{"id":1225,"date":"2018-04-21T17:56:06","date_gmt":"2018-04-21T14:56:06","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1225"},"modified":"2023-06-26T15:24:47","modified_gmt":"2023-06-26T13:24:47","slug":"diken-houellebecqde-hinc-ve-kinizm","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/04\/21\/diken-houellebecqde-hinc-ve-kinizm\/","title":{"rendered":"Diken, Houellebecq’de H\u0131n\u00e7 ve Kinizm"},"content":{"rendered":"

B\u00fclent Diken Nihilizm okumas\u0131yla, kendine benzer niyetlerle bir okurluk ve seyircili\u011fi deneyimleyen bir avu\u00e7 insan\u0131n seyretti\u011fi y\u00f6r\u00fcngede dola\u015f\u0131yor. \u00d6nce Nietzsche sonra Deleuze ve \u017di\u017eek, bu \u00e7er\u00e7evede zengin bir referans listesini s\u0131rt\u0131na alarak perde aralar\u0131nda Nuri Bilge Ceylan’a da Houellebecq’e de u\u011fruyor. Bu pasajda Bernstein’\u0131n “Zelil Kahraman” (abject hero) tahlili ve Agamben’in \u0130stisna H\u00e2li’nin Houellebecq karnaval\u0131na uygulan\u0131\u015f\u0131 ilgimi \u00e7ekti.\u00a0<\/em><\/p>\n

\"\"<\/p>\n

“.<\/span><\/p>\n

KARNALAVESK -VE ACI<\/p>\n

Haydi, Aral\u0131k geldi; babalar\u0131m\u0131z\u0131n buyurdu\u011fu \u00f6zg\u00fcrl\u00fc\u011f\u00fcn keyfini s\u00fcr ve ne istersen s\u00f6yle (Horatius, 2005, s. 67).<\/span><\/p>\n

Kabul etmek gerekir ki Houellebecq’in metinleri belgesel niteli\u011fi ta\u015f\u0131maktan ya da bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fcne dair g\u00fcvenili \u00f6nermeler olmaktan ziyade, edebi metinlerdir. Houellebecq, Frans\u0131z edebiyat\u0131n\u0131n, ge\u00e7mi\u015fi Roma’ya, Juvenalis’le ba\u015flayan kad\u0131n d\u00fc\u015fman\u0131 toplum hicvine kadar uzanan gelene\u011fin son temsilcisidir. Bernstein’\u0131n (1992) g\u00f6sterdi\u011fi gibi, “zelil kahraman”, modernitenin romantize edilmi\u015f tutunamayan\u0131, asl\u0131nda zaten efendi ve k\u00f6le rollerinin yer de\u011fi\u015ftirdi\u011fi karnavallarda, Saturnalia diyaloglar\u0131nda do\u011fmu\u015f bir karakterdir. \u0130lgin\u00e7tir, yap\u0131s\u0131nda son derece keskin ve negatif bir yan bulunan bu diyaloglar modern zamanlar\u0131 atlat\u0131p hayatta kalabilmi\u015ftir. \u00c7a\u011fda\u015f k\u00fclt\u00fcrde zelil kahraman, k\u0131ymet vermedi\u011fi topluma uyum sa\u011flamay\u0131 reddeden merkezi bir fig\u00fcrd\u00fcr. Bu anlamda\u00a0Houellebecq’in b\u00fct\u00fcn karakterleri zelil kahraman\u0131n, karnavaldaki k\u00f6lenin s\u00f6ylemini benimser. Ve\u00a0Houellebecq de Frans\u0131z edebiyat\u0131n\u0131n\u00a0enfant terrible<\/em>‘\u0131 olarak tan\u0131n\u0131r hale gelir; \u00e7\u00fcnk\u00fc sahip oldu\u011fu paradoksal, “izin verilmi\u015f \u00f6zg\u00fcrl\u00fck”le b\u00fct\u00fcn normatif hiyerar\u015fileri tersy\u00fcz edip kendini k\u00f6t\u00fcleyerek, toplumu, “efendi”sini de k\u00f6t\u00fcleyebilir. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda\u00a0Houellebecq’de Horatius’un karnavalla ilgili satirlerinin bir yank\u0131s\u0131 kolayl\u0131kla duyulabilir:<\/p>\n

Evet, kabul ediyorum, mideme pek d\u00fc\u015fk\u00fcn\u00fcm. G\u00fczel bir koku duyunca burun deliklerim se\u011firir, zay\u0131f\u0131m, omurgas\u0131z\u0131m, \u00fcstelik oburlu\u011fum da cabas\u0131; ama sen de t\u0131pk\u0131 benim gibisin, tabii daha beter de\u011filsen (Horatius, 2005, s. 67-8).<\/span><\/p>\n

Tam da bu anlamda\u00a0Houellebecq’in karakterleri kendilerini al\u00e7altmaya, sefaletlerini kabullenmeye ve metne de dahil edilen bir \u00f6z-bilin\u00e7 sergilemeye (“Ben kini\u011fim, nemrut bir insan\u0131m…”) her zaman haz\u0131rd\u0131r (Houellebecq, 2005, s. 22). \u00d6rne\u011fin\u00a0The Possibility of an Island<\/em>‘da roman\u0131n stand-up’\u00e7\u0131 kahraman\u0131 Daniel bir kinik oldu\u011funu, bir “soytar\u0131” oldu\u011funu kabul eder. Ancak bu “tevazu”ya kanmamak gerekir; \u00e7\u00fcnk\u00fc bu kabul onu \u00e7evreleyen toplumun ondan bile daha kinik oldu\u011fu arg\u00fcman\u0131na hizmet etmekten ba\u015fka bir \u015fey yapmaz. Daniel \u015f\u00f6yle espriler yapar \u00f6rne\u011fin:<\/p>\n

“Vajinan\u0131n etraf\u0131ndaki ya\u011fl\u0131 \u015feye ne denir biliyor musun?”<\/span>
\n“Hay\u0131r.”<\/span>
\n“Kad\u0131n” (Houellebecq, 2005, s. 11).<\/span><\/p>\n

Ve ard\u0131ndan alayc\u0131 bir \u015fekilde hemen ekler:<\/p>\n

“Tuhaft\u0131r, \u00f6yle bir \u015feye att\u0131rm\u0131\u015fl\u0131\u011f\u0131m var. Tabii o zamanlar\u00a0Elle\u00a0<\/em>ve\u00a0T\u00e9l\u00e9rama<\/em>‘da hakk\u0131mda iyi yorumlar \u00e7\u0131k\u0131yordu” (a.g.y.)<\/span><\/p>\n

Sergiledi\u011fi i\u015fkence ve barbarl\u0131k sahneleri, \u0131rk\u00e7\u0131l\u0131k, yamyaml\u0131k, pedofili, baba katilli\u011fi Daniel’in yan\u0131na kal\u0131r ve sanat d\u00fcnyas\u0131nda, “para getiren her \u015fey” sermayeye \u00e7evrilmi\u015f olur (Houellebecq, 2005, s. 110). Bu sayede,\u00a0h\u0131n\u00e7a<\/em> \u00f6zg\u00fc o nefret kendini tevazu ve a\u015fa\u011f\u0131l\u0131k duygusu if\u015faatlar\u0131yla g\u00f6zlerden saklar (bkz. Deleuze, 1983, s. 117). Asl\u0131nda\u00a0h\u0131n\u00e7<\/em> insan\u0131 “bir s\u00fcreli\u011fine kendini k\u00fc\u00e7\u00fclt\u00fcp boyun e\u011fmeyi” bilir (Nietzsche, 1996, s. 24). Ben kini\u011fim ama beni \u00e7evreleyen toplum benden daha kinik; ben k\u00f6t\u00fcy\u00fcm ama sen benden betersin. Tabii bunlar\u0131 ciddiye almamak gerekir; \u00e7\u00fcnk\u00fc en ba\u015fta soytar\u0131n\u0131n kendisi ya\u015fad\u0131\u011f\u0131 talihsizlikleri ciddiye almaz. “Cezadan muaf, kat\u0131ks\u0131z bir pi\u00e7 gibi” yazmas\u0131n\u0131 m\u00fcmk\u00fcn k\u0131lan \u015fey, ya\u015fad\u0131\u011f\u0131 talihsizliklerdir (Houellebecq, 2005, s. 11).\u00a0Houellebecq’in h\u0131n\u00e7 dolu fig\u00fcrleri talihsizliklerini bir art\u0131-keyif kayna\u011f\u0131na d\u00f6n\u00fc\u015ft\u00fcrmede iyice ustala\u015fm\u0131\u015ft\u0131r. Ba\u015fkalar\u0131n\u0131 su\u00e7lamak ve sorumlu tutmak, s\u00f6ylemlerinin karakteristik bir \u00f6zelli\u011fi haline gelmi\u015ftir.<\/p>\n

Atomised<\/em>‘da betimlenen, New Age tatil kamp\u0131n\u0131n sahibi,\u00a0Houellebecq’in ger\u00e7ek bir ki\u015fiden yola \u00e7\u0131karak yaratt\u0131\u011f\u0131 karakterlerden birisidir. Bu ki\u015fi, kamp\u0131 “herkesin herkesle yatt\u0131\u011f\u0131 bir seks yuvas\u0131” olarak tasvir eden yazar\u0131 dava etmi\u015f ve davay\u0131 kazanm\u0131\u015f, bunun ard\u0131ndan\u00a0Houellebecq kitab\u0131n sonraki bas\u0131mlar\u0131nda tatil kamp\u0131n\u0131n ad\u0131n\u0131 de\u011fi\u015ftirmi\u015ftir (Tait, 2006, s. 3-4). Tatil kamp\u0131n\u0131n sahibinin \u015fik\u00e2yeti ilgi \u00e7ekicidir: “San\u0131r\u0131m kendini yanl\u0131\u015f giden \u015feyleri d\u00fczelten biri olarak g\u00f6r\u00fcyor; bir yandan pislik i\u00e7inde yuvarlanmaya bay\u0131l\u0131yor, bir yandan da, ‘bak\u0131n, toplum benden bile daha i\u011fren\u00e7’ diyor” (a.g.y., s. 15).<\/p>\n

Peki, Houellebecq’in stand-up’\u00e7\u0131s\u0131 Daniel neden hi\u00e7bir zaman sahiden komik de\u011fil? Neden o da di\u011fer t\u00fcm Houellebecq karakterleri gibi basit bir robotu and\u0131r\u0131yor; kitaptan f\u0131rlam\u0131\u015f g\u00f6r\u00fcn\u00fcyor? Asl\u0131nda, Houellebecq karakterlerinin sefaletini ac\u0131 verici yapan \u015fey, karakterlerin sahici olmay\u0131\u015flar\u0131yla ilgili sapk\u0131n bir \u00f6z-fark\u0131ndal\u0131k, \u00f6z-bilin\u00e7 sahibi olmalar\u0131. Ve sahici olmay\u0131\u015f\u0131n neden oldu\u011fu umutsuzlu\u011fukla y\u00fcz y\u00fcze gelen zelil kahraman\u0131n elindeki “en umut verici se\u00e7enek, kendini bir canavar gibi g\u00f6sterip insanlara bunu yutturmakt\u0131r” (Bernstein, 1992, s. 31). Zelil kahraman da canavar da toplumla uzla\u015fmaz. Bununla birlikte, Houellebecq’in kendinden de en az ba\u015fkalar\u0131ndan tiksindi\u011fi kadar h\u0131n\u00e7 dolu zelil kahramanlar\u0131, canavarlar\u0131n kararl\u0131\u011f\u0131ndan yoksundur. Ama dolayl\u0131 yoldan, taklit ederek canavara d\u00f6n\u00fc\u015febilirler. Yine de:<\/p>\n

… paradoksal olarak, insan\u0131n b\u00f6yle bir ifade \u015feklini sahiden arzulamas\u0131 sahiden canavarcad\u0131r<\/em> ve ba\u015fkalar\u0131n\u0131 bunun do\u011frulu\u011funa inand\u0131rmaya \u00e7al\u0131\u015fmak, b\u00fct\u00fcn sahtek\u00e2rl\u0131\u011f\u0131yla, kesinlikle delice bir hayat tarz\u0131d\u0131r. Yani Zelil Kahraman yine ikili bir varolu\u015fa mahk\u00fbmdur: Ger\u00e7ekte zaten kendisine ait olan bir rol\u00fc hicveder ve halihaz\u0131rda i\u00e7inde bulundu\u011fu duruma \u00f6yk\u00fcn\u00fcr. (a.g.y.)<\/span><\/p>\n

Canavarl\u0131kla karnaval\u0131 bir araya getiren bu paradoksal topoloji anlamak i\u00e7in\u00a0Houellebecq’in romanlar\u0131ndaki zamansall\u0131\u011fa geri d\u00f6nmek gerekir. Geleneksel olarak, Saturnalia diyaloglar\u0131n\u0131n zamansall\u0131\u011f\u0131, karnavalesk bir ask\u0131da kalm\u0131\u015fl\u0131k durumu, bu t\u00fcr “istisna hali” ile tan\u0131mlan\u0131r ve bunu normale d\u00f6n\u00fc\u015f izler (bkz. a.g.y., s. 20). B\u00f6ylelikle karnaval, kurulu iktidar\u0131 tehdit etmemi\u015f olur; kural\u0131 kald\u0131ran de\u011fil, ask\u0131ya alan bir ihlalde bulunur. \u0130hlal, kural\u0131 a\u015farak, onu tamamlam\u0131\u015f olur. Ancak\u00a0Houellebecq’de karnaval kal\u0131c\u0131 hale gelerek ihlale dayal\u0131 paradoksal bir d\u00fczen niteli\u011fi g\u00f6sterir. Yani,\u00a0Houellebecq s\u00f6z konusu oldu\u011funda aylardan hep “Aral\u0131k”t\u0131r ve “normal” d\u00f6nme y\u00f6n\u00fcnde ne bir inan\u00e7 ne bir arzu vard\u0131r; bize sunulan, s\u00fcrekli ihlale maruz kalan bir toplumsal d\u00fcnya ve t\u00fcm de\u011ferlerin ters \u00e7evrilmesidir.<\/p>\n

Bu paradoksal d\u00fczene Agamben (Kutsal \u0130nsan<\/em>‘da) “kamp” der. Bu, d\u00fczen ile d\u00fczensizli\u011fin, i\u00e7eri ile d\u0131\u015far\u0131n\u0131n, politika ile biyo-politikan\u0131n ya da k\u0131saca istisna ile kural\u0131n birbirinden ay\u0131rt edilemez hale geldi\u011fi bir aland\u0131r. Houellebecq’in b\u00fct\u00fcn karakterlerinin belirli ya\u015fam formlar\u0131, be\u011feniler ve toplumsal pozisyon(alma)lar\u0131n bulunmad\u0131\u011f\u0131 ayr\u0131ms\u0131z bir kitleye mensup olmas\u0131 bu a\u00e7\u0131dan \u00f6nemlidir. “Hi\u00e7bir toplumsal stat\u00fc, hi\u00e7bir ili\u015fki art\u0131k kesin kabul edilemez” (Houellebecq, 2004, s. 70). Hatta, yazar\u0131n romanlar\u0131 sadece “\u00e7\u0131plakl\u0131k”\u0131yla dikkate de\u011fer olan “evsiz bir insanl\u0131k”la doludur (Tygstrup, 2005, s. 276). Dolay\u0131s\u0131yla, hem Tayland’daki seks kamplar\u0131nda hem yazar\u0131n tarif etti\u011fi Paris gece kul\u00fcplerinde, bir t\u00fcr do\u011fa haline terk edilmi\u015f bedenlerle kar\u015f\u0131la\u015f\u0131r\u0131z. Houellebecq’in kitaplar\u0131n\u0131n altta yatan matrisinin, yani arzu ve tiksinti, nesne ve zelil ya da ihlal ve teyidin ikili ekonomisinin \u00f6nemi de buradan gelir. Karakterleri \u00e7\u0131plak bedenlere indirgeyen \u015fey i\u015fte bu iki kutup aras\u0131nda ya\u015fad\u0131klar\u0131 gidip gelmelerdir. Bu bocalamay\u0131 kuvvetlendirense, sanat-ya\u015fam ayr\u0131m\u0131n\u0131n \u00e7ifte ihlalidir. Televizyondaki reality show’larda oldu\u011fu gibi Houellebecq de s\u00fcrekli olarak ya\u015fam\u0131 kurgular; farazi fig\u00fcrlerle ger\u00e7ek fig\u00fcrleri kasten birbirine kar\u0131\u015ft\u0131r\u0131r. Bir yandan, karakterlerin \u00e7o\u011fu ger\u00e7ek ya\u015famdan ki\u015filerdir ve hatta kitaplar\u0131 okuduklar\u0131nda kendilerinden bahsedildi\u011fini fark edebilmektedir; di\u011fer yandan Houellebecq medyada farazi karakterlerinden al\u0131nt\u0131lar yapmaktad\u0131r (bkz. Tygstrup, 2005, s. 272). Yani, farazi ki\u015filer (bi bedene ait olmayan s\u00f6zc\u00fckler), kitaplardaki temsilleriyle ilgili s\u00f6z hakk\u0131 tan\u0131nmam\u0131\u015f ger\u00e7ek ki\u015filerle (s\u00f6zc\u00fckleri olmayan bedenler) \u00e7ak\u0131\u015f\u0131r; bu, “g\u00f6steri toplumu”nu biyo-politikayla bulu\u015fturan bir s\u00fcre\u00e7tir.<\/p>\n

”<\/p>\n

Kaynak\u00e7a<\/span><\/span>
\n Bernstein, M. A. (1992)\u00a0Bitter Carnival. Ressentiment and the Abject Hero<\/em>, Princeton UP, Princeton.<\/span>
\nDeleuze, G. (1983)\u00a0Nietzsche and Philosophy<\/em>, Columbia UP, New York [Nietzsche ve Felsefe<\/em>, \u00c7ev. Ferhat Taylan, Norgunk Yay\u0131nlar\u0131, 2011].<\/span>
\nHorace [Horatius<\/em>] (2005)\u00a0Satires and Epistles<\/em>, Penguin, Londra.<\/span>
\nHouellebecq, M. (2004)\u00a0Lanzarote<\/em>, Vintage, Londra.<\/span>
\nHouellebecq, M. (2005)\u00a0The Possibility of an Island<\/em>, Weidenfeld & Nicolson, Londra.<\/span>
\nNietzsche, F (1996)\u00a0On the Genealogy of Morals<\/em>, Oxford UP, Londra [Ahlak\u0131n Soyk\u00fct\u00fc\u011f\u00fc \u00dcst\u00fcne<\/em>, \u00c7ev. Ahmet \u0130nam, Say Yay\u0131nc\u0131l\u0131k, 2007].<\/span>
\nTait, T. (2006) “Gorilla with Mobile Phone”,\u00a0London Review of Books.\u00a0<\/em>http:\/\/www.lrb.co.uk\/v28\/n03\/tait01_.html<\/span>
\nTygstrup, F. (2005) “Den Mest Aandsvage Religion. Michel Houellebecq og Den Postmoderne Xenofobi”, M. Ogh, J. Bruhn, N. L\u00fcbecker & P. Madsen (ed.)\u00a0Europas Andre<\/em>, Tiderne Skifter, Kopenhag, s. 269-85.<\/span><\/p>\n

B\u00fclent Diken, Nihilizm, \u00e7ev. Aylin Onacak, Ayr\u0131nt\u0131 Yay\u0131nlar\u0131, 2011 [2009], s. 136-9.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

B\u00fclent Diken Nihilizm okumas\u0131yla, kendine benzer niyetlerle bir okurluk ve seyircili\u011fi deneyimleyen bir avu\u00e7 insan\u0131n seyretti\u011fi y\u00f6r\u00fcngede dola\u015f\u0131yor. \u00d6nce Nietzsche sonra Deleuze ve \u017di\u017eek, bu \u00e7er\u00e7evede zengin bir referans listesini s\u0131rt\u0131na alarak perde aralar\u0131nda Nuri Bilge Ceylan’a da Houellebecq’e de u\u011fruyor. Bu pasajda Bernstein’\u0131n “Zelil Kahraman” (abject hero) tahlili ve Agamben’in \u0130stisna H\u00e2li’nin Houellebecq karnaval\u0131na … Continue reading Diken, Houellebecq’de H\u0131n\u00e7 ve Kinizm<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[33,29],"tags":[332,52,333],"class_list":["post-1225","post","type-post","status-publish","format-standard","hentry","category-alinti","category-elestiri","tag-bulent-diken","tag-michel-houellebecq","tag-nihilizm"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-jL","jetpack-related-posts":[{"id":2728,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/20\/sollers-merkezdeki-houellebecq\/","url_meta":{"origin":1225,"position":0},"title":"Sollers, Merkez’deki Houellebecq","author":"yalpertem","date":"20 November 2019","format":false,"excerpt":"\" TA\u015eRALILAR Psikanalize kar\u015f\u0131 d\u00fc\u015fmanl\u0131k\u00a0normal, ama bazen tuhaf boyutlara ula\u015f\u0131yor. Aralar\u0131ndaki ba\u011flar art\u0131k kopmu\u015f bile olsa entelekt\u00fceller s\u0131n\u0131f\u0131, \u00f6zellikle de filozoflar, bu konuda h\u00e2l\u00e2 sinir krizleri ge\u00e7iriyor. \u00d6rne\u011fin Peruk'u ele alal\u0131m. Babas\u0131n\u0131n tar\u0131m i\u015f\u00e7isini oldu\u011funu anlatmak i\u00e7in hi\u00e7bir f\u0131rsat\u0131 ka\u00e7\u0131rmayan iyi bir \u00e7ocuk. Katolik rahip \u00f6\u011fretmenlere kar\u015f\u0131 kesin bir tiksinti\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/11\/philippe-sollers-merkez-180x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":4704,"url":"https:\/\/yalpertem.com\/blog\/2022\/01\/06\/asiri-sagin-kahini-houellebecq-ceviri\/","url_meta":{"origin":1225,"position":1},"title":"A\u015f\u0131r\u0131 Sa\u011f’\u0131n Kahini (\u00c7eviri)","author":"yalpertem","date":"6 January 2022","format":false,"excerpt":"Martin Gelin'in Boston Review'da 14 May\u0131s 2020'de yay\u0131mlanan The Prophet of the Far Right makalesini \u00e7evirdim. Yaz\u0131da Michel Houellebecq'in d\u00fc\u015f\u00fcnsel k\u00f6klerini Fransa'dan alan ve yak\u0131n zamanda ABD'de \u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131n\u0131 iddia etti\u011fi g\u00fcncel muhafazakarl\u0131kla ili\u015fkisini ele al\u0131yor. Entelekt\u00fcel ortamlarda paye verilmesi zor bu pozisyona ra\u011fmen Houellebecq'in edebiyat d\u00fcnyas\u0131nda de\u011fer g\u00f6rmesini\u2026","rel":"","context":"In "\u00e7eviri"","block_context":{"text":"\u00e7eviri","link":"https:\/\/yalpertem.com\/blog\/category\/ceviri\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2022\/01\/houellebecq-thalasso-min-300x126.jpeg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2022\/01\/houellebecq-thalasso-min-300x126.jpeg?resize=350%2C200 1x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2022\/01\/houellebecq-thalasso-min-300x126.jpeg?resize=525%2C300 1.5x"},"classes":[]},{"id":235,"url":"https:\/\/yalpertem.com\/blog\/2017\/09\/02\/houllebecq-fedakarlik-uzerine\/","url_meta":{"origin":1225,"position":2},"title":"Houellebecq, Fedakarl\u0131k \u00dczerine","author":"yalpertem","date":"2 September 2017","format":false,"excerpt":"\"Bu kad\u0131n yedi ya\u015f\u0131ndan ba\u015flayarak \u00e7iftlik i\u015flerinde, yar\u0131 ilkel alkolikler aras\u0131nda korkun\u00e7 bir \u00e7ocukluk ge\u00e7irmi\u015fti. Eri\u015fkinlik d\u00f6nemi, bir an\u0131s\u0131 olamayacak kadar k\u0131sa s\u00fcrm\u00fc\u015ft\u00fc. Kocas\u0131n\u0131n \u00f6l\u00fcm\u00fcnden sonra hem d\u00f6rt \u00e7ocu\u011funu yeti\u015ftirmi\u015f hem de fabrikada \u00e7al\u0131\u015fm\u0131\u015ft\u0131. K\u0131\u015f ortas\u0131nda, ailenin temizli\u011fi i\u00e7in avludan su ta\u015f\u0131m\u0131\u015ft\u0131. Altm\u0131\u015f\u0131ndan sonra, hen\u00fcz emekli oldu\u011funda, yeniden k\u00fc\u00e7\u00fck bir\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/09\/temel-parcaciklar-michel-houellececq-191x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1182,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/15\/bulent-eken-ayhan-gecgin-ve-kayip-poetikasi\/","url_meta":{"origin":1225,"position":3},"title":"B\u00fclent Eken – Ayhan Ge\u00e7gin ve Kay\u0131p Poetikas\u0131","author":"yalpertem","date":"15 May 2018","format":false,"excerpt":"\"Okurlar\u0131n \u015f\u00fcphesiz katlan\u0131lmaz buldu\u011fu sayfalar, paragraflar, s\u00f6zc\u00fckler boyunca y\u00fczeye \u00e7\u0131kan ayn\u0131 meselenin tekrar\u0131 asl\u0131nda bu ruhun alametifarikas\u0131d\u0131r. Baz\u0131 okurlar\u0131n\u0131n sand\u0131\u011f\u0131n\u0131n aksine Ge\u00e7gin\u2019de ince eleyip s\u0131k dokuyan bir \u201cdil i\u015f\u00e7ili\u011fi\u201d yoktur. B\u0131\u00e7ak\u00e7\u0131 gibi her bir s\u00f6zc\u00fc\u011f\u00fc k\u00fc\u00e7\u00fck \u00e7ekiciyle dinleyen bir yazar de\u011fildir o. Tersine, ne yazaca\u011f\u0131n\u0131 bilmedi\u011fi i\u00e7in \u2014yaz\u0131n\u0131n nesnesi, amac\u0131,\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/05\/monograf-say%C4%B1-9-g%C3%B6%C3%A7-dipnot-ayhan-ge%C3%A7gin-206x300.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2740,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/20\/houellebecq-sollerse-yazilarini-gostermek\/","url_meta":{"origin":1225,"position":4},"title":"Houellebecq, Sollers’e Yaz\u0131lar\u0131n\u0131 G\u00f6stermek","author":"yalpertem","date":"20 November 2019","format":false,"excerpt":"\" Ertesi hafta yazd\u0131klar\u0131n\u0131 bir meslekta\u015f\u0131na g\u00f6stermeye karar verdi -elli ya\u015flar\u0131nda, Marksist, \u00e7ok zarif ve e\u015fcinsel olarak bilinen bir edebiyat \u00f6\u011fretmeniydi.- Fajardie i\u00e7in ho\u015f bir s\u00fcrpriz olmu\u015ftu. \"Claudel etkisi... ya da belki daha \u00e7ok P\u00e9guy, serbest dizelerin P\u00e9guy'si... Ama t\u00fcm\u00fcyle de \u00f6zg\u00fcn, art\u0131k pek rastlan\u0131lmayan bir \u015fey.\" At\u0131lmas\u0131 gereken ad\u0131mlar\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/11\/michel-houellebecq-temel-par%C3%A7ac%C4%B1klar-191x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":240,"url":"https:\/\/yalpertem.com\/blog\/2017\/09\/02\/bernhard-olumsuzluk-uzerine\/","url_meta":{"origin":1225,"position":5},"title":"Bernhard, \u00d6l\u00fcms\u00fczl\u00fck \u00dczerine","author":"yalpertem","date":"2 September 2017","format":false,"excerpt":"\"Stefan Kilisesi'nde \u00f6l\u00fcm yere d\u00fc\u015f\u00fcnceye kadar oturma iste\u011fi duymu\u015ftum, dedi. Ama ba\u015faramad\u0131m, bu iste\u011fe kar\u015f\u0131 duydu\u011fum derin yo\u011funlu\u011fa ra\u011fmen. Bunun daha da \u00f6tesine ge\u00e7ecek yo\u011funlu\u011fa olana\u011f\u0131m olmad\u0131, dedi, zaten isteklerimiz de ancak en y\u00fcksek yo\u011funlukla dilersek yerine gelir. \u00c7ocuklu\u011fundan beri \u00f6lme iste\u011fi duymu\u015f, hani denir ya, kendini \u00f6ld\u00fcrme iste\u011fi, ama\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2017\/09\/bitik-adam-thomas-bernhard-193x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/1225","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/comments?post=1225"}],"version-history":[{"count":11,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/1225\/revisions"}],"predecessor-version":[{"id":6332,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/1225\/revisions\/6332"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=1225"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=1225"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=1225"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}