{"id":747,"date":"2009-11-01T16:48:53","date_gmt":"2009-11-01T13:48:53","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/11\/01\/kritik-ve-klinik-icinde-yargiyi-cozume-kavusturmak-icin-gilles-deleuze\/"},"modified":"2009-11-01T16:48:53","modified_gmt":"2009-11-01T13:48:53","slug":"kritik-ve-klinik-icinde-yargiyi-cozume-kavusturmak-icin-gilles-deleuze","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/11\/01\/kritik-ve-klinik-icinde-yargiyi-cozume-kavusturmak-icin-gilles-deleuze\/","title":{"rendered":"Kritik ve Klinik i\u00e7inde | Yarg\u0131y\u0131 \u00e7\u00f6z\u00fcme kavu\u015fturmak i\u00e7in &#8211; Gilles Deleuze"},"content":{"rendered":"<p><strong> <img loading=\"lazy\" decoding=\"async\" style=\"float: left;\" src=\"http:\/\/4.bp.blogspot.com\/_kpt4zB0sewc\/R5TTr8MyoeI\/AAAAAAAAA-0\/NiPbsgEZo7c\/s400\/REV-DELEUZE.jpg\" width=\"155\" height=\"203\" border=\"0\" \/><\/strong><\/p>\n<p style=\"text-align: justify;\">1. Yunan trajedisinden modern felsefeye kadar, haz\u0131rlan\u0131p geli\u015fen b\u00fct\u00fcn bir yarg\u0131 \u00f6\u011fretisidir. Trajik olan, eylemden \u00e7ok yarg\u0131d\u0131r ve Yunan trajedisi \u00f6ncelikle bir mahkeme kurar. Kant, ger\u00e7ek bir yarg\u0131 ele\u015ftirisi icat etmez, \u00e7\u00fcnk\u00fc bu kitap, tersine, \u00f6znel bir d\u00fc\u015fsel mahkeme kurar. Yahudi-H\u0131ristiyan, gelenekten koparak ele\u015ftiriyi s\u00fcrd\u00fcren Spinoza\u2019d\u0131r; ve bu ele\u015ftiriyi yeniden ele al\u0131p ona bir ivme kazand\u0131racak d\u00f6rt \u00f6nemli \u00f6\u011frenci olmu\u015ftur, Nietzsche, Lawrence, Kafka, Artaud. D\u00f6rd\u00fc de, tuhaf bir bi\u00e7imde, ki\u015fisel olarak yarg\u0131dan \u00e7ekmi\u015flerdir. Su\u00e7laman\u0131n, tart\u0131\u015fman\u0131n, karar\u0131n olabildi\u011fince birbirine kar\u0131\u015ft\u0131\u011f\u0131 bu noktaya gelmi\u015flerdir. Nietzsche, b\u00fcy\u00fck bir meydan okumayla kar\u015f\u0131 koydu\u011fu t\u00fcm dayal\u0131 d\u00f6\u015feli pansiyonlardan san\u0131k olarak ge\u00e7er; Lawrence, en k\u00fc\u00e7\u00fck suluboya resmine bile bula\u015fan ahlaks\u0131zl\u0131k ve pornografi su\u00e7lamas\u0131 i\u00e7inde ya\u015far; Kafka, bitmeyen ni\u015fanl\u0131klardan dolay\u0131 yarg\u0131land\u0131\u011f\u0131 \u201cotel mahkemesinden\u201d kurtulmak i\u00e7in \u201cb\u00fct\u00fcn masumiyetiyle \u015feytans\u0131\u201d g\u00f6r\u00fcn\u00fcr. Ve yarg\u0131dan, en sert bi\u00e7imi olan korkun\u00e7 psikiyatrik bilirki\u015fi raporuyla Van Gogh-Artaud\u2019dan daha \u00e7ok \u00e7ekmi\u015f olan var m\u0131d\u0131r?<\/p>\n<p style=\"text-align: justify;\">2. Nietzsche\u2019nin ortaya koymay\u0131 ba\u015fard\u0131\u011f\u0131 \u015fey, yarg\u0131n\u0131n ko\u015fuludur: \u201cTanr\u0131sall\u0131\u011fa kar\u015f\u0131 bir borcu oldu\u011funun bilinci\u201d, bizzat sonsuz, \u00f6yleyse \u00f6denemez haline gelmesi \u00f6l\u00e7\u00fcs\u00fcnde borcun maceras\u0131. \u0130nsan varolu\u015fu bitimsiz bir borca tabi k\u0131l\u0131nd\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde i\u015fi varolu\u015fun \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fc, \u201cyarg\u0131 \u00f6\u011fretisini\u201d olu\u015fturmak \u00fczere hayatta kalmas\u0131 gerekir. Ya da Lawrence\u2019\u0131n s\u00f6yledi\u011fi gibi, H\u0131ristiyanl\u0131k iktidardan vazge\u00e7memi\u015ftir, daha ziyade, yarg\u0131lama \u0130ktidar\u0131 \u015feklinde yeni bir iktidar bi\u00e7imi icat etmi\u015ftir: \u0130nsan\u0131n yazg\u0131s\u0131n\u0131n \u201certelenmesiyle\u201d yarg\u0131n\u0131n son bir merci halini almas\u0131 e\u015fzamanl\u0131d\u0131r. Yarg\u0131 \u00f6\u011fretisi, Amerikan tiyatrosunda oldu\u011fu gibi, Vahiy\u2019de ya da son yarg\u0131da da ortaya \u00e7\u0131kar. Kafka, kendi hesab\u0131na, sonsuz borcu \u201cg\u00f6r\u00fcn\u00fc\u015fte beraat\u201d i\u00e7inde, ertelenmi\u015f yazg\u0131y\u0131 da \u201cs\u0131n\u0131rs\u0131z oyalama\u201d i\u00e7inde ortaya koyar ki, bunlar, yarg\u0131\u00e7lar\u0131, deneyimimizin ve kavray\u0131\u015f\u0131m\u0131z\u0131n \u00f6tesinde tutarlar. Artaud, Tanr\u0131 yarg\u0131s\u0131n\u0131 \u00e7\u00f6z\u00fcme kavu\u015fturma i\u015flemine kar\u015f\u0131 koymay\u0131 sonuna kadar s\u00fcrd\u00fcrecektir. D\u00f6rd\u00fcnde de, yarg\u0131n\u0131n mant\u0131\u011f\u0131, en karanl\u0131k d\u00fczenlemenin mucidi olan rahibin psikolojisiyle kar\u0131\u015f\u0131r: Yarg\u0131lamak istiyorum, yarg\u0131lamam gerek\u2026 Yarg\u0131n\u0131n kendisi ertelenmi\u015f, yar\u0131na b\u0131rak\u0131lm\u0131\u015f, sonsuzlu\u011fa itilmi\u015f gibi davran\u0131lmayacakt\u0131r. Tersine, yarg\u0131y\u0131 m\u00fcmk\u00fcn k\u0131lan, erteleme, sonsuzlu\u011fa ta\u015f\u0131ma edimidir: Yarg\u0131, ko\u015fulunu, zaman\u0131n d\u00fczeni i\u00e7inde varolu\u015f ile sonsuzluk aras\u0131nda varsay\u0131lan bir ili\u015fkiden al\u0131r. Yarg\u0131lama ve yarg\u0131lana iktidar\u0131, bu ili\u015fki i\u00e7inde ayakta kalana verilir. Bilgi yarg\u0131s\u0131 bile, g\u00f6r\u00fcng\u00fclerin varolu\u015funu zaman ve mek\u00e2n, zaman ve deneyim sonsuzlu\u011fu ku\u015fat\u0131r. Ama bilgi yarg\u0131s\u0131, bu anlamda, varolu\u015fun, zaman\u0131n bir d\u00fczenine g\u00f6re sonsuzlukla ili\u015fkiye sokuldu\u011fu ahlaksal ve teolojik bir ilk bi\u00e7im i\u00e7erir: Tanr\u0131ya bir borcu olan olarak varolan. <\/p>\n<p> 3. Ama o zaman yarg\u0131dan ayr\u0131lan nedir? Hem zemin hem de ufuk olacak bir \u201c\u00f6nyarg\u0131lay\u0131c\u0131ya\u201d (pr\u00e9judicatif) ba\u015fvurmak yeterli midir? Ve bu, Deccal (Ant\u00e9christ) olarak anla\u015f\u0131lan yarg\u0131lay\u0131c\u0131 kar\u015f\u0131t\u0131yla (ant\u00e9 judicatif) ayn\u0131 \u015fey midir: Bir zeminden \u00e7ok bir \u00e7\u00f6kme, bir toprak kaymas\u0131, bir ufuk kayb\u0131? Varolanlar, zaman\u0131n seyrinden ba\u015fka Nietzsche\u2019nin b\u00fcy\u00fckl\u00fc\u011f\u00fc, alacakl\u0131-verecekli ba\u011f\u0131nt\u0131s\u0131n\u0131n t\u00fcm de\u011fi\u015f toku\u015flar\u0131na g\u00f6re ilk oldu\u011funu hi\u00e7 teredd\u00fcts\u00fcz g\u00f6stermi\u015f olmakt\u0131r. \u0130\u015fe s\u00f6z vermekle ba\u015flan\u0131r ve bor\u00e7 bir tanr\u0131ya de\u011fil, taraflar aras\u0131ndan ge\u00e7en, bir durum de\u011fi\u015fikli\u011fine yol a\u00e7an ve taraflarda bir \u015fey, duygu aras\u0131nda olup biter ve azap, bir tanr\u0131 yarg\u0131s\u0131 de\u011fildir, \u00e7\u00fcnk\u00fc ne tanr\u0131 ne de yarg\u0131 vard\u0131r. \u00d6nce Mauss\u2019un sonra L\u00e9vi-Strauss\u2019un h\u00e2l\u00e2 teredd\u00fct etti\u011fi yerde, Nietzsche teredd\u00fct etmiyordu; bir b\u00f6lgede dola\u015fan sonlu bloklara uygun olarak, bedenlerin birbirini i\u015faretledi\u011fi, borcun do\u011frudan do\u011fruya bedene yaz\u0131ld\u0131\u011f\u0131, her yarg\u0131ya kar\u015f\u0131 koyan bir adalet vard\u0131r. Hukuk, ebedi \u015feylerin hareketsizli\u011fine sahip de\u011fildir, kan almas\u0131 ya da vermesi gereken ailelerin aras\u0131nda durmadan yer de\u011fi\u015ftirir. Bedenleri \u00e7izen ve renklendiren korkun\u00e7 i\u015faretlerdir, \u00e7izgiler ve pigmentler, herkesin ne borcu oldu\u011funu ve kendisine ne kadar bor\u00e7lu olundu\u011funu \u00e7\u0131plak etin \u00fczerinde g\u00f6sterir: Yank\u0131s\u0131n\u0131 Anaksimandros\u2019un felsefesinde ve Aiskylos\u2019un trajedisinde buldu\u011fumuz b\u00fct\u00fcn bir zul\u00fcm sistemi. Yarg\u0131 \u00f6\u011fretisinde, tersine, bor\u00e7lar, biz fark\u0131na bile varmadan \u00f6zerk bir deftere yaz\u0131l\u0131r, \u00f6yle ki sonsuz bir hesab\u0131 hi\u00e7 kapatamay\u0131z. Kitab\u0131n, ebedi olan\u0131 referans g\u00f6steren bir M\u00fclkiyetin \u00f6l\u00fc g\u00f6stergelerini \u00e7oktan toplam\u0131\u015f olmas\u0131 \u00f6l\u00e7\u00fcs\u00fcnde, kendi yerimiz yurdumuzdan yoksun b\u0131rak\u0131l\u0131r, kovuluruz. Yarg\u0131n\u0131n kitabi \u00f6\u011fretisi, ancak g\u00f6r\u00fcn\u00fc\u015fte hafiftir, \u00e7\u00fcnk\u00fc bizi sonu olmayan bir k\u00f6leli\u011fe mahk\u00fbm eder ve her kurtulma s\u00fcrecini ge\u00e7ersiz k\u0131lar. Artaud, zul\u00fcm sitemine soylu ilerlemeler sa\u011flayacakt\u0131r, adaletin yarg\u0131ya kar\u015f\u0131t olmas\u0131 gibi, kitap yaz\u0131s\u0131na kar\u015f\u0131t olan ve g\u00f6stergenin ger\u00e7ek bir tersine d\u00f6n\u00fc\u015f\u00fcne yol a\u00e7an kan ve ya\u015fam yaz\u0131s\u0131. Dava\u2019daki b\u00fcy\u00fck kitab\u0131n kar\u015f\u0131s\u0131na Ceza Kolonisi\u2019ndeki makineyi koydu\u011funda, Kafka\u2019daki durum da ayn\u0131 de\u011fil midir: taahh\u00fct, su\u00e7lama, savunma ve karar\u0131n birbirine kar\u0131\u015ft\u0131\u011f\u0131 bir adaletin belirtisiymi\u015f\u00e7esine eski bir d\u00fczenin belirtisi olan, bedenlerdeki yaz\u0131. Zul\u00fcm sistemi, varolan bedenin onu etkileyen kuvvetlerle olan sonlu ili\u015fkilerini dile getirir, oysa sonsuz bor\u00e7 \u00f6\u011fretisi, \u00f6l\u00fcms\u00fcz ruhun yarg\u0131larla olan ili\u015fkilerini belirler. Her yerde, yarg\u0131 \u00f6\u011fretisinin kar\u015f\u0131s\u0131nda zul\u00fcm sistemi vard\u0131r.<\/p>\n<p> 4. Yarg\u0131, \u00e7ok farkl\u0131 olsa bile geli\u015fimini kolayla\u015ft\u0131rm\u0131\u015f olabilecek bir zeminde ortaya \u00e7\u0131karmam\u0131\u015ft\u0131r; kopma, \u00e7atallanma gerekmi\u015ftir. Borcun tanr\u0131lara yap\u0131lmas\u0131 gerekmi\u015ftir. Borcun art\u0131k, elimizde bulundurdu\u011fumuz g\u00fc\u00e7lere g\u00f6re de\u011fil, bu g\u00fc\u00e7leri bize vermi\u015f say\u0131lan tanr\u0131lara g\u00f6re yap\u0131lmas\u0131 gerekmi\u015ftir. \u00c7ok say\u0131da dolamba\u00e7l\u0131 yol gerekmi\u015ftir, zira tanr\u0131lar \u00f6nceleri, yarg\u0131layamayan edilgin tan\u0131klar ya da dertli davac\u0131lard\u0131 (Aiskylos\u2019un Eumenides\u2019inde oldu\u011fu gibi). Sofokles\u2019in tiyatrosunda da g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, iyi yada k\u00f6t\u00fc \u015feyler i\u00e7in, tanr\u0131lar ve insanlar\u0131n birlikte yarg\u0131lama etkinli\u011fine eri\u015fmeleri yava\u015f yava\u015f olmu\u015ftur. Bir yarg\u0131 \u00f6\u011fretisinin \u00f6\u011feleri tanr\u0131lar\u0131n insanlara k\u0131smetler verdi\u011fini ve insanlar\u0131n k\u0131smetlerine g\u00f6re \u015fu ya da bu bi\u00e7im i\u00e7in, \u015fu yada bu organik son i\u00e7in iyi olduklar\u0131n\u0131 varsayar. K\u0131smetim beni hangi bi\u00e7ime vermi\u015fti, ayn\u0131 zamanda k\u0131smetim benim o oldu\u011fumu iddia etti\u011fim bi\u00e7ime denk midir? \u0130\u015fte yarg\u0131n\u0131n temeli: K\u0131smetleri ayr\u0131lm\u0131\u015f varolu\u015f, k\u0131smetler halinde da\u011f\u0131t\u0131lm\u0131\u015f duygular, \u00fcst\u00fcn bi\u00e7imlere mal edilmi\u015ftir (\u00fcst\u00fcn de\u011ferler ad\u0131na ya\u015fam\u0131 \u201cyarg\u0131lama\u201d iddias\u0131n\u0131 k\u0131namak, Nietzsche\u2019nin ya da Lawrence\u2019nin de\u011fi\u015fmez izle\u011fidir). \u0130nsanlar, kendi k\u0131smetlerine de\u011fer bi\u00e7tikleri \u00f6l\u00e7\u00fcde yarg\u0131lar ve bir bi\u00e7im, onlar\u0131n, olduklar\u0131 \u015fey iddialar\u0131n\u0131 onaylad\u0131klar\u0131 ya da azmettikleri \u00f6l\u00e7\u00fcde yarg\u0131lan\u0131rlar. Ayn\u0131 zamanda hem yarg\u0131lama hem de yarg\u0131larlar ve yarg\u0131lamakla yarg\u0131lanmak ayn\u0131 zevktir. Yarg\u0131, insan kendi k\u0131smeti konusunda yan\u0131ld\u0131\u011f\u0131nda, hezeyana, derinli\u011fe kadar giden yanl\u0131\u015f yarg\u0131 bi\u00e7iminde ve bi\u00e7im bir ba\u015fka k\u0131smet dayatt\u0131\u011f\u0131nda Tanr\u0131 yarg\u0131s\u0131 bi\u00e7iminde d\u00fcnyaya ak\u0131n eder. Ajax iyi bir \u00f6rnek olacakt\u0131r. Yarg\u0131 \u00f6\u011fretisi, ba\u015flarda, tanr\u0131n\u0131n bi\u00e7imsel yarg\u0131s\u0131na oldu\u011fu kadar insan\u0131n yanl\u0131\u015f yarg\u0131s\u0131na da ihtiya\u00e7 duyar. Son bir \u00e7atallanma Hristiyanl\u0131kla birlikte meydana gelir: art\u0131k k\u0131smet yoktur, zira yegane k\u0131smetimizi olu\u015fturan yarg\u0131lar\u0131m\u0131zd\u0131r ve art\u0131k bi\u00e7im yoktur. Zira sonsuz bi\u00e7imi olu\u015fturan tanr\u0131n\u0131n yarg\u0131s\u0131d\u0131r. En a\u015f\u0131r\u0131 u\u00e7ta, kendini k\u0131smetlendirmek ve kendini cezaland\u0131rmak, yeni yarg\u0131n\u0131n ya da modern trajedinin karakteri haline gelir. Art\u0131k yarg\u0131nda ba\u015fka bir \u015fey yoktur ve her yarg\u0131 bir yarg\u0131ya dayan\u0131r. Oedipus, belki de bu yeni durumun Yunan d\u00fcnyas\u0131ndaki habercisidir. Ve Don Juan gibi bir izlekte modern olan bir \u015fey varsa, o da, komik olan eylemden \u00e7ok yeni bi\u00e7imiyle yine yarg\u0131d\u0131r. Yarg\u0131 \u00f6\u011fretisinin ikinci hareketi, b\u00fct\u00fcn genelli\u011fi i\u00e7inde \u015f\u00f6yle ifade edilebilir: art\u0131k bi\u00e7imler ya da sonlarla tanr\u0131lar\u0131n verecekleri de\u011filiz, b\u00fct\u00fcn varl\u0131\u011f\u0131m\u0131z i\u00e7inde tek bir tanr\u0131n\u0131n sonsuz vereceklisiyiz. Yarg\u0131 \u00f6\u011freticisi, duygular sistemini devirip onun yerini alm\u0131\u015ft\u0131r. Ve bu karakterler, bilgi ya da deneyim yarg\u0131s\u0131nda a\u011fabeyle bulunur. <\/p>\n<p> 5. Yarg\u0131 d\u00fcnyas\u0131 bir d\u00fc\u015fteymi\u015f\u00e7esine yerle\u015fir. K\u0131smetleri Hezekiel\u2019in tekerli\u011fini d\u00f6nd\u00fcren ve bi\u00e7imleri tane tan \u00e7eken d\u00fc\u015ft\u00fcr. Yarg\u0131lar, d\u00fc\u015fte, kendilerine bilgi ve deneyimin gerekliliklerine tabi tutacak bir ortam\u0131n direni\u015fiyle kar\u015f\u0131la\u015fmadan bo\u015flu\u011fa at\u0131l\u0131r gibi at\u0131l\u0131rlar. Bu nedenle, yarg\u0131 sorunu, \u00f6ncelikle insan\u0131n d\u00fc\u015f g\u00f6r\u00fcp g\u00f6rmedi\u011fini bilmesi sorunudur. Bu nedenle Apollon, hem yarg\u0131 tanr\u0131s\u0131 hem de d\u00fc\u015f tanr\u0131s\u0131d\u0131r. Yarg\u0131layan, s\u0131n\u0131rlar koyan ve bizi organik bi\u00e7im i\u00e7ine hapseden Apollondur, ya\u015fam\u0131, ad\u0131na yarg\u0131land\u0131\u011f\u0131 bu bi\u00e7imlere hapseden d\u00fc\u015ft\u00fcr. D\u00fc\u015f duvarlar\u0131 y\u00fckseltir, \u00f6l\u00fcmle beslenir ve g\u00f6lgeler yarat\u0131r, her \u015feyin ve d\u00fcnyan\u0131n g\u00f6lgeleri, kendi g\u00f6lgelerimiz ama yarg\u0131n\u0131n k\u0131y\u0131lar\u0131ndan ayr\u0131ld\u0131\u011f\u0131m\u0131zda, daha y\u00fcksek bir dalgan\u0131nkiymi\u015f\u00e7esine, bir \u201csarho\u015fluk\u201d u\u011fruna vazge\u00e7ti\u011fimiz de d\u00fc\u015ft\u00fcr. Sarho\u015fluk, i\u00e7ki, uyu\u015fturucu, esrime durumlar\u0131nda, hem d\u00fc\u015f\u00fcn hem de yarg\u0131n\u0131n panzehirini arar\u0131z. Yarg\u0131dan adalete her sapt\u0131\u011f\u0131m\u0131zda, d\u00fc\u015fs\u00fcz bir uykuya dalar\u0131z. Ve d\u00f6rt yazar, d\u00fc\u015f\u00fcn i\u00e7inde h\u00e2l\u00e2 fazlas\u0131yla hareketsiz ve fazlas\u0131yla y\u00f6nlendirilmi\u015f, fazlas\u0131yla y\u00f6netilmi\u015f bir durumu ele verir. Psikanaliz, ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck ya da d\u00fc\u015fle o kadar \u00e7ok ilgilenen guruplar, ger\u00e7eklik i\u00e7inde de yarg\u0131layan ve cezaland\u0131ran mahkemeler kurmakta h\u0131zl\u0131d\u0131r: D\u00fc\u015f g\u00f6renler de s\u0131k rastlanan can s\u0131k\u0131c\u0131 mani. Artaud, ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck konusunda ki \u00e7ekinceleri i\u00e7in, d\u00fc\u015f\u00fcncenin bir d\u00fc\u015f \u00e7ekirde\u011fine \u00e7arpmad\u0131\u011f\u0131n\u0131, daha ziyade d\u00fc\u015flerin, onlardan ka\u00e7an bir d\u00fc\u015f\u00fcnce \u00e7ekirde\u011fine s\u0131\u00e7rad\u0131klar\u0131n\u0131 ileri s\u00fcrer. Aratud\u2019ya g\u00f6re peyot rituelleri, Lawrence g\u00f6re Meksika orman\u0131 \u015fark\u0131lar\u0131, d\u00fc\u015f de\u011fil sarho\u015fluk ya da uyku durumlar\u0131d\u0131r. Bu d\u00fc\u015fs\u00fcz uyku, uyudu\u011fumuz uykulardan de\u011fildir. Geceyi kat eder ve g\u00fcnd\u00fcz de\u011fil, \u015eim\u015fek olan \u00fcrk\u00fct\u00fcc\u00fc bir ayd\u0131nl\u0131kla gecede ya\u015far: \u201cgece d\u00fc\u015f\u00fcnde, gelip d\u00fc\u015f\u00fc yutmak i\u00e7in s\u00fcr\u00fcnen gri k\u00f6pekler g\u00f6r\u00fcyorum\u201d. Uyumad\u0131\u011f\u0131m\u0131z bu d\u00fc\u015fs\u00fcz uyku, Uykusuzluktur, zira bir tek uykusuzluk geceye tam tam\u0131na uygundur ve onu i\u015fgal edip doldurabilir. \u00d6yle ki d\u00fc\u015f\u00fcn bir uyku d\u00fc\u015f\u00fcn ya da uyan\u0131k bir d\u00fc\u015f olarak de\u011fil uykusuzluk d\u00fc\u015f\u00fc olarak yakalar\u0131z. Yeni d\u00fc\u015f uykusuzlu\u011fun bek\u00e7isi haline gelmi\u015ftir. Kafka\u2019da oldu\u011fu gibi, bu art\u0131k uykuda ger\u00e7ekle\u015fen bir d\u00fc\u015f de\u011fil, uykusuzlu\u011fun yan\u0131nda ger\u00e7ekle\u015fen bir d\u00fc\u015ft\u00fcr: \u201cgiyinmi\u015f bedenime (k\u0131ra) yolluyorum\u2026 Ben bu s\u0131rada, kahverengi bir \u00f6rt\u00fc alt\u0131nda yata\u011f\u0131mda yat\u0131yorum\u2026\u201d Uykusuzluk \u00e7eken ki\u015fi hareketsiz kalabilir, oysa d\u00fc\u015f ger\u00e7ek hareketi \u00fcst\u00fcne alm\u0131\u015ft\u0131r. Asl\u0131nda uyumad\u0131\u011f\u0131m\u0131z bu d\u00fc\u015fs\u00fcz uyku yine de d\u00fc\u015f\u00fcn kendi gitti\u011fi yere kadar g\u00f6t\u00fcren bu uykusuzluk, Dionysos\u00e7u sarho\u015fluk hali, uyuyamaman\u0131n yarg\u0131dan kurtulma yolu i\u015fte budur. <\/p>\n<p> 6. Zulm\u00fcn fiziksel sistemi, \u00fc\u00e7\u00fcnc\u00fc bir y\u00f6nden, bedenler d\u00fczeyinde, yarg\u0131n\u0131n teolojik \u00f6\u011fretisine kar\u015f\u0131tt\u0131r. \u00d6yle ki yarg\u0131 ona g\u00f6re hareket etti\u011fi ger\u00e7ek bir bedenler d\u00fczenlemesi i\u00e7erir: Organlar, yarg\u0131\u00e7larla yarg\u0131lananlard\u0131r ve tanr\u0131 yarg\u0131s\u0131, tam olarak sonsuza dek d\u00fczenleme iktidar\u0131d\u0131r. Yarg\u0131n\u0131n duyu organ\u0131yla ili\u015fkisi bundan kaynaklan\u0131r. Kalan her \u015fey fiziksel sistemin bedenidir; bir \u201corganizma\u201d olmamas\u0131 ve onunla yarg\u0131lad\u0131\u011f\u0131m\u0131z ve yarg\u0131land\u0131\u011f\u0131m\u0131z bu organlar d\u00fczenlemesinden yoksun olmas\u0131 \u00f6l\u00e7\u00fcs\u00fcnde, yarg\u0131dan gizlenir. Ya\u015famsal ve ya\u015fayan bir bedenimiz oldu\u011fu yerde tanr\u0131 bize bir organizma yaratm\u0131\u015ft\u0131, kad\u0131n bize bir organizma yaratm\u0131\u015ft\u0131r. Artaud, Tanr\u0131n\u0131n yerine o olmadan yarg\u0131s\u0131n\u0131n uygulanmayaca\u011f\u0131 d\u00fczenlenmi\u015f bedeni ge\u00e7irmek i\u00e7in bizden \u00e7ald\u0131\u011f\u0131 bu \u201corgans\u0131z bedeni\u201d sunar. Organs\u0131z beden, yaln\u0131zca kutuplar, b\u00f6lgeler, e\u015fikler ve gradyanlar i\u00e7eren, duygusal, yo\u011fun, anar\u015fist bir bedendir. \u0130\u00e7inden ge\u00e7en organik olmayan g\u00fc\u00e7l\u00fc bir ya\u015famsall\u0131kt\u0131r. Lawrence, g\u00fcne\u015f ve ay kutuplar\u0131yla, d\u00fczlemleri, kesikleri ve damar \u00f6rg\u00fcleriyle b\u00f6yle bir beden tablosu yapar. \u00dcstelik Lawrence, ki\u015filerine bir \u00e7ifte belirleme tahsis etti\u011finde, belirlemelerinden birin organik bir ki\u015fisel his, di\u011ferinin, bu ya\u015famsal bedenden ge\u00e7en ba\u015fka t\u00fcrl\u00fc g\u00fc\u00e7l\u00fc inorganik bir duygu oldu\u011fu d\u00fc\u015f\u00fcn\u00fclebilir. \u201cM\u00fczik kula\u011fa ne kadar ho\u015f geliyorsa, onun, tam bir mutluluk i\u00e7inde, o kadar m\u00fckemmel icra ediyordu; ve ayn\u0131 zamanda i\u00e7indeki \u00e7\u0131lg\u0131n tahrik o kadar art\u0131yordu.\u201d Lawrence, emekliye ayr\u0131lan \u015fi\u015fman koreador ya da ya\u011fl\u0131 derili, ya da zay\u0131f Meksikal\u0131 general gibi organik olarak kusurlu veya aza \u00e7ekici olan, ama organlara meydan okuyup d\u00fczenlemeyi bozan yo\u011fun ya\u015famsall\u0131\u011f\u0131 da bir o kadar i\u00e7lerinden ge\u00e7ti\u011fi bedenleri sergilemeyi s\u00fcrd\u00fcrecektir. Organik olmayan ya\u015famsall\u0131k ay\u0131n bir kad\u0131n\u0131n bedenini ele ge\u00e7irmesi gibi, bedenin, eline ge\u00e7ti\u011fi ya da ele ge\u00e7irdi\u011fi alg\u0131lanmaz kuvvetler ya da g\u00fc\u00e7lerle olan ili\u015fkisidir: anar\u015fist Heliogabalos, Artaud\u2019nun yap\u0131t\u0131nda kuvvetler ve g\u00fc\u00e7lerin; mineral, bitkisel, hayvansal olu\u015flar olarak bu \u00e7at\u0131\u015fmas\u0131n\u0131n lehinde tan\u0131kl\u0131k etmeyi s\u00fcrd\u00fcrecektir. Organs\u0131z bir beden edinmek, organs\u0131z bedenini bulmak yarg\u0131dan kurtulma yoludur. Nietzsche\u2019nin tasar\u0131s\u0131 da zaten buydu: olu\u015f halindeki, yo\u011funluk halindeki bedeni, etkileme ve etkilenme g\u00fcc\u00fc, G\u00fc\u00e7 \u0130stenci olarak tan\u0131mlamak. Ve Kafka, ilk anda bu ak\u0131ma kat\u0131lm\u0131yor gibi g\u00f6r\u00fcnse de, yap\u0131t\u0131nda iki d\u00fcnya ya da iki beden birlikte varolur. Biri di\u011ferini etkiler ya da biri di\u011ferinin yerine ge\u00e7er: d\u00fczenlemesiyle, par\u00e7alar\u0131yla, (\u015fubelerin biti\u015fikli\u011fi), ayr\u0131mlar\u0131yla, m\u00fcba\u015firler, avukatlar, yarg\u0131\u00e7lar\u2026), hiyerar\u015fileriyle (yarg\u0131\u00e7lar memurlar s\u0131n\u0131f\u0131\u2026) bir yarg\u0131 bedeni; ama ayn\u0131 zamanda, kendine iade edilmi\u015f bu anar\u015fist beden \u00fczerinde, belirsiz b\u00f6lgeler olu\u015fturan onlar\u0131 son h\u0131zla kat edip orada g\u00fc\u00e7lere meydan okuyan yo\u011funluklardan ba\u015fka bir \u015fey korumdan, par\u00e7alar\u0131n savu\u015fturuldu\u011fu, ayr\u0131mlar\u0131n yitirildi\u011fi hiyerar\u015filerin kar\u0131\u015ft\u0131r\u0131ld\u0131\u011f\u0131 bir adalet bedeni (\u201c adalet senden bir \u015fey istemez, geldi\u011finde seni al\u0131r ve gitti\u011finde seni b\u0131rak\u0131r\u2026\u201d).<\/p>\n<p> 7. Bundan, zul\u00fcm sistemi i\u00e7in d\u00f6rd\u00fcnc\u00fc bir karakter do\u011far: kavga her yerde kavga, yarg\u0131n\u0131n yerini alan kavgad\u0131r. Ve kavga ku\u015fkusuz yarg\u0131ya kar\u015f\u0131, onun mahkeme ve ki\u015filerine kar\u015f\u0131 ortaya \u00e7\u0131kar. Ama daha derine inildi\u011finde, kavga olan, kendi k\u0131s\u0131mlar\u0131 aras\u0131nda, boyunduru\u011fu alt\u0131na alan ya da boyunduruk alt\u0131na al\u0131na kuvvetler aras\u0131nda bu kuvvet ili\u015fkilerini ifade eden kudretler aras\u0131nda, bizzat kavgay\u0131 verendir. B\u00f6ylelikle, Kafka\u2019n\u0131n b\u00fct\u00fcn yap\u0131tlar\u0131 \u201cBir Kavgan\u0131n Tasviri\u201d ba\u015fl\u0131\u011f\u0131n\u0131 alabilirdi: \u015eatoya kar\u015f\u0131, yarg\u0131ya kar\u015f\u0131, babaya kar\u015f\u0131, ni\u015fanl\u0131lara kar\u015f\u0131 verilen kavga. T\u00fcm davran\u0131\u015flar, geldi\u011fi her zaman g\u00f6r\u00fcnmeyen bir darbenin ya da kimli\u011fi her zaman saptanmayan bir d\u00fc\u015fman\u0131n savunmalar\u0131, hatta sald\u0131r\u0131lar\u0131, s\u0131yr\u0131lmalar\u0131, savu\u015fturmalar\u0131, \u00f6ncelemeleridir: Bedenin duru\u015flar\u0131n\u0131n \u00f6nemi bundan kaynaklan\u0131r. Ama bu d\u0131\u015f kavgalar, bu kar\u015f\u0131-kavgalar, do\u011frulanmalar\u0131n\u0131 kavga verenin i\u00e7indeki kuvvetlerin olu\u015fumunu belirleyen aras\u0131nda-kavgalarda bulur. Di\u011ferine kar\u015f\u0131 verdi\u011fi kavgay\u0131, kendi i\u00e7indeki kavgadan ay\u0131rmak gerekir. Kar\u015f\u0131-kavga bir kuvveti y\u0131kmaya ya da p\u00fcsk\u00fcrtmeye \u00e7al\u0131\u015f\u0131r (\u201cgelece\u011fin \u015feytans\u0131 g\u00fc\u00e7lerine\u201d kar\u015f\u0131 m\u00fccadele etmek), ama aras\u0131nda-kavga, tersine, bir kuvveti, kendine ait k\u0131lmak ele ge\u00e7irmeye \u00e7al\u0131\u015f\u0131r. Aras\u0131nda-kavga, bir kuvvetin ba\u015fka kuvvetleri ele ge\u00e7irerek ve yeni bir b\u00fct\u00fcn\u00fcn i\u00e7inde, bir olu\u015f i\u00e7inde onlara kat\u0131larak zenginle\u015ftirici s\u00fcre\u00e7tir. Denilebilir ki a\u015fk mektuplar\u0131, ni\u015fanl\u0131ya kar\u015f\u0131 verilen, kayg\u0131 verici etobur kuvvetleri p\u00fcsk\u00fcrtmenin s\u00f6z konusu oldu\u011fu bir kavgad\u0131r, ama ayn\u0131 zamanda, ni\u015fanl\u0131n\u0131n kuvvetleriyle, av\u0131 olmaktan \u00f6d\u00fc patlad\u0131\u011f\u0131 ni\u015fanl\u0131s\u0131 daha iyi atlatmak i\u00e7in yard\u0131m ald\u0131\u011f\u0131 hayvansal kuvvetleri kad\u0131n onu yiyip yutmadan \u00f6nce onun kad\u0131n\u0131n kan\u0131n\u0131 emmek i\u00e7in kulland\u0131\u011f\u0131 vampirimsi kuvvetlerin de aras\u0131ndaki kavga, ancak bir kavgayla elde edilebilecek olan olu\u015flar\u0131n bir hayvan-olu\u015fu bir vampir-olu\u015fu, hatta belki bir kad\u0131n-olu\u015fu meydana getiren t\u00fcm bu kuvvet ortakl\u0131klar\u0131d\u0131r. <\/p>\n<p> 8. Artaud\u2019da kavga tanr\u0131ya, h\u0131rs\u0131za, sahteciye kar\u015f\u0131d\u0131r, ama giri\u015fim ancak, kavga veren, ta\u015f\u0131n i\u00e7inde, hayvan\u0131n i\u00e7inde, kad\u0131n\u0131n i\u00e7inde ger\u00e7ekle\u015fen ilkeler ya da g\u00fc\u00e7ler kavgas\u0131n\u0131 da verdi\u011fi i\u00e7in m\u00fcmk\u00fcnd\u00fcr, \u00f6yle ki kavga veren ancak olu\u015f halindeyken (ta\u015f, hayvan ya da kad\u0131n haline gelmek) di\u011fer kavgan\u0131n ona sa\u011flad\u0131\u011f\u0131 t\u00fcm m\u00fcttefiklerle birlikte d\u00fc\u015fman\u0131na \u201ckar\u015f\u0131\u201d at\u0131labilir. Benzer bir izlek, Lawrence\u2019da s\u00fcrekli ortaya \u00e7\u0131kar: erkek ile kad\u0131n \u00e7o\u011fu zaman birbirine iki d\u00fc\u015fmanm\u0131\u015f gibi davran\u0131r, ama kar\u0131-koca kavgas\u0131 i\u00e7in iyi olan bu y\u00f6n onlar\u0131n kavgalar\u0131n\u0131n en vatsa y\u00f6n\u00fcd\u00fcr; daha derinlemesine, erkek ile kad\u0131n, m\u00fccadele etmesi gereken, s\u0131ras\u0131yla biri di\u011ferini ele ge\u00e7irebilen ya da kendilerini, kendi de bir kuvvet bir ak\u0131\u015f olan d\u00fcr\u00fcstl\u00fc\u011fe vererek ayr\u0131labilen iki ak\u0131\u015ft\u0131r. Lawrence, yo\u011fun bir \u015fekilde Nietszche ile bulu\u015fur: \u0130yi olan her \u015fey bir kavgadan do\u011far ve ortak efendileri, kavgan\u0131n d\u00fc\u015f\u00fcn\u00fcr\u00fc Heraklitos\u2019tur. Ne Artaud, ne Lawrence, ne de Nietsche, Do\u011fuya ve onun kavga etmeme \u00fclk\u00fcs\u00fcne katlanabilir; daha \u00f6nemli yerleri, Yunanistan, Etr\u00fcsk \u00fclkesi, Meksika, \u015feylerin, kuvvetlerini olu\u015fturan kavga s\u0131ras\u0131nda geldi\u011fi ve oldu\u011fu her yerdir. Ama bizim kavgadan vazge\u00e7memizin istendi\u011fi her yerde, bize \u00f6nerilen bir \u201cisten\u00e7li\u011fi\u201d, r\u00fcyan\u0131n tanr\u0131salla\u015fmas\u0131, bir \u00f6l\u00fcm k\u00fclt\u00fcd\u00fcr, en yumu\u015fak \u015fekliyle, ki\u015fi olarak Buda\u2019n\u0131n \u00f6l\u00fcm\u00fc (Aziz Pavlus\u2019un onu getirdi\u011fi halden ba\u011f\u0131ms\u0131z olarak) \u0130sa\u2019n\u0131n \u00f6l\u00fcm\u00fc bile olsa. <\/p>\n<p> 9. Ama kavga bir \u201chi\u00e7lik\u201d istenci\u201d de de\u011fildir. Kavga kesinlikle sava\u015f de\u011fildir. Sava\u015f yaln\u0131zca kar\u015f\u0131-kavgad\u0131r, bir yok etme istenci, yok etmeyi \u201cdo\u011fru\u201d bir \u015fey haline getiren Tanr\u0131 yarg\u0131s\u0131d\u0131r. Tanr\u0131 yarg\u0131s\u0131 sava\u015ftan yanad\u0131r, kesinlikle kavgadan yana de\u011fildir. Ba\u015fka kuvvetler ele ge\u00e7irdi\u011finde bile, sava\u015f\u0131n kuvveti i\u015fe onlar\u0131 bozup en al\u00e7ak duruma indirgemekle ba\u015flar. Sava\u015fta, g\u00fc\u00e7 istenci yaln\u0131zca, istencin, g\u00fcc\u00fc azami bir iktidar ya da egemenlik olarak istedi\u011fi anlam\u0131na gelir. Nietzsche ile Lawrence, bunu g\u00fc\u00e7 istencinin en alt derecesi, onun hastal\u0131\u011f\u0131 olarak g\u00f6receklerdir. Artaud, \u00f6nce Amerika ile SSCB\u2019nin sava\u015f ili\u015fkisini an\u0131msat\u0131r; Lawrence, eski Romal\u0131lardan modern fa\u015fistlere kadar, \u00f6l\u00fcm\u00fcn emperyalizmini betimler. Bunun amac\u0131, kavgan\u0131n buradan ge\u00e7medi\u011fini daha iyi g\u00f6stermektir. Kavga, tersine, kuvveti kuvvetle tamamlayan ve ele ge\u00e7irdi\u011fi kuvveti zenginle\u015ftiren bu organik olmayan, g\u00fc\u00e7l\u00fc ya\u015famsall\u0131kt\u0131r. Bebek bu ya\u015famsall\u0131\u011f\u0131 temsil eder, her organik ya\u015famdan farkl\u0131 olarak dik kafal\u0131, inat\u00e7\u0131, boyun e\u011fmez ya\u015fama-istenci: K\u00fc\u00e7\u00fck bir \u00e7ocukla organik bir ki\u015fisel ili\u015fkimiz zaten olur, ama ta\u015flar\u0131 \u00e7atlatan enerjisini k\u00fc\u00e7\u00fckl\u00fc\u011f\u00fcnde toplayan bebekle olmaz (Lawrence\u2019\u0131n bebek-kaplumba\u011fas\u0131). Bebekle ili\u015fkimiz yaln\u0131zca duygusal, atletik, ki\u015fisiz, ya\u015famsald\u0131r. \u015eu kesindir ki, g\u00fc\u00e7 istenci, bir bebekte, sava\u015f insan\u0131nda oldu\u011fundan \u00e7ok daha kesin bir \u015fekilde ortaya \u00e7\u0131kar. Zira bebek kavgad\u0131r, ve k\u00fc\u00e7\u00fck, kuvvetlerin indirgenemez yeri, kuvvetleri en \u00e7ok a\u00e7\u0131\u011fa vuran deneyimdir. D\u00f6rt yazar da, bu \u201cminyat\u00fcrle\u015fme\u201d, \u201cmin\u00f6rle\u015fme\u201d s\u00fcre\u00e7lerine kap\u0131lm\u0131\u015ft\u0131r: oyunu ya da oyuncu-\u00e7ocu\u011fu d\u00fc\u015f\u00fcnen Nietszche; Lawrence ya da \u201ck\u00fc\u00e7\u00fck Pan\u201d; Momo Artaud, \u201c\u00e7ocuktan bir ben, k\u00fc\u00e7\u00fck \u00e7ocuk bilinci\u201d; Kafka, \u201ckendini k\u00fc\u00e7\u00fcc\u00fckle\u015ftiren utan\u00e7 i\u00e7indeki b\u00fcy\u00fck.\u201d<\/p>\n<p> 10. Bir g\u00fc\u00e7, kuvvetlerin bir \u00f6zel tepkisidir, \u00f6yle ki egemen olan egemen olunanlardan ve egemen olunanlar da egemen olanlardan ge\u00e7erek d\u00f6n\u00fc\u015f\u00fcr: Ba\u015fkala\u015f\u0131m merkezi. Bu, Lawrence\u2019\u0131n simge ad\u0131n\u0131 verdi\u011fi \u015feydir, titre\u015fip yay\u0131lan, hi\u00e7bir anlama gelmeyen, ama her biri di\u011feriyle ili\u015fkiye girerek yeni anlamlar kazanan, olabildi\u011fince \u00e7ok kuvveti t\u00fcm y\u00f6nlerde yakalay\u0131ncaya kadar bizi f\u0131r d\u00f6nd\u00fcren yo\u011fun bir bile\u015fik. Karar ne bir yarg\u0131, ne de bir yarg\u0131n\u0131n organik sonucudur. Bizi kavgaya s\u00fcr\u00fckleyen bir kuvvetler girdab\u0131ndan ya\u015famsal olarak f\u0131\u015fk\u0131r\u0131r. Kavgay\u0131, ortadan kald\u0131rmadan ve bitirmeden \u00e7\u00f6z\u00fcme kavu\u015fturur. Simgenin gecesine tam tam\u0131na uygun \u015fim\u015fektir. S\u00f6z\u00fcn\u00fc etti\u011fimiz d\u00f6rt yazara simgeciler denebilir. Zerd\u00fc\u015ft, her \u015feyden \u00f6nce \u00f6nce simgeler kitab\u0131, kavga veren bir kitapt\u0131r. Ve Nietsche\u2019nin aforizmas\u0131nda, Kafka\u2019n\u0131n meselinde ortaya \u00e7\u0131kan, kuvvetleri \u00e7o\u011falt\u0131p zenginle\u015ftirmeye, bundan, her birinin di\u011ferlerini etkiledi\u011fi bir azamilik elde etmeye benzer bir e\u011filimdir. Artaud, tiyatro ile veba aras\u0131nda, iki kuvvetten her birinin di\u011ferini art\u0131rd\u0131\u011f\u0131 ve ona yeni bir ivme kazand\u0131rd\u0131\u011f\u0131 bir simge yarat\u0131r. At\u0131, apokaliptik hayvan\u0131 \u00f6rnek alal\u0131m: Lawrence\u2019ta g\u00fclen at, Kafka\u2019da kafas\u0131n\u0131 pencereden uzat\u0131p bana bakan at, Artaud\u2019da \u201cg\u00fcne\u015f olan\u201d at ya da Nietsche\u2019de Ai diyen e\u015fek, i\u015fte kuvvetleri toplay\u0131p g\u00fc\u00e7 bile\u015fkeleri meydana getirerek onca simgeyi olu\u015fturan fig\u00fcrler.<\/p>\n<p> 11. Kavga, bir tanr\u0131 yarg\u0131s\u0131 de\u011fil, tanr\u0131y\u0131 ve yarg\u0131y\u0131 \u00e7\u00f6z\u00fcme kavu\u015fturma yoludur. Hi\u00e7 kimse yarg\u0131yla geli\u015fmez, insanlar hi\u00e7bir yarg\u0131 i\u00e7ermeyen kavgayla geli\u015fir. Be\u015f karakter, bize varolu\u015fla yarg\u0131y\u0131 i\u00e7ermeyen kavgayla geli\u015fir. Be\u015f karakter, bize varolu\u015fla yarg\u0131y\u0131 kar\u015f\u0131tla\u015ft\u0131r\u0131yormu\u015f gibi g\u00f6r\u00fcnd\u00fc: sonsuz azap kar\u015f\u0131s\u0131nda zul\u00fcm, d\u00fc\u015f kar\u015f\u0131s\u0131nda uyku ve sarho\u015fluk, d\u00fczenleme kar\u015f\u0131s\u0131nda ya\u015famsall\u0131k, bir egemen olma-istemi kar\u015f\u0131s\u0131nda g\u00fc\u00e7 istenci, sava\u015f kar\u015f\u0131s\u0131nda kavga. Bizi rahats\u0131z eden, yarg\u0131y\u0131 yads\u0131yarak, o andan itibaren her \u015fey e\u015fde\u011fermi\u015f\u00e7esine, varolanlar aras\u0131nda, varolu\u015f tarzlar\u0131 aras\u0131nda t\u00fcm farkl\u0131l\u0131k yaratma yollar\u0131ndan kendimizi yoksun b\u0131rak\u0131yormu\u015f izlenimine kap\u0131lmam\u0131zd\u0131. Ama ne bir varolanda neyin yeni oldu\u011funu kavrayabilecek ne de bir varolu\u015f tarz\u0131n\u0131n yarat\u0131m\u0131n\u0131 sezebilecek \u015fekilde, \u00f6nceden varolan \u00f6l\u00e7\u00fctler (\u00fcst\u00fcn de\u011ferler) ve her daim (sonsuz zaman boyunca) \u00f6nceden varolan \u00f6l\u00e7\u00fctler varsayan daha ziyade yarg\u0131 de\u011fil midir? B\u00f6yle bir tarz, kendisine kar\u015f\u0131 belli bir zalimlik g\u00f6stererek, kavga yoluyla, uykunun uykusuzlu\u011fu i\u00e7inde ya\u015famsal olarak yarat\u0131l\u0131r: bunlar\u0131n hi\u00e7biri yarg\u0131n\u0131n sonucu de\u011fildir. Yarg\u0131, her yeni varolu\u015f tarz\u0131n\u0131n geli\u015fini engeller. Zira varolu\u015f tarz\u0131, kendi kuvvetleriyle yarat\u0131l\u0131r ve yeni birle\u015fimi varoldurdu\u011fu \u00f6l\u00e7\u00fcde kendi de de\u011fer kazan\u0131r. \u0130\u015fin s\u0131rr\u0131 belki de budur: Yarg\u0131lamak de\u011fil, varoldurmak. Yarg\u0131lamak bu kadar naho\u015fsa, bunun nedeni her \u015feyin e\u015fde\u011fer olmas\u0131 de\u011fil, tam tersine, de\u011ferli olan her \u015feyin, ancak yarg\u0131ya meydan okuyarak de\u011ferli olabilmesi ve ay\u0131rt edilebilmesidir. Sanatta, hangi uzman yarg\u0131s\u0131, gelecek yap\u0131t\u0131 konu alabilir? Yapmam\u0131z gereken, di\u011fer varolanlar\u0131 yarg\u0131lamak de\u011fil, bize uyup uymad\u0131klar\u0131n\u0131, yani bize kuvvetler mi ta\u015f\u0131d\u0131klar\u0131n\u0131 yoksa bizi sava\u015f\u0131n kesinliklerine mi g\u00f6nderdiklerini sezmektir. Spinoza\u2019n\u0131n s\u00f6ylemi\u015f oldu\u011fu gibi, bu bir yarg\u0131 sorunu de\u011fil, sevgi ve nefret sorunudur; \u201cruhum ve bedenim tek bir \u015feydir&#8230; Ruhumun sevdi\u011fini, ben de severim, ruhumun nefret etti\u011finden ben de nefret ederim&#8230; En ac\u0131 nefretten en tutkulu sevgiye kadar, say\u0131lmayacak kadar \u00e7ok ruhun t\u00fcm y\u00fcce duyguda\u015fl\u0131klar\u0131.\u201d Bu, \u00f6znelcilik de\u011fildir, \u00e7\u00fcnk\u00fc sorunu ba\u015fka t\u00fcrl\u00fc de\u011fil de, kuvvetler a\u00e7\u0131s\u0131ndan ortaya koymak, her \u00f6znelli\u011fi zaten a\u015far.<\/p>\n<p>Kritik ve Klinik, i\u00e7inde; \u00e7ev: \u0130nci Uysal, Norgunk Yay\u0131nc\u0131l\u0131k.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1. Yunan trajedisinden modern felsefeye kadar, haz\u0131rlan\u0131p geli\u015fen b\u00fct\u00fcn bir yarg\u0131 \u00f6\u011fretisidir. Trajik olan, eylemden \u00e7ok yarg\u0131d\u0131r ve Yunan trajedisi \u00f6ncelikle bir mahkeme kurar. Kant, ger\u00e7ek bir yarg\u0131 ele\u015ftirisi icat etmez, \u00e7\u00fcnk\u00fc bu kitap, tersine, \u00f6znel bir d\u00fc\u015fsel mahkeme kurar. Yahudi-H\u0131ristiyan, gelenekten koparak ele\u015ftiriyi s\u00fcrd\u00fcren Spinoza\u2019d\u0131r; ve bu ele\u015ftiriyi yeniden ele al\u0131p ona bir ivme [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[62],"tags":[],"class_list":{"0":"post-747","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-gilles-deleuze"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v24.9 (Yoast SEO v24.9) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Kritik ve Klinik i\u00e7inde | Yarg\u0131y\u0131 \u00e7\u00f6z\u00fcme kavu\u015fturmak i\u00e7in - Gilles Deleuze - 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\/2009\/11\/01\/kritik-ve-klinik-icinde-yargiyi-cozume-kavusturmak-icin-gilles-deleuze\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kritik ve Klinik i\u00e7inde | Yarg\u0131y\u0131 \u00e7\u00f6z\u00fcme kavu\u015fturmak i\u00e7in - Gilles Deleuze\" \/>\n<meta property=\"og:description\" content=\"1. Yunan trajedisinden modern felsefeye kadar, haz\u0131rlan\u0131p geli\u015fen b\u00fct\u00fcn bir yarg\u0131 \u00f6\u011fretisidir. Trajik olan, eylemden \u00e7ok yarg\u0131d\u0131r ve Yunan trajedisi \u00f6ncelikle bir mahkeme kurar. Kant, ger\u00e7ek bir yarg\u0131 ele\u015ftirisi icat etmez, \u00e7\u00fcnk\u00fc bu kitap, tersine, \u00f6znel bir d\u00fc\u015fsel mahkeme kurar. 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