{"id":1674,"date":"2018-06-04T23:46:52","date_gmt":"2018-06-04T20:46:52","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1674"},"modified":"2022-10-09T00:25:35","modified_gmt":"2022-10-08T22:25:35","slug":"demiralp-benjamin-ve-pasajlar-ve-kent-ve-aylak","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/06\/04\/demiralp-benjamin-ve-pasajlar-ve-kent-ve-aylak\/","title":{"rendered":"Demiralp, Benjamin ve Pasajlar ve Kent ve Aylak"},"content":{"rendered":"

O\u011fuz Demiralp’in 49’a par\u00e7alad\u0131\u011f\u0131 denemesinden a\u015fa\u011f\u0131daki al\u0131nt\u0131 par\u00e7a Benjamin’in Pasajlar metninin tamamlanamam\u0131\u015f al\u0131nt\u0131-kitapl\u0131\u011f\u0131ndan yazar\u0131n kent ve aylak tasavvurlar\u0131na do\u011fru bir iz s\u00fcr\u00fcyor. (Onun kendi par\u00e7alad\u0131\u011f\u0131 yerden bir ad\u0131m \u00f6nce par\u00e7alay\u0131p birle\u015ftirdim al\u0131nt\u0131y\u0131<\/em>). Ba\u015f kahraman Baudelaire’in yan\u0131 s\u0131ra Poe ve Auster de var Demiralp’in okudu\u011fu ba\u011flant\u0131lar aras\u0131nda, Auster’i neden bu kadar sevdi\u011fimi bu sat\u0131rlar\u0131 okuyana kadar bu kesinlikte fark etmemi\u015ftim. “\u00d6nco\u015fumcular” t\u00fcm bunlara ne der, bilmiyorum, fakat y\u00fcr\u00fcy\u00fc\u015fteki esriklik ve tam ifade edilmese de yabanc\u0131la\u015fma hissine bir\u00e7ok ki\u015fi ortak olabilir. Daha yeni, Ahlat A\u011fac\u0131 da sinemam\u0131zda aylaklara davet sunmasa da ba\u015fkalar\u0131yla -yar\u0131 yabanc\u0131larla- yap\u0131lan y\u00fcr\u00fcy\u00fc\u015flerde hafifleyen veya duruma g\u00f6re sertle\u015fen sohbetleri tahakkuk etti. Hayalleri olan gen\u00e7 imamlar ya da herhangi ba\u015fka yeni yetmelerle y\u00fcr\u00fcy\u00fcn ve onlar\u0131n anlatt\u0131klar\u0131na kulak kesilin, olgun yazarlar\u0131 didiklemekten ise ka\u00e7\u0131n\u0131n diye sal\u0131k verdi.\u00a0<\/span><\/p>\n

\"\"<\/p>\n

”<\/p>\n

Dola\u015fan ki\u015filerin \u00f6yk\u00fcleri bunlar, kentlerin sokaklar\u0131n labirentinde, yery\u00fcz\u00fcnde bir limandan \u00f6tekine gezinen yaln\u0131z adamlar\u0131n, aylaklar\u0131n \u00f6yk\u00fcleri. Gelgelelim, hi\u00e7 a\u011f\u0131rl\u0131k, karanl\u0131k yok bu \u00f6yk\u00fclerde. Her t\u00fcrl\u00fc ayr\u0131nt\u0131s\u0131yla bilinmeyeni \u00f6\u011frenmek isteyen, d\u00fcnyay\u0131 seven, dirim duygusuyla dolu ki\u015filerin \u00f6yk\u00fcleri. Geriye do\u011fru buruk bir \u00f6zlem duygusuyla bakan, pi\u015fmanl\u0131ktan s\u00f6z etmeyen, arad\u0131klar\u0131n\u0131 bulamaman\u0131n ya da yitirmenin buruklu\u011funa kar\u015f\u0131n devinmi\u015f olmaktan zevk alm\u0131\u015f ki\u015filer. “Talihin pek az y\u00fcz\u00fcne g\u00fcld\u00fc\u011f\u00fc eski dostumu … b\u00f6ylesine dingin bir zevkle \u00e7ay i\u00e7erken g\u00f6rmekten mutluluk duydum” c\u00fcmlesi \u00f6zetliyor bu \u00f6yk\u00fclerin havas\u0131n\u0131. Bir t\u00fcmce daha koyal\u0131m bunun yan\u0131na: “insanlar\u0131m\u0131z bu geni\u015f d\u00fcnyada \u00e7ok dola\u015ft\u0131lar. K\u00f6t\u00fcy\u00fc iyiden ay\u0131rmay\u0131 \u00f6\u011frendiler.”<\/p>\n

-XXXIV-<\/p>\n

Gezmeyi seven Benjamin’in bu \u00f6yk\u00fcleri gezileri s\u0131ras\u0131nda kaleme alm\u0131\u015f olmas\u0131n\u0131 olas\u0131 g\u00f6r\u00fcrler. Ancak, Benjamin’in \u00f6yk\u00fclerdeki ki\u015filerin \u00e7o\u011fundan \u00f6nemli bir ayr\u0131m\u0131, b\u00fct\u00fcn d\u00fcnyada de\u011fil, ya\u015fl\u0131 k\u0131ta Avrupa’da dola\u015fm\u0131\u015f olmas\u0131d\u0131r.<\/p>\n

Paris’te\u00a0Pasajlar<\/em>‘\u0131 yazd\u0131\u011f\u0131 d\u00f6nem Walter Benjamin’in kendisini buldu\u011fu bir d\u00f6nemdir. Kitab\u0131n bitmemi\u015f olmas\u0131, bitseydi uzun \u00e7ok uzun bir \u00e7al\u0131\u015fma bi\u00e7imini alm\u0131\u015f olaca\u011f\u0131 izlenimini vermesi de Benjamin’e uygundur. Kentte dola\u015farak, k\u00fct\u00fcphanede evde \u00e7al\u0131\u015farak sat\u0131rlarla sokaklar aras\u0131nda aray\u0131\u015ftad\u0131r Walter Benjamin, giderek aray\u0131\u015f\u0131n ta kendisidir.<\/p>\n

Pasajlar<\/em> Benjamin’in en \u00e7ok tan\u0131nan kitab\u0131d\u0131r. Ancak bir bitmi\u015f bir yap\u0131t yoktur\u00a0Pasajlar<\/em> ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131yan kal\u0131n ciltte. Bir kitap i\u00e7in yap\u0131lm\u0131\u015f al\u0131nt\u0131lar, tutulmu\u015f notlar, geli\u015ftirilmek \u00fczere alt\u0131 \u00e7izilmi\u015f fikirler vard\u0131r. Nedir ki, \u00f6nco\u015fumcular\u0131n tekni\u011fiyle yaz\u0131lm\u0131\u015f par\u00e7alar da vard\u0131r.<\/p>\n

Benjamin, “17. y\u00fczy\u0131l i\u00e7in Barok \u00fczerine yazd\u0131\u011f\u0131 kitaptaki y\u00f6nteme benzeyen bir y\u00f6ntemle 19. y\u00fczy\u0131l\u0131 inceleyece\u011fini, ancak \u015fimdiki zamana bu kez daha fazla \u0131\u015f\u0131k tutaca\u011f\u0131n\u0131” s\u00f6ylerek belirtir \u00e7al\u0131\u015fmas\u0131n\u0131n \u00f6nemli bir y\u00f6n\u00fcn\u00fc. Ba\u015fka bir sayfada, yaz\u0131nsal kurgulama (montaj) y\u00f6ntemi kullanaca\u011f\u0131n\u0131, kendisinin s\u00f6yleyecek bir\u015feyi olmad\u0131\u011f\u0131n\u0131, g\u00f6stermesinin yetece\u011fini belirtir. “\u00c7al\u0131\u015fmam\u0131n y\u00f6ntembilimsel ama\u00e7lar\u0131ndan birinin, ilerleme fikrini kendinde ortadan kald\u0131rm\u0131\u015f bir tarihsel \u00f6zdek\u00e7ili\u011fin varl\u0131\u011f\u0131n\u0131 g\u00f6stermek oldu\u011fu s\u00f6ylenebilir. Tarihsel \u00f6zdek\u00e7ilik burada kendini kentsoylu d\u00fc\u015f\u00fcnce al\u0131\u015fkanl\u0131klar\u0131ndan ay\u0131rdetmek i\u00e7in her t\u00fcrl\u00fc nedene sahiptir. Temel kavram ilerleme de\u011fil g\u00fcncelle\u015ftirme, edimli hale getirmedir.” diyerek bildi\u011fimiz d\u00fc\u015f\u00fcncelerine Paris’te ve tarihsel \u00f6zdek\u00e7ilik i\u00e7inde yatak kazmaya \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n

“K\u00fclt\u00fcr tarihi eyti\u015fimi i\u00e7in k\u00fc\u00e7\u00fck bir y\u00f6ntembilimsel \u00f6neri. Her d\u00f6nemde \u00e7e\u015fitli “alanlarda”, belirli g\u00f6r\u00fc\u015f a\u00e7\u0131lar\u0131na g\u00f6re ikilikler ortaya \u00e7\u0131karmak kolayd\u0131r. \u00d6yle ki, bir yanda “verimli”, “gelecek dolu”, “canl\u0131”, “olumlu” b\u00f6l\u00fcm vard\u0131r, \u00f6b\u00fcr yanda ise bu \u00e7a\u011f\u0131n yarars\u0131z, geri kalm\u0131\u015f ve \u00f6l\u00fc b\u00f6l\u00fcm\u00fc. Olumlu b\u00f6l\u00fcm\u00fcn s\u0131n\u0131rlar\u0131, ancak \u00f6b\u00fcr\u00fcne kar\u015f\u0131t oldu\u011fu takdirde net bi\u00e7imde ortaya \u00e7\u0131kabilir. Ama, \u00f6b\u00fcr yandan bak\u0131ld\u0131kta, her de\u011filleme ancak canl\u0131 olan\u0131n, olumlu olan\u0131n \u00e7izgilerine arka d\u00fczlem g\u00f6revi yapt\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde de\u011fer ta\u015f\u0131r. \u00d6yleyse \u00f6nce kopar\u0131l\u0131p bir yana konulan bu olumsuz b\u00f6l\u00fcm\u00fcn i\u00e7inde de yeniden bir b\u00f6l\u00fcmleme yap\u0131lmas\u0131 belirleyici \u00f6nem ta\u015f\u0131maktad\u0131r. Yaln\u0131zca g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131n\u0131n yeri (\u00f6l\u00e7ek de\u011fi\u015ftirilmeden) oynat\u0131larak, bu b\u00f6l\u00fcmden, yeniden, daha \u00f6nce \u00e7\u0131kar\u0131lm\u0131\u015f olandan ayr\u0131ml\u0131 bir olumlu \u00f6\u011fe \u00e7\u0131kar\u0131labilir. Bu b\u00f6yle s\u00fcrebilir, sonsuza de\u011fin, ge\u00e7mi\u015fin t\u00fcm\u00fc, tarihsel bir kurtulu\u015fa y\u00f6nelme bi\u00e7iminde \u015fimdiki zamana getirilinceye de\u011fin.” Walter Benjamin, gelece\u011fi \u015fimdiki zamanda kurtaracak olumlu \u00f6\u011feleri ge\u00e7mi\u015ften \u00e7\u0131karmak, \u015fimdiki zamandaki olumlu \u00e2na eri\u015fmek, ermek, Mesih’e kap\u0131y\u0131 a\u00e7mak, Mesih krall\u0131\u011f\u0131n\u0131 kurmak istemektedir. Tarihe gizemci yakla\u015f\u0131m\u0131n\u0131 s\u00fcrd\u00fcrmektedir. Ba\u015fka bir a\u00e7\u0131dan bak\u0131larak, kurtulu\u015fu ge\u00e7mi\u015fte, ge\u00e7mi\u015fe s\u0131\u011f\u0131nmakta arad\u0131\u011f\u0131 da s\u00f6ylenebilir.<\/p>\n

Benjamin,\u00a0Pasajlar<\/em>‘\u0131 \u00e7al\u0131\u015fmaya ilk kez 1927 y\u0131l\u0131nda ba\u015flam\u0131\u015ft\u0131r. Ayn\u0131 y\u0131l, \u015fimdiki \u0130srail’e Musevilerin vaadedilmi\u015f topra\u011f\u0131na g\u00f6\u00e7 etmeyi de d\u00fc\u015f\u00fcnm\u00fc\u015f. Yorumculara g\u00f6re,\u00a0Pasajlar<\/em> ve \u0130srail aras\u0131nda se\u00e7im yapmaya itilmi\u015f Benjamin o y\u0131l.\u00a0Pasajlar<\/em>‘\u0131 se\u00e7mi\u015ftir. Avrupa’da kalmay\u0131. Al\u0131n yaz\u0131s\u0131n\u0131 Avrupa ile s\u0131n\u0131rlam\u0131\u015ft\u0131r b\u00f6ylece. Bu s\u0131n\u0131r\u0131 a\u015famayacak, a\u015fmay\u0131 da reddedecektir sonunda.<\/p>\n

Pasajlar<\/em>, Paris’te 19. y\u00fczy\u0131lda geli\u015fmi\u015f, bu y\u00fczy\u0131l\u0131n ba\u015f\u0131na de\u011fin s\u00fcrm\u00fc\u015f, \u00fcst\u00fc kapal\u0131 al\u0131\u015fveri\u015f merkezleri, anamalc\u0131l\u0131\u011f\u0131n kapal\u0131\u00e7ar\u015f\u0131lar\u0131d\u0131r. Gaz lambalar\u0131yla ayd\u0131nlanma d\u00f6nemine denk gelir pasajlar\u0131n toplum tarihi i\u00e7indeki parlak d\u00f6nemi. “I\u015f\u0131\u011f\u0131n\u0131 yukar\u0131dan alan, nerdeyse bir kent, bir minyat\u00fcr d\u00fcnya”d\u0131r pasaj. Daha \u00f6nce de birtak\u0131m y\u00f6nleri \u00fczerinde durmu\u015ftuk bu kapal\u0131 d\u00fcnyan\u0131n. Daha b\u00fcy\u00fck bir kapal\u0131 d\u00fcnyan\u0131n i\u00e7inde yer al\u0131r pasajlar: Paris’te. Paris kenti yaln\u0131zca “19. y\u00fczy\u0131l\u0131n” de\u011fil, tarihin, kendi tarihinin ba\u015fkentidir. B\u00fct\u00fcn zaman ve k\u00fclt\u00fcr \u0131rmaklar\u0131 Paris’e akar. Benjamin, kenti, kentin ge\u00e7mi\u015fini kentin \u015fairi Baudelaire’i okuyarak, yukar\u0131da al\u0131nt\u0131lad\u0131\u011f\u0131m\u0131z b\u00f6l\u00fcmde okumaya \u00e7al\u0131\u015farak tarihi tarihten kurtarmak, a\u015fmak isteyecektir. Bu istemle, h\u0131rsla ge\u00e7mi\u015fe g\u00f6m\u00fclecektir, ar\u015fivlere, kitaplara; sokaklar\u0131 ar\u015f\u0131nlayacakt\u0131r.<\/p>\n

Paris’tir aylak adam\u0131 yaratan diyecek denli \u00f6zde\u015flenecektir bu kentle: “… aylak adam \u00e7ift d\u00fczeyli parke ta\u015fl\u0131 yolda sanki i\u00e7inden bir saat mekanizmas\u0131yla itiliyormu\u015f gibi y\u00fcr\u00fcr. \u0130\u00e7erde, bu mekanizman\u0131n gizlendi\u011fi yerde, eski bir oyuncaktaym\u0131\u015f gibi bir m\u00fczik kutusundan \u015fu i\u015fitilir: \u00e7ocuklu\u011fumdan bu yana \/ \u00e7ocuklu\u011fumdan bu yana \/ bir \u015fark\u0131 izliyor beni hep. \u00c7evresinde onu sarm\u0131\u015f olan\u0131 tan\u0131r, bu ezgi sayesinde, bir \u00e7ocukluk konu\u015fur onunla, kendi gen\u00e7li\u011finin ge\u00e7mi\u015fi de\u011fildir bu…..daha \u00f6nce ya\u015fam\u0131\u015f bir \u00e7ocukluktur, bu \u00e7ocuklu\u011fun kendisininki ya da bir atas\u0131n\u0131nki olmas\u0131 \u00f6nemli de\u011fildir. Yollarda ama\u00e7s\u0131z olarak uzun s\u00fcre y\u00fcr\u00fcyeni bir esriklik kaplar. Her ad\u0131mda, y\u00fcr\u00fcy\u00fc\u015f yeni bir g\u00fc\u00e7 kazan\u0131r, ma\u011fazalar, bistrolar, g\u00fcl\u00fcmseyen kad\u0131nlar \u00e7ekiciliklerini yitirmeyi s\u00fcrd\u00fcr\u00fcrler; soka\u011f\u0131n gelecek imgesi, sis i\u00e7inde uzak bir yer ve \u00f6n\u00fcnde y\u00fcr\u00fcyen kad\u0131n\u0131n s\u0131rt\u0131 onun i\u00e7in gittik\u00e7e daha kar\u015f\u0131 konulmaz bir \u00e7ekicilik y\u00fcklenirler. Sonra kar\u0131n a\u00e7l\u0131\u011f\u0131 belli eder kendini. Ancak gezinen adam a\u00e7l\u0131\u011f\u0131n\u0131 giderebilece\u011fi y\u00fczlerce yeri bilmezlikten gelir. Bir hayvan gibi dolan\u0131r tan\u0131mad\u0131\u011f\u0131 mahallelerde, bir g\u0131da, bir kad\u0131n pe\u015finde, ta ki yorgunluktan t\u00fckenmi\u015f olarak, onu kucaklayan yabanc\u0131 ve so\u011fuk odas\u0131na \u00e7ekilip \u00e7\u00f6kene dek. Paris yaratm\u0131\u015ft\u0131r bu tipi.” Asl\u0131nda Walter Benjamin’in Berlin’de yaratm\u0131\u015f oldu\u011fu aylak adam Paris’te kendini bulmu\u015ftur. Bir\u00e7ok ba\u015fka aylak adam gibi.<\/p>\n

19. y\u00fczy\u0131l\u0131n ba\u015f\u015fairi sayd\u0131\u011f\u0131 Baudelaire’i yeniden yeniden okurken, Blanqui’nin ruhsal ser\u00fcvenlerini ara\u015ft\u0131r\u0131rken kendi “\u015fahsi masal\u0131n\u0131” \u00f6rmektedir Benjamin. Ayn\u0131 anda, ac\u0131kl\u0131 \u00f6yk\u00fc diliyle s\u00f6ylersek, “kader de a\u011flar\u0131n\u0131 \u00f6rmektedir”.<\/p>\n

Alman \u00f6nco\u015fumcular\u0131n\u0131n Coleridge’i, onun da Poe’yu, Poe’nun ise Baudelaire’i etkiledi\u011fi bilinir. Yaz\u0131n yap\u0131tlar\u0131 aras\u0131ndaki bu m\u00fcthi\u015f devr-i \u00e2lemde Benjamin, Baudelaire yoluyla ula\u015ft\u0131\u011f\u0131 anla\u015f\u0131lan Edgar Allan Poe’nun “Kalabal\u0131klar\u0131n Adam\u0131” \u00f6yk\u00fcs\u00fcn\u00fc anar s\u0131k s\u0131k. \u00c7a\u011fda\u015f kent insan\u0131n\u0131n ruhsal haritas\u0131n\u0131n \u00e7izildi\u011fi bir \u00f6yk\u00fc olarak bilinen “Kalabal\u0131klar\u0131n Adam\u0131”nda anlat\u0131c\u0131, sokaklarda dola\u015fan bir ya\u015fl\u0131 adam\u0131 biraz merak biraz da \u015f\u00fcpheden saatlerce izler, Paul Auster’in romanlar\u0131n\u0131 \u00f6ncelercesine. Sonunda kim oldu\u011funa ayar: “bu ya\u015fl\u0131 adam… derin su\u00e7luluk bilincinin temsilcisidir. Yaln\u0131z olmaktan ka\u00e7maktad\u0131r. Kalabal\u0131klar\u0131n adam\u0131d\u0131r o.” “Aylak adamd\u0131r”, Benjamin’e g\u00f6re. Yukar\u0131da al\u0131nt\u0131lad\u0131\u011f\u0131m\u0131z sat\u0131rlarda anlatt\u0131\u011f\u0131 Paris’in yaratt\u0131\u011f\u0131 aylak adam ile Poe’nun ki\u015fisi aras\u0131nda kan ba\u011f\u0131 oldu\u011fu a\u00e7\u0131kt\u0131r.<\/p>\n

Herhalde Benjamin’in s\u00f6z\u00fcn\u00fc etti\u011fi aylak adam\u0131 birisi gizlice izleyip g\u00f6rd\u00fcklerini yazsayd\u0131 “Kalabal\u0131klar\u0131n Adam\u0131” \u00f6yk\u00fcs\u00fc yinelenmi\u015f olurdu. Benjamin, Baudelaire’de de bu ki\u015finin yans\u0131s\u0131n\u0131 g\u00f6r\u00fcr. (Aylak adam\u0131n ruh iklimini, Baudelaire’in “spleen”ini de “s\u00fcrekli felakete tekab\u00fcl eden duygu” olarak tan\u0131mlar. Baudelaire’in bu durumunun anlat\u0131m\u0131 alegoriyle olmaktad\u0131r elbette, “Kalabal\u0131klar\u0131n Adam\u0131” \u00f6yk\u00fcs\u00fcn\u00fcn bir alegori olmas\u0131 gibi.)<\/p>\n

“Aylak adam i\u00e7in kent -Baudelaire \u00f6rne\u011findeki gibi do\u011fdu\u011fu kent bile olsa- anayurt de\u011fildir art\u0131k. Seyirlik sahnedir.” der Benjamin. Bu sat\u0131rlar\u0131n yaz\u0131ld\u0131\u011f\u0131 y\u0131llarda tema\u015fac\u0131 adam s\u00fcrg\u00fcndedir. Almanlar\u0131n eline d\u00fc\u015fmeye haz\u0131rlanan 19. y\u00fczy\u0131l\u0131n ba\u015fkentinde seyirci olarak kalmayacak, aylak adam\u0131 da sergileyecektir kimselere g\u00f6stermeden.<\/p>\n

”<\/p>\n

O\u011fuz Demiralp, Tanr\u0131 Bak\u0131\u015fl\u0131 \u00c7ocuk: Walter Benjamin \u00dczerine 49’a Par\u00e7alanm\u0131\u015f Deneme, Yap\u0131 Kredi Yay\u0131nlar\u0131, 1999, s. 142-6.<\/p>\n

\n

Uzun y\u0131llardan sonra -\u00e7ok de\u011fil, sadece uzun s\u00fcren birka\u00e7 y\u0131l- bug\u00fcn bir AVM’de film izlemeye niyetlendim, Lynne Ramsay’in filmini sinemada g\u00f6reyim istedim. Filmden bir saat \u00f6nce girdim pasaja. \u0130ki kat a\u015fa\u011f\u0131ya inerken, her zamanki gibi y\u00fcr\u00fcyen merdivenleri bulmakta zorland\u0131m. Tek zorlanan ben de\u011fildim, a\u015fa\u011f\u0131 inen merdivenlerde yukar\u0131 \u00e7\u0131kmay\u0131 umarak t\u00f6kezleyen di\u011ferlerini de g\u00f6rd\u00fcm. Bebek arabalar\u0131, kahvecilerdeki ho\u015f sohbetler, hen\u00fcz \u00e7\u0131kt\u0131\u011f\u0131 ma\u011fazadan ald\u0131klar\u0131n\u0131 giymi\u015f gibi g\u00f6r\u00fcnen \u015f\u0131k insanlar, pazar g\u00fcn\u00fc rahatl\u0131\u011f\u0131, dev tabaklarda \u0130skender d\u00f6ner yiyenler, s\u0131k\u0131lm\u0131\u015f \u00e7ocuklar, g\u00fcler y\u00fczl\u00fc \u00e7iftler, c\u00fczdan, telefon ve anahtarl\u0131\u011f\u0131n yan\u0131na b\u0131rak\u0131ld\u0131\u011f\u0131 x-ray cihazlar\u0131 ve \u00e7antan\u0131n i\u00e7ini g\u00f6ren kal\u0131n elektronik k\u0131l\u0131\u00e7lar, ziyaret\u00e7ileri “ho\u015fgeldiniz, ke\u015fke \u00f6lseniz, \u00f6lseler” diye kar\u015f\u0131layan g\u00fcvenlik g\u00f6revlisi, bahar\u0131 m\u00fcjdeleyen tuvalet ve basmal\u0131 musluk, erken d\u00f6nem uyu\u015fturucusu rengarenk \u015fekerler, parlak zemin, \u00fcr\u00fcn sat\u0131n almamas\u0131na ra\u011fmen kasadaki bitmek bilmez s\u0131rada bekleyen Benjamin. K\u0131sa bir bak\u0131\u015fmadan sonra gi\u015feye y\u00f6neldim, o beni g\u00f6rmedi. Ye\u015fil koltuklardan bilet alabilece\u011fim s\u00f6ylendi fakat bo\u015f salonda ye\u015fil yanan sadece 10 koltuk vard\u0131, onlar da her s\u0131ran\u0131n en sonundakilerdi. Ki\u015fiye g\u00f6re koltuk g\u00f6sterilmeye ba\u015flam\u0131\u015f diye d\u00fc\u015f\u00fcnd\u00fcm, \u00fcz\u00fcld\u00fcm. G\u00f6revlinin, “Film T\u00fcrk\u00e7e altyaz\u0131l\u0131 ve aras\u0131zd\u0131r (i\u00e7inden: sevgili koltukludur<\/em>).” uyar\u0131s\u0131na ra\u011fmen yeterli aksiyon s\u00fcrem olmad\u0131\u011f\u0131ndan kendimi bilet alm\u0131\u015f buldum. Koltuk se\u00e7eneklerinin neden b\u00f6yle oldu\u011funu sonradan anlay\u0131verdim. Art\u0131k bir biletim vard\u0131 fakat filmin ba\u015flama saatine kadar zaman ge\u00e7irmeyi ba\u015faramayaca\u011f\u0131m\u0131 fark edince bu mega kompleksten \u00e7\u0131k\u0131p gittim. Uzun y\u0131llar sonra elimde gidilmemi\u015f, taze bir bilet -fi\u015f- var. Onunla izleyecek bir \u015feyler bulmal\u0131y\u0131m.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O\u011fuz Demiralp’in 49’a par\u00e7alad\u0131\u011f\u0131 denemesinden a\u015fa\u011f\u0131daki al\u0131nt\u0131 par\u00e7a Benjamin’in Pasajlar metninin tamamlanamam\u0131\u015f al\u0131nt\u0131-kitapl\u0131\u011f\u0131ndan yazar\u0131n kent ve aylak tasavvurlar\u0131na do\u011fru bir iz s\u00fcr\u00fcyor. (Onun kendi par\u00e7alad\u0131\u011f\u0131 yerden bir ad\u0131m \u00f6nce par\u00e7alay\u0131p birle\u015ftirdim al\u0131nt\u0131y\u0131). Ba\u015f kahraman Baudelaire’in yan\u0131 s\u0131ra Poe ve Auster de var Demiralp’in okudu\u011fu ba\u011flant\u0131lar aras\u0131nda, Auster’i neden bu kadar sevdi\u011fimi bu sat\u0131rlar\u0131 okuyana kadar … Continue reading Demiralp, Benjamin ve Pasajlar ve Kent ve Aylak<\/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":[33,31,222,30],"tags":[349,442,443,64],"class_list":["post-1674","post","type-post","status-publish","format-standard","hentry","category-alinti","category-deneme","category-kent","category-yurumek","tag-aylak","tag-oguz-demiralp","tag-tanri-bakisli-cocuk","tag-walter-benjamin"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-r0","jetpack-related-posts":[{"id":1265,"url":"https:\/\/yalpertem.com\/blog\/2018\/04\/25\/le-breton-kent-yuruyusu\/","url_meta":{"origin":1674,"position":0},"title":"Le Breton, Kent Y\u00fcr\u00fcy\u00fc\u015f\u00fc","author":"yalpertem","date":"25 April 2018","format":false,"excerpt":"\" 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. 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Ayn\u0131 zamanda, turistin en ate\u015fli hayran\u0131d\u0131r; turist hayat\u0131n\u0131n zorluklar\u0131 hakk\u0131nda yeterince konu\u015fulmad\u0131\u011f\u0131 i\u00e7in de\u011fil, daha \u00e7ok, ger\u00e7ek sorunlar\u0131 hakk\u0131nda hi\u00e7bir fikir sahibi olmad\u0131\u011f\u0131 i\u00e7in b\u00f6yledir. 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