{"id":752,"date":"2010-01-21T01:00:00","date_gmt":"2010-01-20T22:00:00","guid":{"rendered":"http:\/\/localhost\/wordpress\/2010\/01\/21\/kendini-tuketme-ugruna-kendini-yenileyen-anlatilar-mblanchot-biyografisi-christophe-bident\/"},"modified":"2010-01-21T01:00:00","modified_gmt":"2010-01-20T22:00:00","slug":"kendini-tuketme-ugruna-kendini-yenileyen-anlatilar-mblanchot-biyografisi-christophe-bident","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2010\/01\/21\/kendini-tuketme-ugruna-kendini-yenileyen-anlatilar-mblanchot-biyografisi-christophe-bident\/","title":{"rendered":"Kendini t\u00fcketme u\u011fruna kendini yenileyen anlat\u0131lar… | M.Blanchot biyografisi – Christophe Bident"},"content":{"rendered":"

<\/strong><\/h2>\n

H\u00e2kim ve s\u0131rad\u0131\u015f\u0131, i\u015fte Maurice Blanchot’nun edebi, kritik ve felsefi yap\u0131t\u0131n\u0131n 20. yy. boyunca sahip oldu\u011fu yer. Bu dev ve \u00f6nemli yap\u0131t en co\u015fkulu hayranl\u0131klara ve en \u015f\u00fcpheci yermelere sebebiyet verdi. Samimi ve \u015fa\u015f\u0131rt\u0131c\u0131 bir d\u00fcnyada, keskin bir dil, derli toplu bir lirizm, her defas\u0131nda kendini t\u00fcketme u\u011fruna kendini yenileyen olay \u00f6rg\u00fcs\u00fcyle anlat\u0131lar, zor rastlan\u0131lan bir ilgi alan\u0131 sundu, \u00f6tekine kar\u015f\u0131 duyulan ezeli bir ahlaki samimiyetin alan\u0131: belle\u011fine kar\u015f\u0131, diline, nefes al\u0131p veri\u015fine, bo\u011fulmas\u0131na, hassasiyetine, s\u0131rr\u0131na. Kritik yap\u0131tlar\u0131 y\u00fczlerce kitab\u0131 yorumlad\u0131, birka\u00e7 klasikten neredeyse t\u00fcm \u00e7a\u011fda\u015flar\u0131na kadar; kendisinden \u00f6nce gelen b\u00fcy\u00fck yazar ve filozoflarla (Nietzcshe, Hegel, Heidegger, H\u00f6lderlin, Mallarm\u00e9, Valery, Rilke, Kafka, Sade, Lautr\u00e9amont, Artaud…)<\/p>\n

ve kendisine e\u015flik edenlerle (Char, Paulan, Sartre, Leiris, Klosowski, Laporte, Foucault, Derrida, Nancy, Duras, Mascolo, des For\u00eats…) giri\u015fti\u011fi sonu gelmeyen bir diyalog i\u00e7erisinde, kendisine has bir edebiyat yakla\u015f\u0131m\u0131 ve kavramsal s\u00f6zl\u00fc\u011f\u00fc yonttu. Maurice Blanchot bu diyalo\u011fa birka\u00e7 isim de verdi: bitmeyen g\u00f6r\u00fc\u015fme veya dostluk , ve art\u0131k ismi onlardan ayr\u0131 ge\u00e7meyen ona en yak\u0131n yazarlar Emmanuel Levinas, Georges Bataille ve Robert Antelme ile olan bu dostlu\u011funun i\u00e7inde felsefi yap\u0131t\u0131n\u0131 \u00f6rd\u00fc. Felaketin \u00f6tesinde, kom\u00fcnist ideolojilerin ve toplumsal mitolojilerin y\u0131k\u0131m\u0131n\u0131n berisinde, kom\u00fcnoter d\u00fc\u015f\u00fcncenin zorunlulu\u011funu ve gereklili\u011fini, mesela ilkin \u201citiraf edilmemi\u015f birli\u011fi\u201d, \u201cbirliksiz birli\u011fi\u201d savunabilen felsefesini.<\/p>\n

Bu yap\u0131t\u0131 ya\u015fam\u0131 boyunca gizli sakl\u0131 kalm\u0131\u015f olsa da, hi\u00e7bir tan\u0131kl\u0131k, foto\u011fraf, r\u00f6portaj kabul etmeden, \u00f6rnek bir \u015fekilde ki\u015fili\u011fini t\u00fcm medyala\u015ft\u0131rmadan ar\u0131nd\u0131rarak ve Mallarm\u00e9’den miras \u201cYazar\u0131n biyografi olmaz\u201d d\u00fc\u015f\u00fcncesini benimsemeye \u00e7al\u0131\u015farak Blanchot bunu kendisi istedi. Bu sayede bizi yazar\u0131n olabilirli\u011fi ve me\u015fruiyeti \u00fczerine d\u00fc\u015f\u00fcnmeye \u00e7a\u011f\u0131r\u0131r; \u00fcstelik ideolojiler, yaz\u0131lar, kopukluklar ve tarihsel mutlak(Auschwitz) \u00fczerine hem canl\u0131 hem mesafeli bak\u0131\u015f\u0131n\u0131 payla\u015f\u0131r bizimle. K\u00f6keninden ba\u015fka bir kopuklu\u011fu olmayan bir bak\u0131\u015fla (gazeteci kalemiyle, Blanchot 30’lu y\u0131llarda a\u015f\u0131r\u0131 sa\u011f i\u00e7in militanl\u0131k yapm\u0131\u015ft\u0131) ve a\u015f\u0131r\u0131 sola dahil olarak, \u201c\u00d6yle d\u00fc\u015f\u00fcn ve hareket et ki, Auschwitz bir daha asla tekrarlanmas\u0131n\u201d siyasi d\u00fcsturuyla reddetti\u011fi bu k\u00f6kenle, d\u00fc\u015f\u00fcncenin nas\u0131l sadece \u00f6zden ka\u00e7\u0131\u015fta ve edebiyat\u0131n da, Frans\u0131z edebiyat\u0131ndan farkl\u0131 olarak, t\u00fcm reaksiyonlar unutuldu\u011funda s\u00fcregeldi\u011fini anlat\u0131r.

Frans\u0131z bir gen\u00e7lik<\/strong><\/p>\n

Maurice Blanchot, 22 Eyl\u00fcl 1907’de, Burgonya’n\u0131n Quain k\u00f6y\u00fcnde, toprak sahibi zengin ve koyu katolik bir ailenin \u00e7ocu\u011fu olarak d\u00fcnyaya geldi. Edebiyat birikiminin tohumlar\u0131n\u0131, b\u00fcy\u00fck ailelerin \u00e7ocuk e\u011fitmeni babas\u0131n\u0131n yan\u0131nda att\u0131. Felsefe ve Almanca e\u011fitimi ald\u0131\u011f\u0131 Strasbourg \u00dcniversitesi’nde 1923’e do\u011fru, Litvanya’dan gelen musevi bir \u00f6\u011frenci ile y\u0131k\u0131lmayan bir arkada\u015fl\u0131k kurdu: Emmanuel Levinas. Blanchot Levinas’\u0131 frans\u0131z edebiyat\u0131na (s\u00fcrrealizmden uzak: Proust ve Valery ile); Levinas da Blanchot’yu Alman Felsefesine ba\u015flat\u0131r (fenomenoloji ve Heidegger).<\/p>\n

1929’da Blanchot Paris’e gider. Sorbonne’da ku\u015fkucular \u00fczerine bir tez savunur ve Saint-Anne’da t\u0131p e\u011fitimine ba\u015flar. Ancak onu \u00dcniversite’den \u00e7ok gazetecilik ilgilendirir. A\u015f\u0131r\u0131 sa\u011fa ait bir\u00e7ok gazete ve dergide ad\u0131 ge\u00e7er: daha \u00e7ok siyasi, bazen de edebi katk\u0131lar. Thierry Maulnier y\u00f6netimindeki Frans\u0131z Hareketi’nden ayr\u0131lan gen\u00e7lerle zaman ge\u00e7irir. Anti-kapitalizm, anti-parlamentarizm, anti-kom\u00fcnizm, tinselcilik ve klasisizm vazge\u00e7ilmez s\u00f6zc\u00fckleri olur. Anti-almanc\u0131l\u0131k ve dolay\u0131s\u0131yla anti-hitlercili\u011fi de ekleyebiliriz: Blanchot ayn\u0131 zamanda nazi ihtilaslar\u0131n\u0131 ele vermeye haz\u0131r milliyet\u00e7i musevilerin de aras\u0131ndayd\u0131. 1933’den itibaren, arkada\u015f\u0131 Paul L\u00e9vy taraf\u0131ndan y\u00f6netilen Le Rempart gazetesinde, Musevilerin \u00e7al\u0131\u015fma kamplar\u0131na ilk g\u00f6t\u00fcr\u00fcl\u00fc\u015flerine isyan eder.<\/p>\n

Hem ki\u015fisel (bir arkada\u015f\u0131n\u0131n \u00f6l\u00fcm\u00fc, gittik\u00e7e k\u00f6t\u00fcle\u015fen sa\u011fl\u0131k durumu) hem de tarihsel nedenler (Munich’ten Vichy’e milli bozgunculuk) onu, 1938 ve 1940 aras\u0131nda, yava\u015f yava\u015f milliyet\u00e7i hareketten uzakla\u015ft\u0131r\u0131r. Sava\u015f\u0131n, Georges Bataille ile tan\u0131\u015fmas\u0131n\u0131n ve Direni\u015f ile yak\u0131nla\u015fmas\u0131n\u0131n da elbette bunda pay\u0131 var. Haziran 1944’te, idam mangas\u0131ndan bir mucize eseri kurtulmas\u0131, do\u011fdu\u011fu evin duvar\u0131nda, ona hayatta kalm\u0131\u015f oldu\u011fu hissiyat\u0131n\u0131 b\u0131rak\u0131r (sonradan \u201cart\u0131k \u00f6l\u00fcm an\u0131m hep duru\u015fmada\u201d yazacakt\u0131r). Ve edebiyat\u0131n verdi\u011fi g\u00fc\u00e7le, \u00f6l\u00fcm\u00fcn en u\u00e7 y\u00fcz\u00fcyle g\u00f6zg\u00f6ze geldi\u011fi zamanlarda yazd\u0131\u011f\u0131 ve kurdu\u011fu yaz\u0131n\u0131 sayesinde, kimliksel mitlerin i\u00e7 \u00e7\u00f6k\u00fcnt\u00fcs\u00fcyle ili\u015fkisini keser: \u201cYazmak yazmak sorusu olarak, soru ki i\u00e7inde yaz\u0131 var ve onun i\u00e7inde de soru var, art\u0131k sana \u201colan\u201dla bir ba\u011f kurdurtam\u0131yor- en ba\u015fta gelenek, d\u00fczen, kesinlik, ger\u00e7ek, her t\u00fcrl\u00fc k\u00f6ksalma olarak anla\u015f\u0131lan \u015fey- bir g\u00fcn d\u00fcnyan\u0131n ge\u00e7mi\u015finden ald\u0131\u011f\u0131n.\u201d<\/p>\n

Edebiyattan kopu\u015f<\/strong><\/p>\n

1933’ten itibaren, Maurice Blanchot bir roman yazmaya ba\u015flam\u0131\u015ft\u0131, Thomas l’obscur (Karanl\u0131k Thomas), ve birka\u00e7 verimsiz denemeden sonra (birka\u00e7 elyazmas\u0131n\u0131 yakar), sonunda 1940’ta bitirir. Roman 1941’de, pe\u015finden de hemen bir ikincisi, Aminadab yay\u0131mlan\u0131r. Birka\u00e7 gen\u00e7lik kusurunu ele verse de, mesela Giraudoux ve Kafka’n\u0131n etkisi bariz olsa da, ele\u015ftirmenler Blanchot’yu Yeni Frans\u0131z Edebiyat\u0131n\u0131n birinci s\u0131ralar\u0131na yerle\u015ftirir. Sonra da \u201cyeni roman\u201da yak\u0131nd\u0131r derler; ama o kendini hi\u00e7bir ekole ait bulmaz. Romanda ve anlat\u0131da (bu iki ak\u0131m\u0131n ayr\u0131 oldu\u011funun \u00fcst\u00fcnde durur), yeralt\u0131nda ve h\u00fck\u00fcmdar, az okunan ama se\u00e7kince tan\u0131nan, kendi yolunu izler. Le Tr\u00e8s-Haut’nun (1948, Y\u00fccelerin Y\u00fccesi) da ait oldu\u011fu ilk kurmacalardan itibaren, daha k\u0131sa, daha az referansl\u0131 anlat\u0131lara ge\u00e7er, daha \u00e7ok s\u00f6z\u00fcn\/konu\u015fman\u0131n yo\u011fun ve anonim bi\u00e7imine \u00f6nem verir. L’arr\u00eat de Mort’dan (1948, \u00d6l\u00fcm H\u00fckm\u00fc) L’attente l’oubli (1962, Bekleyi\u015f Unutu\u015f) ve L’entretien infini’ye (1965, Sonsuz S\u00f6yle\u015fi) kadar, bir tutkulu, bir erotik, bir dost canl\u0131s\u0131, bir hayalperest, bir fantastik olan iki veya \u00fc\u00e7 ki\u015finin kar\u015f\u0131la\u015fmas\u0131na e\u015flik ederiz. Tutkunun veya kaybolman\u0131n s\u0131n\u0131r\u0131nda erkek ve kad\u0131nlar\u0131n aras\u0131nda, Blanchot hala aralar\u0131nda kalabilenlerin izini s\u00fcrer, bu aldat\u0131c\u0131 ve herkesin ba\u015fkas\u0131nda mutlak bir kaynak, tanr\u0131sal bir mutluluk ve indirgenemez bir s\u0131r buldu\u011fu andan yola \u00e7\u0131karak.<\/p>\n

A\u015f\u0131r\u0131 teatral olan Blanchot’nun yaz\u0131s\u0131 birka\u00e7 sakat ve patlay\u0131c\u0131 olaya yo\u011funla\u015f\u0131r; bu olaylar\u0131n v\u00fccutlar\u0131m\u0131zda ve bilincimizde nas\u0131l yay\u0131ld\u0131\u011f\u0131na ve bunlar\u0131 hala anlatabilmenin, anlatmak istemenin yaratt\u0131\u011f\u0131 meydan okumaya. Emp\u00e9docle dergisinde 1949’da yay\u0131mlanan k\u0131sa kurmacas\u0131 La folie du jour (G\u00fcn\u00fcn delili\u011fi) ile Blanchot Auschwitz’den sonra anlat\u0131n\u0131n olabilirli\u011fi sorusunu sormu\u015ftu. \u201cBir anlat\u0131 m\u0131? Yok anlat\u0131 hay\u0131r, bir daha asla\u201d diye bitirir. Yaz\u0131lmak art\u0131k sadece silinmekle olabilir: \u00f6zelin te\u015fhirinin do\u011furdu\u011fu en az utan\u0131lan noktaya duyulan sayg\u0131da. Ele\u015ftirel yap\u0131tlar\u0131nda da buna n\u00f6tr ad\u0131n\u0131 verir. Edebiyat\u0131n bu y\u0131k\u0131lmaz tarafs\u0131zl\u0131\u011f\u0131 (n\u00f6trl\u00fc\u011f\u00fc), her okura kab\u0131na s\u0131\u011fmayan b\u00f6l\u00fcm ve itiraf beklentisini sorgulat\u0131r \u2013 edebiyat beklentisini.<\/p>\n

Edebi alan<\/strong><\/p>\n

\u0130lk ele\u015ftiri (kritik) kitab\u0131 1943’de \u00e7\u0131kar: Faux Pas (Gaf) yazar\u0131n\u0131 an\u0131nda gen\u00e7 ele\u015ftirmenler aras\u0131nda en umut vereni mertebesine y\u00fckseltir. Kurtulu\u015ftan sonra Blanchot en prestijli dergilerde yazar: L’Arche, Critique, les Temps Modernes ve 1953’te yeniden bas\u0131m\u0131ndan beri La Nouvelle Nouvelle Revue Fran\u00e7aise. Romanlar\u0131 ve anlat\u0131lar\u0131ndan ziyade, b\u00fcy\u00fck kitaplar i\u00e7in de\u011fi\u015fiklik yapt\u0131\u011f\u0131 bu yaz\u0131lar ismini d\u00fcnyaya tan\u0131t\u0131r: la Part du Feu (1949), L’Espace litt\u00e9raire (1955, Yaz\u0131nsal Uzam\/Alan), Le livre \u00e0 venir (1959, Gelecek Kitap), L’entretien infini (1969, Sonsuz S\u00f6yle\u015fi), L’Amiti\u00e9 (1971, Arkada\u015fl\u0131k). Blanchot yine de asla anlat\u0131sal ve ele\u015ftirel yaz\u0131y\u0131 birbirinden ay\u0131rmaz. Bir anlat\u0131dan bir denemeye ayn\u0131 c\u00fcmleler dola\u015f\u0131r (Artaud \u00fczerine bir yaz\u0131da \u00f6rne\u011fin, Dernier Homme’un (Son \u0130nsan) son sayfalar\u0131nda). Ele\u015ftirel denemelerine yay\u0131lan \u00e7abalar da her \u015feyden \u00f6nce, s\u00fcrekli yeni ve hep daha fazla titiz yaz\u0131 bi\u00e7imleri arayan, yorulmak bilmeyen bir yazar\u0131n \u00e7abalar\u0131d\u0131r. Bu ara\u015ft\u0131rma ele\u015ftirel d\u00fc\u015f\u00fcnceye devrimci bir yol a\u00e7ar (Blanchot’yu her hafta NNRF’te okuyan Barthes, Deleuze, Bataille, Derrida, Foucault, Sollers de bunu bilir ve s\u00f6ylerler). Yazarlarla ya\u015fad\u0131\u011f\u0131 \u00e7ok ki\u015fisel bir meditasyon ona hareket verir. Blanchot \u00f6lmenin ve yazman\u0131n ba\u015fka bir zaman\u0131nda ki\u015fili\u011fi tarafs\u0131zla\u015ft\u0131ran (n\u00f6trle\u015ftiren) deneyimlere ilgi duyar, \u201cbitmeyen ve durmayan\u201d. Bizi yazar\u0131n g\u00fczerg\u00e2h\u0131n\u0131 Orpheus olarak okumaya davet eder. Yap\u0131t\u0131n t\u00fcketen ama hi\u00e7 t\u00fckenmeyen y\u00f6n\u00fcn\u00fc hayal eder, o hi\u00e7 ula\u015f\u0131lmam\u0131\u015f, gecenin kalbinden hep a\u015f\u0131r\u0131lm\u0131\u015f, \u201c\u00f6teki gece\u201dnin, art\u0131k \u201cvarl\u0131\u011f\u0131n gizlenmesi\u201dne a\u00e7\u0131k yazar\u0131n uykusuzlu\u011funu misafir eden gece, \u00e7\u00fcnk\u00fc i\u015fte o zaman ona kaybolu\u015fun \u00f6z\u00fc, varl\u0131\u011f\u0131n dibinde varl\u0131\u011f\u0131n yoklu\u011fu, zaman\u0131n ba\u015flag\u0131c\u0131n\u0131n da evveliyat\u0131, dilin daha sadece bir f\u0131s\u0131ldama, \u015fiirin \u00f6z\u00fcne hep daha fazla yak\u0131n duran h\u0131zl\u0131 ve kesintisiz bir d\u00fczyaz\u0131 olan k\u00f6keni belirir.<\/p>\n

Siyaset ve toplum<\/strong><\/p>\n

1958’de, Eze k\u00f6y\u00fcnde on y\u0131ll\u0131k emeklilikten sonra, Paris’e geri d\u00f6ner. Bu d\u00f6n\u00fc\u015f sa\u011flam ve esnemez a\u015f\u0131r\u0131 sol yanda\u015fl\u0131\u011f\u0131n\u0131n me\u015fru ba\u015flang\u0131c\u0131 olur, Bataille (1962’de \u00f6l\u00fcr) ve (bu harekata kat\u0131lmayan) Levinas’tan sonra en yak\u0131n arkada\u015flar\u0131n\u0131n e\u015fli\u011finde: Robert ve Monique Antelme, Marguerite Duras, Louis Ren\u00e9 des For\u00eats, Maurice Nado, Elio ve Ginetta Vittorini. As\u0131l t\u00fcm bu ba\u015fkoymalar\u0131 ger\u00e7ekten ba\u015flatan Dionys Mascolo ortakl\u0131\u011f\u0131nda, 1958’de de Gaulle darbesine kar\u015f\u0131, 1960’ta Cezayir sava\u015f\u0131na kar\u015f\u0131 (daha \u00e7ok \u201c121 manifestosu\u201d olarak bilinen D\u00e9claration sur le droit \u00e0 l’insoumission dans la geurre d’Alg\u00e9rie (Cezayir sava\u015f\u0131nda boyun e\u011fmeme hakk\u0131 \u00fczerine a\u00e7\u0131klama) s\u0131n\u0131n da ba\u015f yazar\u0131yd\u0131), 1968’de de Yazar-\u00d6\u011frenci Komitesi i\u00e7in yazd\u0131. Ayn\u0131 arkada\u015flarla bir Revue Internationale \u00e7\u0131kartmak i\u00e7in uzun seneler harcar. Derginin ana b\u00f6l\u00fcm\u00fc \u201c\u015eeylerin gidi\u015fat\u0131\u201d anonim tutulan yazarladan par\u00e7alar sunmak ister. Her d\u00fc\u015f\u00fcncenin bir kom\u015fu d\u00fc\u015f\u00fcnce taraf\u0131ndan ay\u0131kland\u0131\u011f\u0131 ve ayr\u0131\u015ft\u0131r\u0131ld\u0131\u011f\u0131 kom\u00fcnoter bir dergi. Bu projenin 1962’de ba\u015far\u0131s\u0131zl\u0131\u011f\u0131 Blanchot’yu y\u0131kar.<\/p>\n

1968’den sonra, a\u015f\u0131r\u0131 solun Filistin yanl\u0131l\u0131\u011f\u0131 konusunda fikir anla\u015fmazl\u0131\u011f\u0131, pe\u015fine yeni ve ac\u0131mas\u0131z bir hastal\u0131\u011f\u0131n geli\u015fi Blanchot’yu kamudan uzakla\u015ft\u0131r\u0131r. Fragmanter (par\u00e7al\u0131) ve felsefi yaz\u0131n zaman\u0131d\u0131r. Pas au dela ve L’Ecriture de D\u00e9sastre’\u0131 (Felaket Yaz\u0131s\u0131), La communaut\u00e9 inavouable (\u0130tiraf Edilemeyen Cemaat\/Birliktelik) ve arkada\u015flar\u0131n\u0131n yaz\u0131lar\u0131 ve d\u00fc\u015f\u00fcnceleri \u00fczerine kitap\u00e7\u0131klar izler: Celan, Foucault, des For\u00eats, Mascolo. S\u0131n\u0131rlar\u0131na dek zorlanm\u0131\u015f, par\u00e7a par\u00e7a yazma gereklili\u011fi kendi nam\u0131na t\u00fcm dil etkilerini d\u0131\u015far\u0131 iter. T\u00fcm merkezi otoriter duru\u015ftan vazge\u00e7i\u015fi onaylar. Yaz\u0131y\u0131 asl\u0131nda ba\u015fka \u015feye meyilli bir harekete emanet eder; bilgiyi bilgi-olmayana; d\u00fc\u015f\u00fcnceyi Tarih’in mutlak olay\u0131n\u0131 koruma yeri olan depreme yani Soyk\u0131r\u0131ma emanet eder. Y\u0131k\u0131m\u0131n d\u00fc\u015f\u00fcncesidir. \u201cD\u00fc\u015f\u00fcnmek, y\u0131k\u0131m\u0131 art niyet olarak adland\u0131rmakt\u0131r (\u00e7a\u011f\u0131rmakt\u0131r).\u201d<\/p>\n

Sonu\u00e7ta d\u00fc\u015f\u00fcncenin, bug\u00fcn bile olabilirli\u011fini g\u00f6stermek ister Blanchot. Nihilizmsiz, t\u00fcm bilinciyle, daha \u00f6nce Georges Bataille’a 1962’de bir mektubunda yazd\u0131\u011f\u0131 gibi: \u201cGer\u00e7ek ve insan gelece\u011fi \u00fczerine s\u00f6ylenenleri sadece \u201cmutlak\u201d bir umutsuzluk zemini \u00fczerinde kabul etmeye haz\u0131r\u0131m.\u201d<\/p>\n

Frans\u0131zca Asl\u0131ndan \u00c7eviren: Atakan Karak\u0131\u015f<\/p>\n

Not: Bu yaz\u0131, Monokl’un 2007 Temmuz’unda \u00e7\u0131kan 3. say\u0131s\u0131nda yay\u0131mlanm\u0131\u015ft\u0131r. Kaynak g\u00f6sterilmeden kullan\u0131lmamas\u0131 rica olunur…<\/p>\n","protected":false},"excerpt":{"rendered":"

H\u00e2kim ve s\u0131rad\u0131\u015f\u0131, i\u015fte Maurice Blanchot’nun edebi, kritik ve felsefi yap\u0131t\u0131n\u0131n 20. yy. boyunca sahip oldu\u011fu yer. Bu dev ve \u00f6nemli yap\u0131t en co\u015fkulu hayranl\u0131klara ve en \u015f\u00fcpheci yermelere sebebiyet verdi. Samimi ve \u015fa\u015f\u0131rt\u0131c\u0131 bir d\u00fcnyada, keskin bir dil, derli toplu bir lirizm, her defas\u0131nda kendini t\u00fcketme u\u011fruna kendini yenileyen olay \u00f6rg\u00fcs\u00fcyle anlat\u0131lar, zor rastlan\u0131lan […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61],"tags":[],"class_list":{"0":"post-752","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-maurice-blanchot"},"yoast_head":"\nKendini t\u00fcketme u\u011fruna kendini yenileyen anlat\u0131lar... | M.Blanchot biyografisi - Christophe Bident - 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\/2010\/01\/21\/kendini-tuketme-ugruna-kendini-yenileyen-anlatilar-mblanchot-biyografisi-christophe-bident\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kendini t\u00fcketme u\u011fruna kendini yenileyen anlat\u0131lar... | M.Blanchot biyografisi - Christophe Bident\" \/>\n<meta property=\"og:description\" content=\"H\u00e2kim ve s\u0131rad\u0131\u015f\u0131, i\u015fte Maurice Blanchot’nun edebi, kritik ve felsefi yap\u0131t\u0131n\u0131n 20. yy. boyunca sahip oldu\u011fu yer. 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