{"id":7168,"date":"2018-09-23T11:49:53","date_gmt":"2018-09-23T08:49:53","guid":{"rendered":"http:\/\/localhost\/wordpress\/2018\/09\/23\/sanat-sen-midir-theodor-w-adorno\/"},"modified":"2025-04-28T14:33:08","modified_gmt":"2025-04-28T11:33:08","slug":"sanat-sen-midir-theodor-w-adorno","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2018\/09\/23\/sanat-sen-midir-theodor-w-adorno\/","title":{"rendered":"Sanat \u015een midir? | Theodor W. Adorno"},"content":{"rendered":"

\"\"Schiller’in Wallenstein<\/em> adl\u0131 oyununun giri\u015f b\u00f6l\u00fcm\u00fc “Ya\u015fam ciddidir, sanat ise \u015fen\u201d (Ernst \u0130st das Leben, heiter ist die Kunst)<\/em> dizesiyle sona erer. Ovidius’un Tristia<\/em>‘s\u0131ndaki bir dize \u00f6rnek al\u0131nm\u0131\u015ft\u0131r burada: “Vita verecunda est, Musa jocosa mihi”<\/em> (II, 354), yani “Ya\u015fam\u0131m g\u00f6steri\u015fsiz ve a\u011f\u0131rba\u015fl\u0131, esinim ise ne\u015feli.” Antik \u00e7a\u011f\u0131n bu etkileyici ve usta \u015fairine belli bir niyet atfedebiliriz san\u0131yorum. Augustinus’un kurdu\u011fu d\u00fczen taraf\u0131ndan ho\u015fg\u00f6r\u00fclemeyecek kadar \u015fen bir ya\u015fam s\u00fcren Ovidius, h\u00e2milerine g\u00f6z k\u0131rparak bir yandan kendi ne\u015fesini Ars amandi’nin<\/em> (a\u015fk sanat\u0131) edebi ne\u015fesine havale etmeye, \u00f6te yandan da ki\u015fisel olarak kendisinin ya\u015fam\u0131n ciddi i\u015fleriyle u\u011fra\u015ft\u0131\u011f\u0131n\u0131 pi\u015fmanca g\u00f6stermeye \u00e7al\u0131\u015f\u0131yordu. Bir ba\u011f\u0131\u015flanma meselesiydi bu onun i\u00e7in. Alman idealizminin saray \u015fairi Schiller ise bu Latin kurnazl\u0131\u011f\u0131yla hi\u00e7 ilgilenmiyordu. Onun dizesindeki vecize, herhangi bir ama\u00e7 g\u00fctmeksizin haddimizi bildirmektedir bize. B\u00f6ylece t\u00fcm\u00fcyle ideolojikle\u015fir ve uygun bir f\u0131rsat \u00e7\u0131kt\u0131\u011f\u0131nda al\u0131nt\u0131lanmaya haz\u0131r halde burjuvazinin yast\u0131k alt\u0131 h\u00e2zineleri aras\u0131na kar\u0131\u015f\u0131r. \u00c7\u00fcnk\u00fc o yerle\u015fik ve pek sevilen \u00e7al\u0131\u015fma ve bo\u015f zaman ayr\u0131m\u0131n\u0131 do\u011frulamaktad\u0131r. K\u00f6kleri rutinle\u015fmi\u015f, \u00f6zg\u00fcr olmayan eme\u011fin azab\u0131nda ve bu emek kar\u015f\u0131s\u0131nda duyulan \u00e7ok hakl\u0131 tiksintide yatan bir \u015feyin ebedi bir yasa oldu\u011fu ilan ediliyordur: birbirinden a\u00e7\u0131k\u00e7a ve kesin olarak ayr\u0131lm\u0131\u015f iki alan. Biri \u00f6tekine kar\u0131\u015ft\u0131r\u0131lmamal\u0131d\u0131r. Tam da ba\u011flay\u0131c\u0131 olmay\u0131\u015f\u0131n\u0131n sa\u011flad\u0131\u011f\u0131 ho\u015fluk (erbauliche Unverbindlichkeit<\/em>) sayesinde sanat, antagonist bir tamamlay\u0131c\u0131 olarak burjuva ya\u015fam\u0131na kat\u0131l\u0131r ve ona tabi k\u0131l\u0131n\u0131r. Bundan eninde sonunda nas\u0131l bir bo\u015f zaman d\u00fczenlemesinin \u00e7\u0131kaca\u011f\u0131 ba\u015ftan bellidir: \u0130lahi g\u00fcllerin yeti\u015fti\u011fi ve kad\u0131nlar\u0131n da bu g\u00fclleri tiksinti verici d\u00fcnyevi ya\u015fam\u0131n \u00f6rg\u00fcs\u00fcne ekledi\u011fi bir Elysium Bah\u00e7esi.{38} <\/a>G\u00fcn\u00fcn birinde durumun ger\u00e7ekten bamba\u015fka olabilece\u011fi idealist Schiller’in g\u00f6z\u00fcnden ka\u00e7maktad\u0131r. Onun as\u0131l ilgilendi\u011fi, sanat\u0131n yarataca\u011f\u0131 etkidir. Ne kadar soylu bir tav\u0131r i\u00e7inde g\u00f6r\u00fcnse de, sanat\u0131 yorgun i\u015fadamlar\u0131 i\u00e7in vitamin i\u011fnesi haline getiren k\u00fclt\u00fcr end\u00fcstrisindeki durumun gizliden gizliye habercisiydi Schiller. Kant da dahil olmak \u00fczere on sekizinci y\u00fczy\u0131la kadar geri giden bu etki esteti\u011fine (Wirkungs\u00e2sthetik<\/em>) ilk kar\u015f\u0131 \u00e7\u0131kan, idealizmin en y\u00fcksek noktas\u0131nda Hegel olmu\u015f, ayn\u0131 zamanda bu sanat anlay\u0131\u015f\u0131na da itiraz ederek sanat\u0131n Horatius tarz\u0131 bir e\u011flendirme ve e\u011fitim mekanizmas\u0131 olmad\u0131\u011f\u0131n\u0131 s\u00f6ylemi\u015ftir.<\/p>\n

2<\/p>\n

Yine de, sanat\u0131n \u015fen oldu\u011fu yolundaki yavan s\u00f6zde bir do\u011fruluk pay\u0131 vard\u0131r. E\u011fer sanat, ne kadar dolay\u0131ml\u0131 olursa olsun, insanlar i\u00e7in bir haz kayna\u011f\u0131 olmasayd\u0131, kar\u015f\u0131 \u00e7\u0131kt\u0131\u011f\u0131 ve direndi\u011fi \u00e7\u0131plak varolu\u015f i\u00e7inde ayakta kalamazd\u0131. Bu sanata d\u0131\u015fsal bir \u015fey de\u011fil, onun tan\u0131msal bir par\u00e7as\u0131d\u0131r. Kant’\u0131n “ama\u00e7s\u0131z ama\u00e7sall\u0131k” \u015feklindeki form\u00fclasyonu -her ne kadar topluma de\u011finmese de- bunu ima eder. Sanat\u0131n ama\u00e7s\u0131zl\u0131\u011f\u0131, var kalman\u0131n zorlay\u0131c\u0131l\u0131klar\u0131ndan ka\u00e7abilmi\u015f olmas\u0131nda yatar. \u00d6zg\u00fcr olamay\u0131\u015f\u0131n ortas\u0131nda \u00f6zg\u00fcrl\u00fck benzeri bir \u015feyi dile getirir sanat. S\u0131rf varolu\u015fuyla egemen k\u00f6t\u00fc b\u00fcy\u00fcn\u00fcn \u00f6tesine ge\u00e7iyor olmas\u0131, onu bir mutluluk vaadinin m\u00fcttefiki yapar. Kendisinin de umutsuzlu\u011fu ifade etmekle bir bak\u0131ma dile getirdi\u011fi bir vaattir bu. Beckett’in oyunlar\u0131nda bile perde, t\u0131pk\u0131 Noel hediyelerini gizleyen bir \u00f6rt\u00fc gibi kalkar. Kendi g\u00f6r\u00fcn\u00fc\u015f\/yan\u0131lsama \u00f6\u011fesinden s\u0131yr\u0131lmaya \u00e7al\u0131\u015fan sanat, kendisini dalkavuklu\u011fa s\u00fcr\u00fckledi\u011finden \u015f\u00fcphe etti\u011fi mutluluk verici \u00f6\u011fenin kal\u0131nt\u0131lar\u0131ndan kurtulmak i\u00e7in bo\u015funa u\u011fra\u015f\u0131p durur. B\u00fct\u00fcn bunlara ra\u011fmen, sanat\u0131n \u015fen oldu\u011fu tezini \u00e7ok belirli bir anlamda almak gerekiyor. Bu tez bir b\u00fct\u00fcn olarak sanata ili\u015fkindir, tek tek sanat yap\u0131tlar\u0131na de\u011fil. Bunlar, ger\u00e7ekli\u011fin deh\u015fetine uygun bir \u015fekilde, hi\u00e7 de \u015fen olmayabilir. Asl\u0131nda sanat\u0131n \u015fen olan yan\u0131, kolayca tahmin edilenin tam kar\u015f\u0131t\u0131d\u0131r: i\u00e7eri\u011fi de\u011fil edas\u0131, s\u0131rf sanat<\/em> oldu\u011fu ger\u00e7e\u011fi, ayn\u0131 zamanda \u015fiddetine de tan\u0131kl\u0131k etti\u011fi ger\u00e7ekli\u011fin \u00fcst\u00fcnde ba\u015fka bir sahne gibi a\u00e7\u0131l\u0131yor olmas\u0131. Bu, sanat\u0131n \u015fenli\u011fini onun idealizmin de \u00f6tesine ge\u00e7en tinsel i\u00e7erikleri ifade edi\u015finde de\u011fil, asl\u0131nda bir oyun olu\u015funda g\u00f6ren filozof Schiller’in d\u00fc\u015f\u00fcncesini de do\u011frular. Sanat a priori<\/em> olarak, yani sanat yap\u0131tlar\u0131ndan da \u00f6nce, ger\u00e7ekli\u011fin insanlara dayatt\u0131\u011f\u0131 hunhar ciddiyetin bir ele\u015ftirisidir. Bunu bir dayatma olarak adland\u0131rmakla gev\u015fetebilece\u011fine inan\u0131r. Sanat\u0131n \u015fen yan\u0131 budur i\u015fte; ve tabii, mevcut bilin\u00e7teki bir de\u011fi\u015fme olarak, ciddi yan\u0131 da.<\/p>\n

3<\/p>\n

Ama t\u0131pk\u0131 bilgi gibi sanat da malzemesini ve eninde sonunda bi\u00e7imlerini de ger\u00e7eklikten, daha do\u011frusu toplumsal ger\u00e7eklikten al\u0131r ve bunlar\u0131 d\u00f6n\u00fc\u015ft\u00fcrmek amac\u0131ndad\u0131r. B\u00f6ylece ger\u00e7ekli\u011fin uzla\u015fmaz \u00e7eli\u015fkilerine de dolan\u0131r. Sanat derinli\u011fini, kendi bi\u00e7im yasas\u0131n\u0131n \u00e7eli\u015fkilere getirdi\u011fi uzla\u015fman\u0131n bu \u00e7eli\u015fkilerdeki ger\u00e7ek uzla\u015fmazl\u0131\u011f\u0131 daha da ortaya \u00e7\u0131kar\u0131p \u00e7\u0131karamamas\u0131yla \u00f6l\u00e7er. Sanat\u0131n en uzak dolay\u0131mlar\u0131nda bile \u00e7eli\u015fki titre\u015fimi s\u00fcr\u00fcp gider – t\u0131pk\u0131 m\u00fczi\u011fin en u\u00e7 pianissimolar\u0131nda deh\u015fetin u\u011fultusunun i\u015fitilmesi gibi. K\u00fclt\u00fcre duyulan inan\u00e7 \u00f6rne\u011fin Mozart’ta m\u00fczi\u011fin beyhude uyumuna (eitel Harmonie)<\/em> \u00f6vg\u00fcler ya\u011fd\u0131r\u0131rken, bu uyum asl\u0131nda ger\u00e7ekli\u011fin kulak t\u0131rmal\u0131y\u0131c\u0131 tonlar\u0131na bir kak\u0131\u015f\u0131mla (Dissonanz)<\/em> kar\u015f\u0131l\u0131k veriyor ve onlar\u0131 kendi t\u00f6z\u00fc (Substanz<\/em>) haline getiriyordur. Mozart’\u0131n h\u00fczn\u00fcd\u00fcr bu. Sanat, ancak zaten olumsuz bi\u00e7imde muhafaza edilebileni, yani \u00e7eli\u015fkili olan\u0131 d\u00f6n\u00fc\u015ft\u00fcrerek ger\u00e7ekle\u015ftirir, var olan\u0131n \u00f6tesinde ve kendi kar\u015f\u0131t\u0131ndan ba\u011f\u0131ms\u0131z bir Varl\u0131k olarak y\u00fcceltildi\u011fi anda ihanet edilmi\u015f olan \u015feyi. Ki\u00e7i tan\u0131mlama giri\u015fimleri genellikle ba\u015far\u0131s\u0131zd\u0131r; ama bir sanat eserinin \u00e7eli\u015fki bilincini – ger\u00e7eklikle kar\u015f\u0131tl\u0131\u011f\u0131n\u0131 vurgulayarak da olsa- geli\u015ftirip bi\u00e7imlendirmesi ya da tersine \u00e7eli\u015fkiyi g\u00f6zden saklamas\u0131n\u0131 ki\u00e7in \u00f6l\u00e7\u00fct\u00fc yapan tan\u0131m herhalde i\u00e7lerinde en k\u00f6t\u00fc olan\u0131 de\u011fildir. Bu anlamda, her sanat eserinden ciddiyet beklenmelidir. Hem ger\u00e7eklikten ka\u00e7\u0131p s\u0131yr\u0131lan hem de i\u00e7ine ger\u00e7ekli\u011fin n\u00fcfuz etti\u011fi bir \u015fey olarak sanat, ciddiyetle \u015fenlik aras\u0131nda titre\u015fir. Sanat\u0131 sanat yapan da bu gerilimdir.<\/p>\n

4<\/p>\n

Sanattaki \u015fenlik ve ciddiyetin \u00e7eli\u015fkili hareketinin -yani diyalekti\u011finin- \u00f6nemi basit bir yoldan, H\u00f6lderlin’in iki beytine bakarak a\u00e7\u0131klanabilir. \u015eair bunlar\u0131 belli ki bilerek birbirine \u00e7ok yak\u0131n bir \u015fekilde yerle\u015ftirmi\u015ftir. “Sophokles” ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131yan ilk beyit \u015f\u00f6yledir: “Bir\u00e7oklar\u0131 en ne\u015feli \u015feyi ne\u015feyle s\u00f6ylemeye \u00e7al\u0131\u015ft\u0131 bo\u015funa \/ \u0130\u015fte sonunda anlat\u0131yor kendini bana, burada, h\u00fczn\u00fcn ortas\u0131nda” (Viele versuchten umsonst das Freudigste<\/em><\/p>\n

freudig zu sagen<\/em> \/ Hier spricht endlich es mir, hier in der Trauer sich aus).<\/em><\/p>\n

Trajedi yazar\u0131n\u0131n \u015fenli\u011fini oyunlar\u0131n\u0131n mitsel i\u00e7eri\u011finde, hatta belki de mitlere katmak istedi\u011fi uzla\u015fmada bile de\u011fil, s\u0131rf bunu s\u00f6yl\u00fcyor olmas\u0131nda, mitin kendini dile getiriyor olmas\u0131nda aramak gerekir. H\u00f6lderlin’in dizelerinde her iki ifade de vurgulanarak kullan\u0131lm\u0131\u015ft\u0131r. \u0130kinci beytin ba\u015fl\u0131\u011f\u0131<\/p>\n

“\u015eakac\u0131lar”d\u0131r (Die Scherzhaften<\/em>): “Hep oynay\u0131p \u015fakala\u015f\u0131yor musunuz? mecbursunuz zaten! ah dostlar! i\u00e7ime \/ \u0130\u015fliyor bu benim, \u00e7\u00fcnk\u00fc ancak \u00e7aresizler mecburdur buna” (Immer spielt ihr und scherzt? ihr m\u00fcsst! o Freunde! mir geht diB \/ In die Seele, denn diB m\u00fcssen Verzweifelte nur). <\/em>Sanat kendi ba\u015f\u0131na \u015fen olmak istedi\u011finde ve dolay\u0131s\u0131yla -H\u00f6lderlin’e g\u00f6re- hi\u00e7bir kutsal amaca hizmet etmeyen bir kullan\u0131m bi\u00e7imine uyum sa\u011flamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131nda, insan ihtiya\u00e7lar\u0131 d\u00fczeyine indirgenmi\u015f olur ve i\u00e7erdi\u011fi hakikat pay\u0131 a\u00e7\u0131\u011fa \u00e7\u0131kar. Ismarlama ne\u015fesi, i\u015fleyen d\u00fczene uygundur. \u0130nsanlar\u0131 itaate, i\u015fbirli\u011fine te\u015fvik eder. Nesnel umutsuzlu\u011fun bi\u00e7imidir bu. Beyitler yeterince ciddiye al\u0131nacak olursa, sanat\u0131n t\u00fcm olumlay\u0131c\u0131 niteli\u011fine y\u00f6nelik bir yarg\u0131da bulundu\u011fu g\u00f6r\u00fcl\u00fcr. O zamandan beri bu evetleyici nitelik k\u00fclt\u00fcr sanayiinin dayatmas\u0131yla her taraf\u0131 kaplam\u0131\u015f, \u015faka da t\u00fcm\u00fcyle reklamlar\u0131n pis s\u0131r\u0131t\u0131\u015f\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.<\/p>\n

5<\/p>\n

\u00c7\u00fcnk\u00fc sanatta ciddi ve \u015fen yanlar bir tarihsel dinami\u011fe tabidir. Sanatta \u015fen say\u0131labilecek ne varsa sonradan ortaya \u00e7\u0131km\u0131\u015ft\u0131r ve arkaik ya da kesin olarak teolojik ba\u011flamdaki yap\u0131tlarda d\u00fc\u015f\u00fcn\u00fclemeyecek bir \u015feydir. Sanat\u0131n \u015fen olu\u015fu kentsel \u00f6zg\u00fcrl\u00fc\u011fe benzer bir \u015feyi varsayar; ama bu, \u00f6rne\u011fin Boccaccio, Chaucer, Rabelais ve Don Quixote’de<\/em> s\u00f6z konusu oldu\u011fu gibi ancak erken burjuva \u00e7a\u011f\u0131nda ba\u015flam\u0131\u015f de\u011fildir; k\u00f6keni \u00e7ok daha eskiye, daha sonraki d\u00f6nemlerde “klasik” olarak adland\u0131r\u0131lan ve arkaik olandan farkl\u0131la\u015fan \u00f6\u011fenin olu\u015ftu\u011fu d\u00f6neme gider. Sanat\u0131n kendini mitten, karanl\u0131k ve \u00e7\u0131k\u0131\u015fs\u0131z olandan kurtarmas\u0131n\u0131 sa\u011flayan esas olarak bir s\u00fcre\u00e7tir, ciddi ile \u015fen olan aras\u0131nda yap\u0131lm\u0131\u015f de\u011fi\u015fmez, temel bir se\u00e7im de\u011fil. \u00d6znellik ilk kez sanat\u0131n \u015fenlik ve hafifli\u011finde kendi bilgisine ve bilincine var\u0131r. Ne\u015fe sayesinde dola\u015f\u0131k ba\u011flardan kurtulup kendine d\u00f6ner. Ne\u015fe burjuva ki\u015fisel \u00f6zg\u00fcrl\u00fc\u011f\u00fcne ait bir \u015fey bar\u0131nd\u0131r\u0131r, ama b\u00f6ylece burjuvazinin tarihsel ak\u0131betini de payla\u015fmak zorunda kal\u0131r. Bir zamanlar mizahi olan, d\u00f6n\u00fc\u015fs\u00fcz bi\u00e7imde k\u00f6relip duyars\u0131zla\u015f\u0131r; ve bu da yozla\u015farak su\u00e7 ortakl\u0131\u011f\u0131n\u0131n keyifli kendinden memnuniyetine d\u00f6n\u00fc\u015f\u00fcr. Sonunda katlan\u0131lmaz hale gelir. Ama bundan sonra kim \u00e7\u0131k\u0131p da h\u00e2l\u00e2 Don Quixote’ye<\/em> ve burjuva ger\u00e7eklik ilkesi kar\u015f\u0131s\u0131nda tutunamayanlarla sadist\u00e7e alay edi\u015fine g\u00fclebilecektir? Aristophanes’in bug\u00fcn de o zamanki kadar dahice olan komedilerinde neyin komik oldu\u011fu bir bilmece halini alm\u0131\u015ft\u0131r. Kabal\u0131kla g\u00fcld\u00fcr\u00fcc\u00fcl\u00fc\u011f\u00fc bir tutmak, ancak ta\u015frada takdir g\u00f6rebilir. Toplum burjuva ruhunun mitleri ayd\u0131nlatma vaadi olarak \u00f6ne s\u00fcrd\u00fc\u011f\u00fc o uzla\u015fmay\u0131 ger\u00e7ekle\u015ftiremedi\u011fi \u00f6l\u00e7\u00fcde, g\u00fcld\u00fcr\u00fcc\u00fcl\u00fck de yeralt\u0131 d\u00fcnyas\u0131na (Orkus)<\/em> s\u00fcr\u00fcklenecek, bir zamanlar insanl\u0131\u011f\u0131n imgesi olan g\u00fclme insand\u0131\u015f\u0131l\u0131\u011fa gerileyecektir.<\/p>\n

Sanat k\u00fclt\u00fcr end\u00fcstrisinin denetimine girip t\u00fcketim mallar\u0131 aras\u0131na kar\u0131\u015ft\u0131\u011f\u0131ndan beri \u015fen yan\u0131 da yapay, sahte ve efsunlu hale gelmi\u015ftir. \u015een olan hi\u00e7bir \u015fey, keyfi bi\u00e7imde tertip edilmi\u015f olanla uyu\u015famaz. Ne\u015fenin do\u011fayla olan bar\u0131\u015f\u00e7\u0131l ili\u015fkisi, do\u011fay\u0131 manip\u00fcle eden ve hesaba vuran her \u015feyi d\u0131\u015flar. Dilin n\u00fckte ile dalga ge\u00e7me (Witz und Witzelei)<\/em> aras\u0131nda yapt\u0131\u011f\u0131 ayr\u0131m bunu hayli kesin bir \u015fekilde ortaya koymaktad\u0131r. Bug\u00fcn kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z ne\u015fe \u00f6rnekleri hep emirle ger\u00e7ekle\u015fti\u011fi i\u00e7in bozulmu\u015f ve \u00e7arp\u0131lm\u0131\u015ft\u0131r – “hayat b\u00f6yle i\u015fte” ile avunan bir trajedi \u00e7e\u015fidinin o u\u011fursuz “yine de”sine var\u0131ncaya kadar. Sanat ki art\u0131k d\u00fc\u015f\u00fcn\u00fcms\u00fcz olamaz, \u015fenlikten kendi iste\u011fiyle vazge\u00e7mek zorundad\u0131r. Onu buna zorlayan da, her \u015feyden \u00f6nce yak\u0131n ge\u00e7mi\u015fte ger\u00e7ekle\u015fmi\u015f \u015feylerdir. Auschwitz’ten sonra \u015fiir yaz\u0131lamayaca\u011f\u0131 c\u00fcmlesinin mutlak bir ge\u00e7erlili\u011fi yoktur, ama \u015fu kesin ki Auschwitz ge\u00e7mi\u015fte m\u00fcmk\u00fcn oldu\u011fu ve belirsiz bir gelecek boyunca da m\u00fcmk\u00fcn kalaca\u011f\u0131 i\u00e7in, \u015fen sanat art\u0131k tasavvur edilemez. \u0130nsanca anlay\u0131\u015f\u0131n iyili\u011fini ne kadar \u00f6d\u00fcn\u00e7 alsa da, nesnel olarak yozla\u015f\u0131p sinizme d\u00f6n\u00fc\u015fmektedir. Asl\u0131nda Avrupa’daki felaketten neredeyse y\u00fcz y\u0131l \u00f6nce b\u00fcy\u00fck edebiyat\u00e7\u0131lar, herkesten \u00f6nce de Baudelaire, daha sonra Nietzsche ve mizahtan uzak duran tutumuyla George Okulu bu imk\u00e2ns\u0131zl\u0131\u011f\u0131 sezmi\u015fti. Mizah\u0131n yerini polemik nitelikli parodi ald\u0131. Mizah orada, bir zamanlar mizah kavram\u0131ndan hi\u00e7 ayr\u0131lmayan uzla\u015fma kavram\u0131na ald\u0131r\u0131\u015f etmeden uzla\u015fmazl\u0131\u011fa devam etti\u011fi s\u00fcrece bar\u0131nabilece\u011fi ge\u00e7ici bir s\u0131\u011f\u0131nak buldu. Ama giderek mizah\u0131n polemik bi\u00e7imi de sorgulanabilir hale geldi. Art\u0131k anla\u015f\u0131labilece\u011finden emin olamaz ve b\u00fct\u00fcn sanat bi\u00e7imleri i\u00e7inde bir bo\u015flukta tek ba\u015f\u0131na s\u00fcr\u00fcp gitmeye en az elveri\u015fli olan\u0131 polemiktir. Birka\u00e7 y\u0131l \u00f6nce fa\u015fizmin, kurbanlar\u0131na kar\u015f\u0131 a\u011f\u0131r bir sayg\u0131s\u0131zl\u0131k etmi\u015f olmadan, komik bir \u015fekilde ya da parodi halinde sergilenip sergilenemeyece\u011fi tart\u0131\u015f\u0131lm\u0131\u015ft\u0131. Fa\u015fizmin budalal\u0131\u011f\u0131, ikinci s\u0131n\u0131f komedyenli\u011fi ve baya\u011f\u0131l\u0131\u011f\u0131 apa\u00e7\u0131kt\u0131r, Hitler ve yanda\u015flar\u0131 ile sansasyon bas\u0131n\u0131 ve jurnalciler aras\u0131ndaki g\u00f6n\u00fcll\u00fc akrabal\u0131k da \u00f6yle. G\u00fcl\u00fcnebilecek bir \u015fey de\u011fildir bu. Kanl\u0131 ger\u00e7eklik bir tin de\u011fildi, tinin alaya alabilece\u011fi bir k\u00f6t\u00fc tin de (Ungeist<\/em>) de\u011fildi. Ha\u015fek’in Schweyk<\/em>‘\u0131 yazd\u0131\u011f\u0131 d\u00f6nem, deh\u015fet sisteminin ortas\u0131nda kuytuluklar\u0131n da bulundu\u011fu, bo\u015fvermi\u015fli\u011fin m\u00fcmk\u00fcn oldu\u011fu iyi bir zamand\u0131 h\u00e2l\u00e2. Ama fa\u015fizm komedileri, d\u00fcnya tarihindeki en sert sava\u015flar ona kar\u015f\u0131 yap\u0131ld\u0131\u011f\u0131 i\u00e7in fa\u015fizmin \u015fimdiden yenildi\u011fini savunan o aptalca d\u00fc\u015f\u00fcn\u00fc\u015fle i\u015fbirli\u011fi yapmak olur. Kazanan taraf\u0131n siperlerine saklananlara hi\u00e7bir \u015fekilde benzememektir fa\u015fizme kar\u015f\u0131 koyanlar\u0131n g\u00f6revi, kazananlar\u0131n konumunu \u00fcstlenmekse en uygunsuz tav\u0131r olur. Deh\u015fete yol a\u00e7m\u0131\u015f olan tarihsel kuvvetler toplumsal yap\u0131n\u0131n kendi do\u011fas\u0131ndan kaynaklanmaktad\u0131r. Y\u00fczeysel kuvvetler de\u011fildir bunlar ve kimsenin sanki d\u00fcnya tarihi kendi arkas\u0131ndaym\u0131\u015f, sanki F\u00fchrer<\/em>‘ler asl\u0131nda sa\u00e7malamalar\u0131 caniyane nutuklar\u0131na ancak sonradan benzeyen palya\u00e7olarm\u0131\u015f gibi bir tav\u0131rla ele alamayaca\u011f\u0131 kadar da g\u00fc\u00e7l\u00fcd\u00fcrler.<\/p>\n

7<\/p>\n

\u00d6te yandan, sanat\u0131n umutsuz yap\u0131tlarda bile -hatta \u00f6zellikle bunlarda- g\u00f6r\u00fclen ne\u015fe u\u011fra\u011f\u0131, d\u00fcz varolu\u015ftan muafl\u0131\u011f\u0131n\u0131n getirdi\u011fi o \u015fenlik \u00e2n\u0131 s\u00fcr\u00fcp gitti\u011fi i\u00e7in, bu \u015fenlik ya da mizah u\u011fra\u011f\u0131n\u0131n tarihsel s\u00fcre\u00e7 i\u00e7inde sanat yap\u0131tlar\u0131ndan \u00f6ylece kovulmas\u0131 da s\u00f6z konusu de\u011fildir. Yap\u0131tlar\u0131n \u00f6zele\u015ftirisinde, g\u00fcld\u00fcr\u00fc \u00fczerine g\u00fcld\u00fcr\u00fc olarak ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr \u015fenlik u\u011fra\u011f\u0131. Bug\u00fcn\u00fcn radikal yap\u0131tlar\u0131nda g\u00f6r\u00fclen ve olumlu bak\u0131\u015f a\u00e7\u0131s\u0131 sahiplerini fazlas\u0131yla \u00f6fkelendiren sanatl\u0131 anlams\u0131zl\u0131k ve budalal\u0131k, sanat\u0131n \u00e7ocuksu bir evreye geri d\u00f6n\u00fc\u015f\u00fcnden \u00e7ok, onun mizah hakk\u0131ndaki mizahi yarg\u0131s\u0131n\u0131 temsil etmektedir. Wedekind’in Simplizismus<\/em> yay\u0131mc\u0131s\u0131na kar\u015f\u0131 yazd\u0131\u011f\u0131 anahtarl\u0131 oyunu, “Ta\u015flaman\u0131n Ta\u015flamas\u0131” (Die Satire der Satire<\/em>) altba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131r. Benzer bir \u015fey Kafka’da da g\u00f6r\u00fcl\u00fcr; aralar\u0131nda Thomas Mann’\u0131n da bulundu\u011fu baz\u0131 yorumcular Kafka’n\u0131n \u015fok-nesrini mizah olarak anlam\u0131\u015ft\u0131r ve Slovak yazarlar da Kafka ile Ha\u015fek aras\u0131ndaki ili\u015fkiyi ara\u015ft\u0131rmaktad\u0131r. \u00d6zellikle Beckett’in oyunlar\u0131 kar\u015f\u0131s\u0131nda trajedi kategorisi g\u00fcl\u00fc\u015fe teslim olur; ve d\u00fczeni kabullenen her t\u00fcrl\u00fc mizaha kapal\u0131d\u0131r bu oyunlar. Art\u0131k ne ciddiyet ve ne\u015fe alternatifine ne de trajikomik kar\u0131\u015f\u0131ma izin veren bir bilin\u00e7 durumuna tan\u0131kl\u0131k ederler. Trajik olmas\u0131 gereken \u00f6znelli\u011fin \u201ciddialar\u0131 a\u00e7\u0131k\u00e7a bo\u015f oldu\u011fu i\u00e7in, trajedi da\u011f\u0131l\u0131p gider. G\u00fcl\u00fc\u015f\u00fcn yerini g\u00f6zya\u015f\u0131 d\u00f6kmeyen kurumu\u015f bir a\u011flay\u0131\u015f al\u0131r. Yak\u0131nma bo\u015f, oyuk g\u00f6zlerin tuttu\u011fu yasa d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Mizah kurtar\u0131lm\u0131\u015ft\u0131r Beckett’in oyunlar\u0131nda, \u00e7\u00fcnk\u00fc bunlar hem g\u00fcl\u00fc\u015f\u00fcn sa\u00e7mal\u0131\u011f\u0131na g\u00fclmeyi hem de umutsuzlu\u011fa g\u00fclmeyi a\u015f\u0131lar seyirciye. Bu s\u00fcre\u00e7 de sanatsal indirgeme s\u00fcrecine ba\u011flan\u0131r: geriye kalm\u0131\u015f asgari varolu\u015f olarak bir var kalma asgarisine y\u00f6neli\u015f. Bu asgari, tarihsel felaketi – belki de ondan sa\u011f \u00e7\u0131kabilmek i\u00e7in- bir indirimle sunmaktad\u0131r.<\/p>\n

8<\/p>\n

\u00c7a\u011fda\u015f sanatta \u015fenlik ile ciddiyet, trajedi ile g\u00fcld\u00fcr\u00fc, hatta neredeyse ya\u015fam ile \u00f6l\u00fcm alternatifinin giderek yok oldu\u011fu g\u00f6r\u00fcl\u00fcyor. Sanat b\u00f6ylece t\u00fcm ge\u00e7mi\u015fini yads\u0131m\u0131\u015f olmaktad\u0131r. Nedeni belli: Al\u0131\u015f\u0131lm\u0131\u015f se\u00e7enek var kalman\u0131n mutlulu\u011fu ile bu var kal\u0131\u015f\u0131n ortam\u0131n\u0131 olu\u015fturan felaket aras\u0131nda b\u00f6l\u00fcnm\u00fc\u015f bir durumun ifadesidir. D\u00fcnya t\u00fcm\u00fcyle b\u00fcy\u00fcbozumuna u\u011fram\u0131\u015f oldu\u011fu i\u00e7in de, \u015fenlik ve ciddiyetin \u00f6tesindeki sanat, bar\u0131\u015fma kadar deh\u015fetin de \u015fifresi olabilir. Bu t\u00fcr sanat hem varolu\u015fun her taraf\u0131 kaplayan a\u00e7\u0131k veya \u00f6rt\u00fck reklamlar\u0131ndan duyulan tiksinmeye hem de ac\u0131y\u0131 fazlas\u0131yla y\u00fccelterek yine onun de\u011fi\u015femezli\u011fini savunmu\u015f olan a\u015f\u0131r\u0131 co\u015fkunlu\u011fa{39} <\/a>kar\u015f\u0131 dirence tekab\u00fcl eder. Yak\u0131n ge\u00e7mi\u015f kar\u015f\u0131s\u0131nda sanat\u0131n \u015fen olmas\u0131 ne kadar imk\u00e2ns\u0131zsa, t\u00fcm\u00fcyle ciddi olmas\u0131 da o kadar imk\u00e2ns\u0131zd\u0131r. Bir \u015f\u00fcphe uyan\u0131yor b\u00f6ylece: Acaba sanat herhangi bir zaman, k\u00fclt\u00fcr\u00fcn insanlar\u0131 inand\u0131rd\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde ciddi oldu mu? Sanat art\u0131k kendini d\u00fcnya tiniyle uyum i\u00e7inde hisseden H\u00f6lderlin’in \u015fiirinin yapt\u0131\u011f\u0131 gibi, yas\u0131n ifadesini en ne\u015feli olanla bir tutamaz. Ne\u015fenin hakikat i\u00e7eri\u011fine ula\u015fmak art\u0131k imk\u00e2ns\u0131zla\u015fm\u0131\u015f gibidir. T\u00fcrlerin bulan\u0131kla\u015fmaya ba\u015flamas\u0131, trajik bir tavr\u0131n komik, komik olan\u0131n da \u00fcz\u00fcc\u00fc g\u00f6r\u00fcnmesi bununla ba\u011flant\u0131l\u0131d\u0131r. Trajik olan \u00e7\u00fcr\u00fcy\u00fcp gitmektedir, \u00e7\u00fcnk\u00fc olumsuzlu\u011fun olumlu anlam\u0131n\u0131 -felsefede olumlu yads\u0131ma denen anlam\u0131- bulma iddias\u0131n\u0131 ta\u015f\u0131r. Yerine getirilemez bir iddiad\u0131r bu. Bilinmeyenin i\u00e7ine dalan sanat m\u00fcmk\u00fcn olan tek sanatt\u0131r ve ne \u015fendir ne de ciddi; ama \u00fc\u00e7\u00fcnc\u00fc se\u00e7enek de perdelenmi\u015ftir, sanki bir hi\u00e7li\u011fin i\u00e7ine g\u00f6m\u00fclm\u00fc\u015ft\u00fcr, fig\u00fcrlerini geli\u015fmi\u015f sanat eserlerinin betimledi\u011fi bir hi\u00e7lik.<\/p>\n

Sanat \u015een midir? – Edebiyat Yaz\u0131lar\u0131 | Theodor W. Adorno<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Schiller’in Wallenstein adl\u0131 oyununun giri\u015f b\u00f6l\u00fcm\u00fc “Ya\u015fam ciddidir, sanat ise \u015fen\u201d (Ernst \u0130st das Leben, heiter ist die Kunst) dizesiyle sona erer. Ovidius’un Tristia‘s\u0131ndaki bir dize \u00f6rnek al\u0131nm\u0131\u015ft\u0131r burada: “Vita verecunda est, Musa jocosa mihi” (II, 354), yani “Ya\u015fam\u0131m g\u00f6steri\u015fsiz ve a\u011f\u0131rba\u015fl\u0131, esinim ise ne\u015feli.” Antik \u00e7a\u011f\u0131n bu etkileyici ve usta \u015fairine belli bir niyet […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[282],"class_list":["post-7168","post","type-post","status-publish","format-standard","category-kuram","tag-sanat-sen-midir-theodor-w-adorno"],"yoast_head":"\nSanat \u015een midir? | Theodor W. Adorno - 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\/2018\/09\/23\/sanat-sen-midir-theodor-w-adorno\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sanat \u015een midir? | Theodor W. Adorno\" \/>\n<meta property=\"og:description\" content=\"Schiller’in Wallenstein adl\u0131 oyununun giri\u015f b\u00f6l\u00fcm\u00fc “Ya\u015fam ciddidir, sanat ise \u015fen\u201d (Ernst \u0130st das Leben, heiter ist die Kunst) dizesiyle sona erer. 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