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Don Quijote La Manchal\u0131 Yarat\u0131c\u0131 Asilzade<\/strong><\/span> Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/span> Kitab\u0131n sunu\u015f yaz\u0131s\u0131n\u0131 yazan Prof. Jale Parla’n\u0131n s\u00f6zleriyle: “Birinci k\u0131sm\u0131n\u0131n bas\u0131ld\u0131\u011f\u0131 1605 y\u0131l\u0131ndan beri en \u00e7ok okunan, en \u00e7ok sevilen, en \u00e7ok yorumlanan ve yeniden en \u00e7ok yaz\u0131lan La Mancha’l\u0131 \u015e\u00f6valye Don Quijote ve silahtar\u0131 Sancho Panza’n\u0131n ser\u00fcvenleri”, b\u00fct\u00fcn d\u00fcnyada oldu\u011fu gibi \u00fclkemizde de ilgiyle kar\u015f\u0131lanm\u0131\u015f, ancak dilimize daha \u00e7ok \u0130ngilizce ve Frans\u0131zca gibi ikinci dillerde \u00e7ocuklar i\u00e7in haz\u0131rlanm\u0131\u015f bask\u0131lar\u0131ndan yap\u0131lan \u00e7evirileriyle girmi\u015fti. Yine de, ancak bir iki tane ve ikinci dillerden de olsa, tam metin \u00e7evirileri de yap\u0131ld\u0131.<\/span><\/p>\n \u015eimdi ise, Jale Parla’n\u0131n yerinde saptamalar\u0131yla: “Shakespeare’le birlikte belki de ilk kez modern okuru d\u00fc\u015fleyen” ve sadece “\u015f\u00f6valye romanlar\u0131”n\u0131n de\u011fil, “R\u00f6nesans’ta kullan\u0131lan b\u00fct\u00fcn (yaz\u0131nsal) t\u00fcrlerin otoritesini dy\u0131kan” bu \u00f6nce yazar\u0131n belki postmodern anlat\u0131y\u0131 bile nerdeyse d\u00f6rt y\u00fczy\u0131l \u00f6nceden haber veren bu \u00f6nc\u00fc roman\u0131 ilk kez tam anlam\u0131yla T\u00fcrk\u00e7eye kazand\u0131r\u0131lm\u0131\u015f oluyor.<\/p>\n La Mancha’l\u0131 Yarat\u0131c\u0131 Asilzade Don Quijote, Roza Hakmen’in \u0130spanyolca asl\u0131ndan yapt\u0131\u011f\u0131 tam metin \u00e7eviriyle ve Ahmet G\u00fcntan’\u0131n \u015fiir \u00e7evirileriyle nihayet dilimizde.<\/span><\/p>\n Su\u00e7 ve Ceza<\/strong> Dostoyevski (1821-1881): Gerek 1840’lar\u0131n ortalar\u0131ndan itibaren yay\u0131mlamaya ba\u015flad\u0131\u011f\u0131 Beyaz Geceler ve \u00d6teki gibi uzun \u00f6yk\u00fc-k\u0131sa romanlar\u0131yla, gerekse ilkini elinizde tuttu\u011funuz Su\u00e7 ve Ceza, Budala ve Karamazov Karde\u015fler gibi Sibirya s\u00fcrg\u00fcn\u00fc sonras\u0131 b\u00fcy\u00fck romanlar\u0131yla Dostoyevski, insan\u0131n karanl\u0131k yakas\u0131n\u0131 kendinden sonraki b\u00fct\u00fcn romanc\u0131lar\u0131 derinden etkileyecek bi\u00e7imde dile getirmi\u015f b\u00fcy\u00fck bir 19. y\u00fczy\u0131l ustas\u0131d\u0131r. <\/span><\/p>\n Memleketimden \u0130nsan Manzaralar\u0131 <\/strong> T\u00fcrk \u015fiirinin \u00e7izgisini de\u011fi\u015ftirmi\u015f, \u00e7ok y\u00f6nl\u00fc, evrensel boyutlu bir \u015fair ve yazar\u0131n bu bas\u0131m i\u00e7in yeniden g\u00f6zden ge\u00e7irilmi\u015f, kaynak metinler esas al\u0131narak d\u00fczeltilmi\u015f “k\u00fclliyat\u0131”…<\/p>\n Haydarpa\u015fa gar\u0131nda Can Yay\u0131nlar\u0131 <\/p>\n Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k’\u0131 yazmaya ba\u015flad\u0131\u011f\u0131mda, \u00e7ocuklu\u011fumda beni etkilemi\u015f olan her \u015feyi edebiyat arac\u0131l\u0131\u011f\u0131yla aktarabilece\u011fim bir yol bulmak istiyordum. \u00c7ok kasvetli, kocaman bir evde, toprak yiyen bir k\u0131zkarde\u015f, gelece\u011fi sezen bir b\u00fcy\u00fckanne ve mutlulukla \u00e7\u0131lg\u0131nl\u0131k aras\u0131nda ayr\u0131m g\u00f6zetmeyen, adlar\u0131 bir\u00f6rnek bir y\u0131\u011f\u0131n akraba aras\u0131nda ge\u00e7en \u00e7ocukluk g\u00fcnlerimi sanatsal bir dille ard\u0131mda b\u0131rakmakt\u0131 amac\u0131m. Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k’\u0131 iki y\u0131ldan daha az bir s\u00fcrede yazd\u0131m. Ama yaz\u0131 makinemin ba\u015f\u0131na oturmadan \u00f6nce bu kitap hakk\u0131nda d\u00fc\u015f\u00fcnmek on be\u015f, on alt\u0131 y\u0131l\u0131m\u0131 ald\u0131… B\u00fcy\u00fckannem, en ac\u0131mas\u0131z \u015feyleri, k\u0131l\u0131n\u0131 bile k\u0131p\u0131rdatmadan, sanki yaln\u0131zca g\u00f6rd\u00fc\u011f\u00fc \u015feylermi\u015f gibi anlat\u0131rd\u0131 bana. Anlatt\u0131\u011f\u0131 \u00f6yk\u00fcleri bu kadar de\u011ferli k\u0131lan \u015feyin, onun duygusuz tavr\u0131 ve imgelerindeki zenginlik oldu\u011funu kavrad\u0131m. Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k’\u0131 b\u00fcy\u00fckannemin i\u015fte bu y\u00f6ntemini kullanarak yazd\u0131m… Bu roman\u0131 b\u00fcy\u00fck bir dikkatle ve keyifle okuyan ve hi\u00e7 \u015fa\u015f\u0131rmayan s\u0131radan insanlar tan\u0131d\u0131m. \u015ea\u015f\u0131rmad\u0131lar, \u00e7\u00fcnk\u00fc ben onlara hayatlar\u0131nda yeni olan hi\u00e7bir \u015fey anlatmam\u0131\u015ft\u0131m. Kitaplar\u0131mda ger\u00e7ekli\u011fe dayanmayan tek sat\u0131r bulamazs\u0131n\u0131z. T\u00fcrk edebiyat\u0131n\u0131n en \u00f6nemli eserlerinden biri olan Tutunamayanlar’\u0131 Berna Moran, “hem s\u00f6yledikleri hem de s\u00f6yleyi\u015f bi\u00e7imiyle bir ba\u015fkald\u0131r\u0131” olarak niteler. Moran’a g\u00f6re “O\u011fuz Atay’\u0131n mizah g\u00fcc\u00fc, duyarl\u0131l\u0131\u011f\u0131 ve kulland\u0131\u011f\u0131 teknik incelikler, Tutunamayanlar’\u0131 b\u00fcy\u00fck bir yetene\u011fin \u00fcr\u00fcn\u00fc yapm\u0131\u015f, yap\u0131ttaki bu yetkinlik T\u00fcrk roman\u0131n\u0131 \u00e7a\u011fda\u015f roman anlay\u0131\u015f\u0131yla ayn\u0131 hizaya getirmi\u015f ve ona \u00e7ok \u015fey kazand\u0131rm\u0131\u015ft\u0131r.” K\u00fc\u00e7\u00fck burjuva d\u00fcnyas\u0131n\u0131 zekice alaya alan Atay “sald\u0131r\u0131s\u0131n\u0131, tutunanlar\u0131n anlamayaca\u011f\u0131, red edece\u011fi t\u00fcrden bir romanla yapar.” Tutunamayanlar, 1970 TRT Roman \u00d6d\u00fcl\u00fc’n\u00fc kazanm\u0131\u015ft\u0131.<\/p><\/div>\n \u0130lyada ve Odysseia, Egeli ozan Homeros’un yaratt\u0131\u011f\u0131 iki b\u00fcy\u00fck destand\u0131r. Homeros, s\u00f6zl\u00fc edebiyat gelene\u011fi i\u00e7inde yeti\u015fmi\u015f bir ozand\u0131. Bu destanlar\u0131, \u0130sa’dan \u00f6nce dokuzuncu y\u00fczy\u0131lda yaratt\u0131\u011f\u0131 san\u0131l\u0131yor. Yaz\u0131ya ge\u00e7irili\u015fi daha sonrad\u0131r. ‘Bu \u0130zmirli b\u00fcy\u00fck ozan, \u0130lyada’da, Troya Sava\u015f\u0131n\u0131 anlat\u0131r. Troya, \u00c7anakkale bo\u011faz\u0131n\u0131n beri yakas\u0131nda, bug\u00fcnk\u00fc ad\u0131yla ‘Hisarl\u0131k Tepesi’nde kurulu zengin bir kentti. Yunan yar\u0131madas\u0131ndan gelen Akhalar’\u0131n sald\u0131r\u0131s\u0131na u\u011frar. Bu sava\u015fta, yurtlar\u0131 Anadolu’da bulunan Troyal\u0131lar ile Akhalar kar\u015f\u0131 kar\u015f\u0131ya gelirler. Akhalar Toplulu\u011fu, Yunan yar\u0131madas\u0131ndaki \u00e7e\u015fitli b\u00f6lge krallar\u0131n\u0131n ordular\u0131ndan olu\u015fmu\u015f bir b\u00fcy\u00fck askeri g\u00fc\u00e7t\u00fcr. Her kral, kendi gemileri ve adamlar\u0131yla yola \u00e7\u0131km\u0131\u015ft\u0131r. Bu ordular, Krallar Kral\u0131 Agamemnon’un y\u00f6netiminde, \u00f6rg\u00fctl\u00fc ve birle\u015fiktirler. G\u00fc\u00e7l\u00fcd\u00fcrler. Akhalar, daha soylu, daha y\u00fcrekli, daha ak\u0131ll\u0131 ve daha \u00f6rg\u00fctl\u00fcd\u00fcrler. Sava\u015f\u0131 kazan\u0131rlar. 24 b\u00f6l\u00fcmden ve 16.000’i a\u015fk\u0131n dizeden olu\u015fan \u0130lyada, Troyal\u0131lar’\u0131n yenilgisiyle sona eren bu b\u00fcy\u00fck sava\u015f\u0131n destan\u0131d\u0131r. \u0130lyada destan\u0131, ‘Troya Sava\u015f\u0131’n\u0131n dokuzuncu y\u0131l\u0131nda, 51 g\u00fcnl\u00fck bir s\u00fcreyi kapsar. Yani o b\u00fcy\u00fck sava\u015f\u0131n k\u0131sa bir kesitidir. Yaz\u0131ld\u0131\u011f\u0131 eski Yunanca asl\u0131ndan Azra Erhat’\u0131n A. Kadir’le birlikte, b\u00fcy\u00fck bir sab\u0131r ve ustal\u0131kla yapt\u0131\u011f\u0131 bu \u00f6l\u00fcms\u00fcz \u00e7eviriyi k\u0131van\u00e7la sunuyoruz. Homeros’un yaratt\u0131\u011f\u0131 bu b\u00fcy\u00fck destan\u0131n ikinci b\u00f6l\u00fcm\u00fc say\u0131lan, yine Azra Erhat ile A. Kadir’in birlikte \u00e7evirdikleri Odysseia destan\u0131n\u0131 da Can Yay\u0131nlar\u0131 aras\u0131nda bulabilirsiniz.<\/div>\n Egeli b\u00fcy\u00fck ozan Homerus’un destanlar\u0131ndan \u0130lyada bir olay\u0131n destan\u0131yd\u0131; Odysseia ise bir ki\u015finin destan\u0131d\u0131r. \u0130lyada’dan daha sonra yarat\u0131ld\u0131\u011f\u0131 anla\u015f\u0131lan Odysseia’y\u0131, bir destandan \u00e7ok bir romana, bir filme benzetenler, haks\u0131z say\u0131lmazlar. Bu destan, ger\u00e7ekten de konusuyla roman\u0131, kurgusuyla filmi and\u0131r\u0131r. Anlat\u0131m tekni\u011fi a\u00e7\u0131s\u0131ndan her iki destan aras\u0131nda b\u00fcy\u00fck farklar vard\u0131r. Troya kentinin destan\u0131 olan \u0130lyada’da olaylar d\u00fcz ak\u0131\u015fl\u0131 bir anlat\u0131mla sergilenirken, Odysseia’da, an\u0131lar, \u00f6yk\u00fcler, geriye d\u00f6n\u00fc\u015fler, yer ve zaman atlamalar\u0131yla, olay i\u00e7inde olaylar\u0131n anlat\u0131ld\u0131\u011f\u0131 \u00e7a\u011fda\u015f bir roman kurgusu g\u00f6r\u00fcl\u00fcr. Odysseia ise bir tek ki\u015finin, Kral Odysseus’un \u00f6yk\u00fcs\u00fcd\u00fcr. Troya Sava\u015f\u0131 biteli y\u0131llar olmu\u015f, ama \u0130thaka Kral\u0131 Odysseus, yurduna d\u00f6nmemi\u015ftir. Y\u0131llard\u0131r bir adada tutukludur. Tanr\u0131lar, sonunda, yurduna d\u00f6nmesine izin verirler. Odysseia destan\u0131, Kral Odysseus’un, gemilerini ve adamlar\u0131n\u0131 al\u0131p yola \u00e7\u0131k\u0131\u015f\u0131yla ba\u015flar. \u00dc\u00e7 y\u0131l denizlerde s\u00fcr\u00fcn\u00fcp binbir tehlikeyi savu\u015fturduktan sonra yurduna ve kar\u0131s\u0131na kavu\u015fabilir. Aradan tam yirmi y\u0131l ge\u00e7mi\u015ftir. Odysseia, uygarl\u0131\u011f\u0131m\u0131z\u0131n ilk ve belki de en \u00f6l\u00fcms\u00fcz roman\u0131d\u0131r.<\/p><\/div>\n Hi\u00e7 kimsenin kitab\u0131m\u0131 \u00f6zensizce okumas\u0131n\u0131 istemem do\u011frusu. Bu an\u0131lar\u0131m\u0131 yazarken \u00e7ok \u00fcz\u00fcnt\u00fcl\u00fc anlar ya\u015fad\u0131m. Arkada\u015f\u0131m koyunu ile birlikte beni b\u0131rak\u0131p gideli tam alt\u0131 y\u0131l oldu.<\/p>\n<\/div>\n Y\u00fczlerce y\u0131l boyunca, \u00c7in’den Kuzey Afrika’ya uzanan ve \u00c7in, \u00c7in Hindi, Hindistan, \u0130ran, Irak, T\u00fcrkiye, Suriye ve M\u0131s\u0131r’\u0131 kapsayan bir alanda anlat\u0131lan Binbir Gece Masallar\u0131, ilk kez Antoine Galland taraf\u0131ndan d\u00fczenleyip Frans\u0131zcaya \u00e7evrilerek\/1704-17, 12 cilt) d\u00fcnyaya tan\u0131t\u0131ld\u0131. Bug\u00fcne kadar belliba\u015fl\u0131 b\u00fct\u00fcn dillere \u00e7evrilen bu masallar, Galland’dan \u00e7ok daha \u00f6ncesinden ba\u015flayarak, edebiyattan m\u00fczi\u011fe, sinemadan baleye kadar b\u00fct\u00fcn alanlarda pek \u00e7ok sanat\u00e7\u0131y\u0131 derinli\u011fine etkiledi, defalarca i\u015flendi, yeniden yorumland\u0131, taklit edildi. Alim \u015eerif Onaran (1921-2000), Binbir Gece Masallar\u0131’n\u0131 ilk kez tam metin halinde dilimize kazand\u0131rd\u0131. Orhan Pamuk, g\u00f6zden ge\u00e7irilmi\u015f bu yeni bas\u0131m i\u00e7in bir sunu\u015f yazd\u0131. Size kalan sadece “A\u00e7\u0131l susam a\u00e7\u0131l!” demek..<\/p><\/div>\n D\u00fcnya \u015fiirinin ba\u015fyap\u0131t\u0131 \u0130lahi Komedya, Dante’nin Cehennem’e, \u00c2raf’a ve Cennet’e yapt\u0131\u011f\u0131 d\u00fc\u015fsel bir geziyi destanla\u015ft\u0131r\u0131r. \u0130lahi Komedya, 14233’e ula\u015fan toplam dize say\u0131s\u0131 ile, \u015fiir tarihinin en uzun soluklu \u015fiiridir. Dante’nin 1300 y\u0131l\u0131n\u0131n 7 Nisan Per\u015fembe gecesi ba\u015flayan gezisi bir hafta s\u00fcrer, Dante’ye Cehennem ve \u00c2raf yolculu\u011fu boyunca Latin \u015fair Vergilius rehberlik eder. \u00c2raf’\u0131n tepesinde Vergilius yerini, Cennet’te Dante’ye rehberlik edecek olan Beatrice’ye b\u0131rak\u0131r. Dante, Beatrice’yi ilk kez g\u00f6rd\u00fc\u011f\u00fcnde kendisi dokuz, Beatrice sekiz ya\u015f\u0131ndad\u0131r. Dante, \u00f6mr\u00fc boyunca Beatrice’ye ba\u011fl\u0131 kald\u0131\u011f\u0131 gibi, d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131n da esin kayna\u011f\u0131 olur Beatrice. Mesnevi <\/strong> Mevlan\u00e2’ n\u0131n 800. do\u011fum y\u0131l\u0131 nedeniyle g\u00fcn\u00fcm\u00fczde bir \u00e7ok mesnevi bas\u0131ld\u0131. Ancak otoriteler taraf\u0131ndan ”en iyisi” olarak kabul edilenini Do\u011fan Kitap bast\u0131. Hasan Ali Y\u00fccel’ in Mevl\u00e2na ‘n\u0131n torunu Veled \u00c7elebi ‘ ye haz\u0131rlatt\u0131\u011f\u0131 bu mesnevi alan\u0131n\u0131n en b\u00fcy\u00fck otoritesi Abd\u00fclbaki G\u00f6lp\u0131narl\u0131 ‘ n\u0131n elinden ge\u00e7tikten sonra okurla bulu\u015ftu. <\/p>\n Dava<\/strong> Ya\u015fam\u0131 ve eserleri simgesel bir nitelik ta\u015f\u0131yan Kafka; varolu\u015fu daha ba\u015f\u0131ndan kaybedilmi\u015f bir sava\u015f\u0131m olarak ele al\u0131rken; kimi tarih\u00e7iler taraf\u0131ndan d\u0131\u015favurumculu\u011fun temsilcileri aras\u0131nda say\u0131lm\u0131\u015ft\u0131r. Kafka’n\u0131n toplumsal bak\u0131\u015f\u0131 onlara yakla\u015f\u0131rsa da, alayc\u0131 karamsarl\u0131\u011f\u0131; d\u0131\u015favurumcular\u0131n yergisinden \u00e7ok daha kat\u0131d\u0131r. D\u00f6n\u00fc\u015f\u00fcm<\/strong> Franz Kafka’n\u0131n 1915 y\u0131l\u0131nda yay\u0131nlanan D\u00f6n\u00fc\u015f\u00fcm adl\u0131 roman\u0131, yazar\u0131n, anlat\u0131m sanat\u0131n\u0131n doru\u011funa ula\u015ft\u0131\u011f\u0131 bir yap\u0131t\u0131d\u0131r. K\u00fc\u00e7\u00fck burjuva \u00e7evrelerindeki tiksindirici aile ili\u015fkilerini en ince ayr\u0131nt\u0131lar\u0131na kadar irdeleyen bu roman, ayn\u0131 zamanda toplumun kal\u0131pla\u015fm\u0131\u015f, i\u015flevini \u00e7oktan yitirmi\u015f ak\u0131\u015f\u0131na bilin\u00e7 d\u00fczeyinde ba\u015fkald\u0131ran bireyin tragedyas\u0131n\u0131 \u00e7arp\u0131c\u0131 bi\u00e7imde dile getirir. Roman\u0131n kahraman\u0131 Gregor Samsa’n\u0131n ba\u015fkala\u015fmas\u0131, bir b\u00f6ce\u011fe d\u00f6n\u00fc\u015fmesi, salt bir \u00e7ark\u0131n kaskat\u0131 di\u015flisi, ele\u015ftirmeyen, ama yaln\u0131zca boyun e\u011fen bir toplum bireyi olmaktan \u00e7\u0131kma anlam\u0131n\u0131 ta\u015f\u0131r; b\u00f6ylece b\u00f6cekle\u015fen’in yazg\u0131s\u0131, elbet toplumca d\u0131\u015flanmakt\u0131r. Hamlet<\/strong> Hamlet Shakespeare’in yaln\u0131z kendi \u00fclkesinde de\u011fil, ba\u015fka \u00fclkelerde de yaz\u0131ld\u0131\u011f\u0131 1601 y\u0131l\u0131ndan bu yana en \u00e7ok oynanan, en \u00e7ok ba\u015fka dile \u00e7evrilen ve en \u00e7ok tart\u0131\u015f\u0131lan oyunudur. Bunun nedeni de yaln\u0131zca olay \u00f6rg\u00fcs\u00fc, karakter, oyun dili ve benzeri dramatik \u00f6\u011feleri \u015fa\u015f\u0131rt\u0131c\u0131 bir ustal\u0131kla bir araya getirmesi de\u011fil, insan denen varl\u0131\u011f\u0131 olanca ruhsal karma\u015f\u0131kl\u0131\u011f\u0131 ile ya\u015fam sahnesinde e\u015fsiz bir oyuncu gibi canland\u0131rabilmesidir. Hamlet \u00f6ylesine meslekten bir oyuncu gibi kar\u015f\u0131m\u0131za \u00e7\u0131kar ki, g\u00f6rd\u00fc\u011f\u00fcm\u00fcz ger\u00e7ek bir insan m\u0131 yoksa rol yapan bir sanat\u00e7\u0131 m\u0131 anlayamay\u0131z. Ele\u015ftirmenlerin ortak kan\u0131s\u0131 onun kendi oyununun hem yazar\u0131, hem y\u00f6netmeni, hem de kahraman\u0131 oldu\u011fudur. Ama bu oyun ayn\u0131 zamanda insanl\u0131\u011f\u0131n bir\u00e7ok \u00f6zelli\u011fini ve bir\u00e7ok ba\u015fka insan\u0131n duygu ve d\u00fc\u015f\u00fcncelerini de yans\u0131tan bir aynad\u0131r.<\/p>\n Can Y\u00fccel bu yeni \u00e7evirisiyle Hamlet’in anlat\u0131m zenginli\u011fini T\u00fcrk\u00e7e’de yeniden yaratmaktad\u0131r. <\/p>\n Ses ve \u00d6fke<\/strong> Y\u00fczy\u0131l\u0131n klasikleri aras\u0131na girmi\u015f bir roman Ses ve \u00d6fke.<\/p>\n Faulkner’\u0131n, kendine \u00f6z\u00fc yo\u011fun dili ve kurgusuyla, ya\u015fananlar\u0131, d\u00fc\u015f\u00fcn\u00fclenleri, yay\u0131lan ya da s\u0131k\u0131\u015fan duygular\u0131 t\u00fcm bir atmosfer i\u00e7inde vermekteki ustal\u0131\u011f\u0131n\u0131 doyas\u0131ya g\u00f6steren bir roman.<\/p>\n Ses ve \u00d6fke’de, ABD’nin g\u00fcneyinde ya\u015fayan Compson ailesinin da\u011f\u0131l\u0131\u015f\u0131, farkl\u0131 bilin\u00e7lerle izleniyor. Zihinsel engelli o\u011flu Benjy’nin, su\u00e7luluk ve onur duygular\u0131yla azap \u00e7eken a\u011fabeyi Quentin’in, sert, mant\u0131kl\u0131 ve kurnaz di\u011fer erkek karde\u015f Jason’\u0131n anlat\u0131mlar\u0131yla ailede ya\u015fananlar yava\u015f yava\u015f a\u00e7\u0131\u011fa \u00e7\u0131k\u0131yor. K\u0131z karde\u015f Candace’ten Jason’\u0131n vasili\u011fini ald\u0131\u011f\u0131 ye\u011feni Quentin’e, zenci hizmet\u00e7i Dilsey’den torunu Luster’a pek \u00e7ok karakterin sahicili\u011fi ve olaylar\u0131n evrensel trajedisi, Faulkner’\u0131n diliyle bir cam k\u0131r\u0131\u011f\u0131 kadar keskin, bir \u00f6fke \u00e2n\u0131 kadar y\u00fcksek sesli.<\/p>\n Gargantua<\/strong> E\u015fsiz bir mizah \u015faheseri olan Gargantua, roman sanat\u0131n\u0131n do\u011fu\u015funu m\u00fcjdeleyen \u00e7a\u011f\u0131n, en \u00f6nemli kitaplar\u0131ndan biridir. Rabelais’in bu inan\u0131lmaz zenginlikteki yap\u0131t\u0131nda her \u015fey biraradad\u0131r: Ger\u00e7e\u011fe benzerlik, ger\u00e7e\u011fe benzemezlik, istiare, yergi, devler ve normal insanlar, k\u00fc\u00e7\u00fck \u00f6yk\u00fcler, i\u00e7ed\u00f6n\u00fc\u015fler, ger\u00e7ek ve d\u00fc\u015fsel yolculuklar, bilgince tart\u0131\u015fmalar… Rabelais daha kitab\u0131n ilk sayfalar\u0131nda kahraman\u0131 Gargantua’y\u0131 d\u00fcnya sahnesine anas\u0131n\u0131n kula\u011f\u0131ndan indirerek, okurla kendisi aras\u0131nda bir s\u00f6zle\u015fme yapar: Ola\u011fan\u00fcst\u00fc olaylar s\u00f6z konusu olsa da, burada anlat\u0131lanlar ciddi \u015feyler de\u011fildir, der. ‘Ciddi olmayan’ ile ‘ola\u011fan\u00fcst\u00fc’n\u00fcn uzla\u015ft\u0131\u011f\u0131 bir roman, (bir efsane, bir g\u00fcld\u00fcr\u00fc ya da destan) diyebiliriz Gargantua i\u00e7in. Rabelais’in s\u00f6zleriyle: ‘Bu kitab\u0131 okuyan okur dostlar, at\u0131n i\u00e7inizden her t\u00fcrl\u00fc ku\u015fkuyu. Okurken de irkilmeyin sak\u0131n. Ne k\u00f6t\u00fcl\u00fck var i\u00e7inde ne muzurluk Do\u011frusu g\u00fcld\u00fcrmekten ba\u015fka da bir h\u00fcner bulamayacaks\u0131n\u0131z pek. Ba\u015fka yola gidemiyor g\u00f6nl\u00fcm. Sizleri dertler i\u00e7inde g\u00f6r\u00fcrken g\u00fclen kitap ye\u011fdir a\u011flayan kitaptan. G\u00fclmektir \u00e7\u00fcnk\u00fc insan\u0131 insan eden’ <\/p>\n Yevgeni Onegin<\/strong> Yevgeni Onegin Pu\u015fkin’in epik \u015fiirler dizisi i\u00e7inde olgunlu\u011fuyla doruk olu\u015fturan yap\u0131t\u0131d\u0131r. Yaz\u0131lmas\u0131 8 y\u0131l s\u00fcrd\u00fc. Bu \u015fiir-roman, erken 19. yy Rusya’s\u0131n\u0131n toplumsal ve entelekt\u00fcel ya\u015fam\u0131 \u00fczerine ger\u00e7ek\u00e7i bir a\u00e7\u0131l\u0131md\u0131r.<\/p>\n Belinski’nin deyi\u015fiyle, Pu\u015fkin Yevgeni Onegin’de Rus ya\u015fam\u0131n\u0131n bir ansiklopedisini yaratm\u0131\u015ft\u0131r. Ancak, bu \u015fiir-roman sadece bir devrin aynas\u0131 de\u011fil, yap\u0131t\u0131n \u015fairi olarak Pu\u015fkin’in tininin de aynas\u0131d\u0131r. \u015eairin t\u00fcm ya\u015fam\u0131, t\u00fcm sevgisi, duygular\u0131, g\u00f6r\u00fc\u015fleri, \u00fclk\u00fcleri bu yap\u0131ttad\u0131r. <\/p>\n K\u00f6t\u00fcl\u00fck \u00c7i\u00e7ekleri<\/strong> Varl\u0131k Budalalik, pintilik, g\u00fcnahlar ve yan\u0131lg\u0131 Kaplar zihnimizi, i\u015fler g\u00f6vdelerimizi, Ve, bitlerini besleyen dilenciler gibi Besleriz biz de sevimli azaplar\u0131m\u0131z\u0131. G\u00fcnahlar\u0131m\u0131z hoyrat, pi\u015fmanl\u0131klar yumu\u015fak; Su\u00e7lar\u0131m\u0131z\u0131 c\u00f6mert\u00e7e bol bol sergileriz, \u00c7amurlu bir yola g\u00fcle oynaya gireriz, G\u00f6zya\u015flar\u0131 kirlerimizi y\u0131kar sanarak. \u015eeytan k\u00f6t\u00fcl\u00fcklerin yast\u0131\u011f\u0131na yakla\u015f\u0131r, Sallar b\u00fcy\u00fclenmi\u015f zihnimizi uzun uzun, Ve zengin, verimli madeni irademizin Bu bilge kimyac\u0131n\u0131n eliyle buharla\u015f\u0131r. \u0130blisin elinde bizi oynatan iplerimizi! \u00c7ekici bir yan buluruz i\u011fren\u00e7 nesnelerde; Korkusuzca, pis kokan karanl\u0131klar i\u00e7inde, Her g\u00fcn bir ad\u0131m daha Cehenneme ineriz. Kurban g\u00f6\u011f\u00fcslerini eski fahi\u015felerin \u00d6p\u00fcp yiyen zavall\u0131 sefihler vard\u0131r hani. \u00d6yle oburca arzular\u0131z gizli zevkleri C\u0131v\u0131k, eski bir portakal gibi s\u0131kmak i\u00e7in. (Kitab\u0131n Giri\u015finden)<\/p>\n Gulliver’in Gezileri <\/strong> Jonathan Swift (1667 – 1745): “Kitaplar\u0131n Sava\u015f\u0131”ndan “Al\u00e7akg\u00f6n\u00fcll\u00fc Bir \u00d6neri”ye t\u00fcm \u00e7a\u011flar\u0131n en \u00f6nemli yergi ustalar\u0131ndan biri ve tek roman\u0131 Gulliver’in Gezileri’yle (1726) \u00f6l\u00fcms\u00fczle\u015fmi\u015f bir 17. y\u00fczy\u0131l sonu – 18.y\u00fczy\u0131l ba\u015f\u0131 yazar\u0131d\u0131r. Moby Dick \/ Beyaz Balina<\/strong> “Pequod adl\u0131 bir balina gemisinin son yolculu\u011funu, balinalar\u0131n nas\u0131l avland\u0131klar\u0131n\u0131, geminin sonunda nas\u0131l batt\u0131\u011f\u0131n\u0131 anlatan Moby Dick, ilk bak\u0131\u015fta denizlerde ge\u00e7en bir ser\u00fcven roman\u0131 say\u0131labilir. Ne var ki insan Moby Dick’i okuduk\u00e7a, okuduklar\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fck\u00e7e, kitab\u0131n derinli\u011fini, ger\u00e7ek anlam\u0131n\u0131 sezmeye ba\u015flar. Bu derinli\u011fi, bu ger\u00e7ek anlam\u0131 sezmeyenler ise, balina av\u0131yla ilgili, heyecanl\u0131 bir \u00f6yk\u00fc olarak, gene de Moby Dick’in pek\u00e2l\u00e2 keyfini \u00e7\u0131karabilirler.” Leyla ve Mecnun <\/strong> Asl\u0131nda bir Arap \u00e7\u00f6l efsanesi olan Leyl\u00e2-Mecnun Hik\u00e2yesi, Arap edebiyat\u0131nda bedev\u00ee geleneklerine uygun bir geli\u015fme \u00e7izgisi takip eder. Bu ac\u0131l\u0131 a\u015fk ve \u0131st\u0131rap ser\u00fcveni, Arap edebiyat\u0131ndan daha ziyade \u0130ran ve T\u00fcrk edebiyatlar\u0131nda akis bulmu\u015f ve nihayet en g\u00fczel ve muhte\u015fem meyvesini b\u00fcy\u00fck \u015fairimiz Fuzul\u00ee’nin kaleminden vermi\u015ftir. \u0130ran edebiyat\u0131nda ‘Leyl\u00e2-Mecnun’ konusunu i\u015fleyen \u015fairlerin en \u00f6nemlileri Genceli Nizam\u00ee (\u00f6lm. 1204), Emir H\u00fcsrev-i Dehlev\u00ee (\u00f6lm.1325), Abdurrrahman-\u0131 Cam\u00ee (1414-1493) ve Atif\u00ee’der (\u00f6lm. 1521). Bu \u015fairler, Leyl\u00e2 ve Mecnun yazan T\u00fcrk \u015fairlerinin de ilham ald\u0131klar\u0131 \u00fcstatlard\u0131r. (\u00d6ns\u00f6z) <\/p>\n K\u0131rm\u0131z\u0131 ve Siyah<\/strong> Stendhal hakk\u0131nda yerle\u015fmi\u015f kan\u0131lar, ancak, son d\u00fcnya sava\u015f\u0131n\u0131n ertesinde de\u011fi\u015fmeye ba\u015flad\u0131. Daha dikkatli bir okuma ve d\u00fc\u015f\u00fcnme \u00e7abas\u0131, K\u0131rm\u0131z\u0131 ve Siyah’ta \u00e7izilen toplumun hi\u00e7 de uydurma olmad\u0131\u011f\u0131n\u0131n fark\u0131na var\u0131lmas\u0131n\u0131 sa\u011flad\u0131. Daha \u00f6nemlisi, yazar\u0131n izledi\u011fi \u00e7izginin, Julien Sorel-toplum \u00e7izgisi de\u011fil, toplum-Julien Sorel \u00e7izgisi oldu\u011fu anla\u015f\u0131ld\u0131. Daha a\u00e7\u0131k bir deyi\u015fle, isyan eden halk \u00e7ocu\u011fu, yaln\u0131zca zaman\u0131n\u0131n toplumundan \u00e7\u0131kmam\u0131\u015ft\u0131, ayr\u0131ca onun ka\u00e7\u0131n\u0131lmaz bir \u00fcr\u00fcn\u00fcyd\u00fc; Restorasyon d\u00f6neminin kapal\u0131, gerici toplumu, olsa olsa Julien Sorel’in dram\u0131na benzeyen sahne olabilirdi. B\u00f6ylece, yazar\u0131n, romandaki olgularla, \u00e7a\u011fda\u015f tarihi kayna\u015ft\u0131rmakta g\u00f6sterdi\u011fi ustal\u0131k, en sonunda, g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131kar\u0131labildi. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":" \u00a0 Don Quijote La Manchal\u0131 Yarat\u0131c\u0131 AsilzadeMiguel de Cervantes Saavedra Yap\u0131 Kredi Yay\u0131nlar\u0131 Kitab\u0131n sunu\u015f yaz\u0131s\u0131n\u0131 yazan Prof. Jale Parla’n\u0131n s\u00f6zleriyle: “Birinci k\u0131sm\u0131n\u0131n bas\u0131ld\u0131\u011f\u0131 1605 y\u0131l\u0131ndan beri en \u00e7ok okunan, en \u00e7ok sevilen, en \u00e7ok yorumlanan ve yeniden en \u00e7ok yaz\u0131lan La Mancha’l\u0131 \u015e\u00f6valye Don Quijote ve silahtar\u0131 Sancho Panza’n\u0131n ser\u00fcvenleri”, b\u00fct\u00fcn d\u00fcnyada oldu\u011fu gibi […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"class_list":{"0":"post-698","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kitap-tanitim"},"yoast_head":"\n
Miguel de Cervantes Saavedra<\/span><\/p>\n
<\/span><\/strong><\/span><\/p>\n
\n
Fyodor Mihaylovi\u00e7 Dostoyevski
<\/span><\/p>\n![](\"http:\/\/kapak.netkitap.com\/170zk\/0\/06112311.jpg\")
T\u00fcrkiye \u0130\u015f Bankas\u0131 Yay\u0131nlar\u0131 <\/p>\n
\n
Naz\u0131m Hikmet Ran![](\"http:\/\/www.netkitap.com\/kapak_uyenin\/kucu\/rm_95_s_23120924.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
1941 bahar\u0131nda
saat on be\u015f.
Merdivenlerin \u00fcst\u00fcnde g\u00fcne\u015f
yorgunluk ve tel\u00e2\u015f
Bir adam
merdivenlerde duruyor
bir \u015feyler d\u00fc\u015f\u00fcnerek.
Zay\u0131f.
Korkak.
Burnu sivri ve uzun
yanaklar\u0131n\u0131n \u00fcst\u00fc \u00e7opur.
Merdivenlerdeki adam
-Galip Usta-
……………….<\/p>\n
\n
\nY\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/strong>
Gabriel Garcia Marquez![](\"http:\/\/kapak.netkitap.com\/075bk\/Y\/yuzyillik_yalnizlik_37388.jpg\")
<\/p>\n
GABRIEL GARCIA MARQUEZ <\/span><\/p>\n<\/div>\n
\nTutunamayanlar<\/strong>
O\u011fuz Atay![](\"http:\/\/www.netkitap.com\/kapak_uyenin\/ozgun\/rm_33_514048.jpg\")
\u0130leti\u015fim Yay\u0131nlar\u0131 <\/p>\n
\n\u0130lyada<\/span><\/strong>
Homeros![](\"http:\/\/kapak.netkitap.com\/075bk\/I\/ilyada_15481.jpg\")
Can Yay\u0131nlar\u0131 <\/p>\n
\nOdysseia<\/span><\/strong>
Homeros![](\"http:\/\/kapak.netkitap.com\/075bk\/O\/odysseia_15245.jpg\")
Can Yay\u0131nlar\u0131 <\/p>\n
\nK\u00fc\u00e7\u00fck Prens<\/strong>
Antoine De Saint Exupery![](\"http:\/\/kapak.netkitap.com\/170zk\/9\/05090158.jpg\")
Mavibulut Yay\u0131nlar\u0131<\/p>\n
\nBinbir Gece Masallar\u0131<\/strong><\/p>\n![](\"http:\/\/kapak.netkitap.com\/170zk\/9\/90272.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
Binbir Gece Masallar\u0131, sadece insanlar\u0131n d\u00fc\u015fg\u00fcc\u00fcn\u00fc ate\u015flemekle kalmad\u0131; bilinen en eski \u00f6rne\u011fini olu\u015fturdu\u011fu “\u00e7er\u00e7eve \u00f6yk\u00fc” tekni\u011fiyle de hem ge\u00e7mi\u015fte hem de g\u00fcn\u00fcm\u00fczde, d\u00fcnya edebiyat\u0131n\u0131 en \u00e7ok etkileyen kitaplar\u0131n ba\u015f\u0131ndaki yerini korudu.<\/p>\n
\n\u0130lahi Komedya<\/strong>
Cehennem \u00c2raf Cennet
Dante Alighieri![](\"http:\/\/kapak.netkitap.com\/075bk\/I\/ilahi_komedya_23050.jpg\")
O\u011flak Yay\u0131nlar\u0131 <\/p>\n
Vergilius’un Aeneis destan\u0131n\u0131 \u00f6rnek alan ve s\u0131rad\u0131\u015f\u0131 bir a\u015fka, mitoloji, tarih ve kutsal metinlerle de desteklenen ger\u00e7ek\u00fcst\u00fcc\u00fc bir ortamda yak\u0131lan bir a\u011f\u0131t olarak da de\u011ferlendirilebilecek olan \u0130lahi Komedya’n\u0131n, tarih ve felsefeden dinbilime, g\u00f6kbilimden geometriye uzanan bir ansiklopedi niteli\u011fi ta\u015f\u0131mas\u0131 da bir ba\u015fka \u00f6zelli\u011fidir.
O\u011flak Yay\u0131nlar\u0131, eksiksiz ve ilk kez \u015fiir olarak T\u00fcrk\u00e7ele\u015ftirilen \u0130lahi Komedya’y\u0131 gururla sunar. <\/p>\n
\n
Mevlana Celaleddin-i Rumi![](\"http:\/\/kapak.netkitap.com\/075bk\/M\/mesnevi_6_cilt_takim_2007_9_16.jpg\")
Do\u011fan Kitap\u00e7\u0131l\u0131k<\/p>\n
\n
Franz Kafka![](\"http:\/\/kapak.netkitap.com\/170zk\/1\/05111418.jpg\")
Sosyal Yay\u0131nlar <\/p>\n
Kafka’n\u0131n babas\u0131yla ili\u015fkisi t\u00fcm ili\u015fkilerine ve eserlerine bir temel olu\u015fturur. \u0130nsan\u0131n, \u00e7arklar\u0131n nas\u0131l i\u015fledi\u011fi anla\u015f\u0131lmayan ve amac\u0131n\u0131n benimsenmedi\u011fi bu toplumsal ve siyasal d\u00fczenek i\u00e7erisinde; pe\u015fin bir su\u00e7luluk duygusu ta\u015f\u0131mas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131r. Dillerin anla\u015f\u0131lmaz oldu\u011fu, davran\u0131\u015flar\u0131n ise belli kal\u0131plara s\u0131k\u0131\u015f\u0131p kald\u0131\u011f\u0131 insan ili\u015fkilerinde, tamamen ayn\u0131 olan hareketler ve ayn\u0131 kelimeler tekrarlan\u0131rken, Kafka daha o zamanlar, kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n olu\u015fturdu\u011fu evrende hakim olacak ileti\u015fimsizli\u011fi sezmi\u015ftir. <\/p>\n
\n
Franz Kafka![](\"http:\/\/kapak.netkitap.com\/170zk\/7\/05072928.jpg\")
Can Yay\u0131nlar\u0131 <\/p>\n
Kafka’n\u0131n en kal\u0131c\u0131 yap\u0131tlar\u0131 aras\u0131nda yer alan ve Nobel \u00d6d\u00fcl\u00fc sahibi Elias Canetti’nin ‘En y\u00fcksek d\u00fczeydeki anlat\u0131m sanat\u0131n\u0131n tipik \u00f6rne\u011fi’ diye niteledi\u011fi D\u00f6n\u00fc\u015f\u00fcm’\u00fc Ahmet Cemal’in \u00e7evirisiyle sunuyoruz.<\/p>\n
\n
William Shakespeare![](\"http:\/\/kapak.netkitap.com\/075bk\/H\/hamlet_18347.jpg\")
Adam Yay\u0131nc\u0131l\u0131k <\/p>\n
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William Faulkner![](\"http:\/\/kapak.netkitap.com\/170zk\/2\/06022828.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
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Fran\u00e7ois Rabelais![](\"http:\/\/kapak.netkitap.com\/170zk\/4\/06041216.jpg\")
T\u00fcrkiye \u0130\u015f Bankas\u0131 Yay\u0131nlar\u0131 <\/p>\n
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Aleksander Sergeyevi\u00e7 Pu\u015fkin![](\"http:\/\/kapak.netkitap.com\/075bk\/Y\/yevgeni_onegin_45343.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
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Charles Baudelaire![](\"http:\/\/kapak.netkitap.com\/075bk\/K\/kotuluk_cicekleri_12940.jpg\")
Varl\u0131k Yay\u0131nlar\u0131 <\/p>\n
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Jonathan Swift![](\"http:\/\/kapak.netkitap.com\/170zk\/G\/gulliverin_gezileri_ciltli_2007_1_26.jpg\")
T\u00fcrkiye \u0130\u015f Bankas\u0131 Yay\u0131nlar\u0131 <\/p>\n
Gulliver’in ilk iki b\u00f6l\u00fcm\u00fcnde, “C\u00fcceler” ve “Devler” \u00fclkelerine gezilerindeki hayalg\u00fcc\u00fcyle hemen her ya\u015ftan okura ula\u015fan Swift, insanl\u0131\u011fa ili\u015fkin g\u00f6zlemleriniyse, kitab\u0131n\u0131n d\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcm\u00fc olan “Tekboynuzlar \u00dclkesine Yolculuk”ta alabildi\u011fine keskinle\u015ftirilmi\u015ftir.<\/p>\n
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Herman Melville![](\"http:\/\/kapak.netkitap.com\/075bk\/M\/moby_dick_beyaz_balina_41366.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
M\u00eena Urgan b\u00f6yle tan\u0131ml\u0131yor Beyaz Balina’n\u0131n roman\u0131n\u0131.
“Zaman zaman \u00e7\u0131kard\u0131\u011f\u0131 o garip seslere burnundan konu\u015fma dersiniz, balinay\u0131 horlam\u015f olursunuz. Hem balinan\u0131n s\u00f6yleyecek nesi olabilir? Ben, derinli\u011fi olan hi\u00e7bir varl\u0131k g\u00f6rmedim ki, bu d\u00fcnyaya s\u00f6yleyecek s\u00f6z kekelemek zorunda kal\u0131r, olsa olsa. Ne mutlu ona ki, d\u00fcnya duyuverir sesini.”
Melville’nin sesini ge\u00e7 de olsa duymu\u015ftur d\u00fcnya: D\u00fczyaz\u0131 bi\u00e7iminde yazd\u0131\u011f\u0131 bu \u015fiirde, ironi, mitoloji ve ger\u00e7ek\u00e7ili\u011fin i\u00e7 i\u00e7e ge\u00e7ti\u011fi bu roman\u0131nda, denizi, gemicileri, balinalar\u0131 ve tabii bu arada tutkular\u0131n tutsa\u011f\u0131 olan insan ruhunu anlat\u0131yor.<\/p>\n
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Fuzuli![](\"http:\/\/static.ideefixe.com\/images\/79\/79733_2.jpg\")
Yap\u0131 Kredi Yay\u0131nlar\u0131 <\/p>\n
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Henri Beyle Stendhal![](\"http:\/\/kapak.netkitap.com\/075bk\/K\/kirmizi_ve_siyah_2481.jpg\")
Engin Yay\u0131nc\u0131l\u0131k<\/p>\n