{"id":1250,"date":"2018-04-24T21:36:24","date_gmt":"2018-04-24T18:36:24","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1250"},"modified":"2018-04-24T21:37:55","modified_gmt":"2018-04-24T18:37:55","slug":"sarup-lacan-ve-yitirme-duygusu","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/04\/24\/sarup-lacan-ve-yitirme-duygusu\/","title":{"rendered":"Sarup, Lacan ve Yitirme Duygusu"},"content":{"rendered":"

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”<\/p>\n

Bu b\u00f6l\u00fcmcede, bir yandan Lacan’\u0131n \u00f6yk\u00fcs\u00fc \u00fczerinde bir yanda da \u00f6znenin kar\u015f\u0131 kar\u015f\u0131ya kald\u0131\u011f\u0131 yitirme ve yoksunluk duygusu \u00fczerinde ayr\u0131nt\u0131lar\u0131yla duraca\u011f\u0131m. Lacan’\u0131n \u00f6zne kuram\u0131na bakt\u0131\u011f\u0131n\u0131zda, \u00f6zneyi t\u0131pk\u0131 klasik bir anlat\u0131 gibi okudu\u011funu g\u00f6r\u00fcrs\u00fcn\u00fcz: \u00d6yk\u00fc do\u011fumla ba\u015flar, daha sonra bedenin b\u00f6lgeselle\u015ftirilmesi arac\u0131l\u0131\u011f\u0131yla ayna a\u015famas\u0131na y\u00f6nelir, en sonunda da dile ve Oidipus Kompleksi’ne ula\u015f\u0131r. Bu anlat\u0131n\u0131n her bir a\u015famas\u0131 bir bi\u00e7imde “ben’in yitirmesi” ya da “ben’in yoksunlu\u011fu” do\u011frultusunda kavran\u0131r.<\/p>\n

Lacan, \u00f6znenin tarihindeki ilk yitirmeyi do\u011fum an\u0131na yerle\u015ftirir. Daha a\u00e7\u0131k s\u00f6ylemek gerekirse, Lacan bu tarihi ana rahminde filizlenen cinsel farkl\u0131la\u015f\u0131mla ba\u015flat\u0131r. Ancak s\u00f6z konusu farkl\u0131la\u015f\u0131m \u00e7ocu\u011fun do\u011fumla annesinden ayr\u0131lmas\u0131na dek tam anlam\u0131yla ger\u00e7ekle\u015fmez. Dolay\u0131s\u0131yla burada s\u00f6z\u00fcn\u00fc etti\u011fimiz yoksunluk cinsel bir yoksunluktur, bu nedenle fizyolojik bak\u0131mdan hem erke\u011fin hem de kad\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 olanaks\u0131zl\u0131\u011f\u0131 a\u00e7\u0131klamas\u0131 gerekir. Kendine \u00f6zg\u00fc \u00e7ift cinsiyet [androgynous<\/em>] d\u00fc\u015f\u00fcncesinin, Lacan’\u0131n g\u00f6r\u00fc\u015f\u00fcnde \u00f6zel bir yeri vard\u0131r. Burada \u00f6zne bir yoksunluk olarak tan\u0131mlan\u0131r, \u00e7\u00fcnk\u00fc \u00f6zneye b\u00fct\u00fcnc\u00fcl ve birincil bir \u015feyin yaln\u0131zca belli bir par\u00e7as\u0131 g\u00f6z\u00fcyle bak\u0131l\u0131r.<\/p>\n

\u015eimdi bu konuyu k\u0131saca \u00f6zetleyelim. Lacan s\u0131k s\u0131k Platon’un\u00a0\u015e\u00f6len<\/em> diyalo\u011funda i\u015flenen masals\u0131 a\u015fk konusuna g\u00f6ndermeler yapar. (29) Bu diyalo\u011fun bir yerinde Aristophanes \u00e7ift cinsiyetli varl\u0131klar \u00fczerine \u015f\u00f6yle konu\u015fur: “\u0130\u015fte bu varl\u0131klar yuvarlak s\u0131rtlar\u0131 ve b\u00f6\u011f\u00fcrleriyle yusyuvarlak bir \u015feydiler. Bu yarat\u0131klar\u0131n iki y\u00fcz\u00fc, d\u00f6rt eli ve bir o kadar da baca\u011f\u0131 vard\u0131. Kar\u015f\u0131 konulamaz g\u00fc\u00e7leriyle bu kibirli yarat\u0131klar, neden sonra, g\u00f6\u011fe t\u0131rmanmaya, tanr\u0131lara kar\u015f\u0131 koymaya yeltenmi\u015fler. Zeus uzun uzun d\u00fc\u015f\u00fcnd\u00fckten sonra misilleme yapmaya karar vererek ikiye b\u00f6lm\u00fc\u015f onlar\u0131. Her birinin g\u00fcc\u00fc yar\u0131 yar\u0131ya azals\u0131n diye.”<\/p>\n

\u0130kiye b\u00f6lme i\u015flemi tamamland\u0131\u011f\u0131nda, \u00fcmitsizli\u011fe d\u00fc\u015fen her par\u00e7a \u00f6zlemini \u00e7ekti\u011fi di\u011fer par\u00e7an\u0131n \u00fczerine atl\u0131yor, kollar\u0131n\u0131 birbirine sar\u0131p yeniden bir b\u00fct\u00fcn olmak arzusuyla di\u011fer par\u00e7ay\u0131 kucakl\u0131yormu\u015f. Bu ikiye b\u00f6l\u00fcnm\u00fc\u015f varl\u0131klar birbirlerinden ayr\u0131 hi\u00e7bir \u015fey yapmak istemediklerinden, a\u00e7l\u0131k ve eylemsizlikten \u00f6l\u00fcp gidiyorlarm\u0131\u015f. Zeus, durumlar\u0131na ac\u0131y\u0131p ba\u015fka bir \u00e7are aram\u0131\u015f, sonunda da bulmu\u015f: cinsel organlar\u0131n\u0131 \u00f6nlerine getirmi\u015f, \u00e7\u00fcnk\u00fc arkada olunca \u00e7iftle\u015ferek de\u011fil, a\u011fustosb\u00f6cekleri gibi topra\u011fa yumurta d\u00f6kerek \u00e7o\u011fal\u0131yorlarm\u0131\u015f. Bu s\u00f6ylenden de g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere, insan\u0131n kendi benzerine duydu\u011fu sevgi, \u00e7ok eski zamanlardan kalmad\u0131r. Sevgi, bizim ilk do\u011fam\u0131z\u0131 yeniden b\u00fct\u00fcnl\u00fcyor, iki ayr\u0131 varl\u0131\u011f\u0131 tek bir varl\u0131k durumuna sokuyor, \u00f6zetle insan\u0131n yarad\u0131l\u0131\u015f\u0131ndaki her derde deva oluyor.<\/p>\n

\u00d6znenin maruz kald\u0131\u011f\u0131 ikinci yitirme do\u011fumdan hemen sonra ger\u00e7ekle\u015fir, ama bu yitirme belli bir dilin kazan\u0131lmas\u0131n\u0131 da \u00f6nceler. Burada s\u00f6z\u00fcn\u00fc etti\u011fimiz yitirme, \u00f6znenin bedenini “Oidipus Kompleksi \u00f6ncesinde b\u00f6lgeselle\u015ftirmesi” diye adland\u0131r\u0131labilir. Nitekim, do\u011fumun \u00fczerinden bir s\u00fcre ge\u00e7tikten sonra, \u00e7ocuk kendisi ile beslenmesini sa\u011flayan annesi aras\u0131nda hi\u00e7bir ayr\u0131m g\u00f6zetmez. \u0130\u015fte o zaman, \u00e7ocu\u011fun bedeni farkl\u0131la\u015f\u0131m s\u00fcrecine katlanmak zorunda kal\u0131r. Cinsel b\u00f6lgeler bedende kal\u0131c\u0131 bi\u00e7imde kaybedilir; libido yerle\u015fik, \u00f6nceden belirli yollar\u0131 izlemek zorunda b\u0131rak\u0131l\u0131r. Anne ya da \u00e7ocuk bak\u0131c\u0131s\u0131, sonradan k\u00fclt\u00fcrel a\u00e7\u0131dan uygun d\u00fcrt\u00fcler yoluyla d\u00fczene konulacak ve i\u00e7erisinde libidonun devinebilece\u011fi kanallar\u0131 g\u00f6stererek uygunsuz enerjinin d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesine \u00f6nayak olur. D\u00fcrt\u00fcler belirli bedensel b\u00f6lgelerle ba\u011flant\u0131l\u0131 olduklar\u0131ndan, ihtiya\u00e7larda bulunmayan bir tutarl\u0131\u011fa sahiptirler. Bu ba\u011flant\u0131n\u0131n bir sonucu olarak, d\u00fcrt\u00fcler, \u00f6zg\u00fcn libido ak\u0131\u015f\u0131n\u0131n yaln\u0131zca dolayl\u0131 bir anlat\u0131m\u0131n\u0131 sa\u011flarlar. B\u00f6ylece, daha tarihinin ba\u015flar\u0131ndaki \u00f6zne kendi libido ak\u0131\u015f\u0131yla dolays\u0131z ba\u011flant\u0131s\u0131n\u0131 yitirir, ba\u011fl\u0131 bulundu\u011fu k\u00fclt\u00fcr\u00fcn “ay\u0131p ekonomisi”nin bask\u0131s\u0131 kar\u015f\u0131s\u0131nda yenik d\u00fc\u015fer.<\/p>\n

“\u0130mgesel” [imaginary<\/em>] terimini Lacan, \u00f6zde\u015flik ve ikilik taraf\u0131ndan bast\u0131r\u0131lan \u00f6znenin deneyim d\u00fczenini anlatmak i\u00e7in kullan\u0131r. Lacanc\u0131 g\u00f6r\u00fc\u015fte, bu d\u00fczen \u00f6zneyi dil ve Odipal nirengisiyle (\u00fc\u00e7genleme) tan\u0131\u015ft\u0131ran simgesel d\u00fczenden \u00f6nce gelmez; sonras\u0131nda da simgesel d\u00fczen imgeselle birlikte varolmay\u0131 s\u00fcrd\u00fcr\u00fcr. \u0130mgesel d\u00fczen en iyi ayna a\u015famas\u0131nda \u00f6rneklenir.<\/p>\n

Lacan, onsekiz ayla alt\u0131 ya\u015f aras\u0131nda bir yerde \u00f6znenin hem kendi benli\u011fini hem de Ba\u015fkas\u0131’n\u0131 kavramaya ba\u015flad\u0131\u011f\u0131n\u0131 s\u00f6yler -ger\u00e7ekte Ba\u015fkas\u0131 olarak kendisini. Bu bulu\u015f \u00e7ocu\u011fun aynadaki kendi yans\u0131mas\u0131n\u0131 ilk kez g\u00f6rmesi olgusuyla desteklenir. Yans\u0131ma \u00f6znenin kendisinin dahi ta\u015f\u0131mad\u0131\u011f\u0131 bir uygunluk ta\u015f\u0131r. Ancak Lacan’a g\u00f6re kendini tan\u0131ma, yanl\u0131\u015f tan\u0131madan \u00f6te bir \u015fey de\u011fildir. Ayna a\u015famas\u0131 a\u00e7\u0131k\u00e7a bir yabanc\u0131la\u015fma an\u0131d\u0131r, \u00e7\u00fcnk\u00fc d\u0131\u015fsal bir imge arac\u0131l\u0131\u011f\u0131yla kendini tan\u0131mak kendine yabanc\u0131la\u015fmak anlam\u0131na gelir. Bu y\u00fczden, \u00f6zne bu yans\u0131ma kar\u015f\u0131s\u0131nda olduk\u00e7a karma\u015f\u0131k bir ili\u015fki ya\u015far. \u00c7ocuk aynan\u0131n kendisine sa\u011flad\u0131\u011f\u0131 uygun kimli\u011fi sever. Gelgelelim aynadaki imge kendisinin d\u0131\u015f\u0131nda oldu\u011fundan \u00e7ocuk ayn\u0131 zamanda o imgeden nefret de eder, birbirine b\u00f6ylesine kar\u015f\u0131t duygular i\u00e7inde yo\u011fun gidip gelmeler ya\u015far.<\/p>\n

Lacan \u00f6znenin simgesel d\u00fczene (dile) “darge\u00e7itler” ya da s\u0131n\u0131rl\u0131 anlamlama a\u011flar\u0131ndan ge\u00e7ilerek var\u0131lan organik ihtiya\u00e7lar\u0131 arac\u0131l\u0131\u011f\u0131yla girdi\u011fine, yine \u00f6znenin hem bu ihtiya\u00e7lar\u0131 hem de doyurulmas\u0131 olanaks\u0131z ihtiya\u00e7lar\u0131 d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcne inan\u0131r. D\u00fcrt\u00fcler, bu ihtiya\u00e7lar\u0131n yaln\u0131zca k\u0131smi ve dolayl\u0131 bir anlat\u0131m\u0131n\u0131 sunarlar. Gelgelelim dil, bu ili\u015fkiye t\u00fcm\u00fcyle son verir.<\/p>\n

“Gitti\/geldi” [Fort\/da<\/em>] oyununa \u00e7ocu\u011fun ilk anlamlama zinciri g\u00f6z\u00fcyle bak\u0131labilir. Dolay\u0131s\u0131yla bu \u00e7ocu\u011fun dile de ilk giri\u015fidir. Ancak buradan, Freud’un \u00e7ocu\u011fun annesinin yoklu\u011funun yol a\u00e7t\u0131\u011f\u0131 kayg\u0131y\u0131 azaltmak i\u00e7in gitti\/geldi oyunundaki eylemlere ba\u015fvurdu\u011funu s\u00f6yledi\u011fini de belirtmekte yarar var. Lacan ise bu eylemleri bir oyun bi\u00e7imine sokan\u0131n kendine yabanc\u0131la\u015fmadan \u00f6te bir \u015fey olmad\u0131\u011f\u0131n\u0131 s\u00f6yler. \u00c7ocu\u011fun oynad\u0131\u011f\u0131 makara oyunca\u011f\u0131n\u0131\u00a0objet petit autre<\/em> diye tan\u0131mlar; yani, eksiklik ya da yoksunluk duygusuna yol a\u00e7an yitirme nesnesi diye. S\u00f6zgelimi, \u00e7ocu\u011fun kendisinden bir par\u00e7ay\u0131 temsil eden annenin memeleri, \u00e7ocu\u011fun do\u011farken kaybetti\u011fi o en derindeki yitik nesneyi simgelemeye yarar. (Annenin memeleri gibi ayr\u0131cal\u0131kl\u0131 bir konuma sahip di\u011fer nesneler annenin sesi ile bak\u0131\u015f\u0131d\u0131r.) Lacan b\u00f6ylece \u00f6yk\u00fcy\u00fc annenin yoklu\u011fundan \u00e7ok benli\u011fin yitirilmesi diye yorumlar. Ayn\u0131 Freud gibi Lacan da gitti\/geldi \u00f6yk\u00fcs\u00fcn\u00fc d\u00fcrt\u00fclerin dildeki egemenli\u011fine ili\u015fkin simgesel bir anlat\u0131m diye okur. Lacan, d\u00fcrt\u00fclerle ilgili bu eksiksiz kopu\u015fu \u00f6znenin varl\u0131\u011f\u0131n\u0131n “solu\u015fu” olarak, “aphanisis” [hazyitimi] bi\u00e7iminde tan\u0131mlar. Bu noktada \u00f6zne d\u00fcrt\u00fclerinden uzak d\u00fc\u015fmekle kalmaz, ayn\u0131 zamanda kendi kimli\u011fini ve arzular\u0131n\u0131 belirleyecek simgesel bir d\u00fczene de indirgenmi\u015f olur.<\/p>\n

Bilin\u00e7d\u0131\u015f\u0131n\u0131n olu\u015fumu, \u00f6znenin simgesel bir d\u00fczen i\u00e7inde ortaya \u00e7\u0131kmas\u0131 ve arzunun t\u00f6renle i\u015fe ba\u015flamas\u0131 birbiriyle yak\u0131ndan ba\u011flant\u0131l\u0131 olaylard\u0131r. Arzu, her zaman \u00f6znenin bir t\u00fcrl\u00fc ula\u015fmay\u0131 beceremedi\u011fi ideal tasar\u0131mlara y\u00f6nelir. \u00d6zneyi tamamlayacak olan\u0131n daima ba\u015fkalar\u0131 olaca\u011f\u0131na inan\u0131ld\u0131\u011f\u0131 s\u00fcrece, ba\u015fkalar\u0131n\u0131n sevgisi beklenecektir hep. \u00d6yleyse arzuyu temelde narsist bir edim olarak anlamal\u0131y\u0131z. Nesneye duyulan sevgi, yitirilen taml\u0131\u011f\u0131 s\u00fcrekli ara\u015ft\u0131rmaktan \u00f6te bir \u015fey de\u011fildir.<\/p>\n

Lacan Oidipus Kompleksi’ni dilsel bir konu olarak kavramla\u015ft\u0131r\u0131r. Bu sav\u0131n\u0131, ensest (yak\u0131n akrabayla cinsel ili\u015fki kurma) tabusunun, ancak “baba” ve “anne” gibi dilsel kategorileri k\u00fclt\u00fcr\u00fcn \u00f6teki \u00fcyelerinden ayr\u0131 tutmak yoluyla anlat\u0131labilece\u011fini g\u00f6stererek destekler. Anne ile baba g\u00f6sterenlerini \u00f6znenin tarihi i\u00e7indeki geni\u015f simgesel alanlar\u0131 d\u00fczenleyerek “Baba’n\u0131n Ad\u0131” diye adland\u0131r\u0131p tek bir b\u00fct\u00fcn olarak tan\u0131mlar.<\/p>\n

Bunun anlam\u0131 \u015fudur: Lacan, Freud’un verdi\u011finden \u00e7ok daha ba\u015fka bir cinsel farkl\u0131la\u015f\u0131m a\u00e7\u0131klamas\u0131 verir. Ayr\u0131cal\u0131kl\u0131 terim art\u0131k “penis” de\u011fil, “fallus”tur. “Fallus” s\u00f6zc\u00fc\u011f\u00fc, bu anlamda, yoksunlukla kar\u015f\u0131tl\u0131k i\u00e7inde bulunan b\u00fct\u00fcn de\u011ferleri g\u00f6stermek i\u00e7in kullan\u0131l\u0131r. Ancak bu s\u00f6zc\u00fc\u011f\u00fcn (anatomik de\u011fergesinden \u00e7ok) s\u00f6ylemse de\u011fergesi \u00fczerinde dururken Lacan olduk\u00e7a zorlan\u0131r, \u00e7\u00fcnk\u00fc s\u00f6zc\u00fc\u011f\u00fcn birbirinden k\u00f6kten ayr\u0131 iki anlam\u0131 bulunmaktad\u0131r. \u0130lkine g\u00f6re, fallus \u00f6znenin olu\u015fumu s\u0131ras\u0131nda \u00f6zneden ayr\u0131 d\u00fc\u015fen, bir daha asla biraraya gelemeyecek \u015feylerin bir g\u00f6sterenidir. Ba\u015fka bir deyi\u015fle, anlam\u0131 elde etmek, simgesel k\u00fct\u00fc\u011fe eri\u015febilmek i\u00e7in \u00f6znenin vazge\u00e7ti\u011fi ihtiya\u00e7lar\u0131n ya da organik ger\u00e7ekli\u011fin bir g\u00f6sterenidir; bu anlamda yitirilmeye ba\u015flanan \u015feyi ya da yoklu\u011funun arzuyu k\u0131\u015fk\u0131rtt\u0131\u011f\u0131 \u015feyi g\u00f6sterir. \u00d6te yanda fallusun ikinci anlam\u0131na g\u00f6re, fallus k\u00fclt\u00fcrel ayr\u0131cal\u0131klar ile ataerkil bir toplum i\u00e7indeki erke\u011fin \u00f6znelli\u011fini tan\u0131mlayan olumlu de\u011ferlerin bir g\u00f6sterenidir, ama onun bu anlam\u0131 kad\u0131n \u00f6znesinden tamamen yal\u0131t\u0131lm\u0131\u015ft\u0131r. Demek ki, fallus hem erkek \u00f6znesinin k\u00fclt\u00fcre giri\u015fi s\u0131ras\u0131nda yitirdi\u011fi \u015feylerin hem de bu giri\u015f s\u0131ras\u0131nda kazand\u0131\u011f\u0131 \u015feylerin bir g\u00f6sterenidir.<\/p>\n

Lacan, \u00f6znenin kendi kimli\u011fini buldu\u011fu s\u00f6ylemin her zaman i\u00e7in bir ba\u015fkas\u0131n\u0131n s\u00f6ylemi oldu\u011funa inan\u0131r. \u00d6zneyi a\u015fan, \u00f6znenin b\u00fct\u00fcn tarihini y\u00f6nlendiren simgesel bir d\u00fczendir bu s\u00f6ylem. S\u00f6z konusu simgesel d\u00fczenin \u00f6nemli bir b\u00f6l\u00fcm\u00fc, cinsel ayr\u0131m taraf\u0131ndan y\u00f6nlendirilir, bu durum da g\u00fcnl\u00fck edimlerimizde fallusmerkezli [phallocentricity<\/em>] bir bilin\u00e7 ta\u015f\u0131mam\u0131za \u00f6nayak olur.<\/p>\n

Lacanc\u0131 \u00f6\u011fretilerden bir di\u011feri de \u00f6znelli\u011fin b\u00fct\u00fcn\u00fcyle ili\u015fkiye dayal\u0131 bir konu olmas\u0131 \u00fcst\u00fcne kuruludur. \u00d6znellik, yaln\u0131zca ayr\u0131m ilkesi do\u011frultusunda “ba\u015fkas\u0131”na, “sen”e, hatta “ben”e dahi kar\u015f\u0131tl\u0131k duyulmas\u0131 yoluyla oyuna kat\u0131l\u0131r. Ba\u015fka t\u00fcrl\u00fc s\u00f6ylendikte \u00f6znellik bir \u00f6z de\u011fil, bir ili\u015fkiler k\u00fcmesidir. Bu bak\u0131mdan \u00f6znellik, bireyden \u00f6nce varolan ve bireyin k\u00fclt\u00fcrel kimli\u011fini belirleyen bir anlamlama dizgesine etkinlik kazand\u0131rmakla olu\u015fur. \u00d6yleyse s\u00f6ylem, \u00f6zneyi \u00fcreten, varolan kurulu d\u00fczeni koruyan bir arac\u0131d\u0131r.<\/p>\n

”<\/p>\n

(29) Lacan, J. (1979)\u00a0The Four Fundamental Concepts of Psycho-analysis<\/em>, Londra: Penguin, s. 196-7, 205. \u015eu kitapta da bu s\u00f6ylenin yararl\u0131 bir a\u00e7\u0131klamas\u0131 verilmi\u015ftir: Silverman, K. (1983) The Subject of Semiotics<\/em>, Oxford: Oxford University Press, s. 151.<\/span><\/p>\n

Madan Sarup, Post-yap\u0131salc\u0131l\u0131k ve Postmodernizm, \u00e7ev. Abd\u00fclbaki G\u00fc\u00e7l\u00fc, Bilim ve Sanat, 2004 [1988], 2. bas\u0131m,\u00a0 s. 38-42.<\/p>\n","protected":false},"excerpt":{"rendered":"

” Bu b\u00f6l\u00fcmcede, bir yandan Lacan’\u0131n \u00f6yk\u00fcs\u00fc \u00fczerinde bir yanda da \u00f6znenin kar\u015f\u0131 kar\u015f\u0131ya kald\u0131\u011f\u0131 yitirme ve yoksunluk duygusu \u00fczerinde ayr\u0131nt\u0131lar\u0131yla duraca\u011f\u0131m. Lacan’\u0131n \u00f6zne kuram\u0131na bakt\u0131\u011f\u0131n\u0131zda, \u00f6zneyi t\u0131pk\u0131 klasik bir anlat\u0131 gibi okudu\u011funu g\u00f6r\u00fcrs\u00fcn\u00fcz: \u00d6yk\u00fc do\u011fumla ba\u015flar, daha sonra bedenin b\u00f6lgeselle\u015ftirilmesi arac\u0131l\u0131\u011f\u0131yla ayna a\u015famas\u0131na y\u00f6nelir, en sonunda da dile ve Oidipus Kompleksi’ne ula\u015f\u0131r. Bu anlat\u0131n\u0131n … Continue reading Sarup, Lacan ve Yitirme Duygusu<\/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":[33,133,38],"tags":[341,340,339,338,262],"class_list":["post-1250","post","type-post","status-publish","format-standard","hentry","category-alinti","category-postmodernizm","category-psikanaliz","tag-fallus","tag-fort-da","tag-jacques-lacan","tag-madan-sarup","tag-post-yapisalcilik"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-ka","jetpack-related-posts":[{"id":2914,"url":"https:\/\/yalpertem.com\/blog\/2019\/12\/07\/maurice-blanchotya-kisa-giris-c-fynsk-notlar\/","url_meta":{"origin":1250,"position":0},"title":"Maurice Blanchot’ya K\u0131sa Giri\u015f | C. Fynsk (Notlar)","author":"yalpertem","date":"7 December 2019","format":false,"excerpt":"Genel olarak, Blanchot'nun 1930'lardan bug\u00fcne ba\u015fkalar\u0131 taraf\u0131ndan nas\u0131l temkinle kar\u015f\u0131land\u0131\u011f\u0131ndan, gen\u00e7li\u011findeki sa\u011fc\u0131l\u0131\u011f\u0131ndan, etraf\u0131ndaki haleden, \u015fimdiye kadar tan\u0131\u015ft\u0131\u011f\u0131m Blanchot'ya bir yerden dokunmu\u015f herkesten duydu\u011fum \"okudum ama ben tam bilmiyorum, g\u00fczel, nas\u0131l desem, pek bir \u015fey diyemem,\" diye ba\u015flayan ifadelerin olas\u0131 sebeplerinden bahsediyor. Giri\u015f dersi oldu\u011fu i\u00e7in pek bir \u00f6zet ya da\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\/2019\/12\/fynsk-300x169.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":1250,"position":1},"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. 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Bir s\u00fcre \u00f6nce Defter'i kapatmaya karar verdik. \u00c7\u0131kartan bir grup insan i\u00e7in Defter, yazmaya, okumaya, ara\u015ft\u0131rmaya \u015fevklendiren bir ortam sa\u011flad\u0131\u011f\u0131ndan o kadar kolay bir karar olmad\u0131 bu; 15 y\u0131l gibi uzun bir s\u00fcre ge\u00e7ince dergi yaln\u0131zca bir dergi olmaktan \u00e7\u0131k\u0131p, insanlar\u0131n hayat\u0131n\u0131n bir par\u00e7as\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\/defter-son-say%C4%B1.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1510,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/16\/althusser-ideoloji-maddi-bir-varolusa-sahiptir\/","url_meta":{"origin":1250,"position":4},"title":"Althusser, \u0130deoloji Maddi Bir Varolu\u015fa Sahiptir (I)","author":"yalpertem","date":"16 May 2018","format":false,"excerpt":"\" Tez II: \u0130deoloji maddi bir var olu\u015fa sahiptir. \u0130deolojiyi olu\u015fturur gibi gelen \"d\u00fc\u015f\u00fcncelerin\" ya da tasar\u0131mlamalar\u0131n, vb. \u00fclk\u00fcsel, d\u00fc\u015f\u00fcnsel, tinsel de\u011fil, maddi var olu\u015fa sahip olduklar\u0131n\u0131 s\u00f6ylerken hafif\u00e7e de\u011finmi\u015ftik bu teze. 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