{"id":1265,"date":"2018-04-25T22:10:20","date_gmt":"2018-04-25T19:10:20","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1265"},"modified":"2018-04-27T10:11:35","modified_gmt":"2018-04-27T07:11:35","slug":"le-breton-kent-yuruyusu","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/04\/25\/le-breton-kent-yuruyusu\/","title":{"rendered":"Le Breton, Kent Y\u00fcr\u00fcy\u00fc\u015f\u00fc"},"content":{"rendered":"

\"\"<\/p>\n

”<\/p>\n

Bir kentte yolunu bulamamak \u00e7ok da \u00f6nemli de\u011fildir. Ama bir kentte bir ormanda kaybolur gibi kaybolmak i\u00e7in e\u011fitimli olmak gerekir. Sokak adlar\u0131n\u0131n kaybolan ki\u015fiye \u00e7at\u0131rdayan kuru dallar\u0131n diliyle hitap etmesi gerekir ve kent i\u00e7indeki k\u00fc\u00e7\u00fc<\/em>k sokaklar bu ki\u015fiye g\u00fcn\u00fcn saatlerini bir da\u011fdaki vadi kadar a\u00e7\u0131k se\u00e7ik bi\u00e7imde yans\u0131tmal\u0131d\u0131r.<\/em><\/span><\/p>\n

Walter Benjamin, Tek Y\u00f6n<\/em><\/span><\/p>\n

Kentin bedeni<\/span><\/p>\n

Kendi kentinde, sokaklar\u0131nda, mahallelerinde y\u00fcr\u00fcyen insan\u0131n \u00f6yk\u00fcs\u00fc buralar\u0131 daha \u00f6nceden tan\u0131s\u0131n ya da y\u00fcr\u00fcd\u00fck\u00e7e tan\u0131s\u0131n her \u015feyden \u00f6nce duygusal bir \u00f6yk\u00fcd\u00fcr ya da bedensel bir deneyimdir. Gezintisine sesli ve g\u00f6rsel bir fon e\u015flik eder, bedeni hararetin dalgalanmalar\u0131n\u0131 kaydeder ve nesnelere ya da mek\u00e2ne temas edince tepki verir. Zor ya da kolay \u00f6rt\u00fclerini kat eder. Bu duyumsal \u00f6rg\u00fc sokaklarda y\u00fcr\u00fcmeye, de\u011fi\u015fen ko\u015fullara g\u00f6re keyifli ya da keyifsiz bir hava verir. Kentte y\u00fcr\u00fcme deneyimi t\u00fcm bedenin kat\u0131l\u0131m\u0131n\u0131 gerektiren bir etkinliktir, duyumun ve duyular\u0131n s\u00fcrekli devreye girmesidir. Kent insan\u0131n d\u0131\u015f\u0131nda de\u011fildir, i\u00e7indedir onun, g\u00f6zlerinin, kulaklar\u0131n\u0131n ve \u00f6teki duyular\u0131n\u0131n i\u00e7indedir, sahiplenir kenti insan ve ona y\u00fckledi\u011fi anlamlara g\u00f6re etki eder. “Y\u0131llard\u0131r kayg\u0131s\u0131z, tasas\u0131z insanlar i\u00e7in yani kaybedecek zaman\u0131 olan ve Paris’i seven insanlar i\u00e7in bir ‘Paris Plan\u0131’ kaleme alma hayalleri i\u00e7indeyim. Ve y\u0131llard\u0131r bu yolculu\u011fa ba\u015flama s\u00f6z\u00fc veriyorum kendi kendime: kendi semtimden, Kuzey gar\u0131ndan ve Do\u011fu gar\u0131ndan Chapelle’e do\u011fru… Nedeni buradan otuz be\u015f y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir ayr\u0131lmamam de\u011fildir; buras\u0131 \u00f6zel bir fizyonumiye sahiptir ve tan\u0131nmas\u0131nda yarar vard\u0131r” (Fargue, 1993, 17). Her kentlinin kendi mek\u00e2nlar\u0131, kendi etkinliklerinin \u00e7evresinde d\u00f6nen ve s\u00fcrekli kulland\u0131\u011f\u0131 ya da can\u0131 istedi\u011finde, hava durumuna g\u00f6re, acele etme ya da aylak aylak dola\u015fma, yolca yapaca\u011f\u0131 al\u0131\u015fveri\u015flere g\u00f6re de\u011fi\u015ftirdi\u011fi, \u00f6zel g\u00fczerg\u00e2hlar\u0131 vb vard\u0131r. Her sakinin \u00e7evresinde, kentteki g\u00fcndelik etkinlilerine, \u00e7al\u0131\u015ft\u0131\u011f\u0131 semte, u\u011frad\u0131\u011f\u0131 resmi dairelere, k\u00fct\u00fcphanelere, dostlar\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 semtlere, \u00e7ocuklu\u011funda ya da ya\u015fam\u0131n\u0131n \u00e7e\u015fitli d\u00f6nemlerinde tan\u0131d\u0131\u011f\u0131 semtlere g\u00f6re on binlerce yol olu\u015fur. Bir de hayalet b\u00f6lgeleri vard\u0131r: hi\u00e7bir zaman gitmez oralara \u00e7\u00fcnk\u00fc bu yerlerde hi\u00e7bir etkinlik hi\u00e7bir \u00e7ekicilik s\u00f6z konusu de\u011fildir, sadece arabayla zaman zaman ge\u00e7er buralardan ama durmay\u0131 akl\u0131ndan ge\u00e7irmez, bi\u00e7imleri ve yap\u0131lar\u0131 korkutur onu.<\/p>\n

“Bana Paris’te rastlayaca\u011f\u0131n\u0131zdan emin olabilirsiniz, ak\u015fama do\u011fru,\u00a0Matin<\/em> matbaas\u0131 ve Strasbourg bulvar\u0131 aras\u0131nda Bonne-Nouvelle bulvar\u0131na gidip gelmeden \u00fc\u00e7 g\u00fcn\u00fcm ge\u00e7mez. Neden bilmem ayaklar\u0131m beni oraya do\u011fru g\u00f6t\u00fcr\u00fcr, hemen her zaman\u00a0belli bir amac\u0131m olmadan<\/em>, hi\u00e7bir \u015feye karar vermeden, belirsiz birtak\u0131m \u015feylerin oralarda olup bitece\u011fi d\u00fc\u015f\u00fcncesiyle oraya do\u011fru giderim” (Breton, 1964, 36). Biraz olsun tan\u0131yanlar ya da sokaklar\u0131na a\u015fina olanlar i\u00e7in her kentin, y\u00fcr\u00fcy\u00fc\u015f\u00e7\u00fcn\u00fcn, uzun s\u00fcre uzak kalm\u0131\u015f olsa bile, daha ilk ad\u0131mlar\u0131nda y\u00f6neldi\u011fi kendi \u00e7ekim b\u00f6lgeleri vard\u0131r: Br\u00fcksel’de Lemonnier bulvar\u0131 sahaflar\u0131, Tours’da Loire, Paris’te Quartier Latin, Strasbourg’da Ill k\u0131y\u0131lar\u0131 ya da Katedral, Napoli ya da Roma’da bir kafe, Lizbon’da bir alan, bir bulvar, bir sokak, bir ma\u011faza, bir bank, bir ev… Bu \u00e7ekimler ki\u015fisel bir \u00f6yk\u00fcye, \u00e7ocukluk d\u00f6nemlerine, bir kafenin teras\u0131nda ge\u00e7irdi\u011fimiz ve daha sonra tekrar ya\u015famak istedi\u011fimiz bir huzur an\u0131na, bir soka\u011f\u0131n, bir semtin ortam\u0131na, bizi \u00e7ok etkilemi\u015f olan bir ada, eskiden g\u00f6rd\u00fc\u011f\u00fcm\u00fcz bir y\u00fcze, bir m\u00fczeye ba\u011fl\u0131 olabilir… Kenti \u00e7ok iyi tan\u0131yan biri, kimi zaman \u015fu ya da bu se\u00e7iminden sonra ilk \u015fa\u015f\u0131ran ve g\u00fclen kimsedir ya da muhatab\u0131n\u0131n zevkleri \u00fcst\u00fcne uzun s\u00fcre kafa yorabilir. Ama herkes nesneleri kendi g\u00f6zleriyle g\u00f6r\u00fcr. Her kent \u00f6zneldir.<\/p>\n

Bir kenti ar\u015f\u0131nlayarak kendini ke\u015ffetmenin bir ba\u015fka bi\u00e7imi, ger\u00e7ek\u00fcst\u00fcc\u00fcler gibi, sokaklarda, rasgele, ba\u015f\u0131bo\u015f dola\u015fmakt\u0131r. 60’l\u0131 y\u0131llarda sit\u00fcasyonistler bu r\u00fczg\u00e2r\u0131n g\u00f6t\u00fcrd\u00fc\u011f\u00fc yere girme al\u0131\u015fkanl\u0131\u011f\u0131na tekrar sahip \u00e7\u0131km\u0131\u015flar ve bu t\u00fcr y\u00fcr\u00fcy\u00fc\u015fleri “farkl\u0131 ortamlardan alelacele bir ge\u00e7i\u015f tekni\u011fi” gibi tan\u0131mlam\u0131\u015flard\u0131r. Kentli belli bir ama\u00e7la evinden \u00e7\u0131k\u0131p bir g\u00fczerg\u00e2hta y\u00fcr\u00fcyebilir ama kimi zaman da keyfine b\u0131rak\u0131r i\u015fi ve ad\u0131mlar\u0131n\u0131 engellemeye \u00e7al\u0131\u015fmaz (Augoyard, 1979; Giard, Mayol, 1980). Y\u00fcr\u00fcy\u00fc\u015f\u00e7\u00fc, kimi zaman, belki ileride daha bilin\u00e7li olarak d\u00f6nece\u011fi yerleri tan\u0131mak i\u00e7in elinde haritayla dola\u015fsa da kendi ki\u015fisel yolunu yaratarak ke\u015ffetmeye \u00e7al\u0131\u015f\u0131r kenti. Kentte yerlerin \u00e7ekicili\u011finden ba\u015fka bir s\u0131n\u0131r tan\u0131mayan aylak b\u00f6yle y\u00fcr\u00fcr. Al\u0131\u015fkanl\u0131klar\u0131n\u0131 bir yana b\u0131rak\u0131r, al\u0131\u015f\u0131k oldu\u011fu g\u00fczerg\u00e2hlar a\u011f\u0131n\u0131 terk eder, onlar\u0131n \u00f6tesine ge\u00e7er, unutur onlar\u0131, a\u015far.<\/p>\n

Aylak kentte, ormanda y\u00fcr\u00fcr gibi y\u00fcr\u00fcr, ke\u015fiflere a\u00e7\u0131kt\u0131r. Y\u00fczleri ve yerleri g\u00f6zetleyerek, ki\u015fisel meraklar\u0131n\u0131n pe\u015finde, “asfaltta bitki toplar” (Benjamin, 1979, 57). G\u00f6zlerini \u0131rma\u011fa dikmi\u015f halde y\u00fcr\u00fcyen, gelip ge\u00e7enlerin yitirdi\u011fi bozuk paralar\u0131 arayan o ho\u015f insan Henri Calet’in z\u0131dd\u0131d\u0131r. B\u00fcy\u00fck bir olas\u0131l\u0131kla Calet bu paralar\u0131 bulabilen ve bu nedenle kendisini tebrik eden tek insand\u0131r \u00e7\u00fcnk\u00fc hi\u00e7bir zaman hi\u00e7bir \u015fey bulamayan taklit\u00e7ileri sonunda yorulurlar ve g\u00f6zlerini sokaklara \u00e7evirirler. Aylak, kendi i\u00e7inden gelen ses do\u011frultusunda yol al\u0131r, duygusal \u00e7ekimlerini anl\u0131k sezgileri, bir yerin atmosferiyle ilgili sezgileri y\u00f6nlendirir; girdi\u011fi yol beklentilerini kar\u015f\u0131lamam\u0131\u015fsa ans\u0131z\u0131n, kolayca yolu k\u0131salt\u0131r ya da ba\u015fka bir y\u00f6ne sapar. Yerlerin \u00e7ekicili\u011fiyle ba\u015f ba\u015fad\u0131r, tutsa\u011f\u0131 olmu\u015ftur ve hen\u00fcz bilmedi\u011fi ama kendisine de\u011fi\u015fik bir ya\u015fam sunan co\u011frafi e\u015fi\u011fi atlad\u0131\u011f\u0131nda daha sonraki yerin \u00e7ekicili\u011fine kap\u0131l\u0131r. Kendisine h\u00fcz\u00fcn verici g\u00f6z\u00fcken vasat bir yerden ho\u015flanmad\u0131\u011f\u0131 da olur. \u0130zlenen yol y\u00fcr\u00fcy\u00fc\u015f\u00e7\u00fcn\u00fcn duygusal durumuna g\u00f6re asla ayn\u0131 mesafelerde de\u011fildir ve g\u00f6r\u00fclen manzaralar da hep ayn\u0131lar\u0131 olmaz. Yorgunluk derecesi, acele etmek zorunda olmak ya da olmamak, y\u00fcr\u00fcy\u00fc\u015f i\u00e7in kendini haz\u0131r hissetmek ya da hissetmemek y\u00fcr\u00fcnen g\u00fczerg\u00e2h\u0131 elveri\u015fli ya da elveri\u015fsiz hale getirebilir. Bu ba\u011flamda nesnellik her zaman ya\u015fanan an\u0131n atmosferinden s\u00fcz\u00fcl\u00fcr, bedenin bu i\u015fi sahiplenmesi ya da sahiplenmemesiyle ilgilidir, asla kat\u0131ks\u0131z bir fizyoloji de\u011fildir, bir psikoloji, daha do\u011frusu duygusal bir co\u011frafyad\u0131r. Kentte y\u00fcr\u00fcy\u00fc\u015f hi\u00e7 ku\u015fkusuz, ayn\u0131 zamanda da bedensel bir al\u0131\u015fkanl\u0131kt\u0131r, bug\u00fcn Kalk\u00fcte ya da Bombay sokaklar\u0131nda, yak\u0131c\u0131 bir g\u00fcne\u015f alt\u0131nda, hi\u00e7 durmadan y\u00fcr\u00fcyorum, ti\u015f\u00f6rt\u00fcm terden s\u0131r\u0131ls\u0131klam, eskiden de Rio de Janeiro, Lizbon ya da Roma sokaklar\u0131nda y\u00fcr\u00fcrd\u00fcm b\u00f6yle, tek yorgunluk bedenin yorgunlu\u011fundan \u00e7ok doymak bilmez merak\u0131n verdi\u011fi yorgunluk. Ben kendi pay\u0131ma, sadece bedenin, rasgele sokaklara ve o andaki ruhsal durumuma g\u00f6re yakalad\u0131\u011f\u0131 bir kentte ba\u015fkas\u0131n\u0131 tan\u0131m\u0131yorum.<\/p>\n

Aylakl\u0131k etmek kentte y\u00fcr\u00fcmek sanat\u0131 demektir. “Sokak, d\u00f6rt duvar aras\u0131ndaki kentli gibi, binalar\u0131n cepheleri aras\u0131nda kendini evindeymi\u015f gibi hisseden aylak i\u00e7in bir apartman dairesidir. Dernek adlar\u0131n\u0131n yaz\u0131l\u0131 oldu\u011fu parlak plakalara, kentlinin, salonundaki ya\u011fl\u0131 boya bir tabloya verdi\u011fi de\u011feri verir. Duvarlar, \u00fcst\u00fcne not defterini dayad\u0131\u011f\u0131 s\u0131rad\u0131r, gazete bayileri k\u00fct\u00fcphaneler gibidir, kafelerin teraslar\u0131n\u0131 ise, \u00e7al\u0131\u015ft\u0131ktan sonra kendi i\u00e7ini seyretti\u011fi bow-window’lar gibi g\u00f6r\u00fcr.” (Benjamin, 1979, 58). Gelip ge\u00e7enlerin y\u00fczlerinden olu\u015fan orman anlamaya, onlar\u0131n bahtlar\u0131ndan yararlanmaya \u00e7al\u0131\u015fan ayla\u011f\u0131n bilgeli\u011fine sunulmu\u015ftur (Le Breton, 1992) ve aylak en iyinin ve en k\u00f6t\u00fcn\u00fcn, g\u00f6r\u00fcn\u00fc\u015flerinin gizledi\u011fi t\u00fcm sapmalarla birlikte orada s\u00fcrekli yan yana olduklar\u0131n\u0131 bilir. W. Benjamin polisiye t\u00fcr\u00fcn\u00fcn kentte do\u011fdu\u011funu hat\u0131rlat\u0131yor. “G\u00f6zlemci,\u00a0kimli\u011fini gizleyerek<\/em> oynayan bir prenstir” diyor Baudelaire (Baudelaire, 1968, 552). Aylak, amat\u00f6r bir sosyologdur ama ayn\u0131 zamanda da g\u00fc\u00e7l\u00fc bir romanc\u0131, bir gazeteci, bir siyaset adam\u0131, bir anekdot toplay\u0131c\u0131d\u0131r. Her zaman uyan\u0131k, gev\u015fek ve uyu\u015fuktur, ho\u015f ve ince g\u00f6zlemleri, mola verdi\u011fi bir kafede, notlar almad\u0131k\u00e7a ve g\u00f6zlemlerini profesyonelle\u015ftirmedik\u00e7e ya da su\u00e7 ortakl\u0131\u011f\u0131 yapan bir kulak yorumlar\u0131n\u0131 dinlemedik\u00e7e \u00e7o\u011fu zaman an\u0131nda unutulur, kaybolur gider.<\/p>\n

Kent ancak sakinlerinin ad\u0131mlar\u0131yla ya da onu y\u00fcr\u00fcy\u00fc\u015fleriyle, bulu\u015fmalar\u0131yla, d\u00fckk\u00e2nlar\u0131na, ibadet yerlerine, resmi dairelerine, istasyonlar\u0131na, kafelerine, e\u011flence yerlerine vb girip \u00e7\u0131kmalar\u0131yla canland\u0131rarak yaratan gezginleriyle var olabilir. Gelip ge\u00e7enler kentin canl\u0131l\u0131\u011f\u0131n\u0131n ya da uyumas\u0131n\u0131n, verdi\u011fi zevkin ya da s\u0131k\u0131nt\u0131n\u0131n i\u015faretidir. Zaman\u0131n ak\u0131\u015f\u0131 etkinliklerinin \u00f6zel anlar\u0131n\u0131 belirtir. \u015eafak vakti, az ya da \u00e7ok seyrek, hen\u00fcz uykuda olan uyku zaman\u0131na \u00e7ok fazla ho\u015fg\u00f6r\u00fcl\u00fc davranmay\u0131 istemi\u015f olduklar\u0131ndan h\u0131zl\u0131 y\u00fcr\u00fcyen insanlar\u0131n sokaklar\u0131na d\u00fc\u015fer. Gecikmeyi telafi etmek i\u00e7in acele etmek gereki ve bu acelecilik i\u00e7inde bak\u0131\u015f\u0131n aylakl\u0131\u011f\u0131na pek fazla zaman kalmaz. Sokaklar bo\u015ftur, belki bir gece ku\u015fu ya da sabah\u0131n k\u00f6r\u00fcnde yollara d\u00fc\u015fm\u00fc\u015f biri g\u00f6r\u00fclebilir. Daha sonra, orta lise, \u00fcniversite \u00f6\u011frencileri sabah\u0131n daha makul saatlerinde i\u015flerine gidenlerin saflar\u0131na kat\u0131l\u0131rlar. Bu saatlerde sokaklar canlan\u0131r, ma\u011fazalar kap\u0131lar\u0131n\u0131 a\u00e7arlar, otomobiller yo\u011funla\u015f\u0131r, daha sonra vakitleri bol olan ya da al\u0131\u015fveri\u015fe giden yayalar \u00e7\u0131kar ortaya. Yaya ak\u0131\u015f\u0131 \u00f6\u011fleye do\u011fru yo\u011funla\u015f\u0131r ve daha sonra zay\u0131flar. Yaz\u0131n, kafelerin teraslar\u0131 tabaklar\u0131na ve bardaklar\u0131na oldu\u011fu kadar gelip ge\u00e7enlere de dikkat eden m\u00fc\u015fterilerle dolup ta\u015far. Ak\u015fama do\u011fru, sokaklar yava\u015f yava\u015f bo\u015fal\u0131r, sadece e\u011flence d\u00fc\u015fk\u00fcnleri, gece ku\u015flar\u0131 ya da arkada\u015f ziyaretlerinden veya restoranlardan d\u00f6nenler ve evlerine d\u00f6nmek i\u00e7in acele edenler ya da bir s\u00fcre daha vakit ge\u00e7irmek isteyenler kal\u0131r d\u0131\u015far\u0131da. Gece s\u0131n\u0131rlar\u0131 siler, nesnelerin bildik anlam\u0131n\u0131 geni\u015fletir ve maceran\u0131n \u00e7ekicili\u011fini ya da bilinmeyenin getirdi\u011fi s\u0131k\u0131nt\u0131y\u0131 ku\u015fat\u0131r. Etraf tehlike ya da tehdit doludur sanki. Sokaklarda h\u00fck\u00fcm s\u00fcren g\u00f6rece sessizlik, ara\u00e7lar\u0131n seyrekle\u015fmesi \u00f6teki tuhafl\u0131klar olarak g\u00f6r\u00fclebilir.<\/p>\n

”<\/p>\n

Bibliyografya<\/em><\/span>
\nJean-Fran\u00e7ois Augoard,\u00a0Pas \u00e0 pas. Essai sur le cheminement quotidien<\/em>, Paris, Seuil, 1979.<\/span>
\nCharles Baudelaire, “Le peintre de la vie moderne”, in \u0152uvres compl\u00e8tes<\/em>, Paris, Seuil, 1968.<\/span>
\nWalter Benjamin,\u00a0Charles Baudelaire<\/em>, Paris, Payot, 1979.<\/span>
\nAndr\u00e9 Breton,\u00a0Nadja<\/em>, Paris, Poche, 1964.<\/span>
\nL\u00e9on-Paul Fargue, Le pi\u00e9ton de Paris<\/em>, Paris, Gallimard, 1993.<\/span>
\nLuce Giard, Pierre Mayol, L’Invention du quotidien<\/em> T2:\u00a0Habiter, cuisiner<\/em>, Paris, 10-18.<\/span>
\nDavid Le Breton,\u00a0Pasions du risque<\/em>, Paris,\u00a0M\u00e9taili\u00e9, 1992 (4 \u00e9d 2000).<\/span><\/p>\n

David Le Breton, Y\u00fcr\u00fcmeye \u00d6vg\u00fc, \u00e7ev. \u0130smail Yerguz, Sel Yay\u0131nc\u0131l\u0131k, 2008 [2000], 2. bas\u0131m, s. 99-104.<\/p>\n","protected":false},"excerpt":{"rendered":"

” Bir kentte yolunu bulamamak \u00e7ok da \u00f6nemli de\u011fildir. Ama bir kentte bir ormanda kaybolur gibi kaybolmak i\u00e7in e\u011fitimli olmak gerekir. Sokak adlar\u0131n\u0131n kaybolan ki\u015fiye \u00e7at\u0131rdayan kuru dallar\u0131n diliyle hitap etmesi gerekir ve kent i\u00e7indeki k\u00fc\u00e7\u00fck sokaklar bu ki\u015fiye g\u00fcn\u00fcn saatlerini bir da\u011fdaki vadi kadar a\u00e7\u0131k se\u00e7ik bi\u00e7imde yans\u0131tmal\u0131d\u0131r. Walter Benjamin, Tek Y\u00f6n Kentin bedeni … Continue reading Le Breton, Kent Y\u00fcr\u00fcy\u00fc\u015f\u00fc<\/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":[33,222,30],"tags":[349,345,347,348,346],"class_list":["post-1265","post","type-post","status-publish","format-standard","hentry","category-alinti","category-kent","category-yurumek","tag-aylak","tag-david-le-breton","tag-kent-ve-orman","tag-kentte-yuruyus","tag-yurumeye-ovgu"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-kp","jetpack-related-posts":[{"id":1090,"url":"https:\/\/yalpertem.com\/blog\/2018\/03\/18\/auster-karakteri-tanitmak-ii-yuruyus-ve-bosluk\/","url_meta":{"origin":1265,"position":0},"title":"Auster, Karakteri Tan\u0131tmak (II) [Y\u00fcr\u00fcy\u00fc\u015f ve Bo\u015fluk]","author":"yalpertem","date":"18 March 2018","format":false,"excerpt":"\" Quinn'e gelince; ak\u0131lda tutmam\u0131z gereken fazla bir \u015fey yok. Kim oldu\u011fu, nereden geldi\u011fi ve ne yapt\u0131\u011f\u0131 fazla bir \u00f6nem ta\u015f\u0131m\u0131yor. \u00d6rne\u011fin otuz be\u015f ya\u015f\u0131nda oldu\u011funu biliyoruz. Bir kez evlendi\u011fini, bir kez baba oldu\u011funu, hem kar\u0131s\u0131n\u0131n hem de o\u011flunun hala hayatta olmad\u0131\u011f\u0131n\u0131 biliyoruz. Kitap yazm\u0131\u015f oldu\u011funu da biliyoruz. Daha kesin\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\/03\/paul-auster-cam-kent-new-york-uclemesi-192x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1383,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/09\/de-certeau-kent-icinde-yurumek-gozetleyiciler-ya-da-yuruyenler\/","url_meta":{"origin":1265,"position":1},"title":"De Certeau, Kent \u0130\u00e7inde Y\u00fcr\u00fcmek (G\u00f6zetleyiciler ya da Y\u00fcr\u00fcyenler)","author":"yalpertem","date":"9 May 2018","format":false,"excerpt":"\" D\u00fcnya Ticaret Merkezi'nin 110. kat\u0131ndan Mahattan'\u0131\u00a0seyretmek. R\u00fczgarla harmanlanan sisin ard\u0131ndaki, bu kent-ada, denizin ortas\u0131ndaki bu deniz, Wall Street'in g\u00f6kdelenleriyle y\u00fckselir, Greenwich'te \u00e7ukurla\u015f\u0131r, sonra yeniden Midtown'\u0131n zirvelerinde y\u00fckselip, Central Park'ta sakinle\u015fir, d\u00fczle\u015fir ve sonunda Harlem'in \u00f6tesinde k\u00fcmelenir. Dik ve d\u00fcz \u00e7alkant\u0131lar, dalgalanmalar kenti. 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O arada g\u00f6z\u00fcne ili\u015fen g\u00f6rkemli bir a\u011fac\u0131n ya da kenti saran pus tabakas\u0131n\u0131n dikkatini\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\/03\/tomris-uyar-kitapla-direnis-yazilar-soylesiler-sorusturmalar-178x300.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2892,"url":"https:\/\/yalpertem.com\/blog\/2019\/12\/01\/camus-romana-baslamak-veba\/","url_meta":{"origin":1265,"position":3},"title":"Camus, Romana Ba\u015flamak (Veba)","author":"yalpertem","date":"1 December 2019","format":false,"excerpt":"Veban\u0131n \u00e7\u00f6kt\u00fc\u011f\u00fc kentin salg\u0131n \u00f6ncesi tasviri, hikayenin mekan\u0131n\u0131n kurulu\u015fu. 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