{"id":5765,"date":"2011-03-07T12:45:15","date_gmt":"2011-03-07T09:45:15","guid":{"rendered":"http:\/\/localhost\/wordpress\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/"},"modified":"2011-03-07T12:45:15","modified_gmt":"2011-03-07T09:45:15","slug":"tragedyanin-dogusu-fnietzsche","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/","title":{"rendered":"Tragedya\u2019n\u0131n Do\u011fu\u015fu | F.Nietzsche"},"content":{"rendered":"

Tragedya\u2019n\u0131n Do\u011fu\u015fu\u2019na (1872) kar\u015f\u0131 insafl\u0131 olabilmek i\u00e7in birka\u00e7 \u015feyi unutmal\u0131. Bu kitap ba\u015far\u0131s\u0131z yan\u0131yla, \u00f6rne\u011fin Wagner\u2019cili\u011fi bir y\u00fckseli\u015f belirtisi say\u0131p ona yarar\u0131 dokunmas\u0131yla yapt\u0131 etkisini, giderek b\u00fcy\u00fcledi. Bir d\u00f6n\u00fcm noktas\u0131 oldu Wagner\u2019in ya\u015fam\u0131nda da: Ancak ondan sonrad\u0131r ki Wagner ad\u0131na b\u00fcy\u00fck umutlar ba\u011flad\u0131lar. Bug\u00fcn bile, hem de bazen tam Parsifal\u2019in ortas\u0131nda, bana y\u00fcklendikleri oluyor: O ak\u0131m\u0131n ekin de\u011feri b\u00f6ylesine y\u00fcksek tutuluyorsa, su\u00e7 benimmi\u015f. \u2013Bu yaz\u0131n\u0131n \u00e7ok kez \u201cMusiki Ruhundan Tragedya\u2019n\u0131n Yeniden Do\u011fu\u015fu\u201d ad\u0131yla an\u0131ld\u0131\u011f\u0131n\u0131 duydum; onda yaln\u0131z Wagner\u2019in sanat\u0131n\u0131, ne yapmak istedi\u011fini, \u00f6devini ilk olarak dile getiri\u015fimi g\u00f6rd\u00fcler, \u2013yaz\u0131n\u0131n as\u0131l de\u011ferli yan\u0131n\u0131 g\u00f6zden ka\u00e7\u0131rd\u0131lar bu arada. \u201cYunanl\u0131l\u0131k ve K\u00f6t\u00fcmserlik\u201d: Daha ba\u015fka anlama \u00e7ekilmeyecek bir ba\u015fl\u0131k olurdu bu: \u00c7\u00fcnk\u00fc asl\u0131nda Yunanl\u0131lar k\u00f6t\u00fcmserli\u011fin nas\u0131l \u00fcstesinden geldiler, onu nas\u0131l yendiler; \u00f6\u011fretilen buydu ilk kez olarak\u2026 Tragedya\u2019n\u0131n ta kendisi, Yunanl\u0131lar\u0131n k\u00f6t\u00fcmser olmad\u0131klar\u0131n\u0131n kan\u0131t\u0131d\u0131r: Schopenhauer her konuda oldu\u011fu gibi bunda da yan\u0131lm\u0131\u015ft\u0131. \u2013az bu\u00e7uk \u00e7ekimserlikle ele al\u0131nd\u0131\u011f\u0131nda Tragedya\u2019n\u0131n Do\u011fu\u015fu iyice \u00e7a\u011fd\u0131\u015f\u0131 g\u00f6r\u00fcn\u00fcr: W\u00f6rth sava\u015f\u0131n\u0131n (Prusya\u2019n\u0131n Fransa\u2019ya kar\u015f\u0131 yengisi \u20136 A\u011fustos 1870\u2013) top sesleri aras\u0131nda yaz\u0131lmaya ba\u015fland\u0131\u011f\u0131, kimsenin akl\u0131n\u0131n k\u0131y\u0131s\u0131ndan ge\u00e7mezdi. Metz surlar\u0131 dibinde, o so\u011fuk eyl\u00fcl geceleri, bir yandan hastabak\u0131c\u0131l\u0131k g\u00f6revimi yaparken, bu sorular\u0131 d\u00fc\u015f\u00fcn\u00fcyordum; kitab\u0131n 50 y\u0131l \u00f6nce yaz\u0131lm\u0131\u015f olmas\u0131 daha bir akla yak\u0131n gelebilir. Siyasayla ilgisi yoktur \u2013bug\u00fcnk\u00fc deyimiyle \u201cAlmanl\u0131k d\u0131\u015f\u0131\u201dd\u0131r\u2013, tiksindirici bir Hegel kokusu yay\u0131l\u0131r ondan; Schopenhauer\u2019in mortocu kokusu ise tek t\u00fck birka\u00e7 deyimine sinmi\u015ftir ancak. Bir \u201cd\u00fc\u015f\u00fcn\u201d \u2013Dionysosca ve Apollonca kar\u015f\u0131tl\u0131\u011f\u0131\u2013 metafizik alan\u0131na aktar\u0131l\u0131yor burada; tarihin kendisi bu \u201cd\u00fc\u015f\u00fcn\u201d\u00fcn geli\u015fmesi olarak say\u0131l\u0131yor; bu kar\u015f\u0131 savlar\u0131n tragedya\u2019da birle\u015fimi: \u015eimdiye dek hi\u00e7 ili\u015fkileri olmayan \u015feylerin bu g\u00f6zle bak\u0131l\u0131nca, birdenbire kar\u015f\u0131 kar\u015f\u0131ya gelmeleri, birbirleriyle ayd\u0131nlanmalar\u0131, kavranmalar\u0131\u2026 \u00d6rne\u011fin opera ve devrim\u2026 Bu kitab\u0131n ba\u015fl\u0131ca iki yenili\u011finden biri, Yunanl\u0131larda Dionysosca olay\u0131n\u0131n anla\u015f\u0131lmas\u0131, psikoloji y\u00f6n\u00fcnden ilk olarak \u00e7\u00f6z\u00fcmlenmesi, b\u00fct\u00fcn Yunan sanat\u0131n\u0131n k\u00f6klerinden biri olarak g\u00f6r\u00fclmesi. \u00d6b\u00fcr\u00fc de Sokratescili\u011fin anla\u015f\u0131lmas\u0131: Sokrates\u2019i Yunan \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fcn arac\u0131, \u00f6rnek d\u00e9cadent olarak g\u00f6r\u00fcp tan\u0131mak ilk kez. \u201cAk\u0131lc\u0131l\u0131k\u201d, i\u00e7g\u00fcd\u00fcye kar\u015f\u0131t. Her\u015fey pahas\u0131na \u201cak\u0131lc\u0131l\u0131k\u201d: Tehlikeli, ya\u015fam\u0131 y\u0131k\u0131c\u0131 bir g\u00fc\u00e7. Kitapta H\u0131ristiyanl\u0131k \u00fcst\u00fcne derin, d\u00fc\u015fmanca bir susku ba\u015ftanba\u015fa; \u00e7\u00fcnk\u00fc o ne Apollonca, ne de Dionysoscad\u0131r; Tragedya\u2019n\u0131n Do\u011fu\u015fu\u2019nda tan\u0131nan biricik de\u011ferlerin, estetik de\u011ferlerin hepsini yads\u0131r: En a\u015f\u0131r\u0131 anlam\u0131yla nihilist\u2019dir. H\u0131ristiyanl\u0131k; oysa Dionysos simgesiyle, olumlaman\u0131n en son s\u0131n\u0131r\u0131na ula\u015f\u0131r\u0131z. Kitab\u0131n bir yerinde papazlara \u201cyeralt\u0131nda ya\u015fayan k\u00f6t\u00fc, d\u00fczenci c\u00fcceler soyu\u201d diye dokunduruluyor\u2026<\/p>\n

II<\/p>\n

E\u015fine az rastlan\u0131r bir ba\u015flang\u0131\u00e7t\u0131r bu. En derin i\u00e7 ya\u015fant\u0131ma kar\u015f\u0131l\u0131k gelen biricik simgeyi bulmu\u015ftum tarihte, \u2013b\u00f6ylelikle Dionysosca denen mucizelik olay\u0131 ilk kavrayan ben olmu\u015ftum. Bunun gibi, Sokrates\u2019i d\u00e9cadent olarak tan\u0131makla da, psikolojik kavray\u0131\u015f\u0131mdaki \u015fa\u015fmazl\u0131\u011f\u0131n herhangi bir ki\u015fisel t\u00f6re kayg\u0131s\u0131ndan yana hi\u00e7 korkusu olmad\u0131\u011f\u0131n\u0131 apa\u00e7\u0131k kan\u0131tlad\u0131m; t\u00f6re\u2019nin kendisini d\u00e9cadence belirtisi diye almak, pek \u00f6nemli, benzersiz bir yenilikti bilgi tarihinde. Bu iki bulu\u015fumla, ku\u015fbeyinlilerin iyimserlik-k\u00f6t\u00fcmserlik kar\u015f\u0131tl\u0131\u011f\u0131 \u00fcst\u00fcne zavall\u0131ca gevezeliklerini nas\u0131l da a\u015f\u0131verdim! \u0130lk olarak ben g\u00f6rd\u00fcm ger\u00e7ek kar\u015f\u0131tl\u0131\u011f\u0131: Bir yanda, ya\u015fama kar\u015f\u0131 alttan alta \u00f6\u00e7 g\u00fcden o yozla\u015fm\u0131\u015f i\u00e7g\u00fcd\u00fc (\u00f6rnekleri H\u0131ristiyanl\u0131k, Schopenhauer felsefesi, bir anlamda daha o zamandan Platon Felsefesi, \u00fclk\u00fcc\u00fcl\u00fc\u011f\u00fcn b\u00fct\u00fcn\u00fc); \u00f6b\u00fcr yanda doluluktan, dolup ta\u015fmaktan do\u011fmu\u015f en y\u00fcksek bir olumlama ilkesi, s\u0131n\u0131rlama bilmeyen bir evet deyi\u015f, ac\u0131n\u0131n kendisine, su\u00e7un kendisine, varl\u0131\u011f\u0131n sorunsal ve yabanc\u0131 nesi varsa hepsine\u2026 Ya\u015fama kar\u015f\u0131 bu en sonuncu, en sevin\u00e7li, en co\u015fkun ve ta\u015fk\u0131n \u201cevet\u201d deyi\u015f yaln\u0131zca en y\u00fckse\u011fi de\u011fildir bilgeliklerin, hem de en derini, do\u011frunun ve bilimin en sa\u011flamca o\u011frulay\u0131p destekleridir. Varolan hi\u00e7bir \u015fey d\u00fc\u015f\u00fcn\u00fclemez toplamdan, hi\u00e7bir \u015feyden ge\u00e7ilemez. H\u0131ristiyanlar\u0131n ve \u00f6b\u00fcr nihilist\u2019lerin varl\u0131kta yads\u0131d\u0131klar\u0131 yanlar, d\u00e9cadence i\u00e7g\u00fcd\u00fcs\u00fcn\u00fcn ba\u011fr\u0131na bast\u0131\u011f\u0131, basabildi\u011fi her\u015feyden \u00f6l\u00e7\u00fclmez derecede daha y\u00fcksek bir yer tutar de\u011ferler s\u0131ras\u0131nda. Y\u00fcrek ister bunu kavramak i\u00e7in; bunun da ko\u015fulu g\u00fc\u00e7 fazlas\u0131d\u0131r. \u00c7\u00fcnk\u00fc y\u00fcreklilik nas\u0131l b\u00fcy\u00fckl\u00fc\u011f\u00fc \u00f6l\u00e7\u00fcs\u00fcnde ileri at\u0131l\u0131rsa, g\u00fc\u00e7 de t\u0131pk\u0131 onun gibi b\u00fcy\u00fckl\u00fc\u011f\u00fc \u00f6l\u00e7\u00fcs\u00fcnde do\u011fruya yakla\u015f\u0131r. Zay\u0131flar i\u00e7in, zay\u0131fl\u0131klar\u0131n\u0131n verdi\u011fi esinle, ger\u00e7ekten korkup ka\u00e7mak, yani \u201c\u00fclk\u00fc\u201d nas\u0131l bir zorunluluksa, g\u00fc\u00e7l\u00fcler i\u00e7in de b\u00f6yledir bilmek, ger\u00e7e\u011fe \u201cevet\u201d demek\u2026 Bilip bilmemek elinde de\u011fildir zay\u0131flar\u0131n: Yalans\u0131z edemez d\u00e9cadent dedi\u011fin, onun ya\u015famda kalma ko\u015fullar\u0131ndan biridir bu. \u2013\u201dDionysosca\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fcn kavramakla kalmay\u0131p, o s\u00f6zc\u00fckte kendini de bulan kimse, art\u0131k Platon\u2019u, H\u0131ristiyanl\u0131\u011f\u0131, Schopenhauer\u2019i \u00e7\u00fcr\u00fctmek istemez, kokusunu al\u0131r ordaki \u00e7\u00fcr\u00fcmenin\u2026<\/p>\n

III<\/p>\n

\u201cTragik\u201d kavram\u0131n\u0131, tragedya\u2019n\u0131n psikolojisi \u00fcst\u00fcne bilinebilecek en son \u015feyleri ne \u00f6l\u00e7\u00fcde buldu\u011fumu Putlar\u0131n Bat\u0131\u015f\u0131\u2019nda bir kez daha dile getirdim. \u201cEn yabanc\u0131, en amans\u0131z sorunlar\u0131yla bile ya\u015fama evet deyi\u015f; en y\u00fcksek \u00f6rneklerini kurban ederken kendi bereketinin mutlulu\u011funa varan o ya\u015fama istemi, \u2013buydu adland\u0131rd\u0131\u011f\u0131m Dionysosca diye, buydu tragik ozan\u0131n psikolojisine varmak i\u00e7in benim buldu\u011fum k\u00f6pr\u00fc. \u00dcrk\u00fcden, ac\u0131madan kurtulmak i\u00e7in de\u011fil, zorlu bir bo\u015falmayla tehlikeli tutkulardan ar\u0131nmak i\u00e7in de\u011fil, \u2013Aristotales bunu yanl\u0131\u015f anlam\u0131\u015ft\u0131 b\u00f6yle,\u2013 tersine, \u00fcrk\u00fc ve ac\u0131man\u0131n \u00f6tesinde, olu\u015fun bengi sevincine varmak, onun ta kendisi olmak i\u00e7in, o sevin\u00e7 ki yoketmenin sevinci de girer i\u00e7ine\u2026\u201d Bu anlamda kendimi ilk tragik feylosof, yani k\u00f6t\u00fcmser feylosofun taban tabana kar\u015f\u0131t\u0131 saymaya hakk\u0131m var. Dionysos olgusunun benden \u00f6nce b\u00f6yle feylosofca bir tutkuyla duyulmas\u0131 g\u00f6r\u00fclmemi\u015ftir: Tragik bilgelik eksiktir; bunun izlerini, hem de Sokrates\u2019ten iki y\u00fczy\u0131l \u00f6nceki o b\u00fcy\u00fck Yunan felsefesinden bile bo\u015funa arad\u0131m. Bir tek Herakleitos \u00fczerinde ku\u015fkum var; zaten onun yak\u0131n\u0131nda kendimi her yerden daha s\u0131cak, daha rahat duymu\u015fumdur hep. Yokulu\u015fun, yokedi\u015fin olumlanmas\u0131 \u2013ki Dionysosca bir felsefenin can al\u0131c\u0131 noktas\u0131d\u0131r\u2013, kar\u015f\u0131tl\u0131klara, sava\u015fa ve \u201cvarl\u0131k\u201d kavram\u0131n\u0131 k\u00f6k\u00fcnden yads\u0131yarak olu\u015fa evet deyi\u015f: \u015eimdiye dek d\u00fc\u015f\u00fcn\u00fclenler i\u00e7inde ban en yak\u0131n olarak bunlar\u0131 buluyorum \u015f\u00fcphesiz. \u201cBengi d\u00f6n\u00fc\u015f\u201d \u00f6\u011fretisi, yani s\u0131n\u0131r tan\u0131madan, sonsuza dek her\u015feyin durmadan yokolup yeniden do\u011fmas\u0131, Zerd\u00fc\u015ft\u2019\u00fcn bu \u00f6\u011fretisi daha o zamandan Herakleitosca da \u00f6\u011fretilmi\u015f olabilirdi. Hi\u00e7 de\u011filse, Herakleitos\u2019un ana d\u00fc\u015f\u00fcncelerinden hemen hepsine konmu\u015f olan Stoa\u2019da bunun izlerine rastlan\u0131r.<\/p>\n

IV<\/p>\n

U\u00e7suz bucaks\u0131z bir umut sesleniyor bu yaz\u0131dan. Asl\u0131nda, musikinin Dionysosca bir gelece\u011finden umudu kesmem i\u00e7in hi\u00e7bir neden yok. Y\u00fczy\u0131l sonras\u0131na bir g\u00f6z atal\u0131m, varsayal\u0131m ki do\u011fan\u0131n, insan\u0131n iki bin y\u0131ldan beri kirletilmesine kar\u015f\u0131 ya\u011f\u0131nmam ba\u015far\u0131yla sonu\u00e7lanm\u0131\u015ft\u0131r. O zaman ya\u015famdan yana olacak yeniler, g\u00f6revlerin en b\u00fcy\u00fc\u011f\u00fcn\u00fc, daha y\u00fcksek bir insanl\u0131k yeti\u015ftirilmesini, bunun bir par\u00e7as\u0131 olarak da, soysuzla\u015fm\u0131\u015f, salakla\u015fm\u0131\u015f her\u015feyin ac\u0131madan yokedilmesi i\u015fini ele alacaklar ve Dionysosca durumun yeniden do\u011faca\u011f\u0131 o ya\u015fam bollu\u011funu yery\u00fcz\u00fcnde olanakl\u0131 k\u0131lacaklard\u0131r. Tragik bir \u00e7a\u011f mu\u015ftuluyorum: \u0130nsanl\u0131k en amans\u0131z, ama en zorunlu sava\u015flar\u0131 bir kez ard\u0131nda b\u0131rak\u0131p, ac\u0131 \u00e7ekmeksizin unuttu\u011fu an, ya\u015fama evet deyi\u015fin en y\u00fcksek sanat\u0131, tragedya yeni ba\u015ftan do\u011facakt\u0131r. Bir psikolog ayr\u0131ca \u015funlar\u0131 da ekleyebilirdi: Gen\u00e7 ya\u015f\u0131mda Wagner musikisinden duyduklar\u0131m\u0131n, asl\u0131nda Wagner\u2019le hi\u00e7 mi hi\u00e7 ilgisi yoktur; Dionysosca musikiyi betimlerken, kendimde duydu\u011fum bir\u015feyi betimliyordum; her\u015feyi o i\u00e7imde ta\u015f\u0131d\u0131\u011f\u0131m yeni solu\u011fun diline \u00e7eviriyor, ba\u015fka bir k\u0131l\u0131\u011fa sokuyordum i\u00e7g\u00fcd\u00fcmle. Bunun kan\u0131t\u0131 ise \u2013bir kan\u0131t ne denli g\u00fc\u00e7l\u00fc olabilirse \u00f6yle g\u00fc\u00e7l\u00fc bir kan\u0131t\u2013 \u201cWagner Bayreuth\u2019da\u201d adl\u0131 yaz\u0131md\u0131r. Psikoloji y\u00f6n\u00fcnden can al\u0131c\u0131 noktalarda hep kendimden s\u00f6z a\u00e7m\u0131\u015f\u0131md\u0131r; Wagner ad\u0131n\u0131n ge\u00e7ti\u011fi her yerde, hi\u00e7 \u00e7ekinmeden benim ad\u0131m\u0131 ya da Zerd\u00fc\u015ft ad\u0131n\u0131 koyabilirsiniz. Dithyrambos sanat\u00e7\u0131n\u0131n betimlemesidir; u\u00e7urum gibi derincesine ve Wagner ger\u00e7e\u011fine bir an bile olsun de\u011finmeksizin \u00e7izilmi\u015ftir. Wagner de sezinlemi\u015fti bunu; o yaz\u0131da kendini tan\u0131yamam\u0131\u015ft\u0131. Bunun gibi, \u201cBayreuth d\u00fc\u015f\u00fcncesi\u201d de, okuyucular\u0131m i\u00e7in hi\u00e7 de bilmece say\u0131lmayacak bir\u015feye d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fc: En se\u00e7kin insanlar\u0131n en b\u00fcy\u00fck \u00f6devlere kendilerini adad\u0131klar\u0131 o b\u00fcy\u00fck \u00f6\u011fle\u2019ye, \u2013belki de g\u00fcn\u00fcn birinde ya\u015fayabilece\u011fim bir \u015fenli\u011fin g\u00f6r\u00fcm\u2019\u00fcne\u2026 \u0130lk sayfalardaki tutku d\u00fcnya tarihine ge\u00e7ecektir: Yedinci sayfada s\u00f6z\u00fc edilen bak\u0131\u015f, ger\u00e7ek Zerd\u00fc\u015ft bak\u0131\u015f\u0131d\u0131r; Wagner, Bayreuth, o Alman k\u00fc\u00e7\u00fckl\u00fc\u011f\u00fc, bayal\u0131\u011f\u0131, hepsi bir buluttur; \u00fczerinde gelece\u011fin sonsuz bir \u0131lg\u0131m\u0131 par\u0131ldamaktad\u0131r. Psikolojik bak\u0131mdan da, kendi yarad\u0131l\u0131\u015f\u0131m\u0131n ana \u00e7izgileri hep bir arada bulunu\u015fu, hi\u00e7 kimsede g\u00f6r\u00fclmemi\u015f bir g\u00fc\u00e7 istemi, d\u00fc\u015f\u00fcnce alan\u0131nda g\u00f6z\u00fcn\u00fc budaktan sak\u0131nmayan, etkinlik istemine hi\u00e7 zarar vermeyen o s\u0131n\u0131rs\u0131z \u00f6\u011frenme g\u00fcc\u00fc. Bu kitapta her\u015fey gelece\u011fi, Yunan ekinin k\u00f6rd\u00fc\u011f\u00fcm\u00fc bir kez \u00e7\u00f6z\u00fcld\u00fckten sonra, onu gene ba\u011flayacak kar\u015f\u0131 \u0130skender\u2019lerin zorunlulu\u011fu\u2026 Tragik duyu\u015f\u201d kavram\u0131na ge\u00e7i\u015fteki o tonu bir dinleyin hele; evrensel, tarihsel bir tondur bu; yaz\u0131 ba\u015ftanba\u015fa dunlarla doludur. Olup olabilecek en al\u0131\u015f\u0131lmam\u0131\u015f \u201cnesnellik\u201dti benimkisi: Kim oldu\u011fumu olanca kesinlikle biliyor, ama bunu herhangi bir rastlant\u0131l\u0131k ger\u00e7e\u011fe yans\u0131t\u0131yordum; beni anlatan do\u011frular\u0131n sesi \u00fcrk\u00fcn\u00e7 bir u\u00e7urumdan geliyordu. Zerd\u00fc\u015ft\u2019\u00fcn deyi\u015f\u2019ini daha o zamandan bilmi\u015f\u00e7esine, bir kez olsun yan\u0131l\u0131p \u015fa\u015fmadan betimliyorum; Zerd\u00fc\u015ft denen olay\u2019a, insanl\u0131\u011f\u0131n o korkun\u00e7 ar\u0131nmas\u0131, kutsanmas\u0131 edimine gelince, hi\u00e7 bir zaman s. 41-44 aras\u0131ndakinden daha ulu bir deyi\u015fle dile getirilemez bu.<\/p>\n

Nietzsche; Ecco Homo\u2019dan<\/p>\n","protected":false},"excerpt":{"rendered":"

Tragedya\u2019n\u0131n Do\u011fu\u015fu\u2019na (1872) kar\u015f\u0131 insafl\u0131 olabilmek i\u00e7in birka\u00e7 \u015feyi unutmal\u0131. Bu kitap ba\u015far\u0131s\u0131z yan\u0131yla, \u00f6rne\u011fin Wagner\u2019cili\u011fi bir y\u00fckseli\u015f belirtisi say\u0131p ona yarar\u0131 dokunmas\u0131yla yapt\u0131 etkisini, giderek b\u00fcy\u00fcledi. Bir d\u00f6n\u00fcm noktas\u0131 oldu Wagner\u2019in ya\u015fam\u0131nda da: Ancak ondan sonrad\u0131r ki Wagner ad\u0131na b\u00fcy\u00fck umutlar ba\u011flad\u0131lar. Bug\u00fcn bile, hem de bazen tam Parsifal\u2019in ortas\u0131nda, bana y\u00fcklendikleri oluyor: O […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[73],"tags":[],"class_list":{"0":"post-5765","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-friedrich-wilhelm-nietzsche"},"yoast_head":"\nTragedya\u2019n\u0131n Do\u011fu\u015fu | F.Nietzsche - 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\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tragedya\u2019n\u0131n Do\u011fu\u015fu | F.Nietzsche\" \/>\n<meta property=\"og:description\" content=\"Tragedya\u2019n\u0131n Do\u011fu\u015fu\u2019na (1872) kar\u015f\u0131 insafl\u0131 olabilmek i\u00e7in birka\u00e7 \u015feyi unutmal\u0131. Bu kitap ba\u015far\u0131s\u0131z yan\u0131yla, \u00f6rne\u011fin Wagner\u2019cili\u011fi bir y\u00fckseli\u015f belirtisi say\u0131p ona yarar\u0131 dokunmas\u0131yla yapt\u0131 etkisini, giderek b\u00fcy\u00fcledi. Bir d\u00f6n\u00fcm noktas\u0131 oldu Wagner\u2019in ya\u015fam\u0131nda da: Ancak ondan sonrad\u0131r ki Wagner ad\u0131na b\u00fcy\u00fck umutlar ba\u011flad\u0131lar. 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Bu kitap ba\u015far\u0131s\u0131z yan\u0131yla, \u00f6rne\u011fin Wagner\u2019cili\u011fi bir y\u00fckseli\u015f belirtisi say\u0131p ona yarar\u0131 dokunmas\u0131yla yapt\u0131 etkisini, giderek b\u00fcy\u00fcledi. Bir d\u00f6n\u00fcm noktas\u0131 oldu Wagner\u2019in ya\u015fam\u0131nda da: Ancak ondan sonrad\u0131r ki Wagner ad\u0131na b\u00fcy\u00fck umutlar ba\u011flad\u0131lar. Bug\u00fcn bile, hem de bazen tam Parsifal\u2019in ortas\u0131nda, bana y\u00fcklendikleri oluyor: O […]","og_url":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/","og_site_name":"narteks.net","article_published_time":"2011-03-07T09:45:15+00:00","og_image":[{"width":300,"height":90,"url":"https:\/\/narteks.net\/wp-content\/uploads\/narteks.png","type":"image\/png"}],"author":"Tar\u0131k","twitter_card":"summary_large_image","twitter_creator":"@narteks","twitter_site":"@narteks","twitter_misc":{"Yazan:":"Tar\u0131k","Tahmini okuma s\u00fcresi":"10 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/#article","isPartOf":{"@id":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/"},"author":{"name":"Tar\u0131k","@id":"https:\/\/narteks.net\/#\/schema\/person\/61f37d9834294b72d31d274e7ed79bca"},"headline":"Tragedya\u2019n\u0131n Do\u011fu\u015fu | F.Nietzsche","datePublished":"2011-03-07T09:45:15+00:00","mainEntityOfPage":{"@id":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/"},"wordCount":1929,"commentCount":0,"publisher":{"@id":"https:\/\/narteks.net\/#organization"},"articleSection":["Friedrich Wilhelm N\u0130ETZSCHE"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/","url":"https:\/\/narteks.net\/index.php\/2011\/03\/07\/tragedyanin-dogusu-fnietzsche\/","name":"Tragedya\u2019n\u0131n Do\u011fu\u015fu | F.Nietzsche - 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