan\u0131n, ‘edebi karakterlerin entelekt\u00fcel fizyonomisi’ oldu\u011funa inanm\u0131\u015ft\u0131. Bu y\u00fczden Lukacs i\u00e7in roman, Hegelci bir b\u00fct\u00fcnd\u00fc: i\u00e7inde par\u00e7alar\u0131n (temelde, b\u00fcy\u00fck karakterler ve bunlar\u0131n uydular\u0131) birbirleriyle ‘ba\u011fla\u015f\u0131kl\u0131k kurdu\u011fu’ bir anlaml\u0131 b\u00fct\u00fcnsellik (‘expressive totality’). Brecht\u00e7i dramaturji ise tam tersine bir ayr\u0131\u015fm\u0131\u015f yap\u0131 (‘dissociated structure’) ilkesine g\u00f6re kurulmu\u015ftur.<\/p>\n

Ger\u00e7ekten de, Brecht kendi oyunlar\u0131na kimi kez Mao’nun, \u00ab\u00c7eli\u015fki \u00dczerine\u00bb adl\u0131 eseri yoluyla g\u00f6ndermeler yapt\u0131\u011f\u0131 yerlerde, Althusser’deki ‘Structure \u00e0 dominante’ kavram\u0131na \u00f6nc\u00fcl\u00fck etti\u011fi s\u00f6ylenebilir. \u0130\u015fte bu gibi noktalarda \u2014benzeri noktalar epey fazlad\u0131r\u2014 Lukacs, burjuva esteti\u011fi ile ba\u011f\u0131nt\u0131 kurulmas\u0131n\u0131n olanaks\u0131zl\u0131\u011f\u0131n\u0131 savunurken, Brecht bu ba\u011f\u0131nt\u0131n\u0131n bir \u00abkopma\u00bbyla kurulabilece\u011fini g\u00f6sterebilmi\u015ftir.<\/p>\n

LUKACS’IN BURJUVA K\u00dcLT\u00dcR\u00dc \u0130LE OLAN \u0130L\u0130\u015eK\u0130S\u0130 <\/strong><\/p>\n

Thomas Mann’\u0131n, Lukacs’\u0131n eserlerinde bir g\u00fc\u00e7l\u00fc ‘gelenek’ d\u00fc\u015f\u00fcncesi bulundu\u011funu sezmesi son derece anlaml\u0131d\u0131r. Burada bizi ilgilendiren, Lukacs’\u0131n tema se\u00e7imindeki tutuculu\u011fu de\u011fil, ama ondan \u00e7ok daha \u00f6nemli bir sorun olan ve Lukacs’m genellikle burjuva k\u00fclt\u00fcr\u00fcne kar\u015f\u0131 besledi\u011fi olduk\u00e7a kar\u0131\u015f\u0131k duygulard\u0131r. Mitchell bu sorunu, Lukacs’\u0131n devrimcili\u011fine dayanarak, \u00abburjuva insanc\u0131l\u0131\u011f\u0131yla ya da Heidelberg’li hocayla\u00bb sava\u015f\u0131m olarak koyar ortaya. Bu de\u011ferlendirme her ne kadar ilgin\u00e7 ise de biz, Revai’nin bu konuda sorunun \u00d6z\u00fcne daha \u00e7ok yakla\u015ft\u0131\u011f\u0131n\u0131 san\u0131yoruz;
Emperyalist dekandansa kar\u015f\u0131 sava\u015f\u0131m\u0131nda Lukacs fa\u015fizme, eski pleblere \u00f6zg\u00fc pop\u00fcler devrimcilik formlar\u0131 ve burjuva demokrasisinin gelenekleriyle g\u00f6\u011f\u00fcs germeye \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Bu yollar\u0131 ve gelenekleri genelle\u015ftirmi\u015f, idealle\u015ftirmi\u015f ve mitosla\u015ft\u0131rm\u0131\u015ft\u0131r… Lukacs’\u0131n emperyalist dekadans edebiyat\u0131, fa\u015fizm ideolojisini b\u00fcy\u00fck bir burjuva ger\u00e7ek\u00e7ili\u011fiyle kar\u015f\u0131 kar\u015f\u0131ya getiren edebiyat kuram\u0131n\u0131n derinliklerinde, sa\u011flam karakterlere sahip bir sistem olarak ‘pleblere \u00f6zg\u00fc demokrasi’ye d\u00f6n\u00fc\u015f d\u00fc\u015f\u00fcncesi yatar.
Bu \u00e7ok zekice yap\u0131lm\u0131\u015f bir \u00e7\u00f6z\u00fcmleme say\u0131lmal\u0131d\u0131r; ayr\u0131ca Lukacs’\u0131n eserlerinin her yan\u0131na sinmi\u015f olan demokratik ilericilik de g\u00f6zden ka\u00e7\u0131r\u0131lamayacak kadar belirgindir. Burada ba\u015fvuraca\u011f\u0131m\u0131z temel belge Lukacs’\u0131n Blum Tezleri’dir: bu eserde temsil edilen siyasal perspektifle desteklenen Alman k\u00fclt\u00fcr\u00fcn\u00fc Lukacs’\u0131n b\u00fct\u00fcn\u00fcyle kavray\u0131\u015f\u0131na tan\u0131k oluruz. Bu senaryodaki ba\u015f edebi ki\u015filer Goethe ve Mann’d\u0131r.<\/p>\n

Daha da ileri gidilerek Lukacs’m esteti\u011findeki ana ki\u015fmin Goethe oldu\u011fu s\u00f6ylenebilir. Lukacs’\u0131n Budape\u015fte’deki \u00e7al\u0131\u015fma odas\u0131n\u0131n \u00f6zenli bir k\u00f6\u015fesindeki Goethe b\u00fcst\u00fc her \u015feye tepeden bakmaktad\u0131r. Asl\u0131nda Goethe Lukacs i\u00e7in b\u00fcy\u00fck \u00f6nem ta\u015f\u0131maktad\u0131r; \u00e7\u00fcnk\u00fc o:
“…onsekizinci ile ondokuzuncu y\u00fczy\u0131l aras\u0131ndaki estetik ba\u011flant\u0131y\u0131 temsil eder. (Goethe) Ayd\u0131nlanman\u0131n b\u00fct\u00fcnlenmesi ve kendi kendini a\u015fmas\u0131n\u0131 simgeledi\u011fi kadar, Walter Scott, Byron, Balzac ve Stendhal’\u0131n da ruhsal ve estetik d\u00fczlemde haz\u0131rlay\u0131c\u0131s\u0131 olmu\u015ftur.
Lukacs’a g\u00f6re Goethe’nin eserlerinin y\u00fcre\u011finde yatan, klasik bir burjuva sanat\u0131 yaratma \u00e7abas\u0131d\u0131r. \u00d6z\u00fcnde bir bi\u00e7im sorunu bulundu\u011fu i\u00e7in Lukacs do\u011fal olarak, bu durumla derinden ilgilenmi\u015ftir. Sorun eski \u00e7a\u011flar\u0131n bir t\u00fcr t\u0131pk\u0131bas\u0131mlar\u0131n\u0131 sa\u011flamak de\u011fil ama \u00ab’bi\u00e7im yasalar\u0131’m incelemeye \u00e7abalamak ve bunlar\u0131 modern \u00e7a\u011f\u0131n kendi ozanlar\u0131na sundu\u011fu malzemeye uygulamakt\u0131r.\u00bb Goethe’ye g\u00f6re \u00abartistik formlar, her zaman insan \u00f6z\u00fcn\u00fcn ve insan ili\u015fkilerinin en genel ve en soyut sentezleri\u00bb dir. Goethe i\u00e7in de, t\u0131pk\u0131 Lukacs i\u00e7in oldu\u011fu gibi, Yunan Antik \u00c7a\u011f\u0131n\u0131n \u00f6zel bir \u00f6nemi vard\u0131r, hatta artistik bi\u00e7imlerin yetkinle\u015ftirilmesinden dolay\u0131 \u00f6nemi belki daha da fazlad\u0131r. Yunan Antik \u00c7a\u011f\u0131 derin bir insan-merkezeilikle (antropocentricity) tan\u0131mlan\u0131r ve bunlar\u0131n artistik bi\u00e7imleri ‘insan\u0131n \u00f6z\u00fc’n\u00fc temsil etmede kullanilir. Buradaki saf anlat\u0131m \u2014t\u00fcrlerin evrimi i\u00e7in bir ama\u00e7 olarak\u2014 insan\u0131n ‘evrenselli\u011fi’ ve ‘uyum’ konular\u0131nda e\u015fsizdir.<\/p>\n

Goethe’yi Alman k\u00fclt\u00fcr\u00fcyle ilgili herhangi bir tart\u0131\u015fman\u0131n d\u0131\u015f\u0131nda b\u0131rakmak olanaks\u0131zd\u0131r. Goethe’nin yerinin do\u011fru saptanmas\u0131, bu y\u00fczden Lukacs i\u00e7in son derece \u00f6nemlidir; \u00e7\u00fcnk\u00fc o kendisini, Goethe’den ba\u015flay\u0131p Schopenhauer ve Wagner arac\u0131l\u0131\u011f\u0131yla Nietzsche’ye uzanan gelene\u011fi, bir Lessing-Goethe-H\u00f6lderlin-B\u00fcchner-Heine-Marx gelene\u011fiyle de\u011fi\u015ftirmeye adam\u0131\u015ft\u0131r. B\u00f6yle bir resmi \u00abili\u015fik kesme\u00bbyi ba\u015flatabilmek i\u00e7in Goethe, g\u00fcvenilir bir politik kimli\u011fe sahipmi\u015f gibi g\u00f6r\u00fclmelidir.
“…politik a\u00e7\u0131dan gen\u00e7 Goethe Almanya’da olunabilece\u011fi kadar\u0131yla bile devrimci say\u0131lamayaca\u011f\u0131 gibi gen\u00e7 Schiller’in olabildi\u011fi kadar da devrimci say\u0131lamaz B\u00f6ylelikle ondaki pleb \u00f6\u011feler politik bir bi\u00e7im i\u00e7inde g\u00f6z\u00fckmez. Daha \u00e7ok insanc\u0131l ve devrimci ideallerin hem feodal mutlak\u0131yet\u00e7ili\u011fin korporatif toplumuna, hem de kabasabah\u011fa kar\u015f\u0131 koymas\u0131 bi\u00e7iminde belirirler”
Burada en \u015fa\u015f\u0131rt\u0131c\u0131 olan Lukacs’m ‘insanc\u0131l idealler’e nas\u0131l da bu denli kolayl\u0131kla, \u00abdevrimci pleb\u00bb \u00f6\u011fe kadar ve hatta son tahlilde politik say\u0131labilecek bir de\u011fer tamyabilmesidir. Bunu Lukacs’\u0131n ‘halk cephecili\u011fi’nin ve usta taktik\u00e7ili\u011finin verdi\u011fi bir \u00f6d\u00fcn olarak g\u00f6rmek yerine onun olgun d\u00f6nemindeki esteti\u011finin temelini meydana getiren ger\u00e7ek bir kuramsal ilkenin ifadesi saymak gerekir.<\/p>\n

Elbette Goethe’nin politik nitelik ya da yeteneklerinin mihenk ta\u015f\u0131, onun Frans\u0131z Devrimi’ne kar\u015f\u0131 tak\u0131nd\u0131\u011f\u0131 tav\u0131rda aranmal\u0131d\u0131r. Lukacs bu konudaki g\u00f6r\u00fc\u015flerini \u015f\u00f6yle ba\u011flar:
\u00abGoethe’nin reddetti\u011fi sadece Devrimin yap\u0131l\u0131\u015f\u0131ndaki y\u00f6ntemin ve birtak\u0131m isteklerin pleb yan\u0131n\u0131 i\u00e7erir; ama o, gittik\u00e7e artan bir \u00f6l\u00e7\u00fcde Frans\u0131z Devriminin temeldeki toplumsal \u00f6z\u00fcn\u00fc onaylam\u0131\u015ft\u0131r.\u00bb
Bu al\u0131nt\u0131yla ilgili olarak \u2014biraz \u015fematik ka\u00e7sa bile\u2014 \u015f\u00f6yle bir a\u00e7\u0131klama yapabiliriz: ba\u015flang\u0131\u00e7ta bir t\u00fcr ‘proleterya’ devrimi olma e\u011filiminde g\u00f6rd\u00fc\u011f\u00fc Frans\u0131z Devrimi’ne d\u00fc\u015fman olan Goethe, sonunda ger\u00e7ekle\u015ftirilenin bir burjuva devrimi oldu\u011fu ortaya \u00e7\u0131k\u0131nca, yeni rejimi destekleme konusunda daha c\u00f6mert davranm\u0131\u015ft\u0131r. Lukacs, Goethe’nin Frans\u0131z Devriminin ‘devrimci’ niteli\u011fini kavramas\u0131ndaki yetene\u011finden olduk\u00e7a etkilenmi\u015ftir ve bu ba\u015far\u0131 Lukacs’a g\u00f6re Goethe’nin eserlerinin ‘tarihsel ac\u0131dan ilerici’ yap\u0131s\u0131n\u0131n bir ba\u015fka do\u011frulan\u0131\u015f\u0131 demektir.<\/p>\n

Licnthein’\u0131n belirtti\u011fi gibi, Goethe’nin siyaset g\u00f6r\u00fc\u015f\u00fc Weimar k\u00fclt\u00fcr\u00fcn\u00fcn temel niteli\u011finin bir \u00f6rne\u011fini olu\u015fturur: buna aristokrat ve burjuva de\u011ferlerin kayna\u015fmas\u0131 da diyebiliriz” Oysa Lukacs’\u0131n Goethe ve \u00c7a\u011f\u0131 adl\u0131 eserinde dokunakl\u0131 bir sessizlikle kar\u015f\u0131 kar\u015f\u0131ya kal\u0131r\u0131z. Geli\u015fig\u00fczel bir de\u011finmenin d\u0131\u015f\u0131nda bu kayna\u015fmadan s\u00f6z edilmez. Marksist kuram\u0131n uygulay\u0131c\u0131s\u0131 i\u00e7in, bunu \u015fa\u015f\u0131rt\u0131c\u0131 bir ‘ihmal’ saymak gerekir. Lukacs’\u0131n Thomas Mann ile ilgili \u00e7al\u0131\u015fmas\u0131nda da birtak\u0131m noktalar\u0131n sessizce ge\u00e7i\u015ftirildi\u011fini g\u00f6rece\u011fiz.<\/p>\n

Lukacs’a g\u00f6re Birinci D\u00fcnya Sava\u015f\u0131n\u0131n patlamas\u0131 Mann ve Alman orta s\u0131n\u0131f\u0131n\u0131n durumlar\u0131n\u0131 alt\u00fcst etmi\u015ftir. Orta s\u0131n\u0131f\u0131n \u00abiktidarca korunan i\u00e7selli\u011fi\u00bb dramatik bir bi\u00e7imde ters y\u00fcz edilmi\u015ftir: \u00ab’i\u00e7sellik’, ‘iktidar’m ideolojik bir kalkan\u0131na, ba\u015fka bir deyi\u015fle gerici Prusya – Alman emperyalizmine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.\u00bb” \u0130\u015fte, Lukacs’a g\u00f6re, bu nokta Mann’\u0131n Birinci D\u00fcnya Sava\u015f\u0131ndaki \u00f6zel durumunu a\u00e7\u0131klar. Ama ‘bir sanat\u00e7\u0131 olarak’ Mann, ‘burjuva’ yi aramaktan vazge\u00e7ememi\u015f ve Alman burjuvazisinin durumunu canevinde yakalamak istemi\u015ftir. Bu y\u00fczden Mann’\u0131n eserleri:
“…g\u00fcn\u00fcm\u00fcz\u00fcn en \u00fcst\u00fcn ve \u015fimdiye kadar g\u00f6r\u00fclen burjuva ele\u015ftirel ger\u00e7ek\u00e7ili\u011finin en yetkin ifadesini (temsil eder). Bu, bir burjuva tarafl\u0131ndan g\u00f6zlenen bir burjuva d\u00fcnyas\u0131d\u0131r, ama bu burjuva her \u015feye \u00f6nyarg\u0131s\u0131z bir g\u00f6zle bakmaktad\u0131r ve g\u00fcn\u00fcm\u00fcz\u00fc de\u011ferlendirmesi, temel niteli\u011fini kavramas\u0131 ve gelece\u011fi anlamas\u0131yla kendi s\u0131n\u0131f\u0131n\u0131n s\u0131n\u0131rlar\u0131n\u0131 a\u015fmas\u0131n\u0131 ba\u015farabilmi\u015ftir.”
Burada Mann’\u0131n s\u0131n\u0131fsal konumunu ‘a\u015fmas\u0131’ sorununu tart\u0131\u015fmakla zaman kaybetmek istemiyoruz. Bunu ‘sanat ve ideoloji’ adl\u0131 bir ba\u015fka incelememizde eie alaca\u011f\u0131z. Yaln\u0131z \u015funu s\u00f6ylemekle yetine\u00eeim: Lukacs Mann’\u0131n \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc \u00ab\u00e7a\u011fda\u015f burjuvay\u0131 ger\u00e7ek bir bi\u00e7imde, \u00f6s\u00fcnden-tan\u0131masu nda, buldu\u011funa g\u00f6re s\u00f6z konusu \u00abs\u0131n\u0131fsal konumu a\u015fma\u00bb en az\u0131ndan garip bir nitelemedir. \u00dcstelik Mann’\u0131n Almanya’da ‘burjuvay\u0131 aray\u0131\u015f\u0131’ndaki kahramanca m\u00fccadelesinde itici g\u00fcc\u00fc sa\u011flayan bu ‘\u00f6z\u00fcnden tan\u0131ma’dan ba\u015fka bir \u015fey de\u011fildir.<\/p>\n

Mann’\u0131n Lukacs’\u0131n semas\u0131ndaki ger\u00e7ek konumunu anlayabilmek i\u00e7in, onun Lukacs’a g\u00f6re, Alman k\u00fclt\u00fcr\u00fcnde (asl\u0131nda ba\u015fka k\u00fclt\u00fcrlerde de rastlan\u0131r) y\u0131llar boyu s\u00fcre gelen bir sava\u015fa kat\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6rmek gerekir. Bu sava\u015f Goethe’nin romantiklere kar\u015f\u0131 \u015fu tavr\u0131yla ba\u015flam\u0131\u015ft\u0131r: “Ben klasik eserleri sa\u011fl\u0131kl\u0131 sayar\u0131m, romantik olanlar hastal\u0131kl\u0131d\u0131r.”<\/p>\n

Eserlerindeki bu kutupla\u015fman\u0131n \u00f6neminden dolay\u0131 Lukacs, Mann’\u0131 ele\u015ftirel ger\u00e7ek\u00e7ilik ve yenilik\u00e7ili\u011fin amans\u0131z d\u00fc\u015fman\u0131 sayar. Mann’\u0131n Nietzsche ve Freud ile ilgili olarak dile getirdi\u011fi d\u00fc\u015f\u00fcnceleri de kolayl\u0131kla bir kenara b\u0131rak\u0131r. Asl\u0131nda bunu Lukacs’\u0131n her yana yay\u0131lm\u0131\u015f us\/ussal olmayan ikileminin monolitik niteli\u011fine bir kan\u0131t saymal\u0131y\u0131z.<\/p>\n

Isaac Deutscheren durumu en iyi bi\u00e7imde \u00f6zetledi\u011fini san\u0131yoruz: burada g\u00f6z\u00fcm\u00fcze \u00e7arpan \u00abLukacs’\u0131n Mann ile sanki bir t\u00fcr entelekt\u00fcel a\u015fk ser\u00fcveni ya\u015famas\u0131d\u0131r.\u00bb ” T\u0131pk\u0131 Goethe ile ilgili de\u011ferlendirmesinde oldu\u011fu gibi, Mann’\u0131n eserlerini de ele al\u0131rken, Lukacs’\u0131n bu eserlerde rol oynayan ideolojik \u00f6\u011feleri yeterinden fazla basitle\u015ftirdi\u011fini farkederiz. Deutscher \u015f\u00f6yle der:
“…Mann’\u0131 kar\u015f\u0131 koymaya ve s\u00fcrg\u00fcne iten d\u00fcrt\u00fc, sadece ‘ilerici anti-fa\u015fizm’ ya da ‘burjuvay\u0131 aray\u0131\u015f’ de\u011fildir. Bu, daha \u00e7ok, ince zevkli soylu (patrician) burjuvan\u0131n uygar olmayan pleblere, Swastika’nm g\u00f6lgesinde cinnet getirerek sa\u011fa sola sald\u0131ran Kleinb\u00fcrger ve Lumpenproletarier’e kar\u015f\u0131 duydu\u011fu d\u00fc\u015fmanl\u0131kt\u0131r. Bu denli g\u00fc\u00e7l\u00fc bir bi\u00e7imde belirlenmi\u015f niteli\u011finden dolay\u0131 Mann’\u0131n Nazizm’e kar\u015f\u0131 d\u00fc\u015fmanl\u0131\u011f\u0131 ‘organik’ ve yo\u011fun olmakla birlikte, s\u0131n\u0131rlamalar\u0131n\u0131n \u00fcstesinden gelmeye \u00e7al\u0131\u015fmas\u0131na kar\u015f\u0131n olduk\u00e7a dar d\u00fczeyde kalm\u0131\u015ft\u0131r.”
Burada hemen Mann’m konumuyla Goethe’nin Frans\u0131z Devrimindeki ‘pleb \u00f6\u011feler’e kar\u015f\u0131 ‘ince soylu’ tavr\u0131 aras\u0131ndaki dikkatleri \u00e7eken \u2014ama hi\u00e7 de \u015fa\u015f\u0131rt\u0131c\u0131 say\u0131lamayacak\u2014 ko\u015futlu\u011fu belirtmek isteriz. Mann’m ideolojik konumuyla ilgili Deutscheren de\u011ferlendirmesinin do\u011frulu\u011funu saptayabilecek durumda de\u011filiz. Bununla birlikte \u00f6nceden de de\u011findi\u011fimiz ideolojik e\u015fitsizlik sorununun keskin bir de\u011ferlendirmesini, Lukacs’m Mann \u00fczerine yazd\u0131\u011f\u0131 kitab\u0131nda bulunanlardan daha yetkin bir bi\u00e7imde Deutscheren yapt\u0131\u011f\u0131n\u0131 s\u00f6yleyebiliriz.<\/p>\n

Bu b\u00f6l\u00fcmde Lukacs’\u0131n burjuva (Alman) k\u00fclt\u00fcr\u00fcn\u00fc de\u011ferlendiri\u015finde sergilenen temel politik konumun anlam\u0131n\u0131 \u00e7\u0131karmaya \u00e7al\u0131\u015ft\u0131k. Buna dikkatli bir insanc\u0131ll\u0131\u011f\u0131n dolay\u0131m\u0131yla olu\u015fan demokratik bir ilericilik diyebiliriz. Son olarak \u015funu s\u00f6ylemek istiyoruz: Asl\u0131nda Lukacs, bizi bir simge ile ba\u015fba\u015fa b\u0131rakmaktad\u0131r: Hitler iktidar\u0131n\u0131n o korkulu y\u0131llar\u0131nda, Mann Lotte Weimar’da adl\u0131 eserini yazar. Bu romanda Goethe’nin y\u00fcce ki\u015fili\u011fi Alman burjuvazisindeki t\u00fcm yetkin g\u00fc\u00e7leri biraraya getirmi\u015ftir. Tarihsel g\u00f6ndermelerinden \u00f6t\u00fcr\u00fc bunun ‘\u00f6nemli’ bir simge oldu\u011funu kabul etmeliyiz. Ama \u015fu nokta g\u00f6z ard\u0131 edilemez: bu simgenin ikonik etkisi Lukacs’m bir hatas\u0131ndan, yani onun ideolojinin nas\u0131l i\u015fledi\u011fini kavrayamay\u0131\u015f\u0131ndan, kaynaklanmaktad\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Lukacs’\u0131n eserlerindeki kuramsal ilkelerin tart\u0131\u015f\u0131lmas\u0131na, onun \u00abyans\u0131ma\u00bb (reflection) kategorisine verdi\u011fi \u00f6nemin de\u011ferlendirilmesiyle ba\u015flanmal\u0131d\u0131r. Lukacs’\u0131n kuramsal giri\u015fiminde \u00abyans\u0131ma\u00bbya bu denli \u00f6nemli bir yer vermesini do\u011fal kar\u015f\u0131lamak gerekir; \u00e7\u00fcnk\u00fc Lukacs, \u00abyans\u0131ma\u00bb da ger\u00e7ekli\u011fin bilin\u00e7 arac\u0131l\u0131\u011f\u0131yla kuramsal ve pratik d\u00fczlemlerde kavran\u0131\u015f bi\u00e7imlerine ortak bir temel sa\u011flad\u0131\u011f\u0131na inanm\u0131\u015ft\u0131r. Lukacs’a g\u00f6re Yans\u0131ma kuram\u0131n\u0131n, idealist ya da mekanik maddeci varyantlar\u0131n \u00e7\u0131kmazlar\u0131n\u0131 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[178],"tags":[],"class_list":{"0":"post-4332","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-marksizm"},"yoast_head":"\nLukacs'\u0131n Ger\u00e7ek\u00e7ili\u011fi | Cem Taylan - 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\/03\/10\/lukacsin-gercekciligi-cem-taylan\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lukacs'\u0131n Ger\u00e7ek\u00e7ili\u011fi | Cem Taylan\" \/>\n<meta property=\"og:description\" content=\"Lukacs’\u0131n eserlerindeki kuramsal ilkelerin tart\u0131\u015f\u0131lmas\u0131na, onun \u00abyans\u0131ma\u00bb (reflection) kategorisine verdi\u011fi \u00f6nemin de\u011ferlendirilmesiyle ba\u015flanmal\u0131d\u0131r. Lukacs’\u0131n kuramsal giri\u015fiminde \u00abyans\u0131ma\u00bbya bu denli \u00f6nemli bir yer vermesini do\u011fal kar\u015f\u0131lamak gerekir; \u00e7\u00fcnk\u00fc Lukacs, \u00abyans\u0131ma\u00bb da ger\u00e7ekli\u011fin bilin\u00e7 arac\u0131l\u0131\u011f\u0131yla kuramsal ve pratik d\u00fczlemlerde kavran\u0131\u015f bi\u00e7imlerine ortak bir temel sa\u011flad\u0131\u011f\u0131na inanm\u0131\u015ft\u0131r. 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