{"id":4468,"date":"2010-04-12T09:27:44","date_gmt":"2010-04-12T06:27:44","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/04\/12\/william-shakespeare-marksist-miydi-a-omer-turkes\/"},"modified":"2010-04-12T09:27:44","modified_gmt":"2010-04-12T06:27:44","slug":"william-shakespeare-marksist-miydi-a-omer-turkes","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/04\/12\/william-shakespeare-marksist-miydi-a-omer-turkes\/","title":{"rendered":"William Shakespeare Marksist miydi? | A.\u00d6mer T\u00fcrke\u015f"},"content":{"rendered":"

Marx’tan \u00e7ok \u00f6nce ya\u015fayan Shakespeare elbette Marksist de\u011fildi. Sanat\u0131yla yoksullar\u0131n s\u00f6zc\u00fcl\u00fc\u011f\u00fcne soyunmam\u0131\u015ft\u0131. Hatta siyasi a\u00e7\u0131dan muhalif bile say\u0131lmazd\u0131. Buna kar\u015f\u0131l\u0131k Marx’\u0131n iyi bir Shakespeare okuyucusu oldu\u011funu, ard\u0131nda sistematik bir edebiyat kuram\u0131 b\u0131rakmam\u0131\u015fsa da, edebiyat ve sanata b\u00fcy\u00fck ilgi duydu\u011funu biliyoruz. Kitaplar\u0131ndaki etkileyici, canl\u0131, zaman zaman imgesel \u00fcslubunu ku\u015fkusuz bu ilgisine bor\u00e7ludur. Ekonomi, tarih ya da siyaset, Marx, ele ald\u0131\u011f\u0131 meseleleri edebiyat yap\u0131tlar\u0131na g\u00f6ndermelerle zenginle\u015ftirmi\u015f, \u00fcstelik kendisi de b\u00fct\u00fcn eserlerini edebi bir dille yazm\u0131\u015ft\u0131r. Mesela 1844 Felsefe Elyazmalar\u0131’nda burjuva toplumunda paran\u0131n g\u00fcc\u00fcn\u00fc incelerken Goethe’nin Faust’undan ya da Shakespeare’in Atinal\u0131 Timon’undan al\u0131nt\u0131lara rastlar\u0131z. Birka\u00e7 sat\u0131r a\u015fa\u011f\u0131da, “Shakespeare, paran\u0131n ger\u00e7ek do\u011fas\u0131n\u0131 m\u00fckemmel betimliyor” diyecektir Marx. Elbette teorik bir kavray\u0131\u015ftan, politik bir tav\u0131rdan s\u00f6z etmiyor. Zaten edebiyatla politika aras\u0131ndaki ili\u015fki ne yazar\u0131n politik g\u00f6r\u00fc\u015fleriyle a\u00e7\u0131klanabilir ne de yazarlar\u0131n toplumsal\/siyasal olaylara ve ya\u015fad\u0131klar\u0131 d\u00f6nemin m\u00fccadelelerine olan bireysel ba\u011fl\u0131l\u0131klar\u0131yla…<\/p>\n

Marksist kuram\u0131n sanatsal seyri<\/strong><\/p>\n

Marx’\u0131n Shakespeare, Engels’in Balzac ya da Lenin’in Tolstoy sevgisi, edebiyat\u0131 toplumsal tarihin ya da bilimin s\u00f6zc\u00fcl\u00fc\u011f\u00fcne indirgemelerinden kabarmam\u0131\u015ft\u0131r. Onlar sanat ve edebiyat\u0131n var olan ger\u00e7ekli\u011fin bir par\u00e7as\u0131 oldu\u011funu, var olan\u0131n par\u00e7as\u0131 olarak var olana kar\u015f\u0131 konu\u015ftu\u011funu g\u00f6recek olgunluktayd\u0131lar. De\u011fer verdikleri yap\u0131tlar\u0131n politik \u00f6nemlerinin b\u00f6yle bir \u00f6zerklik konumundan kaynakland\u0131\u011f\u0131n\u0131 biliyorlard\u0131. \u00d6yleyse Marx’\u0131n Shakespeare ilgisi, basit bir parayla ilgilenme meselesi de\u011fildi. Tersine, Marx’a g\u00f6re de Shakespeare’de paran\u0131n ger\u00e7ek do\u011fas\u0131n\u0131n kavran\u0131\u015f\u0131 hi\u00e7 ku\u015fkusuz sanatsal d\u00fczeyde, estetik bir kavray\u0131\u015ft\u0131. Shakespeare ile Marx’\u0131 birle\u015ftirense -birisinin sanatsal di\u011ferinin kuramsal d\u00fczlemde ger\u00e7ekle\u015fen- bireyi tarihsel ve toplumsal de\u011fi\u015fimle ili\u015fkilendirme bi\u00e7imleridir. Her ikisi de ger\u00e7ek bireylerden, onlar\u0131n etkinliklerinden, hem haz\u0131r bulduklar\u0131 hem kendi etkinlikleriyle yaratt\u0131klar\u0131 ve i\u00e7inde ya\u015fad\u0131klar\u0131 maddi ko\u015fullardan hareketle yola \u00e7\u0131km\u0131\u015flard\u0131. Shakespeare’de sanatsal olarak ifade edilen toplumsall\u0131k anlay\u0131\u015f\u0131na, Marx sa\u011flam bir mant\u0131ksal ve tarihsel temel sa\u011flad\u0131. Ve sonu\u00e7ta bireyselli\u011fin en tam ifadesinin ancak ba\u015fka insanlarla ili\u015fkilerimiz arac\u0131l\u0131\u011f\u0131yla m\u00fcmk\u00fcn oldu\u011funu g\u00f6sterdiler.<\/p>\n

Terry Eagleton Edebiyat Kuram\u0131 adl\u0131 kitab\u0131nda edebiyat kuram\u0131n\u0131 “ba\u015fl\u0131 ba\u015f\u0131na bir entelekt\u00fcel ara\u015ft\u0131rma nesnesi olmaktan ziyade, kendi tarihimize bakarken ba\u015fvurdu\u011fumuz belirli bir perspektif” bi\u00e7imde tan\u0131mlar. Shakespeare ve Marx incelemesinde Gabriel Egan da benzer bir perspektif sergiliyor. Shakespeare’in yap\u0131tlar\u0131n\u0131n \u00e7e\u015fitli d\u00f6nemlerdeki Marksist \u00e7\u00f6z\u00fcmlemelerinin kapsaml\u0131 bir incelemesini\/ele\u015ftirisini yaparken, hem Marksizmin ge\u00e7mi\u015fteki ve \u015fimdiki n\u00fcfuzunu Shakespearecilere a\u00e7\u0131klamay\u0131 hem de siyasal ba\u011flan\u0131ml\u0131 edebiyat ve drama ele\u015ftirisi ile k\u00fclt\u00fcrel \u00e7\u00f6z\u00fcmlemenin gelece\u011finde Marksizmin ne \u015fekilde bir rol oynayabilece\u011fini g\u00f6stermeyi ama\u00e7lam\u0131\u015f. Sundu\u011fu okumalar bir yandan Marksist bir yakla\u015f\u0131m\u0131n ilgilenebilece\u011fi \u015feylerin geni\u015fli\u011fini, di\u011fer yandan Shakespeare ele\u015ftirisindeki pratik rolleriyle \u00e7e\u015fitli Marksist kavram ve ilkeleri g\u00f6steriyor. Bir ba\u015fka iddias\u0131 daha var; yazar, Marx’\u0131n d\u00fc\u015f\u00fcncelerinin Shakespeare ele\u015ftirileri \u00fczerindeki etkisiyle ilgili bir ara\u015ft\u0131rman\u0131n, daha \u00f6nceki her tarihsel de\u011fi\u015fimi bug\u00fcn\u00fcn yeni d\u00fcnya d\u00fczenine do\u011fru ilerleme olarak anlayan teololojik burjuva ideolojisini te\u015fhir edece\u011fini de ifade ediyor.
Kar\u0131\u015f\u0131kl\u0131\u011fa meydan vermemek i\u00e7in tam bu noktada bir hat\u0131rlatma yapmak istiyorum; Marksizm, Shakespeare kilidini a\u00e7an sihirli bir anahtar olarak sunulmam\u0131\u015f. “Ekonomik ger\u00e7ekliklere, d\u00fc\u015f\u00fcncelere, dile ve t\u00fcm bi\u00e7imleriyle sanata yakla\u015f\u0131m, tart\u0131\u015fmakta oldu\u011fumuz kavram ve ilkelerden (ideoloji, diyalektik, de\u011fi\u015fim, yabanc\u0131la\u015fma, meta feti\u015fizmi ve \u015feyle\u015fme gibi) yararlanan ve Shakespeare’in tarihsel, k\u00fclt\u00fcrel ve entelekt\u00fcel ba\u011flam\u0131n\u0131 \u00fcretti\u011fi yarat\u0131c\u0131 eserlerle ili\u015fkilendirebilen bir yakla\u015f\u0131m” olarak d\u00fc\u015f\u00fcn\u00fclmelidir. Bu yakla\u015f\u0131m\u0131 Eagleton’un c\u00fcmleleriyle tamamlayaca\u011f\u0131m; “insani anlam, de\u011fer, dil, duygu ve deneyimlerle ilgili olan her kuram ka\u00e7\u0131n\u0131lmaz olarak insan bireylerinin ve toplumlar\u0131n\u0131n do\u011fas\u0131na dair daha geni\u015f, daha kapsaml\u0131 inan\u00e7larla, iktidar ve cinsellik sorunlar\u0131yla, ge\u00e7mi\u015f tarihe dair yorumlarla, bug\u00fcn\u00fcn farkl\u0131 versiyonlar\u0131yla ve gelece\u011fe d\u00f6n\u00fck umutlarla da hesapla\u015facakt\u0131r.”<\/p>\n

Egan’\u0131n \u00e7al\u0131\u015fmas\u0131 Marx’\u0131n d\u00fc\u015f\u00fcncelerini ve bu d\u00fc\u015f\u00fcncelerin edebiyata\/sanata yans\u0131ma bi\u00e7imlerini \u00f6zetleyerek ba\u015fl\u0131yor. \u00dczerinde durdu\u011fu temel mesele Marx’\u0131n, yarat\u0131c\u0131l\u0131k ile ekonomik \u00fcretim aras\u0131nda kurdu\u011fu ili\u015fki: Ger\u00e7ekten de, toplumsal varolu\u015fun bilinci belirledi\u011fi iddias\u0131, Marksizmin merkezi bir ilkesidir, ancak kesin anlam\u0131 s\u00fcrekli tart\u0131\u015f\u0131lagelmi\u015f, kimi indirgemeci yorumlar\u0131n\u0131nsa Marksist d\u00fc\u015f\u00fcnceye b\u00fcy\u00fck zarar\u0131 dokunmu\u015ftur. Egan, yirminci y\u00fczy\u0131l Shakespeare incelemelerinde Marx’\u0131n yerinin izini s\u00fcrerken, siyasal soldan ya da sa\u011fdan, insan yarat\u0131c\u0131l\u0131\u011f\u0131yla ilgili i\u015fte bu mekanik\u00e7i\/indirgemeci g\u00f6r\u00fc\u015flerin k\u00f6reltici etkisini de saptamaya \u00e7al\u0131\u015f\u0131yor. Marx’\u0131n belirlenim g\u00f6r\u00fc\u015f\u00fcn\u00fcn iyimser ve \u00f6zg\u00fcrle\u015ftirici oldu\u011fu ama yanl\u0131\u015f uyguland\u0131\u011f\u0131, bunun da Marx’\u0131n niyetledi\u011finin tam tersi sonu\u00e7lar do\u011furdu\u011fu fikriyat\u0131ndan hareketle Marx’\u0131n ekonomik alt yap\u0131yla sanatsal \u00fcretim gibi \u00fcstyap\u0131 kurumlar\u0131 aras\u0131ndaki ili\u015fkiyle ilgili d\u00fc\u015f\u00fcncelerinin ana hatlar\u0131n\u0131 a\u00e7\u0131klamaya geni\u015f bir yer ay\u0131rm\u0131\u015f.<\/p>\n

Shakespeare oyunlar\u0131<\/strong><\/p>\n

Kitab\u0131n ilerleyen b\u00f6l\u00fcmleri Marx’\u0131n sanat ve edebiyat alan\u0131ndaki etkilerine odaklan\u0131yor. Bernard Shaw’dan ba\u015flayarak, Shakespeare’le ilgili \u00e7al\u0131\u015fmalar\u0131 bak\u0131m\u0131ndan \u00f6zel \u00f6neme sahip mesela Brecht gibi- ki\u015filikler ele al\u0131nm\u0131\u015f ve Marx’\u0131n d\u00fc\u015f\u00fcncelerinin onun \u00f6l\u00fcm\u00fcnden sonra ba\u015fkalar\u0131 tarafindan geli\u015ftirilmesinin izi s\u00fcr\u00fclm\u00fc\u015f. \u0130lk \u00fc\u00e7 b\u00f6l\u00fcmde incelenen d\u00fc\u015f\u00fcncelerden yararlanarak, yap\u0131lan okumalarda Shakespeare’in yedi oyunu \u00e7\u00f6z\u00fcmleniyor. Kitab\u0131n sonunda \u00f6zetleri de verilen bu oyunlar \u015f\u00f6yle s\u0131ralan\u0131yor; Venedik Taciri, Atinal\u0131 Timon, Kral Lear, Hamlet, Yeter ki Sonu \u0130yi Bitsin, Yanl\u0131\u015fl\u0131klar Komedyas\u0131 ve K\u0131\u015f Masal\u0131.<\/p>\n

Egan’\u0131n oyunlar\u0131yla ilgili okumalar\u0131n\u0131n tamam\u0131nda, maddi ger\u00e7eklik ile d\u00fc\u015f\u00fcnceler d\u00fcnyas\u0131 aras\u0131ndaki belirleyici ili\u015fkiye vurgu yap\u0131l\u0131yor. Venedik Taciri ile Atinal\u0131 Timon’da, do\u011frudan bireylerin parayla ili\u015fkilerini konu al\u0131n\u0131rken, paradan yararlanman\u0131n farkl\u0131 yollar\u0131, kar\u015f\u0131l\u0131kl\u0131 toplumsal etkile\u015fim ba\u011flar\u0131yla ili\u015fki i\u00e7inde ara\u015ft\u0131r\u0131lm\u0131\u015f. Venedik Taciri’nde etkili olan ekonomik zorunluluklar, paray\u0131 do\u011fru kullanmak konusunda kapitalist ve kapitalizm \u00f6ncesi anlay\u0131\u015flar aras\u0131nda bir gerilim, paray\u0131 yast\u0131k alt\u0131 etmeyi, onu kaybetmenin g\u00fcvenli bir yolu haline getiren \u00e7a\u011fda\u015f fiyat enflasyonu deneyiminin daha da artt\u0131rd\u0131\u011f\u0131 bir gerilim olarak anla\u015f\u0131labilir.<\/p>\n

‘Kral Lear’ ve ‘Hamlet’ okumalar\u0131n\u0131n merkezinde oyunlar\u0131n temsilleri var; ‘Kral Lear’da oyunun gelecekteki de\u011fi\u015fimin olanaklar\u0131n\u0131 ara\u015ft\u0131rmas\u0131na odaklan\u0131lm\u0131\u015f. ‘Hamlet’ okumas\u0131, ‘hakikate ula\u015fman\u0131n arac\u0131 olarak temsillerin s\u0131n\u0131rlamalar\u0131’ ile ilgili Jacques Derrida \u00e7al\u0131\u015fmas\u0131na y\u00f6nelik bir ele\u015ftiri. Yeter ki Sonu \u0130yi Bitsin, askeri varl\u0131k nedeni ortadan kalkan aristokrat bir s\u0131n\u0131f\u0131n -insan bireyselli\u011fine korkun\u00e7 bir ald\u0131rmazl\u0131kla- ‘\u00e7al\u0131\u015fmak ve kendilerini g\u00f6stermek’ u\u011fruna sava\u015f y\u00fcr\u00fctmesine bir ele\u015ftiri olarak okunabilir. Yanl\u0131\u015fl\u0131klar Komedyas\u0131’nda \u00fczerinde durulan mesele Marksist bir bak\u0131\u015f a\u00e7\u0131s\u0131ndan \u00f6znellik alg\u0131m\u0131z. Egan’a g\u00f6re oyunda, Marx’\u0131n meta feti\u015fizmi dedi\u011fi \u015feyin temelinde yatan m\u00fcbadele edilebilirlik ilkesi \u00f6ne \u00e7\u0131k\u0131yor. ‘K\u0131\u015f Masal\u0131’nda ise, Shakespeare’in zaman\u0131n\u0131n g\u00fcncel sorunu olan toplumsal hareketlilikle u\u011fra\u015ft\u0131\u011f\u0131 ve burjuvazinin y\u00fckselen g\u00fcc\u00fcn\u00fc \u00f6z\u00fcnde muhafazar bir bir siyasal bak\u0131\u015fla uzla\u015ft\u0131rman\u0131n bir yolunu arad\u0131\u011f\u0131 sorgulanm\u0131\u015f.<\/p>\n

\u00d6zellikle k\u00fclt\u00fcrel \u00e7al\u0131\u015fmalarla ilgilenen ara\u015ft\u0131rmac\u0131lar\u0131n kay\u0131ts\u0131z kalmamas\u0131 gereken Shakespeare ve Marx kitab\u0131nda Shakespeare oyunlar\u0131 \u00fczerinden Marksist d\u00fc\u015f\u00fcncenin \u00e7e\u015fitli yorumlar\u0131n\u0131n ve sanat\u0131n toplumsal i\u015flevinin sorgulanmas\u0131n\u0131 birlikte y\u00fcr\u00fcten Gabriel Egan, “\u00f6z\u00fcnde ayn\u0131 g\u00f6r\u00fcng\u00fcleri ifade etmenin iki yolunu temsil ettikleri i\u00e7in, ge\u00e7mi\u015fe de\u011fil gelece\u011fe iyimser bir bak\u0131\u015fla Shakespeare’i Marx \u00fczerinden, Marx’\u0131 da Shakespeare \u00fczerinden okuyabiliriz” \u00e7\u0131kar\u0131m\u0131yla noktalam\u0131\u015f s\u00f6zlerini. Sanat ve siyaset tarihinin, \u00f6zellikle de Marksizmin temel sorunlar\u0131n\u0131, farkl\u0131 tarihsel d\u00f6nemlerde ortaya \u00e7\u0131kan siyasi ve sanatsal e\u011filimleri entelekt\u00fcel bir tart\u0131\u015fman\u0131n konusu haline getirecek ve T\u00fcrk edebiyat\u0131 \u00f6zelinde yap\u0131lacak benzer bir \u00e7al\u0131\u015fman\u0131n T\u00fcrk solunu kavramak a\u00e7\u0131s\u0131ndan \u00e7ok verimk\u00e2r bir a\u00e7\u0131l\u0131m olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum.<\/p>\n","protected":false},"excerpt":{"rendered":"

Marx’tan \u00e7ok \u00f6nce ya\u015fayan Shakespeare elbette Marksist de\u011fildi. Sanat\u0131yla yoksullar\u0131n s\u00f6zc\u00fcl\u00fc\u011f\u00fcne soyunmam\u0131\u015ft\u0131. Hatta siyasi a\u00e7\u0131dan muhalif bile say\u0131lmazd\u0131. Buna kar\u015f\u0131l\u0131k Marx’\u0131n iyi bir Shakespeare okuyucusu oldu\u011funu, ard\u0131nda sistematik bir edebiyat kuram\u0131 b\u0131rakmam\u0131\u015fsa da, edebiyat ve sanata b\u00fcy\u00fck ilgi duydu\u011funu biliyoruz. Kitaplar\u0131ndaki etkileyici, canl\u0131, zaman zaman imgesel \u00fcslubunu ku\u015fkusuz bu ilgisine bor\u00e7ludur. Ekonomi, tarih ya da […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[],"class_list":{"0":"post-4468","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\nWilliam Shakespeare Marksist miydi? | A.\u00d6mer T\u00fcrke\u015f - 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\/04\/12\/william-shakespeare-marksist-miydi-a-omer-turkes\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"William Shakespeare Marksist miydi? | A.\u00d6mer T\u00fcrke\u015f\" \/>\n<meta property=\"og:description\" content=\"Marx’tan \u00e7ok \u00f6nce ya\u015fayan Shakespeare elbette Marksist de\u011fildi. Sanat\u0131yla yoksullar\u0131n s\u00f6zc\u00fcl\u00fc\u011f\u00fcne soyunmam\u0131\u015ft\u0131. Hatta siyasi a\u00e7\u0131dan muhalif bile say\u0131lmazd\u0131. Buna kar\u015f\u0131l\u0131k Marx’\u0131n iyi bir Shakespeare okuyucusu oldu\u011funu, ard\u0131nda sistematik bir edebiyat kuram\u0131 b\u0131rakmam\u0131\u015fsa da, edebiyat ve sanata b\u00fcy\u00fck ilgi duydu\u011funu biliyoruz. Kitaplar\u0131ndaki etkileyici, canl\u0131, zaman zaman imgesel \u00fcslubunu ku\u015fkusuz bu ilgisine bor\u00e7ludur. 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Sanat\u0131yla yoksullar\u0131n s\u00f6zc\u00fcl\u00fc\u011f\u00fcne soyunmam\u0131\u015ft\u0131. Hatta siyasi a\u00e7\u0131dan muhalif bile say\u0131lmazd\u0131. Buna kar\u015f\u0131l\u0131k Marx’\u0131n iyi bir Shakespeare okuyucusu oldu\u011funu, ard\u0131nda sistematik bir edebiyat kuram\u0131 b\u0131rakmam\u0131\u015fsa da, edebiyat ve sanata b\u00fcy\u00fck ilgi duydu\u011funu biliyoruz. Kitaplar\u0131ndaki etkileyici, canl\u0131, zaman zaman imgesel \u00fcslubunu ku\u015fkusuz bu ilgisine bor\u00e7ludur. 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