{"id":4589,"date":"2010-05-10T09:36:49","date_gmt":"2010-05-10T06:36:49","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/05\/10\/cagdas-burjuva-sanatinda-bunalim-ve-estetik-teorisi-stanka-simeonova\/"},"modified":"2010-05-10T09:36:49","modified_gmt":"2010-05-10T06:36:49","slug":"cagdas-burjuva-sanatinda-bunalim-ve-estetik-teorisi-stanka-simeonova","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/05\/10\/cagdas-burjuva-sanatinda-bunalim-ve-estetik-teorisi-stanka-simeonova\/","title":{"rendered":"\u00c7a\u011fda\u015f burjuva sanat\u0131nda bunal\u0131m ve estetik teorisi | Stanka Simeonova"},"content":{"rendered":"

” Y\u00fczy\u0131l\u0131 belirleyen ilke de\u011fil, ilkeyi belirleyen y\u00fczy\u0131ld\u0131r.”( Marks)Bu bak\u0131mdan, \u00e7a\u011fda\u015f burjuva sanat\u0131ndaki bunal\u0131m\u0131n ve bunun ki\u015fi ile toplumun geli\u015fmesindeki rol\u00fcn\u00fcn a\u00e7\u0131klanmas\u0131 i\u00e7in \u00e7a\u011fda\u015f ideolojik sava\u015fta \u00f6ncelikle emperyalist d\u00f6neminin ve onu yaratan s\u0131n\u0131f\u0131n ama\u00e7lar\u0131n\u0131n g\u00f6z \u00f6n\u00fcnde bulundurulmas\u0131 gerekir.(1)
Tekel \u00f6ncesi kapitalizmin emperyalizme d\u00f6n\u00fc\u015fmesini Lenin ” her y\u00f6nde tepki” olarak niteler.Emperyalizmin t\u00fcm burjuva sistemi ile k\u00fclt\u00fcr\u00fcn\u00fc derin bir genel bunal\u0131ma s\u00fcr\u00fcklemi\u015ftir.\u00c7a\u011fda\u015f dekadan burjuva sanat\u0131n\u0131n ” modernizm ve y\u0131\u011f\u0131n k\u00fclt\u00fcr\u00fc” denilen \u015fekli bu bunal\u0131m\u0131n \u00fcr\u00fcn\u00fcd\u00fcr.<\/p>\n

Bu bunal\u0131m\u0131n toplumsal-tarihsel temeli emperyalizmdir.Kapitalizmin en y\u00fcksek ve son a\u015famas\u0131 olan emperyalizm,\u00e7\u00f6z\u00fcmlenemez i\u00e7 \u00e7eli\u015fkilerle dolu bir a\u015famad\u0131r.Bunal\u0131m\u0131n toplumsal temeli emperyalist burjuvazidir.Bu s\u0131n\u0131f,\u00f6znel olarak meydana gelen de\u011fi\u015fikliklere bir anlam vermek ve kendi ideolojisini kapitalizmin en y\u00fcksek a\u015famas\u0131n\u0131n gerekleriyle ba\u011fda\u015ft\u0131rmak zorundad\u0131r.\u00d6te yandan, k\u00fc\u00e7\u00fck burjuvazi ve psikolojisi de modernizmi ve ” y\u0131\u011f\u0131n k\u00fclt\u00fcr\u00fc”n\u00fc besleyen bir kaynakt\u0131r.<\/p>\n

Modernizm ve ” y\u0131\u011f\u0131n k\u00fclt\u00fcr\u00fc” genellikle kapitalist \u015fartlar\u0131n sanata d\u00fc\u015fmanl\u0131\u011f\u0131n\u0131n belirtisidir. Bu d\u00fc\u015fmanl\u0131\u011f\u0131 bir zamanlar, Ruso,\u015eiller,G\u00f6te,Hegel sezmi\u015f ve ilk kez ” ekde\u011fer teorileri”nde onu a\u00e7\u0131klam\u0131\u015ft\u0131r.(2) Asl\u0131nda, yasland\u0131klar\u0131 doktrinlerle birlikte bunlar burjuva k\u00fclt\u00fcr\u00fcn\u00fcn i\u00e7ine d\u00fc\u015ft\u00fc\u011f\u00fc genel bunal\u0131m\u0131n ve tarihsel s\u00fcre\u00e7te burjuvazinin yerini alg\u0131lamas\u0131n\u0131n edebi ve estetik bir anlat\u0131m\u0131d\u0131r. \u015e\u00fcphesiz, bunlar estetik birer yorumlamad\u0131r ve birer sanat yarat\u0131c\u0131l\u0131\u011f\u0131d\u0131r. Bir\u00e7ok durumda burjuvaziye \u00f6zg\u00fc birer sanatt\u0131r ve burjuva bilincinin s\u0131n\u0131rlar\u0131 i\u00e7inde kalmaktad\u0131r.Burjuvazi bu sanat\u0131n arac\u0131l\u0131\u011f\u0131yla bunal\u0131mdan kendine bir \u00e7\u0131k\u0131\u015f yolu arar. Bunun i\u00e7in ger\u00e7ekd\u0131\u015f\u0131 tarihsel isteklerini ger\u00e7ek diye g\u00f6stermeye, emperyalizmin \u00e7\u00f6z\u00fclemeyen \u00e7eli\u015fkilerini \u00e7\u00f6zmeye, ger\u00e7e\u011fi gizlemeye \u00e7al\u0131\u015f\u0131r; kapitalizmde bulunmayan ki\u015fi \u00f6zg\u00fcrl\u00fc\u011f\u00fcnden , sanat \u00f6zg\u00fcrl\u00fc\u011f\u00fcnden dem vurur.<\/p>\n

Ger\u00e7i, dekadan burjuva sanat\u0131 emperyalizm \u00e7a\u011f\u0131yla ba\u011f\u0131ml\u0131d\u0131r. Ama bunu yaln\u0131zca sosyoloji ile, yani do\u011frudan do\u011fruya \u00e7\u0131karla s\u0131n\u0131rland\u0131rmamal\u0131d\u0131r. Toplumsal k\u00f6kenlerinden ba\u015fka onun teknik ilerlemede, burjuvazinin ruhsal hayat\u0131nda, ideolojisinde ve sanat\u0131n geli\u015fmesinde oldu\u011fu gibi \u00f6zellikle felsefe ile esteti\u011fin geli\u015fmesinde de kendine \u00f6zg\u00fc \u015fartlar\u0131 vard\u0131r.\u00a0 <\/p>\n

Sanatta Modernizm Nedir?\u00a0 <\/p>\n

Modernizm kavram\u0131n\u0131n Marksist ve burjuva esteti\u011finde ayr\u0131 bir anlam ve \u00f6nemi vard\u0131r.\u0130lk kez Bodler’in kulland\u0131\u011f\u0131 ” modernizm” terimi,semantik bak\u0131mdan ” \u00e7a\u011fda\u015f”, ” yeni” demektir.Bununla birlikte, modernizm kavram\u0131 ne modern \u00fcslup kavram\u0131yla, ne de \u00e7a\u011fda\u015f sanat kavram\u0131yla kar\u0131\u015ft\u0131r\u0131lmamal\u0131d\u0131r.Marksist estetikte ” modernizm”, \u00e7a\u011fda\u015f sanat\u0131n geli\u015fmesindeki bunal\u0131ml\u0131 olaylar\u0131 dile getiren bir terimdir.(3)Bu emperyalizm d\u00f6neminde gerici burjuva sanat ve edebiyat\u0131nda g\u00f6r\u00fclen bir\u00e7ok dekadan okul ve ak\u0131m\u0131n da genel ad\u0131d\u0131r.Modernizme, sembolizm,f\u00fct\u00fcrizm. ekspresyonizm,konstr\u00fcktivizm, k\u00fcbizm, fovizm, taizm,dadaizm, anar\u015fik dadaizm, abstraksioizm, s\u00fcrrealizm, hiperrealizm, ”yeni roman”, ” mant\u0131kd\u0131\u015f\u0131 edebiyat”, ” mant\u0131kd\u0131\u015f\u0131 dram”,” somut m\u00fczik”, ” pop-art”, ” op-art”, ” hepening” gibi ak\u0131mlar sokulabilir.(4) Bunlar ”\u00f6nc\u00fc sanat ”, ”se\u00e7kinler i\u00e7in sanat ” diye de adland\u0131r\u0131lan ba\u015fl\u0131ca bi\u00e7imci ak\u0131mlard\u0131r.<\/p>\n

Modernizm terimi burjuva ideologlar\u0131n\u0131n ve modernist ressamlar\u0131n dilinden d\u00fc\u015fmeyen bir terimdir. Modern s\u00f6z\u00fc alt\u0131nda onlar kendilerinin \u00e7a\u011fda\u015f olduklar\u0131n\u0131 g\u00f6stermek isterler.Baz\u0131lar\u0131 se\u00e7tikleri alan\u0131n ileri ve \u00f6zg\u00fcr oldu\u011funa, sanatta yeni bir d\u00f6nemi ba\u015flatt\u0131klar\u0131na b\u00fcy\u00fck bir i\u00e7tenlikle inan\u0131rlar.Nitekim, Frans\u0131z \u00f6nc\u00fcleri b\u00f6yle d\u00fc\u015f\u00fcn\u00fcyorlard\u0131.Asl\u0131nda, modernizm onlar\u0131n sahte ilericiliklerini ve gerici d\u00fc\u015f\u00fcncelerini gizlemeye yaram\u0131\u015ft\u0131r. Tan\u0131nm\u0131\u015f Sovyet bilgini Mihail Lifsits \u015f\u00f6yle yaz\u0131yor: ” Biz, modernizmi sanat\u00e7\u0131n\u0131n kendisini temize \u00e7\u0131karmas\u0131 i\u00e7in yaratt\u0131\u011f\u0131 bir \u00fcslup sistemi ve kendisini ilerici, \u00f6zg\u00fcr g\u00f6stermesine yarayan \u00f6zel bir poz diye anl\u0131yoruz.”(5)<\/p>\n

Modern olmak iddias\u0131yla dekadan sanat, yeni bir a\u015fama sanat\u0131n geli\u015fiminde bir doruk olarak g\u00f6r\u00fcnmek amac\u0131n\u0131 g\u00fcder. Bu sebeple \u00e7a\u011fda\u015f sanat kavram\u0131 i\u00e7eri\u011fini tamamlanm\u0131\u015f sayar.<\/p>\n

\u00c7o\u011fu kez t\u00fcm\u00fcyle tek tarafl\u0131 ve keyif olarak b\u00fct\u00fcn ger\u00e7ek\u00e7i sanat terk edilir; edebiyat\u0131n \u00e7a\u011fda\u015f d\u00f6nemine yaln\u0131zca Kafka, Joys, Prust ile izleyicilerinin yap\u0131tlar\u0131 sokulur.1963 y\u0131l\u0131nda Avrupal\u0131 yazarlar\u0131n Leningrat’ta yap\u0131lan toplant\u0131s\u0131nda baz\u0131 bat\u0131l\u0131 yazarlar zaman\u0131m\u0131z sanat\u0131n, yani yeni sanat\u0131n ancak \u00e7a\u011fda\u015f sanat\u0131n manevi babalar\u0131 denilen Joys, Prust ve Kafka’n\u0131n yap\u0131tlar\u0131ndaki geleneklerin s\u00fcrd\u00fcr\u00fclmesiyle yarat\u0131labilece\u011fini ileri s\u00fcrm\u00fc\u015fler, ger\u00e7ekli\u011fin a\u015f\u0131lm\u0131\u015f bir ak\u0131m oldu\u011funu, eskidi\u011fini ve bir sanat y\u00f6ntemi olarak g\u00fcc\u00fcn\u00fc yitirdi\u011fini a\u00e7\u0131k\u00e7a s\u00f6ylemi\u015flerdir.\u00a0
K\u00fcbizm ve genellikle soyut\u00e7ulu\u011fun belirmesi R\u00f6nesans’tan sonra sanatta b\u00fcy\u00fck devrim olarak ele al\u0131nmaktad\u0131r.Frans\u0131z sanat bilgini Mi\u015fel Ragon, \u00e7a\u011f\u0131m\u0131z i\u00e7in soyut\u00e7ulu\u011fun \u00f6neminin ancak R\u00f6nesans \u00e7a\u011f\u0131ndaki yetenekli, usta sanat\u00e7\u0131lar\u0131n sanata yapt\u0131klar\u0131 devrimle k\u0131yaslanabilece\u011fini s\u00f6yl\u00fcyor.Ancak modernizmin baz\u0131 okullar\u0131nda yeti\u015fmi\u015f yarat\u0131c\u0131lar\u0131n sanata yeni bir \u015feyler katabileceklerini ileri s\u00fcr\u00fcyor.<\/p>\n

Bu \u015f\u00fcphesiz , ger\u00e7e\u011fe uymamaktad\u0131r.B\u00f6yle bir iddia \u00e7a\u011fda\u015f ele\u015ftirici ger\u00e7ekli\u011fe ve \u00f6zellikle sosyalist ger\u00e7ekli\u011fe ayk\u0131r\u0131 bir y\u00f6neli\u015ftir.Herkes\u00e7e bilinmektedir ki, R.Rolan, M.\u015eolohov, D. Furmanov,T, Man, T.Drayzer ve daha bir \u00e7ok b\u00fcy\u00fck sanat\u00e7\u0131lar modernizmin okullar\u0131ndan ge\u00e7memi\u015flerdir.Ayr\u0131ca \u00e7ok yetenekli ve g\u00fc\u00e7l\u00fc baz\u0131 sanat\u00e7\u0131lar\u0131n modernizmden uzakla\u015farak ger\u00e7ek\u00e7i sanata y\u00f6neldikleri de g\u00f6r\u00fclmektedir. Nitekim A.Blok, Stoyanof, sembolizmden; Lui Aragon, P. Eluard, s\u00fcrrealizmden ; Mayakovski f\u00fct\u00fcrizmden; Y. Beher, Geo Milev ekspresyonizmden; A. Adamov mant\u0131kd\u0131\u015f\u0131 tiyatrodan vazge\u00e7mi\u015flerdir.\u00dcstelik,en de\u011ferli yap\u0131tlar\u0131n\u0131 sosyalist ger\u00e7eklik i\u00e7inde vermi\u015flerdir.<\/p>\n

Bu sebeple, baz\u0131 b\u00fcy\u00fck sanat\u00e7\u0131lar\u0131n modern ak\u0131mlardan ge\u00e7mi\u015f olmas\u0131 modernizme g\u00fc\u00e7 katmaz.Modernizmi, d\u00fcnya sanat\u0131nda ilerlemelere yol a\u00e7an ger\u00e7ekli\u011fin zorunlu bir kar\u015f\u0131t\u0131 olarak ele almak da do\u011fru de\u011fildir.Ger\u00e7i modernizm hemen hemen , b\u00fct\u00fcn burjuva d\u00fcnyas\u0131na yay\u0131lm\u0131\u015ft\u0131r.(6) Ama sanat\u0131n geli\u015fmesinde bir zorunluluk olarak, hatta d\u00fcnya sanat\u0131nda zorunlu bir a\u015fama olarak kabul edilmesi gerekmez.\u00c7\u00fcnk\u00fc bu zorunluluk hi\u00e7 bir zaman ger\u00e7ek bir yenilik\u00e7ili\u011fin belirtisi olamaz.<\/p>\n

Son y\u0131llarda dekadan sanat sorununun yeniden de\u011ferlendirilmesi ve genellikle buna de\u011finilmemesi e\u011filimleri g\u00f6ze \u00e7arpmaktad\u0131r.Franz Kafka’n\u0131n 80. do\u011fum y\u0131ld\u00f6n\u00fcm\u00fc dolay\u0131s\u0131yla d\u00fczenlenen Prag Konferans\u0131nda (1963) dekadan sanat kavram\u0131n\u0131n b\u0131rak\u0131lmas\u0131 \u00f6nerildi.\u00c7\u00fcnk\u00fc bu sanat insafs\u0131zl\u0131\u011fa ve i\u011fren\u00e7li\u011fe y\u00f6neli\u015fi, ki\u015fisel ve toplumsal ili\u015fkilerde k\u00fcstahl\u0131klar\u0131 ba\u011fr\u0131nda toplayarak kapitalist topluma kar\u015f\u0131 ele\u015ftirilerde bulunuyormu\u015f. Bundan \u00f6t\u00fcr\u00fc de dekadan de\u011filmi\u015f.G\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere, modernizm terimi ” d\u00fc\u015fk\u00fcnle\u015fmi\u015f sanat” demek olan dekadan teriminden ka\u00e7\u0131nmaya yard\u0131m etti\u011fi gibi, modernizmin sanat metodunu do\u011frudan do\u011fruya ” bi\u00e7imci”( formalist) olarak nitelendiren ” bi\u00e7imci sanat teriminden de ka\u00e7\u0131nmaya yard\u0131m etmektedir.Modernizmin ideolojik estetik \u00f6z\u00fcn\u00fc gizlemekle ideoloji kundak\u00e7\u0131l\u0131\u011f\u0131 yap\u0131lmaktad\u0131r.\u00a0 <\/p>\n

\u00c7a\u011fda\u015f burjuva teoricileri\u00a0 burjuva sanat\u0131 teriminden ka\u00e7\u0131nmak i\u00e7in, s\u0131n\u0131rlar\u0131n\u0131 tarih d\u0131\u015f\u0131na kayd\u0131rarak kullan\u0131yorlar modernizm\u00a0 kavram\u0131n\u0131. \u2018\u2019 Sanat Psikolojisi\u2019\u2019 adl\u0131 kitab\u0131nda Malro bir\u00e7ok durumlarda modernizmi yeni ile bir tutuyor ve onu t\u00fcm uluslar\u0131n, t\u00fcm \u00e7a\u011flar\u0131n sanat ve k\u00fclt\u00fcr\u00fcnde yeni bir devrimci bi\u00e7im olarak g\u00f6steriyor.<\/p>\n

Asl\u0131nda modernizm ger\u00e7ek\u00e7i sanata, de\u011ferli her sanata ve ger\u00e7e\u011fe \u00f6znel ba\u011fl\u0131l\u0131\u011f\u0131yla, insana ili\u015fkin bilimd\u0131\u015f\u0131 g\u00f6r\u00fc\u015fleriyle, genel tarihsel s\u00fcre\u00e7te gerici bir rol oynamaktad\u0131r. Hayatta olumsuza, i\u011frence olan yak\u0131nl\u0131\u011f\u0131 ve sanata do\u011frulu\u011fu, insanc\u0131l co\u015fkuyu inkar etmesi onu bir sanat olarak k\u00fc\u00e7\u00fcltmekte ve hatta \u00e7o\u011fu kez o sanat\u0131n s\u0131n\u0131rlar\u0131 d\u0131\u015f\u0131na \u00e7\u0131karmaktad\u0131r. Bu sorunlar; bi\u00e7im yaratma ara\u00e7lar\u0131, teknik y\u00f6ntemler, \u00fcslup, \u015fu ya da bu sanat\u00e7\u0131n\u0131n \u00fcslubu sorun de\u011fildir.Bunlar; d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ile sanat y\u00f6ntemi ve sanat\u0131n ideolojik i\u015flev sorunlar\u0131d\u0131r.<\/p>\n

B\u00fct\u00fcn bunlar modernizmin\u00a0 ger\u00e7ek\u00e7i felsefi- estetik \u00f6z\u00fcndeki ortakl\u0131ktan, modernistlerin d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ve y\u00f6ntemindeki ortakl\u0131ktan s\u00f6z etmemize hak vermektedir. Burada sorun, dekadan yap\u0131tlar\u0131n ve yazarlar\u0131n kime hizmet ettikleri sorunu de\u011fildir.As\u0131l sorun; onlar\u0131n toplumsal \u015fartlara ve s\u0131n\u0131fsal \u00e7\u0131karlara ba\u011f\u0131ml\u0131l\u0131\u011f\u0131d\u0131r.\u00c7e\u015fitli felsefe-estetik ve sanat kurallar\u0131nda ve dallar\u0131nda insanl\u0131\u011f\u0131n b\u00fcy\u00fck bir kesiminin sanatsal geli\u015fimini s\u00fcrekli olarak engelleyen mutlakla\u015fma ve ba\u011f\u0131ms\u0131zla\u015fman\u0131n birer sistem haline gelmesine burjuva sanat\u0131n\u0131n\u00a0 olanak vermesidir.<\/p>\n

Modernizmin felsefi-estetik \u00f6z\u00fc burjuva ideolojisinin \u00e7\u00f6kmesiyle ve k\u00fclt\u00fcrel de\u011ferlerin burjuva \u00f6l\u00e7\u00fclerine g\u00f6re yeniden de\u011ferlendirilmesiyle olu\u015fmaya ba\u015flar. Sopenhauer\u2019in k\u00f6t\u00fcmser teorileri ile Marks \u015etiner\u2019in sava\u015f\u00e7\u0131 bireycili\u011fi ve bencilli\u011finden Ni\u00e7e\u2019nin gerici felsefesi do\u011fmu\u015ftur. Bu felsefenin mit ve anti-realizm teorisi modernizmin felsefe ve y\u00f6nteminin temeline yerle\u015fti. Bu felsefe halk y\u0131\u011f\u0131nlar\u0131n\u0131 ve hayat\u0131 k\u00fc\u00e7\u00fcmseme, akl\u0131n insanlara hizmet edemeyece\u011fini g\u00f6sterme, akl\u0131n yerine bilin\u00e7alt\u0131n\u0131 ve i\u00e7g\u00fcd\u00fcy\u00fc koyma teorileriyle, ger\u00e7ekli\u011fi ve sanat do\u011frulu\u011funu a\u015fa\u011f\u0131lama e\u011filimiyle birle\u015fti.\u015eopenhauer\u2019e ve Ni\u00e7e\u2019ye\u00a0 A. Bergson, B. Kro\u00e7e, Z.Froyd, K.Yung vb. yard\u0131m ettiler.Ni\u00e7e \u2018\u2019 tanr\u0131 \u00f6ld\u00fc!\u2019\u2019 diye hayk\u0131rd\u0131. Bug\u00fcn de Er\u0131ch From \u2018\u2019 insan \u00f6ld\u00fc\u2019\u2019 ve M.Makluin\u00a0 \u2018\u2019 sa\u011fduyu \u00f6ld\u00fc\u2019\u2019 diye.<\/p>\n

Sanat alan\u0131nda burjuvazinin edepsizlikleri i\u015fte b\u00f6yle ald\u0131 y\u00fcr\u00fcd\u00fc.<\/p>\n

Modernizm felsefesi \u00f6znel idealizm egemenli\u011findeki idealist,v\u00fclgermateryalist, pozitivist,<\/p>\n

pragmatik, agnostik, skeptik vb. ak\u0131mlardan olu\u015fmu\u015f bir eklektizmdir. Bu bak\u0131mdan modernizme eski \u015fema uygulanamaz. \u00c7\u00fcnk\u00fc, bu \u015femaya g\u00f6re felsefi\u00a0 materyalizme sanatta hep ger\u00e7ek\u00e7ilik, felsefi\u00a0 idealizme ise hep ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck uygun gelmi\u015ftir. Modernizm kendi i\u00e7inde \u00e7eli\u015fkilidir. Belki onda ger\u00e7ek\u00e7i anlar da, sanat do\u011frulu\u011fu anlar\u0131 da bulunur, ama ger\u00e7e\u011fin yozla\u015ft\u0131r\u0131lm\u0131\u015f, \u00f6znelci yans\u0131mas\u0131 hep a\u011f\u0131r basar.<\/p>\n

Sanat\u0131n g\u00f6rece ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131 kendine, \u00f6zg\u00fc ya\u015fam ve geli\u015fimi toplum bilinci s\u0131n\u0131rlar\u0131 i\u00e7inde ve \u00f6zellikle toplumsal ideolojide bir b\u00fct\u00fcn olarak bulunmaktad\u0131r. Onun i\u00e7in\u00a0 modernizmin k\u00f6kleri burjuva sanat\u0131n\u0131n \u00f6zg\u00fcl (spesifik) geli\u015fiminde ve onun ortak mant\u0131\u011f\u0131nda da aranmal\u0131d\u0131r. XIX.y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131nda ( \u00f6zellikle Paris Kom\u00fcn\u00fc bozgunundan sonra ) dekadanl\u0131k do\u011fmu\u015ftur.A.V.Luna\u00e7arski\u2019ye g\u00f6re ilk dekadan Bodler\u2019dir. ( \u2018\u2019 K\u00f6t\u00fcl\u00fck \u00c7i\u00e7ekleri\u2019\u2019-1875). Ondan sonra Rembo, Malarme, Verlen vb. gelir. Dekadanl\u0131k XX. Y\u00fczy\u0131l sanat\u0131nda modernizmin \u00f6nceli ve sanat kaynaklar\u0131ndan biridir. Dekadanlar gibi k\u00fcbistler ve s\u00fcrrealistler de yarat\u0131c\u0131l\u0131klar\u0131n\u0131n \u00e7o\u011funa burjuva d\u00fczenini ele\u015ftirmekle ba\u015flarlar. Fakat\u00a0 onlar\u0131n sanat\u0131 genellikle \u2018\u2019 yaltak\u00e7\u0131 ba\u015fkald\u0131rma\u2019\u2019d\u0131r.Nesnel olarak kapitalist d\u00fczene hizmet eder ve \u00e7okluk kapitalizmin savunusu haline gelirler. \u00c7\u00fcnk\u00fc ele\u015ftiri burjuvazi ile k\u00fc\u00e7\u00fck burjuvazinin \u00e7\u0131karlar\u0131 aras\u0131ndan yap\u0131l\u0131r. Modernizmin yapt\u0131\u011f\u0131 ele\u015ftiri ve sosyal protesto bi\u00e7imsel ara\u015ft\u0131rmalara, kendi amac\u0131na yarayan deneylere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Modernizmin felsefi \u00f6z\u00fc \u00f6znel ve nesnel idealizmden v\u00fclger maddecili\u011fe kadar yay\u0131l\u0131rken, modernizmin\u00a0 sanat y\u00f6ntemi de sonunda kat\u0131ks\u0131z bi\u00e7imcili\u011fe ve v\u00fclger do\u011falc\u0131l\u0131\u011fa kadar uzan\u0131r.<\/p>\n

Modernizmin y\u00f6ntemi ger\u00e7e\u011fin de\u011fi\u015fik y\u00f6nlerinin g\u00f6rece ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131 ile sanat\u0131n g\u00f6rece ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131ndan \u00e7\u0131kar. Fakat o bu g\u00f6reve ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131\u00a0 mutlakla\u015ft\u0131r\u0131r, sanat tipine yara\u015fan dengeyi bozar. Bu mutlakla\u015ft\u0131rma ressaml\u0131kta ta\u015fizmi, edebiyatta letrizmi, m\u00fczikte dodekafoniyi yaratm\u0131\u015ft\u0131r.<\/p>\n

Modernizmi ve \u2018\u2019 y\u0131\u011f\u0131nsal k\u00fclt\u00fcr\u00fc\u2019\u2019 savunan \u00e7a\u011fda\u015f burjuva esteti\u011finin genel niteli\u011fine gelince , her \u015feyden \u00f6nce belirtmek gerekir ki, o kapitalizmden sosyalizme tarihsel ge\u00e7i\u015f d\u00f6neminde\u00a0 emperyalist\u00a0 burjuvazinin estetik g\u00f6r\u00fc\u015flerinin teorik alandaki kristalizasyonudur. \u00dcstelik,\u00a0 bu estetik<\/p>\n

kendi\u00a0 kuramsal kal\u0131nt\u0131n\u0131n yeniden\u00a0 de\u011ferlendirilerek g\u00f6zden ge\u00e7irilmesine ve burjuvazinin \u00e7a\u011fda\u015f emperyalist toplumun derin \u00e7eli\u015fkilerini yans\u0131tan d\u00fc\u015f\u00fcnceleriyle ve karamsar kararlar\u0131yla donat\u0131lmas\u0131na \u00e7al\u0131\u015f\u0131r. Ayr\u0131ca, \u00c7a\u011fda\u015f burjuva esteti\u011fi, \u00e7a\u011fda\u015f estetik kavray\u0131\u015fta ilerlemenin ta\u015f\u0131y\u0131c\u0131s\u0131 ve savunucusu olan Marksist-Leninist\u00a0 estetikle \u00e7\u0131lg\u0131nca sava\u015f\u0131r.(7)<\/p>\n

Modernizm Sanat\u0131 Bozar <\/p>\n

Marksist-Leninist esteti\u011fe g\u00f6re sanat\u0131n \u00f6znel ve nesnel, ayr\u0131k ve ortak, soyut ve somut, ussal ve duygusal yanlar\u0131 vard\u0131r. Sanatta i\u00e7erik ile bi\u00e7im aras\u0131nda karma\u015f\u0131k bir diyalektik birlik meydana getirir. Ad\u0131 ge\u00e7en yanlar aras\u0131nda bir sanat \u00f6l\u00e7\u00fcl\u00fcl\u00fc\u011f\u00fc varsa sanat tipi de vard\u0131r. Akademisyen Todos Pavlov\u2019un, sanat \u00f6l\u00e7\u00fcl\u00fcl\u00fc\u011f\u00fcn\u00fc her ger\u00e7ek sanat yarat\u0131c\u0131l\u0131\u011f\u0131n\u0131n genel kanunu olarak ele almas\u0131 bo\u015funa de\u011fildir.<\/p>\n

Modernizm ise yap\u0131ttaki sanat bi\u00e7imi ile d\u00fc\u015f\u00fcnce-sanat birli\u011fi aras\u0131ndaki \u00f6l\u00e7\u00fcl\u00fcl\u00fc\u011f\u00fc bozar.<\/p>\n

Modernizm a\u015f\u0131r\u0131 \u00f6zelcili\u011fi ile, \u00f6zne ile nesne aras\u0131ndaki ger\u00e7ek \u00e7eli\u015fkiyi a\u015f\u0131r\u0131la\u015ft\u0131rarak sanat\u0131n i\u00e7eri\u011fini bozar. Modernist sanat\u00e7\u0131, yans\u0131ma teorisini inkar eder ve \u2018\u2019 ger\u00e7ek olmayan\u0131\u2019\u2019 dile getirmeye \u00e7al\u0131\u015f\u0131r. Dekadan sanat\u0131n t\u00fcrl\u00fc \u2018\u2019 izm\u2019\u2019leri \u2018\u2019 anti\u2019\u2019leri XX. y\u00fczy\u0131lda \u00f6znelcili\u011fi, sanatla ger\u00e7eklik aras\u0131ndaki uyumsuzlu\u011fu durmadan derinle\u015ftirmektedir. Usd\u0131\u015f\u00e7\u0131l\u0131\u011fa (irasyonalizme) kesin sapmalarda\u00a0 buradan ileri gelmektedir. Sanat\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fc, bilin\u00e7alt\u0131ndan sa\u011fduyuya ayk\u0131r\u0131 durum ve tipler \u00e7\u0131karma \u00f6zg\u00fcrl\u00fc\u011f\u00fcne d\u00f6n\u00fc\u015fmektedir. Sembolistler, Bergsoncular, \u00e7a\u011fda\u015f Froydistler sa\u011fduyu alan\u0131n\u0131 daraltarak bilin\u00e7alt\u0131 alan\u0131n\u0131 s\u0131n\u0131rs\u0131z yapt\u0131lar. Yarat\u0131c\u0131l\u0131ktan gitgide bilin\u00e7siz bir s\u00fcre\u00e7 diye bahsetmeye ba\u015flad\u0131lar. \u00d6zne, bilin\u00e7alt\u0131n\u0131n\u00a0 acayiplikleri ard\u0131nda y\u00fcr\u00fcyen\u00a0 iradesiz bir ki\u015filik olarak ele al\u0131nd\u0131. Hatta, kitap ve resimlerde anlams\u0131z ve anla\u015f\u0131lmaz \u2018\u2019 indexler\u2019\u2019 varsa bunlar\u0131, okuyucunun \u00e7\u00f6zmesi ve b\u00f6ylece yazar\u0131n ne yazd\u0131\u011f\u0131n\u0131, ressam\u0131n ne resmetti\u011fini anlamas\u0131na yard\u0131m etmesi istendi. Bu y\u00fczden, art\u0131k sanat\u00e7\u0131 kendi hayal k\u0131r\u0131kl\u0131\u011f\u0131 ve korkular\u0131 ile yetiniyor, hayallerin k\u00f6lesi olarak kal\u0131yor, s\u00f6z\u00fcm ona kurtar\u0131c\u0131 soyutlama tedavisine inan\u0131yor. Yaln\u0131zl\u0131k i\u00e7inde yaln\u0131zca kendine ya da bir \u2018\u2019 se\u00e7kinler\u2019\u2019 \u00e7evresine sorumlu oldu\u011funu, halka kar\u015f\u0131 sorulu olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyor.<\/p>\n

\u00d6znelcilik, nesnel d\u00fcnyay\u0131 bir sanat konusu olmaktan uzakla\u015ft\u0131r\u0131yor.XIX.y\u00fczy\u0131lda dekadan Bodler, Materlink, Malarme \u00f6znelcilikle i\u015fe ba\u015flad\u0131lar. Kafka, Joys gibi yazarlar , \u00f6zellikle soyut\u00e7ular ve s\u00fcrrealistler ise \u00f6znelcilikle ba\u015flay\u0131p \u00f6znelcilikle bitirdiler i\u015fi.Gel gelelim, ba\u015flang\u0131\u00e7ta nesnel alem \u00f6znel sanatta te\u015fvik edici bir rol oynasa bile, sonralar\u0131 bu te\u015fvik de yok oluyor. Elbette, \u00f6znelcili\u011fin de dereceleri var.Bir zamanlar Malarme\u00a0 ger\u00e7ek varl\u0131klar\u0131n tasvir edilmemelerini istiyor, e\u015fyalar\u0131n \u015fairin i\u00e7 d\u00fcnyas\u0131na yapt\u0131\u011f\u0131 etkinin dile getirilmesinde ayak diriyordu. Kafka da d\u0131\u015f d\u00fcnyadan s\u00f6z ediyor fakat bunu ancak kendi ba\u015f\u0131na tan\u0131yaca\u011f\u0131n\u0131 san\u0131yordu. G\u00fcn\u00fcm\u00fczde ise Alen Rob-Griye \u2018\u2019 t\u00fcmel \u00f6znelcilik\u2019\u2019 \u00e7a\u011fr\u0131s\u0131nda bulunuyor. Beket ise,d\u0131\u015f d\u00fcnyan\u0131n var olmad\u0131\u011f\u0131 kan\u0131s\u0131nda. Ona g\u00f6re, kendisinden ve kendi bilincinden\u00a0 ba\u015fka hi\u00e7bir \u015fey yoktur.\u2019\u2019 Sanat hi\u00e7bir \u015fey ifade etmedi\u011fi gibi,hi\u00e7bir \u015fey yans\u0131tmazd\u0131\u2026\u2019\u2019<\/p>\n

T.Gotye\u2019nin \u2018\u2019 sanat i\u00e7in sanat\u2019\u2019 ilkesi Ni\u00e7e ve Ortega Gaset \u2018 te \u2018\u2019 sanat\u00e7\u0131dan sanat\u00e7\u0131ya sanat bi\u00e7imini ald\u0131. Sanat\u00e7\u0131lardan bir\u00e7o\u011fu yap\u0131tlar\u0131nda nas\u0131l bir ger\u00e7e\u011fi yans\u0131tt\u0131klar\u0131n\u0131, ger\u00e7e\u011fe nas\u0131l bir anlam verdiklerini ve sanat yap\u0131tlar\u0131n\u0131n\u00a0 ne gibi toplumsal bir rol oynayaca\u011f\u0131n\u0131 ara\u015ft\u0131rmamam\u0131z\u0131 istediler.Onlara g\u00f6re sanat prensip olarak \u2018\u2019 \u00f6\u011fretmeye, yol g\u00f6stermeye, a\u00e7\u0131klamaya \u2018\u2019 zorunlu de\u011fildir. Sanat\u0131n anlam\u0131 yaln\u0131zca \u2018\u2019 yaratmakt\u0131r\u2019\u2019.( V.Pengo),\u00a0 \u2018\u2019 neden yazmak istedi\u011fimi \u00f6\u011frenmek\u2019\u2019tir.(Rob Griye ) Bu anlay\u0131\u015fa g\u00f6re, sanat yaln\u0131zca sanat\u00e7\u0131n\u0131n zevki ve haz duymas\u0131 i\u00e7indir.\u015e\u00fcphesiz b\u00f6yle bir anlay\u0131\u015f, toplumsal rol oynamas\u0131 gereken yap\u0131t verme sorumlulu\u011funu kald\u0131r\u0131r. Gel gelelim, sanat\u00e7\u0131 ne d\u00fc\u015f\u00fcn\u00fcrse d\u00fc\u015f\u00fcns\u00fcn, bu bi\u00e7imdeki yap\u0131t\u0131 belirli bir toplumsal rol oynar.<\/p>\n

Sorumlulu\u011fun k\u00fc\u00e7\u00fcmsenmesi ve \u00f6znelcilik sanat\u00e7\u0131n\u0131n \u00f6zg\u00fcl sanattan uzakla\u015fmas\u0131nda \u00e7ok a\u00e7\u0131k olarak belirmektedir. Sanat konusu ne t\u00fcrl\u00fc de belirlenirse belirlensin , teoride ne kadar tart\u0131\u015fmal\u0131 y\u00f6nleri bulunursa bulunsun, sanat prati\u011fi a\u00e7\u0131k\u00e7a \u015funu g\u00f6steriyor: Sanat alan\u0131nda do\u011fal ve toplumsal ger\u00e7e\u011fin estetik y\u00f6nleriyle birlikte insanlar\u0131n ya\u015fant\u0131lar\u0131, dilek ve \u00fclk\u00fcleri de \u00f6zel bir yer almaktad\u0131r.Fakat \u00e7a\u011f\u0131m\u0131zda dekadan sanatta ise \u2018\u2019 genel y\u0131k\u0131m\u0131n kahinleri\u2019\u2019 taraf\u0131ndan y\u00fckseltilen sloganlar ile sanat\u0131n insans\u0131zla\u015ft\u0131r\u0131lmas\u0131 yolundaki felsefi-estetik anlay\u0131\u015flar\u0131n ger\u00e7ekle\u015fti\u011fini g\u00f6r\u00fcyoruz.<\/p>\n

\u0130nsans\u0131zla\u015ft\u0131rma, \u00e7a\u011fda\u015f burjuva sanat\u0131nda gittik\u00e7e derinle\u015fen bir e\u011filimdir.Bu e\u011filim yabanc\u0131la\u015fan dekadan sanat\u0131n \u00e7ekirde\u011fidir.Sanat\u00e7\u0131n\u0131n toplumsal insan\u0131n tipik ya\u015fant\u0131lar\u0131n\u0131, \u00fclk\u00fclerini ve etik yada\u00a0 estetik y\u00f6nlerini\u00a0 yans\u0131tmay\u0131 reddetmesi, yarat\u0131c\u0131 eylemden y\u00fcz \u00e7evirmesi, sanat\u0131n insandan uzakla\u015fmas\u0131 demektir.E\u015fyala\u015ft\u0131rma ve ki\u015fisizle\u015ftirme sonunda insan kendi ad\u0131n\u0131 bile kaybediyor.Yazarlar ona art\u0131k \u2018\u2019 Falan,Filan, X \u2018\u2019 demeye ba\u015fl\u0131yorlar. \u0130nsans\u0131zla\u015ft\u0131rma her \u015feyden \u00f6nce sanat\u0131n i\u00e7erik y\u00f6n\u00fcn\u00fc y\u0131kar. Giderek, sanat \u2018\u2019 insan bilgisi\u2019\u2019 olmaktan \u00e7\u0131kar. Sanat\u00e7\u0131n\u0131n insan kar\u015f\u0131s\u0131ndaki yani toplum kar\u015f\u0131s\u0131ndaki sorumlulu\u011fu ya k\u00fc\u00e7\u00fcmsenir, yada b\u00fcsb\u00fct\u00fcn yok edilir. Nitekim, f\u00fct\u00fcristler \u2018\u2019 insan \u015fimdi bizde hi\u00e7bir ilgi uyand\u0131rm\u0131yor\u2019\u2019 dediler. B\u00f6ylece, att\u0131lar onu edebiyattan. Salvador\u00a0 Dali: \u2018\u2019 Ben insanlar\u0131 al\u0131kla\u015ft\u0131rmay\u0131 seviyorum\u2019\u2019 diyor hi\u00e7 s\u0131k\u0131lmadan. Rob Griye, insana da e\u015fya gibi, \u00f6teki e\u015fyalar aras\u0131nda yer veriyor. Konserve kutular\u0131n\u0131n ressam\u0131 Endi Uoril ise: \u2018\u2019 makineler insanlar kadar \u00e7ok sorunla u\u011fram\u0131yor. Onun i\u00e7in ben de makine olmay\u0131 isterdim.\u2019\u2019 diyor. Ger\u00e7ekten de modernist\u00a0 sanatta insan peyzajlardan,\u00a0 \u0131ss\u0131z sokaklar\u0131yla b\u00fcy\u00fck \u015fehir resimlerinden at\u0131lm\u0131\u015f bulunmaktad\u0131r. \u00d6teki e\u015fyalar aras\u0131nda o da bir e\u015fyaya, \u00f6b\u00fcr lekeler aras\u0131nda o da bir lekeye d\u00f6n\u00fc\u015fmektedir.<\/p>\n

Zaman\u0131n teknik ve dinami\u011fine tapmak, \u0131rk\u00e7\u0131l\u0131k teorisi \u00f6n\u00fcnde e\u011filmek, nezakete ve romanti\u011fe kar\u015f\u0131 \u00e7\u0131kmak \u00e7abas\u0131 bir\u00e7ok f\u00fct\u00fcristi y\u0131\u011f\u0131nsal cinayetlerin, sava\u015f\u0131n ve fa\u015fizmin \u00f6vg\u00fcs\u00fcne kadar g\u00f6t\u00fcrm\u00fc\u015ft\u00fcr.<\/p>\n

Hayat\u0131n yanl\u0131\u015f, tek tarafl\u0131 ve geli\u015fig\u00fczel bi\u00e7imde g\u00f6sterilmesiyle sanat\u0131n i\u00e7eri\u011fi bozulmaktad\u0131r.\u0130nsanlara hayat\u0131n s\u00f6zde mant\u0131ks\u0131zl\u0131\u011f\u0131\u00a0 ve onun bir kaos oldu\u011fu d\u00fc\u015f\u00fcncesinin a\u015f\u0131lanmas\u0131 amac\u0131yla konular keyfi olarak se\u00e7ilip i\u015flenmektedir. Tipik olan ara\u015ft\u0131r\u0131lmakta, geli\u015fme e\u011filimi duyulmamaktad\u0131r.<\/p>\n

Modernizmin ama\u00e7lar\u0131ndan biri toplumsal hayata kar\u0131\u015fmamakt\u0131r.Nitekim, \u00e7a\u011fda\u015f modernistlerin \u00e7o\u011fu b\u00fcy\u00fck toplumsal konular\u0131 ele almay\u0131 kabul etmezler. Fakat meydana getirdikleri yap\u0131tlar\u0131nda, dolayl\u0131 ya da dolays\u0131z olarak, ki\u015fiye kar\u015f\u0131, toplumun tarihsel sorunlar\u0131na kar\u015f\u0131 ve ilerici sanata kar\u015f\u0131 \u00e7\u0131karlar\u2026\u2019\u2019Sanat oldum olas\u0131 bir taraf\u0131 tutar, toplumun kaderine kay\u0131ts\u0131z kalamaz \u2018\u2019 diyen M.Gorki ne kadar da hakl\u0131.<\/p>\n

Sanat\u00e7\u0131n\u0131n \u00f6znelli\u011fi, us d\u0131\u015f\u0131na kaymas\u0131 ve \u00f6zg\u00fcl sanat do\u011frultusundan ayr\u0131lmas\u0131 ne derece \u00e7o\u011fal\u0131rsa, sanat\u0131n i\u00e7eri\u011fi de yarat\u0131c\u0131l\u0131k da toplumsal \u00f6nemini o derece kaybeder. P\u015febisevski,D. Anuntsio gibi baz\u0131 dekadan ressamlar\u0131 de\u011ferlendirirken: \u2018\u2019 Ressam\u0131n, parlak bir ki\u015fili\u011fe kavu\u015fmas\u0131 ve d\u00fcnyan\u0131n bir aynas\u0131 olabilmesi i\u00e7in ilerici toplumsal sava\u015flarla ili\u015fki kurmas\u0131 gerekir.Ger\u00e7ek ressam yap\u0131t\u0131n\u0131 milyonlarca insan i\u00e7in , modernist ressam ise soyutlanm\u0131\u015f, insanl\u0131ktan \u00e7\u0131km\u0131\u015f insan i\u00e7in yapar.\u2019\u2019<\/p>\n

Modernizm, sanat\u0131n bi\u00e7imi kar\u015f\u0131s\u0131nda da nihilist ve keyfidir. Sanat ara\u00e7lar\u0131n\u0131n\u00a0 keyfi kullan\u0131\u015flar\u0131yla yans\u0131ma teorisinde bu nihilizm\u00a0 belirmektedir. Modernist sanat\u00e7\u0131lar\u0131n kendileri de s\u0131k s\u0131k deformasyondan, denat\u00fcralizasyon y\u00f6nteminden s\u00f6z ederler.<\/p>\n

Edebiyatta bi\u00e7imcilik edebi dili bozar, s\u00f6zdizimini alt\u00a0 \u00fcst eder, s\u00f6zc\u00fckleri ba\u015f\u0131bo\u015f b\u0131rak\u0131r. Ve sonunda birtak\u0131m anlams\u0131z ses dizileri ortaya \u00e7\u0131kar.Bunun bir\u00e7ok \u00f6rnekleri vard\u0131r. Coys\u2019un \u2018\u2019 Ulis\u2019\u2019 roman\u0131nda noktalama i\u015faretleri yoktur. Dadaizm anlams\u0131z ses dizileri kurar.S\u00fcrrealist yap\u0131tlar da mant\u0131ks\u0131z ve sa\u00e7mad\u0131r. F\u00fct\u00fcrizmin temsilcisi Marinetti s\u00f6zdiziminin kalkmas\u0131 ve s\u00f6zc\u00fcklerin\u00a0 geli\u015fig\u00fczel dizilmesi i\u00e7in sava\u015f\u0131yor. Ona g\u00f6re, ilk\u00f6nce noktalama i\u015faretleri kald\u0131r\u0131lmal\u0131 ve yaln\u0131zca cins isimler kullan\u0131lmal\u0131, zarflar ve s\u0131fatlar at\u0131lmal\u0131d\u0131r. Fiilin yaln\u0131zca mastar \u015fekli kullan\u0131lmamal\u0131d\u0131r\u2026\u0130\u015fte Marineti\u2019nin \u00e7izdi\u011fi bir peyzaj: 22Ufuk, g\u00fcne\u015fin en parlak \u0131\u015f\u0131\u011f\u0131, \u00fc\u00e7 tane \u00fc\u00e7gen bi\u00e7iminde g\u00f6lge, g\u00fcl rengi \u00fc\u00e7 e\u015fkenar d\u00f6rtgen, be\u015f tepe kesiti,50 duman s\u00fctunu,23 ate\u015f par\u0131lt\u0131s\u0131\u201d(8)<\/p>\n

Resim sanat\u0131nda deformasyon resmin asl\u0131na, resmedilene benzerli\u011fi ortadan kald\u0131rmakla,alabildi\u011fine mant\u0131ks\u0131z ve soyut, ba\u011flant\u0131s\u0131z \u00f6\u011felerin resmedilmesine yol a\u00e7maktad\u0131r.<\/p>\n

Modernist ak\u0131mlar\u0131n bi\u00e7imcili\u011fi ve yenilik\u00e7i diye \u00f6ne s\u00fcrmelerine kar\u015f\u0131n sanat ara\u00e7lar\u0131yla haz\u0131r konstr\u00fcksiyonlar kullan\u0131lmaktad\u0131r. Bat\u0131\u2019da, \u00f6rne\u011fin resim alan\u0131nda soyut\u00e7ulu\u011fa ressaml\u0131kta \u2018\u2019 felsefi grafik\u2019\u2019 yada \u2018\u2019 yeni estetik tanr\u0131c\u0131l\u0131k\u2019\u2019 ad\u0131 verilmektedir.<\/p>\n

Modernist anlaml\u0131l\u0131\u011f\u0131 \u00e7o\u011fun canl\u0131l\u0131\u011fa ayk\u0131r\u0131 g\u00f6r\u00fcrler. \u00d6rne\u011fin, ekspresyonistler ressaml\u0131kta anlaml\u0131l\u0131ktan yanad\u0131rlar ama canl\u0131l\u0131\u011fa da kar\u015f\u0131d\u0131rlar. S\u00fcrrealistler ayr\u0131nt\u0131lar\u0131 g\u00fczel ve canl\u0131 resmeder, fakat onlar\u0131 mant\u0131ks\u0131zca birbirine ba\u011flarlar. Sanat\u0131n\u00a0 b\u00fct\u00fcn tarihi g\u00f6steriyor ki, hayat\u0131n g\u00f6r\u00fcn\u00fcr yan\u0131 onun zorunlu bir \u00f6rne\u011fidir.\u00d6rne\u011fin ay, cans\u0131z bir cisim de olsa, g\u00f6zlerimiz onu nas\u0131l g\u00f6rm\u00fc\u015fse, sanata \u00f6yle girmi\u015ftir. Fakat modernistler buna uymazlar.ressaml\u0131kta , onlara g\u00f6re, en b\u00fcy\u00fck tehlike normal insan\u0131n ger\u00e7ek\u00a0 d\u00fcnyay\u0131 g\u00f6rsel olarak alg\u0131lamas\u0131 imi\u015f.Ger\u00e7e\u011fi g\u00f6zlem yolu ile canland\u0131rmaktan ka\u00e7\u0131nmalar\u0131 da g\u00fcya nesnelerin asl\u0131n\u0131 kat\u0131ks\u0131z duygular\u0131 , kat\u0131ks\u0131z ya\u015fant\u0131lar\u0131 verdiklerini d\u00fc\u015f\u00fcn\u00fcr ve onlar\u0131 her t\u00fcrl\u00fc nesnellikten s\u0131y\u0131r\u0131r, resme ve sanata \u00f6zg\u00fc ara\u00e7lar\u0131n s\u0131n\u0131rlar\u0131 d\u0131\u015f\u0131na \u00e7\u0131karlar. B\u00f6ylece, modernizm yap\u0131t\u0131n i\u00e7eri\u011fini de, sanatsal bi\u00e7imini de sakatlam\u0131\u015f olur.<\/p>\n

Mecaz ve kinayelerde, mant\u0131ks\u0131z ba\u011flant\u0131 ve durumlara, de\u011fi\u015fik semboller yaratmaya, anla\u015f\u0131lmaz mitler kurmaya d\u00fc\u015fk\u00fcnl\u00fck, modernizmi sanat\u0131n garip bir mezhebi durumuna d\u00f6n\u00fc\u015ft\u00fcrmektedir. \u00d6rne\u011fin Prust, Kafka ve \u00e7a\u011fda\u015f anti-romanc\u0131lar kendi yap\u0131tlar\u0131nda \u00e7a\u011fda\u015f insan\u0131n \u00f6z\u00fcn\u00fc ke\u015ffettikleri iddias\u0131ndad\u0131rlar.<\/p>\n

Modernizm b\u00fct\u00fcn\u00fc par\u00e7a ile, nesnelerin \u00f6z\u00fcn\u00fc ba\u015fka ger\u00e7eklerle de\u011fi\u015ftirir.Ve b\u00fct\u00fcn bunlar;modernizm kuramc\u0131lar\u0131n\u0131n iddia ettikleri gibi uzay u\u00e7u\u015flar\u0131 d\u00f6neminde ger\u00e7e\u011fin ve insan\u0131n daha az anla\u015f\u0131l\u0131r olmas\u0131ndan, yahut \u00e7a\u011f\u0131n usd\u0131\u015f\u0131 olmas\u0131ndan de\u011fil, modernizmin bir y\u00f6ntem olarak nesnelerin \u00f6z\u00fcne ula\u015ft\u0131racak bir yol olmamas\u0131ndan ileri gelmektedir.Kald\u0131 ki, gereklerin bozularak sakat bi\u00e7imde g\u00f6sterilmesi de burjuvazinin \u00e7\u0131karlar\u0131na uygun gelmektedir.<\/p>\n

\u00dcnl\u00fc sanat bilgini T.Motil\u00f6va modernizmin genel teorik esas\u0131n\u0131 sa\u011fduyuya g\u00fcvensizlik , ger\u00e7ek d\u00fcnyay\u0131 bilmemek, tan\u0131mamak, b\u00fct\u00fcn\u00fcyle bir mant\u0131ks\u0131zl\u0131k, bir kaos olan bir hayat g\u00f6r\u00fc\u015f\u00fc diye tan\u0131mlamaktad\u0131r.Moral nihilizmi\u00a0 de i\u00e7ine alan\u00a0 \u015f\u00fcphecilik bu esas\u0131 tamamlamaktad\u0131r. Estetik planda ise ger\u00e7ekli\u011fin geleneklerinden ayr\u0131lma, tipleri y\u0131kma, tek ama\u00e7 haline getirilmi\u015ftir. B\u00fct\u00fcn bunlar yetenekli sanat\u00e7\u0131larda, \u00f6zellikle edebiyat alan\u0131nda saf bi\u00e7imde de\u011fil, \u00f6znel i\u00e7tenlikle,insanc\u0131l ve anti burjuva e\u011filimleri ile \u00e7eli\u015fkili bir kar\u0131\u015f\u0131m halinde g\u00f6r\u00fclmektedir. O kadar ki bu aldat\u0131c\u0131 estetik g\u00f6r\u00fc\u015fler \u00e7okluk tan\u0131nm\u0131\u015f baz\u0131 sanat\u00e7\u0131lar\u0131\u00a0 bile \u00e7\u0131kmaza g\u00f6t\u00fcrmektedir.(9)<\/p>\n

Tek ama\u00e7l\u0131 deneyler bir\u00e7ok modernist ressam ve yazar\u0131 ilgi \u00e7ekmek i\u00e7in Diana Efeska\u00a0 tap\u0131na\u011f\u0131n\u0131 tutu\u015fturan eski Herostrat\u2019\u0131n durumuna d\u00fc\u015f\u00fcrmektedir. Modernist felsefi-estetik ilkelere dayanan ve modernist \u00fcsluplarla yarat\u0131lan\u00a0 \u2018\u2019 sanat\u00a0 eserleri\u2019\u2019 olanlarda, sergi salonlar\u0131nda, kim ne isterse onu g\u00f6rs\u00fcn\u00a0 diye, bo\u015f, temiz bezler halinde sergileniyor.Konser salonlar\u0131nda dinleyici istedi\u011fi m\u00fczi\u011fi tasarlas\u0131n diye hi\u00e7bir \u015fey \u00e7al\u0131nm\u0131yor,konser bo\u015f zamanla ge\u00e7iriliyor. G\u00fczel\u00a0 resim , yerine soyutlamac\u0131l\u0131k birtak\u0131m lekeler, zikzaklar, \u00fc\u00e7genler, pop-art konserve kutular\u0131, eski di\u015f protezleri, eski pantolonlar, \u2018\u2019 g\u00fclen g\u00f6zl\u00fckl\u00fc ayakkab\u0131lar\u2019\u2019, eski tenekeler, tahta par\u00e7alar\u0131 koymaktad\u0131r.\u2019\u2019 Layf \u015eou\u2019\u2019, \u2018\u2019 \u00e7\u0131plak tiyatro\u2019\u2019 vb. temsilleri belirmi\u015ftir.<\/p>\n

Sovyet bilgini A.M.Zverev: \u201chepening hi\u00e7 de sanat\u0131n ger\u00e7e\u011fe yakla\u015fmas\u0131 olmay\u0131p dramaturjiden, rejiden, akt\u00f6rden\u00a0 vazge\u00e7mesidir. Kendine \u00f6zg\u00fc\u00a0 estetik bir\u00a0 hunveybinliktir. Hepeninglerin oyunlar\u0131 \u00e7o\u011funca i\u00e7kili, g\u00fcr\u00fclt\u00fcl\u00fc ziyafetlerle, k\u0131r\u0131p d\u00f6kmelerle ve polisin m\u00fcdahalesiyle sonu\u00e7lanmaktad\u0131r.\u2019\u2019 diyor. (10) <\/p>\n

Modernizm ve Estetik E\u011fitim <\/p>\n

M-L teoriye g\u00f6re sanat toplumsal bilincil \u00f6zg\u00fcl (spesifik) bir bi\u00e7imi ve sanat prati\u011fidir. Ger\u00e7ekli\u011fi sanat yoluyla yans\u0131t\u0131r ; toplumun, ki\u015finin geli\u015fmesinde karma\u015f\u0131k, \u00e7ok planl\u0131 bir etkisi bulunur. Ge\u00e7erli sanat ,ger\u00e7ekli\u011fi tan\u0131mada ,emek\u00e7ilerin estetik e\u011fitiminde ,onlar\u0131 d\u00fcnyay\u0131 devrimsel de\u011fi\u015ftirme eylemine sokmada ve seferber etmede g\u00fc\u00e7l\u00fc bir silaht\u0131r. Sanat ger\u00e7e\u011fi \u00f6zg\u00fcl olarak kavrama ve yeniden yaratmad\u0131r. Belirli anlamda hayat\u0131 yeniden yarat\u0131r; insanlar\u0131n deneylerini geni\u015fletir. Ayr\u0131ca, sanat\u0131n inand\u0131rma ve taklide \u00f6zendirerek e\u011fitme g\u00fcc\u00fc vard\u0131r. Siyasal, ahlaksal, duygusal vb. y\u00f6nl\u00fcl\u00fc\u011f\u00fc sanat tiplerinden ve durumlar\u0131ndan geldi\u011fi i\u00e7in insanlara t\u00fcrl\u00fc toplumsal olgular\u0131n de\u011ferini kendi kendilerine \u00f6zg\u00fcrce duyup anlamalar\u0131na ,buna g\u00f6re siyasal, ahlaksal, estetik vb. sonu\u00e7 ve karara varmalar\u0131na yard\u0131m eder. <\/p>\n

Sanat hem duyarl\u0131k ve irade enerjisi, hem de estetik tatmin kayna\u011f\u0131d\u0131r. \u00d6zel bir manevi haz verir;insan\u0131n ki\u015fili\u011fini etkiler, yarat\u0131c\u0131 g\u00fc\u00e7lerini, sanat yeteneklerini uyand\u0131r\u0131r, devrimcileri yeti\u015ftirir, insanlar\u0131 manen y\u00fckseltir, insanc\u0131l yapar. Sanat insana i\u015fte bu dinlenmede, bar\u0131\u015fta ve sava\u015fta, sevin\u00e7te ve \u00fcz\u00fcn\u00e7te e\u015flik eder. Sanat hikayeyle, \u015fiirle, m\u00fczikle, \u015fark\u0131 ve danslarla, mimari ve heykelt\u0131ra\u015f yap\u0131tlar\u0131yla hayat\u0131 daha dolgun, daha anlaml\u0131, daha g\u00fczel,daha ya\u015fanas\u0131 k\u0131lar.(11) \u0130\u015fte bunun i\u00e7in sanat bir\u00e7ok alandan biri de\u011fil, \u201cinsan ki\u015fili\u011fi yaratmada temel aland\u0131r ve \u00e7\u00f6z\u00fcmleyici etkenlerden biridir\u201d diyor T.Jivkov(12) <\/p>\n

Estetik e\u011fitim insan\u0131n t\u00fcmel e\u011fitiminin bir yan\u0131 oldu\u011funa g\u00f6re ,estetik \u00fclk\u00fc de \u2013 her ne kadar kendine g\u00f6re bir ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131 olsa da- t\u00fcm toplumsal-politik ,etik vb. \u00fclk\u00fclere ba\u011fl\u0131d\u0131r. \u0130nsanlar\u0131n moral ,politik , s\u0131n\u0131fsal, yurtseverlik ve evrensellik e\u011fitimine ,b\u00fct\u00fcn toplumsal \u00fclk\u00fclerinin bi\u00e7imlenmesine sanat\u0131n katk\u0131da bulundu\u011fu a\u00e7\u0131kt\u0131r. \u00dclk\u00fc, sanat\u0131n t\u00fcm y\u00f6nlerinin ,do\u011fruluk ve g\u00fczelli\u011finin, t\u00fcrl\u00fc siyasal ,ahlaksal vb. d\u00fc\u015f\u00fcncelerin kesi\u015fti\u011fi bir odakt\u0131r.<\/p>\n

\u015euras\u0131 su g\u00f6t\u00fcrmez bir ger\u00e7ektir: Toplumsal bilincin her bi\u00e7imi getirdi\u011fi \u015fey ile insan\u0131 etkiler. Yans\u0131tt\u0131\u011f\u0131 ger\u00e7ekler ve yans\u0131tma bi\u00e7imi ve ileti\u015fim yolu ile insana etki yapar.<\/p>\n

Sanat\u0131n \u00f6\u011fretici ve duyguland\u0131r\u0131c\u0131 niteli\u011fi e\u011fitici rol\u00fcn\u00fcn temelidir. Modernist yap\u0131tlar insana hayat\u0131 tan\u0131mada da, ilericili\u011fe d\u00f6n\u00fc\u015ft\u00fcrmede de yard\u0131mc\u0131 olmazlar. \u00d6znelci s\u00fcre\u00e7ler sanat\u0131n do\u011frulu\u011funu yok eder. Soyut\u00e7uluk ve s\u00fcrrealizm , konusuz film ve sa\u00e7mal\u0131k tiyatrosu en iyi durumlarda bile ancak tek t\u00fck ger\u00e7ekler ,ufak tefek bilgiler verir. Burjuvaziye de laz\u0131m olan budur.<\/p>\n

\u201cAlman \u0130deolojisi\u201dnde Marks i\u015faret etmi\u015ftir ki, burjuvazi kendi egemenli\u011fini s\u00fcrd\u00fcrebilmek i\u00e7in yalandan yararlanmak zorundad\u0131r. Bu, herhangi bir mutlak yalan de\u011fil, b\u00fcy\u00fck yalan\u0131 gizleyecek, bir s\u00fcr\u00fc ufak tefek ger\u00e7eklerdir.<\/p>\n

Usd\u0131\u015f\u0131na, karamsarl\u0131\u011fa ve umutsuzlu\u011fa inanm\u0131\u015f modernist sanat kendisinde su\u00e7luluk d\u00fc\u015f\u00fcncesini, yok olma duygusunu ta\u015f\u0131r. \u00d6yle ki, burjuva d\u00fczeninin yok olmas\u0131, b\u00fct\u00fcn d\u00fcnyan\u0131n yok olmas\u0131, batmas\u0131 gibi g\u00f6sterilir modernist sanatta.<\/p>\n

G\u00fczellik, organik olarak, her ger\u00e7ek sanat\u0131n niteli\u011fidir. Sanatta \u00f6nemli yer tutar ,sanat\u0131n arac\u0131d\u0131r. Belki \u00e7irkinin ve k\u00f6t\u00fcn\u00fcn de sanatta yeri vard\u0131r ama yarat\u0131c\u0131l\u0131kla de\u011ferlendirilmesi,sanatl\u0131 bi\u00e7imde verilmesi \u015fartt\u0131r. Hayatta iyiyi, k\u00f6t\u00fcy\u00fc, g\u00fczeli, \u00e7irkini insanlara g\u00f6stermek sanat\u0131n g\u00f6revidir. Modernist sanatta \u00fcst\u00fcnk\u00f6r\u00fc ve bozulmu\u015f, de\u011fi\u015ftirilmi\u015f olarak yap\u0131lan yans\u0131tmalar\u0131n yan\u0131nda k\u00f6t\u00fcye, \u00e7irkine ve deforme edilmi\u015f olana \u00fcst\u00fcnl\u00fck verilir. Yak\u0131\u015f\u0131ks\u0131z bi\u00e7imde k\u00f6t\u00fc varl\u0131klar ,\u00e7irkin, deforme olmu\u015f fig\u00fcrler, par\u00e7a par\u00e7a kesilmi\u015f g\u00f6vdeler ,e\u011fri b\u00fc\u011fr\u00fc, k\u0131r\u0131k e\u015fyalar yada e\u015fya par\u00e7alar\u0131 insana anti-estetik etki yapmaktad\u0131r. Modernist sanat sadizmi ve gaddarl\u0131\u011f\u0131 \u00f6vmeye kadar g\u00f6t\u00fcrm\u00fc\u015ft\u00fcr i\u015fi.<\/p>\n

Sanat\u0131n i\u015flevi, hayat\u0131 zenginle\u015ftirip tamamlamak, belirli anlamda g\u00fczelle\u015ftirip insana manevi sevin\u00e7 ve estetik haz vermektir. Modernist sanat ise insanlara hi\u00e7bir sevin\u00e7 getirmez.\u00a0\u00a0 <\/p>\n

(\u2026) <\/p>\n

B\u00fct\u00fcn sanat tarihi g\u00f6steriyor ki, b,r sanat yap\u0131t\u0131 ancak hayat\u0131 do\u011fru olarak yans\u0131t\u0131rsa e\u011fitici etkisi olur. Sahtekarl\u0131k, kas\u0131tl\u0131l\u0131k, baya\u011f\u0131l\u0131k ve ilkellik hi\u00e7bir zaman do\u011fru ve insanc\u0131l bir e\u011fitim sa\u011flayamaz. \u0130\u011fren\u00e7 bir kakofoni hi\u00e7bir zaman m\u00fcziksel bir kulak yeti\u015ftiremez, ta\u015fist lekeler g\u00f6ze zevk veremez. Her g\u00fcn korkun\u00e7 bi\u00e7imli modernist heykeller g\u00f6rmek ho\u015fa gitmez. Konserve kutusu, mumyalanm\u0131\u015f tavuk gibi \u201csanat\u201d yap\u0131tlar\u0131ndan estetik e\u011fitim beklemek yersiz ve g\u00fcl\u00fcn\u00e7t\u00fcr.<\/p>\n

Modernist yap\u0131tlar\u0131n d\u00fcnya \u00fcst\u00fcne verdikleri yanl\u0131\u015f izlenimler insanlardaki ger\u00e7eklik duygusunu k\u00f6reltir. Kafka\u2019n\u0131n \u201cAvc\u0131 Grakhus\u201d adl\u0131 hikayesinin kahraman\u0131 \u00f6l\u00fc bir insan m\u0131 , diri bir insan m\u0131 oldu\u011funu kavramaks\u0131z\u0131n hayatla \u00f6l\u00fcm aras\u0131nda y\u00fczer durur.(14) Resim, \u015fiir ve sinemada s\u00fcrrealistlerin verdi\u011fi yap\u0131tlar da ayn\u0131 rol\u00fc oynamaktad\u0131r. \u0130nsan\u0131n manevi ya\u015fant\u0131s\u0131 ile \u00e7a\u011f\u0131n ruhuna ili\u015fkin ger\u00e7e\u011fin yoklu\u011fu hayat\u0131 yanl\u0131\u015f de\u011ferlendirmeye g\u00f6t\u00fcrmekte, insanlar\u0131n\u00a0 sosyalle\u015ftirilmesini yanl\u0131\u015f yola s\u00fcr\u00fcklemektedir. Konunun kas\u0131tl\u0131 olarak se\u00e7ilmesi, hayata verilen \u00f6znelci estetik de\u011fer, hayalin ba\u015f\u0131bo\u015f b\u0131rak\u0131lmas\u0131 ger\u00e7ekle, sanat ara\u00e7lar\u0131yla alay etme\u2026 \u0130\u015fte, bunlar\u0131n sonucu olarak meydana gelen modernist yap\u0131tlar hayal g\u00fcc\u00fcn\u00fc ba\u015ftan \u00e7\u0131kartmakta , sa\u011fduyuyu k\u00fc\u00e7\u00fcmsemekte ve pratikle uyu\u015fmazl\u0131\u011fa, iyi ile k\u00f6t\u00fcn\u00fcn ,ger\u00e7ek ile yalan\u0131n, g\u00fczellik ile \u00e7irkinli\u011fin nesnel \u00f6l\u00e7\u00fcs\u00fcne ayk\u0131r\u0131 d\u00fc\u015fmektedir.<\/p>\n

Modernist sanat insanlar\u0131n zevkini bozmakta ve duyguca yoksulla\u015fmaya, geriye, ilkelli\u011fe g\u00f6t\u00fcrmektedir. Modernistlerin d\u00fc\u015f\u00fcnceden yoksun \u201ctablolar\u0131nda\u201d yer alan bir tak\u0131m lekeler, halkac\u0131klar ,zikzaklar insanda y\u00fcksek toplumsal \u00fclk\u00fclerin olu\u015fmas\u0131na yard\u0131m edemez.<\/p>\n

Modernist sanat bilime, usa, ilerici politikaya,ger\u00e7ek halk\u00e7\u0131l\u0131\u011fa, ulusall\u0131\u011fa ters d\u00fc\u015fer.\u00a0\u00a0 \u0130nsanlar\u0131n ilerici s\u0131n\u0131f partilerinde, yurtseverlik ve evrensellik yolunda e\u011fitilmesine engel olur. Modernist sanatta oldu\u011fu gibi insanc\u0131ll\u0131\u011f\u0131n\u0131, ilerici d\u00fc\u015f\u00fcnce ve ulusal niteli\u011fini yitirmi\u015f bir sanat insana halk ve yurt sevgisi a\u015f\u0131layamaz. Modernist sanat, ulusal geleneklere bo\u015f verir. Halk\u0131n ya\u015fant\u0131s\u0131n\u0131 do\u011fru yans\u0131tmaz. Tarihteki s\u0131n\u0131f sava\u015flar\u0131n\u0131,halk\u0131n kahramanl\u0131\u011f\u0131n\u0131, y\u00fcksekli\u011fini yans\u0131tmaz, halka tipik olan\u0131 vermez. \u00d6rne\u011fin Kafka\u2019n\u0131n yap\u0131tlar\u0131nda eski Avusturya-Macaristan\u2019\u0131 bulmak \u00e7ok g\u00fc\u00e7t\u00fcr. M.Prust\u2019un yap\u0131tlar\u0131nda Paris varo\u015flar\u0131ndan yaln\u0131zca soyut, kopuk ayr\u0131nt\u0131lar vard\u0131r. Bi\u00e7imcilikle resmedilmi\u015f, soyut tablolar ulusal \u00f6zellik ta\u015f\u0131yamaz. Bilincin do\u011falc\u0131 kopuk ak\u0131\u015f\u0131 halk\u0131n psikolojisi \u00fcst\u00fcne bir d\u00fc\u015f\u00fcnce edinmeye, onun kaderini duyup ya\u015famaya olanak vermez. Sonu\u00e7 olarak, ne bi\u00e7imci, ne de kaba do\u011falc\u0131 (nat\u00fcralist) ak\u0131mlar insanlar\u0131n estetik e\u011fitimine do\u011fru d\u00fcr\u00fcst yard\u0131m edemez\u2026 <\/p>\n

Kaynak : Yeni D\u00fcnya Sosyalizm Sorunlar\u0131, \u015eubat 1975, \u00e7eviri H\u00fcseyin \u00c7elikkaya <\/p>\n

1. \u00c7a\u011fda\u015f ideolojik sava\u015f sorunlar\u0131n\u0131 okuyanlara yard\u0131mc\u0131 kitap
2. Bkz. Marks ve Engels, c.26 ,b.l s.280
3. At.Stoykof, Modernizm kavram\u0131 ve \u00e7a\u011fda\u015f baz\u0131 modernist ak\u0131mlar 1970, BKP yay\u0131nlar\u0131
4. \u00d6nceleri baz\u0131 yazarlar empresionizmi de modernist do\u011frultuya kat\u0131yorlard\u0131. Ger\u00e7ekten\u00a0 empresionizm\u00a0 burjuva sistemi ve k\u00fclt\u00fcr\u00fcn\u00fcn \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc haber vermi\u015ftir.Empresionizm akademik resmi sanata kar\u015f\u0131 19.yy. sonlar\u0131nda Klasizmin epigonluguna kar\u015f\u0131 bir protestodur.Eleba\u015f\u0131l\u0131\u011f\u0131n\u0131 ressam Kurbe\u2019nin (Paris Kom\u00fcn\u2019\u00fcne kat\u0131lm\u0131\u015ft\u0131r) yapt\u0131\u011f\u0131 bu protesto, ayn\u0131 zamanda g\u00f6zlemcili\u011fin ger\u00e7ekle bireyci, ku\u015fkucu bir uzla\u015fmas\u0131d\u0131r.Empresionistler i\u00e7in renk her \u015feydir, i\u00e7erikten \u00fcst\u00fcnd\u00fcr.
5. M.Lif\u015fist, L.Leyngord,Krizis Bezobraziya, 1968 s.9
6. Savunuculu\u011funu yapan\u00a0 uluslar aras\u0131 kongreler bile d\u00fczenlenmektedir. \u00d6rne\u011fin 1964\u2019te Amsterdam\u2019da d\u00fczenlenen be\u015finci uluslar aras\u0131 estetik kongresi modernizmi savunan, \u00f6ven bir kongre idi.
7. Al. Lilov, Sanatla ilgili \u00e7a\u011fda\u015f burjuva estetik anlay\u0131\u015flar\u0131n\u0131n ele\u015ftirisi. N.\u0130zkustvo y. 1971
8. Fr.\u015eiler , Bat\u0131 Avrupa Edebiyat\u0131 Tarihi 1939, c.3, s.212
9. T.Motilova, Bug\u00fcnk\u00fc Yabanc\u0131 Roman,Sovyet Yazarlar\u0131 Yay\u0131nlar\u0131 1966, s. 119-120
10. A. Zverev , \u0130deolojik Sava\u015f ve \u00c7a\u011fda\u015f K\u00fclt\u00fcr, derleme Nauka y. 1972 s.194
11. Felsefenin \u0130lkeleri, Partizdat 1972
12. Jivkov, Partizdat 1969
13. Lenin, Edebiyat ve Sanat \u00dcst\u00fcne, G\u0130HL, 1957 s.583<\/p>\n","protected":false},"excerpt":{"rendered":"

” Y\u00fczy\u0131l\u0131 belirleyen ilke de\u011fil, ilkeyi belirleyen y\u00fczy\u0131ld\u0131r.”( Marks)Bu bak\u0131mdan, \u00e7a\u011fda\u015f burjuva sanat\u0131ndaki bunal\u0131m\u0131n ve bunun ki\u015fi ile toplumun geli\u015fmesindeki rol\u00fcn\u00fcn a\u00e7\u0131klanmas\u0131 i\u00e7in \u00e7a\u011fda\u015f ideolojik sava\u015fta \u00f6ncelikle emperyalist d\u00f6neminin ve onu yaratan s\u0131n\u0131f\u0131n ama\u00e7lar\u0131n\u0131n g\u00f6z \u00f6n\u00fcnde bulundurulmas\u0131 gerekir.(1) Tekel \u00f6ncesi kapitalizmin emperyalizme d\u00f6n\u00fc\u015fmesini Lenin ” her y\u00f6nde tepki” olarak niteler.Emperyalizmin t\u00fcm burjuva sistemi ile k\u00fclt\u00fcr\u00fcn\u00fc […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[46],"tags":[],"class_list":["post-4589","post","type-post","status-publish","format-standard","category-estetik"],"yoast_head":"\n\u00c7a\u011fda\u015f burjuva sanat\u0131nda bunal\u0131m ve estetik teorisi | Stanka Simeonova - 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