bettilt giri\u015f<\/a>, siz web sitesinde gezinirken deneyiminizi geli\u015ftirmek i\u00e7in \u00e7erezleri kullan\u0131r. Bunlardan gerekli olarak s\u0131n\u0131fland\u0131r\u0131lan \u00e7erezler, web sitesinin temel i\u015flevlerinin \u00e7al\u0131\u015fmas\u0131 i\u00e7in gerekli olduklar\u0131ndan taray\u0131c\u0131n\u0131zda saklan\u0131r. Ayr\u0131ca, bu web sitesini nas\u0131l kulland\u0131\u011f\u0131n\u0131z\u0131 analiz etmemize ve anlamam\u0131za yard\u0131mc\u0131 olan \u00fc\u00e7\u00fcnc\u00fc taraf \u00e7erezleri kullan\u0131yoruz.<\/p>\nM\u0131sralar\u0131ndaki terkipler de dikkati \u00e7ekicidir. \u201cEvt\u00e2r-\u0131 h\u00fczn \u00fc ilham\u201d tamlamas\u0131 ile \u015f\u00e2ir, i\u00e7indeki duygular\u0131, h\u00fcz\u00fcn ve ilham\u0131 bir musiki aleti haline koyuyor (S\u00fcbjektif realiteyi objektif k\u0131lma). Ak\u015fam, bu manevi musiki aletini ihtizaz ettiriyor. Yukar\u0131da b\u00fb-y\u0131 ruh terkibi ile \u015f\u00e2ir kad\u0131nla tabiat aras\u0131ndaki kayna\u015fmay\u0131 anlatm\u0131\u015ft\u0131. Bu sonuncu ifadede kendisi ile tabiat aras\u0131ndaki kayna\u015fmay\u0131 m\u00fczikal bir mahiyete sokuyor. Diye \u201cbug\u00fcnk\u00fc be\u015fer\u201din kabal\u0131\u011f\u0131n\u0131 anlat\u0131yor. \u015e\u00e2irin, kad\u0131n\u0131n, tabiat\u0131n ve sanat\u0131n \u201cbug\u00fcnk\u00fc be\u015fer\u201d taraf\u0131ndan anla\u015f\u0131lmamas\u0131 ve manas\u0131z g\u00f6r\u00fclmesi, romantikle taraf\u0131ndan \u00e7ok i\u015flenmi\u015f bir konudur. Y\u00fczy\u0131l iktisadi hayat\u0131n\u0131n yaratt\u0131\u011f\u0131 ad\u00ee h\u0131rslarla dolu, paraya d\u00fc\u015fk\u00fcn ve g\u00fczelli\u011fe kar\u015f\u0131 hassas olmayan burjuvaziye bizim edebiyat\u0131m\u0131zda da bir\u00e7ok h\u00fccumlar v\u00e2ki olmu\u015ftur.<\/p>\n
\u00c7oban \u00c7e\u015fmesi \u015eiir \u0130ncelemesi<\/h2>\n
O kadar ki, Baudelaire burada oturacaklar\u0131 odan\u0131n mobilyalar\u0131m ve penceresinden g\u00f6recekleri manzaray\u0131 g\u00f6zleriyle g\u00f6r\u00fcyormu\u015f gibi tasvir eder. Ahmet H\u00e2\u015fim\u2019de ise ileride g\u00f6r\u00fclece\u011fi \u00fczere \u201cO Belde\u201d yery\u00fcz\u00fcnde de\u011fil, tamam\u0131yla hayal\u00eedir. Bu s\u00fcbjektiflik umumiyetle teess\u00fcr verici bir ton arz ediyor. Deniz i\u00e7in kullan\u0131lan hasta s\u0131fat\u0131 teess\u00fcr halinin en \u015fiddetli \u00e2n\u0131n\u0131 g\u00f6sterir. \u201cO Belde\u201ddeki kad\u0131nlar\u0131n b\u00fbseleri giryendedir. Servet-i F\u00fcnun \u015f\u00e2irleri gibi H\u00e2\u015fim i\u00e7in de h\u00fcz\u00fcn ve teess\u00fcr estetik bir k\u0131ymet ta\u015f\u0131r. Divan edebiyat\u0131nda g\u00fczellik ile h\u00fcz\u00fcn asla birle\u015fmezdi. G\u00fczelde bulunan en de\u011ferli taraf \u015fuh olu\u015ftu. Edebiyat\u0131m\u0131zda g\u00fczellik ve h\u00fczn\u00fcn birle\u015fmesi, romantiklerin tesiri ile ba\u015flam\u0131\u015f ve bug\u00fcnk\u00fc nesle kadar gelmi\u015ftir. Gen\u00e7 nesil yeniden h\u00fcz\u00fcnle g\u00fczelli\u011fi birbirinden ay\u0131rm\u0131\u015f ve \u201cya\u015fama ne\u015fesi\u201d prensibi ile divan \u015f\u00e2irlerinin hassasiyet tarz\u0131na do\u011fru meyletmi\u015ftir. Ha\u015fim, \u015fiirinde a\u00e7\u0131k hi\u00e7bir benzetme yapm\u0131yor. Anlat\u0131m\u0131nda kulland\u0131\u011f\u0131 en g\u00fc\u00e7l\u00fc ara\u00e7lar isim ve s\u0131fat tamlamalar\u0131d\u0131r.<\/p>\n
Parnasyen, objektif varl\u0131\u011f\u0131 kavrama\u011fa \u00e7al\u0131\u015ft\u0131\u011f\u0131 halde sembolist onu ink\u00e2r etme\u011fe, y\u0131kma\u011fa, k\u0131rma\u011fa gayret eder. Bu k\u0131s\u0131mda \u015f\u00e2ir, dalm\u0131\u015f oldu\u011fu h\u00fclyalar \u00e2leminden uyanarak tekrar hakiki d\u00fcnyaya d\u00f6n\u00fcyor ve yeniden kendisini \u201cBu nefy \u00fc hicre m\u00fcebbed bu yerde mahk\u00fbm\u201d hissediyor. Bir sanatk\u00e2r\u0131n eserlerinin b\u00fct\u00fcn\u00fc hakk\u0131nda salim bir h\u00fckme ancak b\u00fct\u00fcn metinlerin ayr\u0131 ayr\u0131 incelenmesi suretiyle var\u0131labilir. Fakat b\u00fct\u00fcn metinleri incelemeden verilmi\u015f olan h\u00fck\u00fcmlerin isabetsizlik ve katiyetsizli\u011fi kar\u015f\u0131s\u0131nda, bizi hakikate ge\u00e7 ve g\u00fc\u00e7 ula\u015ft\u0131ran bu yolu tercih etmek daha d\u00fcr\u00fcst bir harekettir. Martin Scorsese’nin filmlerinde kullanmaya bay\u0131ld\u0131\u011f\u0131 Gimme Shelter adl\u0131 \u015fark\u0131n\u0131n s\u00f6zleri ve \u015fark\u0131n\u0131n filmlere katk\u0131s\u0131 hakk\u0131nda bir inceleme. G\u00fcndelik ya\u015fant\u0131m\u0131zda gerek masa ba\u015f\u0131 \u00e7al\u0131\u015fma, gerekse spordan uzak bir hayat tarz\u0131 sebebiyle v\u00fccudumuzu yeterince hareket ettiremiyoruz. Buna al\u0131\u015fan b\u00fcnyede ise g\u00f6r\u00fclen birtak\u0131m hastal\u0131klar mevcut. Hareketsizli\u011fin insan ya\u015fam\u0131nda istenmeyen durumlara yol a\u00e7t\u0131\u011f\u0131n\u0131 belirten Medicana Sivas Hastanesi Beyin ve Sinir Cerrahi Uzman\u0131 Op. Ahmet Ha\u015fim’in ger\u00e7ek d\u00fcnyan\u0131n k\u00f6t\u00fcl\u00fcklerinden, bunal\u0131mlar\u0131ndan kurtulmak i\u00e7in yaratt\u0131\u011f\u0131 \u00fctopya ve bu \u00fctopyan\u0131n O Belde \u015fiirine yans\u0131mas\u0131. Sezon fragman\u0131 yay\u0131mland\u0131 ve \u00e7\u0131k\u0131\u015f tarihi de belli oldu. Bel d\u00fczle\u015fmesinde bir sonraki a\u015faman\u0131n kamburluk oldu\u011funu belirten Sili, \u201cBu konuda, ‘Bel d\u00fczle\u015fmesinin ileri a\u015famas\u0131 nedir? Bel d\u00fczle\u015fmesinde bir sonraki a\u015fama kamburluktur.<\/p>\n
Bu ak\u015fam\u0131n \u015fairin kendisinde esin ve h\u00fcz\u00fcn tellerinin titretti\u011fini ifade ederek yine bu hayali beldeden ayr\u0131 kald\u0131\u011f\u0131n\u0131, s\u00fcrg\u00fcn ve ayr\u0131l\u0131\u011fa mahk\u00fbm bu yerde tutuklu olduklar\u0131n\u0131 s\u00f6yleyerek bitirir. Serbest m\u00fcstezat tekni\u011fine uygun olarak, \u015fiirde c\u00fcmleler tek bir dizede ba\u015flay\u0131p bitmiyor. Dizelere da\u011f\u0131lan c\u00fcmleleri b\u00fct\u00fcn olarak de\u011ferlendirecek olursak, uzunluk ve k\u0131sal\u0131klar\u0131yla, \u015fiirin i\u00e7eri\u011fi aras\u0131nda baz\u0131 ili\u015fkiler oldu\u011funu g\u00f6r\u00fcr\u00fcz. Ba\u015flang\u0131c\u0131 te\u015fkil eden uzun ve \u00f6\u011feleri da\u011f\u0131n\u0131k c\u00fcmleler, genellikle heyecanl\u0131 bir ses tonuna kar\u015f\u0131l\u0131k geliyor. O beldeyi ve o belde kad\u0131nlar\u0131n\u0131 tasvir eden k\u0131sa c\u00fcmlelerde, hayali bir mutluluk duygusuyla \u015fairin ruhu gibi ifadesi de sakindir. Bundan sonra arka arkaya gelen d\u00f6rt soru c\u00fcmlesiyle tekrar duygusal karma\u015fa ba\u015fl\u0131yor. Son dizelerdeki c\u00fcmlede ise \u015fair, istemedi\u011fi bu yerde kendini sonsuza dek mahk\u00fbm hissediyor. O Belde \u015fiirinde uzaklarda ismi olmayan bir \u015fehirden, o \u015fehirde ya\u015fayan kad\u0131nlardan ve o kad\u0131nlar\u0131n \u015fairin a\u015f\u0131k oldu\u011fu kad\u0131na benzerliklerden bahsedilir. Anlam\u0131n kapal\u0131, ifadelerin mu\u011flak oldu\u011fu \u015fiirde, d\u00fc\u015fsel imgelerle ge\u00e7ek i\u00e7 i\u00e7e ge\u00e7mi\u015ftir. \u015eair bir dizesinde ”burada mahkumuz” derken d\u00fcnyay\u0131 kasteder. \u015eairin ”o belde” olarak nitelendirdi\u011fi yer ise bu d\u00fcnyan\u0131n d\u0131\u015f\u0131nda yer alan ba\u015fka bir alemdir.<\/p>\n
O Belde \u015fiiri Ahmet Ha\u015fim ile tabiat\u0131 anlayan zarif ruhlu bir kad\u0131n\u0131n ufku izlemesiyle ba\u015flar. Ak\u015fam\u0131n renkleri ve h\u00fcz\u00fcn kad\u0131n\u0131n g\u00f6zlerine yans\u0131m\u0131\u015ft\u0131r. Bu hal, kad\u0131n\u0131 Ha\u015fim’in g\u00f6zlerinde daha da g\u00fczelle\u015ftirmi\u015ftir. Ha\u015fim ile kad\u0131n karamsarl\u0131\u011fa liman olan bir denizi izlerken, kederi, h\u00fczn\u00fc anlamayan nesle a\u015fina olmad\u0131klar\u0131n\u0131belirtir. Belki de \u015fairin sanat\u0131n\u0131n ve sanat anlay\u0131\u015f\u0131n\u0131n di\u011fer edebiyat\u00e7\u0131lar taraf\u0131ndan anla\u015f\u0131lmay\u0131p tenkit edildi\u011fini ifade etmi\u015f olabilir. Bu insanlar\u0131n kad\u0131nda, \u015fairde, ak\u015famlarda tatl\u0131 kayg\u0131y\u0131, durgun denizlerde i\u00e7lenmeyi anlamad\u0131klar\u0131n\u0131 s\u00f6yler.<\/p>\n
{<\/p>\n
\u015eiirler<\/h2>\n
|}<\/p>\n
Bu durum onu, \u015faire daha da g\u00fczel g\u00f6steriyor. \u015eaire g\u00f6re, bir \u015fiirin a\u00e7\u0131k ve net ifadelerle doldurulmas\u0131, onu d\u00fcz yaz\u0131ya yakla\u015ft\u0131r\u0131r. Oysa, \u015fiir, hi\u00e7bir \u015fekilde bir \u00f6yk\u00fc ya da romanla benzer \u00f6geler ta\u015f\u0131mamal\u0131d\u0131r. Ahmet Ha\u015fim, ba\u015fta O Belde ve Bir Yaz Gecesi Hat\u0131ras\u0131 olmak \u00fczere neredeyse t\u00fcm \u015fiirlerinde imgesel bir dil kullanm\u0131\u015ft\u0131r. Stephen Mallerme ve Charles Baudelaire, en \u00e7ok etkilendi\u011fi Frans\u0131z \u015fairler aras\u0131nda yer al\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
T\u00fcrkoloji Dergisi \u00bb Submission \u00bb B\u0130N H\u00dcZ\u00dcNL\u00dc HAZ AHMET H\u00c2\u015e\u0130M\u0130N O BELDES\u0130: \u00dcTOPYA MI, POET\u0130KA MI? Fecriati\u2019nin temsilcilerinden olan Ahmet Ha\u015fim, topluluk da\u011f\u0131ld\u0131\u011f\u0131nda ba\u015fka bir toplulu\u011fa kat\u0131lmam\u0131\u015ft\u0131r. Sanat\u0131n\u0131 ve sanat anlay\u0131\u015f\u0131n\u0131 ba\u011f\u0131ms\u0131z olarak s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. \u0130lk \u015fiiri \u201cHayal-i A\u015fk\u0131m\u201c1901\u2019de yay\u0131mlanm\u0131\u015ft\u0131r. T\u00fcrk edebiyat\u0131nda \u201cak\u015fam \u015fairi\u201d olarak tan\u0131n\u0131r. \u015eiirlerinde olan do\u011fa manzaralar\u0131 di\u011fer sembolizmden etkilenen \u015fairler gibi \u201cak\u015fam, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[95],"tags":[],"class_list":["post-1791","post","type-post","status-publish","format-standard","hentry","category-bahis-sitesi"],"_links":{"self":[{"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/posts\/1791","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/comments?post=1791"}],"version-history":[{"count":1,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/posts\/1791\/revisions"}],"predecessor-version":[{"id":1792,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/posts\/1791\/revisions\/1792"}],"wp:attachment":[{"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/media?parent=1791"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/categories?post=1791"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/powerpoint-design.at\/index.php\/wp-json\/wp\/v2\/tags?post=1791"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}