{"id":1800,"date":"2018-06-29T01:13:01","date_gmt":"2018-06-28T22:13:01","guid":{"rendered":"http:\/\/yalpertem.com\/blog\/?p=1800"},"modified":"2018-07-06T00:13:03","modified_gmt":"2018-07-05T21:13:03","slug":"vattimo-postmodern-seffaf-bir-toplum","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2018\/06\/29\/vattimo-postmodern-seffaf-bir-toplum\/","title":{"rendered":"Vattimo, Postmodern: \u015eeffaf Bir Toplum?"},"content":{"rendered":"

\"\"<\/p>\n

”<\/p>\n

\u0130lk \u00f6nce postmodern \u00fczerine konu\u015faca\u011f\u0131z, \u00e7\u00fcnk\u00fc kimi temel y\u00f6nlerden modernli\u011fin sona erdi\u011fini hissediyoruz. Modernlik sona erdi denilerek ne ifade edildi\u011fini anlamak i\u00e7in ilk \u00f6nce modernli\u011fin ne demeye geldi\u011fini anlamam\u0131z gerekiyor. Bir\u00e7ok modernlik tan\u0131m\u0131 aras\u0131nda \u00fczerinde genel bir anla\u015fmaya var\u0131labilecek bir tan\u0131m s\u00f6z konusu: Modernlik, salt modern (1) olman\u0131n kendi ba\u015f\u0131na belirleyici bir de\u011fer haline geldi\u011fi d\u00f6nemdir. Ba\u015fka bir\u00e7ok dilde oldu\u011fu gibi, \u0130talyancada da birisini ‘gerici’ diye adland\u0131rman\u0131n, yani ona ge\u00e7mi\u015fin de\u011ferlerini, gelene\u011fi, ‘a\u015f\u0131lm\u0131\u015f’ d\u00fc\u015f\u00fcnce bi\u00e7imlerini atfetmenin h\u00e2l\u00e2 bir a\u015fa\u011f\u0131lama i\u00e7erdi\u011fine inan\u0131yorum. Daha genel olarak s\u00f6ylenirse, modern olmaya d\u00fcz\u00fclen bu \u00f6vg\u00fc, bence, b\u00fct\u00fcn modern k\u00fclt\u00fcr\u00fc \u0131ralayan \u015feydir. Bu, sanat\u00e7\u0131n\u0131n yarat\u0131c\u0131 bir d\u00e2hi olarak d\u00fc\u015f\u00fcn\u00fclmeye ba\u015fland\u0131\u011f\u0131, daha \u00f6nce var olmayan “yeni ve \u00f6zg\u00fcn olana tap\u0131nma”n\u0131n varl\u0131\u011f\u0131n\u0131 gitgide daha \u00e7ok hissettirerek ortaya \u00e7\u0131kt\u0131\u011f\u0131 (\u00f6nceki \u00e7a\u011flarda modelleri taklit etmenin sahiden \u00e7ok b\u00fcy\u00fck \u00f6nemi vard\u0131) 15. y\u00fczy\u0131l\u0131n sonuna (modern \u00e7a\u011f\u0131n “resm\u00ee” ba\u015flang\u0131c\u0131na) kadar ger\u00e7ekten g\u00fcndemde olmayan bir tutumdur. Y\u00fczy\u0131llar ge\u00e7tik\u00e7e, sanattaki “yeni ve \u00f6zg\u00fcn k\u00fclt\u00fc”n\u00fcn, \u00e7ok daha genel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla ba\u011flant\u0131l\u0131 oldu\u011fu daha da g\u00f6zle g\u00f6r\u00fcl\u00fcr hale geldi. T\u0131pk\u0131 Ayd\u0131nlanma’da oldu\u011fu gibi, bu bak\u0131\u015f a\u00e7\u0131s\u0131 da insanl\u0131k tarihini, s\u00fcregelen bir \u00f6zg\u00fcrle\u015fim s\u00fcreci olarak, sanki insanl\u0131k \u00fclk\u00fcs\u00fcn\u00fcn yetkinle\u015ftirilmesiymi\u015f gibi g\u00f6r\u00fcr. Lessing’in “\u0130nsan Soyunun E\u011fitimi \u00dczerine” (2) (“On the Education of the Human Race”) adl\u0131 denemesi bu bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n \u00f6zg\u00fcn bir \u00f6rne\u011fidir. E\u011fer tarih bu anlamda ilerlemeci ise, en b\u00fcy\u00fck de\u011fer, a\u00e7\u0131k\u00e7as\u0131 daha “ileri” olana, yani sonuca ve s\u00fcrecin sonuna daha yak\u0131n olana atfedilecektir. Bununla birlikte, tarihin ger\u00e7ekten insanl\u0131\u011fa \u00f6zg\u00fc olan\u0131n ilerlemeci y\u00f6nde ger\u00e7ekle\u015ftirilmesi olarak kavranmas\u0131, tarihin tekdo\u011frultulu bir bi\u00e7imde g\u00f6r\u00fclmesini gerektirir. Fakat, bu durumda da ancak Tarih var ise, ilerlemeden s\u00f6z edilebilir.<\/p>\n

\u00d6ne s\u00fcrd\u00fc\u011f\u00fcm bu varsay\u0131ma g\u00f6re, modernlik, tarihi art\u0131k tekdo\u011frultulu kavramak -\u00e7e\u015fitli nedenlerden \u00f6t\u00fcr\u00fc- olanakl\u0131 g\u00f6r\u00fcnmedi\u011finde sona erer. Bu t\u00fcrden bir g\u00f6r\u00fc\u015f, olaylar\u0131n \u00e7evresinde topland\u0131\u011f\u0131 ve d\u00fczenlendi\u011fi bir merkezin varl\u0131\u011f\u0131n\u0131 gerektirir. Tarihi, \u0130sa’n\u0131n do\u011fdu\u011fu s\u0131f\u0131r y\u0131l\u0131 dolaylar\u0131nda d\u00fczenlenmi\u015f olarak ve daha belirgin bir bi\u00e7imde, “ilkeller”in ve “geli\u015fmekte olan” \u00fclkelerin d\u0131\u015f\u0131nda yer ald\u0131\u011f\u0131 “merkez”den, yani uygarl\u0131\u011f\u0131n mek\u00e2n\u0131 Bat\u0131’dan halklar\u0131n ya\u015fam\u0131ndan bir olaylar dizisi olarak d\u00fc\u015f\u00fcn\u00fcyoruz. 19. ve 20. y\u00fczy\u0131lda felsefe, bu g\u00f6r\u00fc\u015flerin\u00a0ideolojik <\/em>niteli\u011fini g\u00f6zler \u00f6n\u00fcne sererek tekdo\u011frultulu tarih d\u00fc\u015f\u00fcncesinin k\u00f6ktenci bir ele\u015ftirisine giri\u015fti. Nitekim Walter Benjamin, 1938 tarihli “Tarih Felsefesi \u00dczerine Savlar” (“Theses on the Philosophy of History”) adl\u0131 k\u0131sa denemesinde tekdo\u011frultulu tarihin, egemen gruplar ve toplumsal s\u0131n\u0131flarca in\u015fa edilen ge\u00e7mi\u015fin bir temsili oldu\u011funu \u00f6ne s\u00fcrd\u00fc. O zaman ge\u00e7mi\u015ften aktar\u0131lan ne? Demek ki, ger\u00e7ekle\u015fen her \u015fey de\u011fil, yaln\u0131zca\u00a0uygun<\/em> gibi g\u00f6r\u00fcnenler. S\u00f6zgelimi, okulda sava\u015flar\u0131n tarihlerini, bar\u0131\u015f antla\u015fmalar\u0131n\u0131, hatta devrimleri \u00f6\u011frendiysek de, beslenme bi\u00e7imlerindeki ya da cinsel tutumlardaki k\u00f6kten de\u011fi\u015fimlerden ya da benzeri \u015feylerden bize asla bahsedilmedi. Tarih, zaman\u0131nda iktidar\u0131 ele ge\u00e7irmi\u015f olan soylular\u0131n, egemenlerin ya da orta s\u0131n\u0131f\u0131n \u00f6nemsedi\u011fi olaylar\u0131 anlat\u0131r. Yoksullar ve ya\u015fam\u0131n “alt\/a\u015fa\u011f\u0131” kabul edilen boyutlar\u0131, “tarihi yapmazlar”.<\/p>\n

E\u011fer bu t\u00fcrden g\u00f6zlemler (Benjamin’den \u00f6nce Marx ve Nietzsche taraf\u0131ndan a\u00e7\u0131lan yoldan) daha geli\u015ftirilirse, tekdo\u011frultulu tarih d\u00fc\u015f\u00fcncesi \u00e7\u00f6z\u00fclerek son bulur. Tek bir tarih yoktur, yaln\u0131zca ge\u00e7mi\u015fin farkl\u0131 bak\u0131\u015f a\u00e7\u0131lar\u0131ndan yans\u0131t\u0131lan imgeleri s\u00f6z konusudur. Di\u011fer b\u00fct\u00fcn bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131 birle\u015ftirebilen nihai ya da kapsay\u0131c\u0131 (sanat, edebiyat, sava\u015f, cinsellik vb. tarihlerini ku\u015fatan “Tarih” gibi) bir bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n bulundu\u011funu d\u00fc\u015f\u00fcnmek yan\u0131lt\u0131c\u0131d\u0131r.<\/p>\n

Tarih d\u00fc\u015f\u00fcncesindeki bu bunal\u0131m, ilerleme d\u00fc\u015f\u00fcncesinde ikinci bir bunal\u0131m\u0131n do\u011fmas\u0131na neden olur: \u0130nsanl\u0131\u011f\u0131n ya\u015fad\u0131\u011f\u0131 olaylar tekdo\u011frultulu, kesintisiz bir b\u00fct\u00fcn olu\u015fturmuyorlarsa, bu olaylar bir amaca do\u011fru ilerleme, ussal bir geli\u015fme, e\u011fitim ve \u00f6zg\u00fcrle\u015fim izlencesinin ger\u00e7ekle\u015ftirilmesi olarak kavranamazlar. Dahas\u0131, modernli\u011fin olaylar\u0131n gidi\u015fat\u0131na y\u00f6n verdi\u011fini kabul etti\u011fi bu amac\u0131n kendisi de belirli bir insan \u00fclk\u00fcs\u00fcne g\u00f6re olu\u015fturulmu\u015ftur. Ayd\u0131nlanma d\u00fc\u015f\u00fcn\u00fcrlerinin hemen hepsi, Hegel, Marx, olgucular ve her t\u00fcrden tarih\u00e7i, tarihin anlam\u0131n\u0131 uygarl\u0131\u011f\u0131n ger\u00e7ekle\u015ftirilmesinde, yani Bat\u0131 Avrupal\u0131 insan tasar\u0131m\u0131n\u0131n ete kemi\u011fe b\u00fcr\u00fcnd\u00fcr\u00fclmesinde buldular. T\u0131pk\u0131 tarihin tekdo\u011frultulu bi\u00e7imde d\u00fc\u015f\u00fcn\u00fclmesinin yaln\u0131zca (kayna\u011f\u0131n\u0131 ister \u0130sa’da ister Kutsal Roma \u0130mparatorlu\u011fu’nda bulmu\u015f olsun) merkezde yer alan birinin bak\u0131\u015f a\u00e7\u0131s\u0131ndan olanakl\u0131 olmas\u0131 gibi, ilerleme anlay\u0131\u015f\u0131 da \u00f6l\u00e7\u00fct olarak belirli bir insan \u00fclk\u00fcs\u00fcn\u00fc gerektirir. Gelgelelim, modernlikte bu \u00f6l\u00e7\u00fct daima modern Avrupa insan\u0131 olmu\u015ftur: S\u00f6ylemeye bile gerek yok ama biz Avrupal\u0131lar insanl\u0131\u011f\u0131n en iyi bi\u00e7imiyizdir ve tarihin b\u00fct\u00fcn seyri bu \u00fclk\u00fcn\u00fcn hemen hemen eksiksiz bir \u015fekilde ger\u00e7ekle\u015ftirilmesi y\u00f6n\u00fcndedir.<\/p>\n

Bu ak\u0131lda tutularak, tekdo\u011frultulu tarih anlay\u0131\u015f\u0131ndaki mevcut bunal\u0131m ile bunun sonucunda ilerleme d\u00fc\u015f\u00fcncesinde ba\u015f g\u00f6steren bunal\u0131m\u0131n ve modernli\u011fin sonunun yaln\u0131zca kuramdaki d\u00f6n\u00fc\u015f\u00fcmler -19. y\u00fczy\u0131l (idealist, olgucu, Marx\u00e7\u0131 vb.) tarihselcili\u011finin fikir d\u00fczeyinde y\u00f6neltti\u011fi ele\u015ftiriler- taraf\u0131ndan belirlenmedi\u011fi de\u011ferlendirmesinde bulunuluyor. Oysa ki olup biten olduk\u00e7a farkl\u0131 ve daha b\u00fcy\u00fck \u00e7apl\u0131: Avrupal\u0131larca, iyi ve do\u011fru olanla bir tutulan ‘\u00fcst\u00fcn’ ve daha geli\u015fmi\u015f uygarl\u0131k ad\u0131na s\u00f6m\u00fcrgele\u015ftirilen ‘ilkel’ diye adland\u0131r\u0131lan halklar, tekdo\u011frultulu ve tekmerkezli tarihi\u00a0de facto<\/em> (fiilen<\/em>) sorunlu hale getirerek ayakland\u0131lar. B\u00f6ylece Avrupal\u0131 insanl\u0131k \u00fclk\u00fcs\u00fcn\u00fcn di\u011fer \u00fclkelerden farkl\u0131 olmad\u0131\u011f\u0131, zorunlu olarak k\u00f6t\u00fc olmasa da, \u015fiddete ba\u015fvurmaks\u0131z\u0131n insan\u0131n, do\u011frusu b\u00fct\u00fcn insanlar\u0131n ger\u00e7ek \u00f6z\u00fc olarak varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcremeyece\u011fi g\u00f6zler \u00f6n\u00fcne serildi.<\/p>\n

Tarih d\u00fc\u015f\u00fcncesinin \u00e7\u00f6z\u00fclmesinde ve modernli\u011fin sona ermesinde s\u00f6m\u00fcrgecili\u011fin ve yay\u0131l\u0131mc\u0131l\u0131\u011f\u0131n sonlan\u0131\u015f\u0131yla birlikte belirleyici olan di\u011fer bir etken de ileti\u015fim toplumunun geli\u015fmesidir. Burada, ‘\u015feffaf toplum’la ilgili ikinci sav\u0131ma var\u0131yorum. ‘\u015eeffaf toplum’ ifadesinin bu kitapta bir soru i\u015faretiyle birlikte kullan\u0131ld\u0131\u011f\u0131 da belirtilmeden ge\u00e7ilmemeli. \u015eunu \u00f6ne s\u00fcr\u00fcyorum: a) kitle ileti\u015fim ara\u00e7lar\u0131, postmodern bir toplumun do\u011fmas\u0131nda belirleyici bir rol oynamaktad\u0131r; b) kitle ileti\u015fim ara\u00e7lar\u0131, bu postmodern toplumu daha ‘\u015feffaf’ de\u011fil daha karma\u015f\u0131k, hatta kaotik hale getirmektedir ve son olarak c) \u00f6zg\u00fcrle\u015fim umutlar\u0131m\u0131z kesinlikle bu g\u00f6rece ‘kaos’ta yatmaktad\u0131r.<\/p>\n

Yukar\u0131da \u00f6ne s\u00fcr\u00fclen sava g\u00f6re, modernli\u011fin sonunu haz\u0131rlayan bir olanaks\u0131zl\u0131k olarak tarihi tekdo\u011frultulu d\u00fc\u015f\u00fcnmenin olanaks\u0131zl\u0131\u011f\u0131, yaln\u0131zca Avrupa s\u00f6m\u00fcrgecili\u011finin ve yay\u0131l\u0131mc\u0131l\u0131\u011f\u0131n\u0131n bunal\u0131m\u0131ndan kaynaklanmaz. Bu olanaks\u0131zl\u0131k, belki de her \u015feyden \u00f6nce kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n ortaya \u00e7\u0131kmas\u0131n\u0131n bir sonucudur. Bu ara\u00e7lar -gazeteler, radyo, televizyon, g\u00fcn\u00fcm\u00fczde telematik (3) denilen \u015fey- merkezile\u015fmi\u015f bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131n, Frans\u0131z felsefeci Jean-Fran\u00e7ois Lyotard’\u0131n ‘b\u00fcy\u00fck anlat\u0131lar’ diye adland\u0131rd\u0131\u011f\u0131 \u015feylerin \u00e7\u00f6z\u00fcl\u00fcp da\u011f\u0131lmas\u0131nda belirleyici oldular.Kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n etkisine ili\u015fkin bu g\u00f6r\u00fc\u015f, felsefeci Theodor Adorno’nun benimsedi\u011fi g\u00f6r\u00fc\u00ad\u015f\u00fcn tam kar\u015f\u0131t\u0131 gibi duruyor. Adorno, II. D\u00fcnya Sava\u015f\u0131 s\u00fc\u00adresince Amerika Birle\u015fik Devletleri’nde ya\u015fad\u0131klar\u0131ndan yola \u00e7\u0131karak (Max Horkheimer ile birlikte yazd\u0131\u011f\u0131) Ayd\u0131nlanman\u0131n Diyalekti\u011fi<\/em> (4) (The Dialectic of Enlightenment) ve Minima Moralia<\/em> (5) (Minima Moralia) gibi yap\u0131tlar\u0131nda radyonun (ve \u00e7ok ge\u00e7meden televizyonun) toplumun genel bir t\u00fcrde\u015fle\u015fmesine yol a\u00e7aca\u011f\u0131 kestiriminde bulundu. Bu t\u00fcrde\u015fle\u015fme, i\u00e7inde ba\u00adr\u0131nd\u0131rd\u0131\u011f\u0131 bir t\u00fcr k\u00f6t\u00fcl\u00fck e\u011filiminden dolay\u0131, zamanla George Orwell’\u0131n Bin Dokuz Y\u00fcz Seksen D\u00f6rt<\/em> (6)\u00a0(Nineteen Eighty Four) adl\u0131 roman\u0131ndaki ‘B\u00fcy\u00fck Birader’ gibi, sloganlan, (si\u00adyasal\u0131n yan\u0131 s\u0131ra ticari) propaganday\u0131 ve kal\u0131pla\u015fm\u0131\u015f d\u00fcnya\u00a0g\u00f6r\u00fc\u015flerini yayarak yurtta\u015flar\u0131 \u00fczerinde b\u00fcy\u00fck bir denetim uygulayabilen diktat\u00f6rl\u00fcklerin ve totaliter y\u00f6netimlerin ku\u00adrulmas\u0131na olanak sa\u011flayacak ve hatta bunlar\u0131 destekleyecekti. Bunun yerine, ger\u00e7ekte, radyo, televizyon ve gazeteler-tekellerin ve b\u00fcy\u00fck sermaye odaklar\u0131n\u0131n t\u00fcm \u00e7abalar\u0131na ra\u011fmen- Weltanschauungen<\/em>‘in, yani d\u00fcnyag\u00f6r\u00fc\u015flerinin genel olarak patlay\u0131\u015f\u0131n\u0131n ve \u00e7o\u011fal\u0131\u015f\u0131n\u0131n temel unsurlar\u0131 haline geldi. Birle\u00ad\u015fik Devletler’de son on y\u0131llarda ya\u015fananlar, her t\u00fcrden az\u0131nl\u0131\u011f\u0131n mikrofonlar arac\u0131l\u0131\u011f\u0131yla sesini duyurabildi\u011fini g\u00f6sterdi. Her t\u00fcrden k\u00fclt\u00fcr ve altk\u00fclt\u00fcr kamuoyunun ilgi oda\u011f\u0131 haline geldi. Do\u011fal olarak, sesini duyurabilmenin ger\u00e7ek bir siyasi \u00f6zg\u00fcrle\u015fim anlam\u0131na gelmedi\u011fi itiraz\u0131nda bulunulabilir -ne de olsa, ekonomik g\u00fc\u00e7 h\u00e2l\u00e2 sermayenin elinde. Bu yoldan gidilebilirse de, burada bu sorunun izini s\u00fcrmeyece\u011fim. Gelgelelim, enformasyon ‘pazar\u0131’n\u0131n i\u015fleyi\u015f mant\u0131\u011f\u0131n\u0131n, bu pazar\u0131n s\u00fcrekli yay\u0131lmas\u0131n\u0131 gerektirdi\u011fi ve dolay\u0131s\u0131yla hangi yoldan olursa olsun ‘her \u015fey’in bir ileti\u015fim nesnesi haline gelmesini talep etti\u011fi ger\u00e7e\u011fi g\u00fcn gibi ortadad\u0131r. \u0130leti\u015fimin ba\u015f d\u00f6nd\u00fc\u00adr\u00fcc\u00fc bir bi\u00e7imde yayg\u0131nla\u015fmas\u0131yla giderek daha \u00e7ok altk\u00fclt\u00fcr\u00fcn ‘kendi s\u00f6z hakk\u0131na sahip olmas\u0131’, kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n en belirgin etkisidir. G\u00fcn\u00fcm\u00fcz toplumunun postmodernli\u011fe do\u011fru kay\u0131\u015f\u0131n\u0131n temel etkenlerinden biri de, Avrupa yay\u0131l\u0131mc\u0131l\u0131\u011f\u0131mn sona ermesi ya da en az\u0131ndan k\u00f6kten bir de\u011fi\u015fim ge\u00e7irmesinin yan\u0131 s\u0131ra, ileti\u015fimin bu ba\u015f edilemez art\u0131\u015f\u0131d\u0131r. Bat\u0131 yaln\u0131zca (s\u00f6zgelimi ‘\u00fc\u00e7\u00fcnc\u00fc d\u00fcnya’ gibi) di\u011fer k\u00fclt\u00fcr evren\u00adleri kar\u015f\u0131s\u0131nda de\u011fil, ayn\u0131 zamanda her t\u00fcrl\u00fc tekdo\u011frultulu d\u00fcnya ve tarih g\u00f6r\u00fc\u015f\u00fcn\u00fc olanaks\u0131z k\u0131lan -hem g\u00f6r\u00fcn\u00fc\u015fte hem de yap\u0131sal olarak kar\u015f\u0131 konulamaz olan- bu \u00e7o\u011fulla\u015fma ba\u011flam\u0131nda da karma\u015f\u0131k duygular ya\u015f\u0131yor.<\/p>\n

Kitle ileti\u015fim ara\u00e7lar\u0131 toplumunun (Lessing’in ya da Hegel’in, hatta Comte’un ya da Marx’\u0131n tasarlad\u0131\u011f\u0131 anlam\u00adda) daha ayd\u0131nlanm\u0131\u015f, daha ‘e\u011fitimli’ bir toplumla keskin bir\u00a0kar\u015f\u0131tl\u0131k olu\u015fturmas\u0131 gereklili\u011finin nedeni de i\u015fte budur. Ku\u00adramsal anlamda, d\u00fcnyada olan biten her \u015feye ili\u015fkin ‘ger\u00e7ek zamanl\u0131’ enformasyon sunan kitle ileti\u015fim ara\u00e7lar\u0131, asl\u0131nda Hegel’in Mutlak Tin’inin somut ger\u00e7ekle\u015fiminin bir bi\u00e7imi olarak da g\u00f6r\u00fclebilir: B\u00fct\u00fcn bir insanl\u0131\u011f\u0131n kusursuz kendilik bilincine ula\u015fmas\u0131; olan bitenler, tarih ve insan bilgisi aras\u0131ndaki \u00f6rt\u00fc\u015fme. Dikkatlice bak\u0131ld\u0131\u011f\u0131nda, Adorno gibi Hegelci ve Marx\u00e7\u0131 ele\u015ftirmenler, zihinlerindeki bu modelle \u00e7al\u0131\u015fmaktad\u0131rlar ve karamsarl\u0131klar\u0131 da bu modelin (en nihayetinde pazardan \u00f6t\u00fcr\u00fc) bekledikleri bi\u00e7imde ger\u00e7ekle\u015fmemi\u015f ya da (arzular\u0131n g\u00fcd\u00fcmlenmesi sayesinde ‘mutlu’ bile olunabilen ‘B\u00fcy\u00fck Birader’in onaylanm\u0131\u015f d\u00fcnyas\u0131nda oldu\u011fu gibi) yal\u00adn\u0131zca \u00e7arp\u0131k ve g\u00fcl\u00fcn\u00e7 bir bi\u00e7imde ger\u00e7ekle\u015fmi\u015f olmas\u0131 ger\u00e7e\u00ad\u011fine dayanmaktad\u0131r. Gelgelelim, kitle ileti\u015fim ara\u00e7lar\u0131yla say\u0131\u00ads\u0131z k\u00fclt\u00fcre ve Weltanschauungen<\/em>‘e sa\u011flanan \u00f6zg\u00fcrl\u00fck ger\u00e7ek bir \u015feffaf toplum \u00fclk\u00fcs\u00fcn\u00fcn \u00fcst\u00fcn\u00fc \u00f6rtm\u00fc\u015ft\u00fcr. Ge\u00e7erli nor\u00admun ger\u00e7ekli\u011fin birebir yeniden \u00fcretimi, kusursuz nesnellik ve harita ile haritas\u0131 \u00e7\u0131kar\u0131lan yerin tam \u00f6zde\u015fli\u011fi oldu\u011fu bir d\u00fcnyada, enformasyon \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn, hatta birden \u00e7ok radyo ve televizyon kanal\u0131n\u0131n bulunmas\u0131n\u0131n ne anlam\u0131 olabilir? As\u00adl\u0131nda, ger\u00e7ekli\u011fin say\u0131s\u0131z bi\u00e7imine ili\u015fkin olanakl\u0131 enformas\u00adyondaki art\u0131\u015f tek<\/em> bir ger\u00e7ekli\u011fin kavranmas\u0131n\u0131 giderek zorla\u015ft\u0131rmaktad\u0131r. Kitle ileti\u015fim ara\u00e7lar\u0131 d\u00fcnyas\u0131nda Nietzsche’nin bir ‘kehanet’inin ger\u00e7ekle\u015ftirilmesi olabilir bu: Sonunda ger\u00ad\u00e7ek d\u00fcnya bir fabl haline gelmektedir. E\u011fer ge\u00e7 modernlikte bir ger\u00e7eklik d\u00fc\u015f\u00fcncesine sahipsek, bu d\u00fc\u015f\u00fcnce medyadan al\u00add\u0131\u011f\u0131m\u0131z imgelerin alt\u0131nda ya da \u00f6tesinde nesnel bi\u00e7imde verilmi\u015f olarak kavranamaz. B\u00f6yle bir ‘kendinde’ ger\u00e7ekli\u011fe nas\u0131l ve nerede ula\u015fabiliriz? Bizler i\u00e7in ger\u00e7eklik daha \u00e7ok, birbirleriyle rekabet halindeki ve ‘merkez\u00ee’ bir e\u015fg\u00fcd\u00fcm\u00fc olmayan kitle ileti\u015fim ara\u00e7lar\u0131 taraf\u0131ndan dola\u015f\u0131ma sokulan bir imgeler, yorumlar ve yeniden in\u015falar \u00e7oklu\u011funun kesi\u015fmesinin ve (La\u00adtince anlam\u0131yla) ‘kirlenmesinin’ sonucudur.<\/p>\n

Bu noktada \u00f6ne s\u00fcrmek istedi\u011fim g\u00f6r\u00fc\u015f \u015fudur: Kitle ileti\u00ad\u015fim ara\u00e7lar\u0131 toplumunda, a\u00e7\u0131k se\u00e7ik kendilik bilinci ile \u015feyleri olduklar\u0131 haliyle bilen ki\u015finin yetkin bilgisi (Hegel’in Mutlak Tini’yle ya da Marx’\u0131n ideolojiden kurtulmu\u015f insan anlay\u0131\u00ad\u015f\u0131yla kar\u015f\u0131la\u015ft\u0131r\u0131n\u0131z) \u00f6rnek al\u0131narak olu\u015fturulan \u00f6zg\u00fcrle\u015fim \u00fclk\u00fcs\u00fcn\u00fcn yerini sal\u0131n\u0131ma, \u00e7oklu\u011fa ve en nihayetinde ‘ger\u00ad\u00e7eklik ilkesi’nin a\u015f\u0131nmas\u0131na dayanan bir \u00f6zg\u00fcrle\u015fim \u00fclk\u00fcs\u00fc alm\u0131\u015ft\u0131r. G\u00fcn\u00fcm\u00fczde insanl\u0131k sonunda m\u00fckemmel \u00f6zg\u00fcr\u00adl\u00fc\u011f\u00fcn Spinoza’n\u0131n betimledi\u011fi \u00f6zg\u00fcrl\u00fck olmad\u0131\u011f\u0131n\u0131 ve bu \u00f6zg\u00fcrl\u00fc\u011fe ula\u015fman\u0131n yolunun -metafizi\u011fin hep d\u00fc\u015fledi\u011fi gibi- ger\u00e7ekli\u011fin zorunlu yap\u0131s\u0131n\u0131n kusursuz bilgisine sahip olup bunu uygulamaktan ge\u00e7medi\u011fini fark edebiliyor. Bura\u00adda, Nietzsche ve Heidegger’den \u00f6\u011frenilen felsefece derslerin b\u00fcy\u00fck bir \u00f6nemi vard\u0131r. \u015euras\u0131 bir ger\u00e7ek ki her iki filozof da modernli\u011fin ve onun tarih tasar\u0131m\u0131n\u0131n sona ermesinin \u00f6z\u00adg\u00fcrle\u015fim ba\u011flam\u0131ndaki \u00f6nemini anlamam\u0131z i\u00e7in bize ara\u00e7lar sa\u011flad\u0131lar. Nietzsche, iyi kurulmu\u015f ussal bir d\u00fczen (d\u00fcnyan\u0131n daimi metafizik imgesi) olarak ger\u00e7eklik imgesinin, yaln\u0131zca h\u00e2l\u00e2 ilkel ve barbar olan bir insanl\u0131\u011f\u0131n ‘g\u00fcven verici’ bir s\u00f6y\u00adlemi (miti) oldu\u011funu g\u00f6sterdi. Metafizik, kendisi de tehlike ve \u015fiddet y\u00fckl\u00fc olan bir duruma verilen \u015fiddet i\u00e7eren bir kar\u015f\u0131\u00adl\u0131kt\u0131r. Metafizik, b\u00fct\u00fcn her \u015feyin dayand\u0131\u011f\u0131 ilk ilkeyi kavra\u00adyarak (ya da kavrad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnerek) bir hamlede ger\u00e7ekli\u011fe h\u00fckmetmeye \u00e7al\u0131\u015f\u0131r (ve b\u00f6ylelikle kendisine olaylar \u00fczerinde iktidar\u0131 oldu\u011fu y\u00f6n\u00fcnde bo\u015f bir g\u00fcvence verir). Heidegger de, bu ba\u011flamda Nietzsche’yi izleyerek, varl\u0131\u011f\u0131 temel olarak, ger\u00e7ekli\u011fi de ussal bir nedenler ve sonu\u00e7lar dizgesi olarak d\u00fc\u015f\u00fcnmenin, yaln\u0131zca ‘bilimsel’ nesnellik modelinin varl\u0131\u00ad\u011f\u0131n b\u00fct\u00fcn\u00fcne dek geni\u015fletilmesi oldu\u011funu g\u00f6sterdi. B\u00fct\u00fcn her \u015fey, \u00f6l\u00e7\u00fclebilen, g\u00fcd\u00fcmlenebilen, yerinden edilebilen ve dolay\u0131s\u0131yla da kolayl\u0131kla y\u00f6n verilip d\u00fczenlenebilen kat\u0131ks\u0131z mevcudiyetler d\u00fczeyine indirgenir -ve sonunda insan, onun i\u00e7sel ya\u015fam\u0131 ve tarihsel ger\u00e7ekli\u011fi de ayn\u0131 d\u00fczeye indirgenir.<\/p>\n

E\u011fer d\u00fcnyaya ili\u015fkin imgelerin \u00e7o\u011falmas\u0131 ‘ger\u00e7eklik duygumuz’u yitirmemizi gerektiriyorsa, belki de bu, s\u00f6ylen\u00addi\u011fi gibi, her \u015feye kar\u015f\u0131n \u00f6yle b\u00fcy\u00fck bir kay\u0131p de\u011fildir. Teknik-bilimle \u00f6l\u00e7\u00fclen ve g\u00fcd\u00fcmlenen nesneler d\u00fcnyas\u0131 (metafizi\u011fe g\u00f6re ger\u00e7e\u011fin d\u00fcnyas\u0131), i\u00e7sel mant\u0131\u011f\u0131n \u00e7arp\u0131k bir t\u00fcr\u00fcyle bir ticari mallar ve imgeler d\u00fcnyas\u0131, kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n d\u00fc\u015fsel g\u00f6r\u00fcnt\u00fcler ge\u00e7idi haline geldi. Bu d\u00fcnyan\u0131n kar\u015f\u0131s\u0131na sa\u011flam, b\u00f6l\u00fcnmez, dengeli ve ‘yetkeci’ bir ger\u00e7ekli\u011fe duyu\u00adlan nostaljiyi mi dikmeliyiz? B\u00f6yle bir nostalji, ailevi yetkenin hem bir tehdit hem de bir teselli oldu\u011fu bebeklik d\u00fcnyam\u0131z\u0131 yeniden in\u015fa etme giri\u015fimi s\u0131ras\u0131nda s\u00fcreklilik arz eden nevroza d\u00f6n\u00fc\u015fme tehlikesi ta\u015f\u0131maktad\u0131r.<\/p>\n

Gelgelelim, ger\u00e7ekli\u011fin yitirilmesinin, ger\u00e7eklik ilkesinin bu sahici a\u015f\u0131nmas\u0131n\u0131n, \u00f6zg\u00fcrle\u015fim ve kurtulu\u015f i\u00e7in anlam\u0131 tam olarak ne olabilir? Bu ba\u011flamda \u00f6zg\u00fcrle\u015fim, ayn\u0131 zaman\u00adda farkl\u0131l\u0131klara, yerel unsurlara ve genelde leh\u00e7e diye adlan\u00add\u0131r\u0131labilecek \u015feylere \u00f6zg\u00fcrl\u00fck tan\u0131nmas\u0131 anlam\u0131na da gelen y\u00f6nelimsizli\u011fi i\u00e7erir. Tarihin merkez\u00ee ussall\u0131\u011f\u0131 d\u00fc\u015f\u00fcncesinin \u00e7\u00f6kmesiyle birlikte, ileti\u015fimin yayg\u0131nla\u015ft\u0131\u011f\u0131 d\u00fcnya, sonunda kendileri ad\u0131na konu\u015fabilen ‘yerel’ bir ussall\u0131klar -etnik, cin\u00adsel, dinsel, k\u00fclt\u00fcrel ya da estetik az\u0131nl\u0131klar- \u00e7oklu\u011funu i\u00e7in\u00adde bar\u0131nd\u0131rmaktad\u0131r. Yerel ussall\u0131klar art\u0131k tikelli\u011fe, bireysel s\u0131n\u0131rl\u0131l\u0131\u011fa, ge\u00e7icili\u011fe ve olumsall\u0131\u011fa ald\u0131r\u0131lmaks\u0131z\u0131n ger\u00e7ekle\u015ftirilmesi gereken tek bir do\u011fru insanl\u0131k bi\u00e7imi oldu\u011fu d\u00fc\u00ad\u015f\u00fcncesi taraf\u0131ndan bask\u0131 alt\u0131na al\u0131n\u0131p susturulmuyor. S\u0131ras\u0131 gelmi\u015fken, farkl\u0131l\u0131klara \u00f6zg\u00fcrl\u00fck tan\u0131nmas\u0131 zorunlu olarak b\u00fct\u00fcn kurallardan vazge\u00e7ilmesi ya da duygusuz bir yak\u0131n\u00adl\u0131k g\u00f6sterilmesi anlam\u0131na gelmez. Leh\u00e7elerin de bir dilbilgisi ve s\u00f6zdizimi vard\u0131r ve asl\u0131nda bunlar\u0131 yaln\u0131zca g\u00f6r\u00fcn\u00fcr hale geldiklerinde ve kendi itibarlar\u0131n\u0131 kazand\u0131klar\u0131nda ke\u015ffeder\u00adler. \u00c7e\u015fitlili\u011fe \u00f6zg\u00fcrl\u00fck tan\u0131nmas\u0131yla birlikte, leh\u00e7eler ‘kendi seslerim bulurlar’, ortaya \u00e7\u0131karlar ve b\u00f6ylelikle de onaylanma\u00a0i\u00e7in ‘bir bi\u00e7im al\u0131rlar’; bu duygusuz bir yak\u0131nl\u0131k g\u00f6stermekten ba\u015fka her \u015feydir.<\/p>\n

Yerel ussall\u0131klara \u00f6zg\u00fcrl\u00fck tan\u0131nmas\u0131n\u0131n \u00f6zg\u00fcrle\u015fim y\u00f6\u00adn\u00fcndeki etkisi, sanki \u00f6zg\u00fcrle\u015fim nihai olarak herkesin ‘ger\u00ad\u00e7ekten’ ne -siyah, kad\u0131n, e\u015fcinsel, Protestan vb.- oldu\u011funu g\u00f6stermek anlam\u0131na geliyormu\u015f gibi, herkesin daha \u00e7ok onaylanma ve ‘sahicilik’ olana\u011f\u0131na sahip olmas\u0131n\u0131 g\u00fcvence alt\u0131na almakla (h\u00e2l\u00e2 metafizik, Spinozac\u0131 olan terimleri kul\u00adlanmakla) s\u0131n\u0131rl\u0131 de\u011fildir.<\/p>\n

Farkl\u0131l\u0131klara ve leh\u00e7elere \u00f6zg\u00fcrl\u00fck tan\u0131nmas\u0131n\u0131n \u00f6zg\u00fcrle\u00ad\u015fim y\u00f6n\u00fcndeki \u00f6nemi ise, daha \u00e7ok bunlar\u0131n ba\u015flang\u0131\u00e7taki kimliklerinin belirlenmelerine e\u015flik eden genel y\u00f6nelimsizli\u011fe<\/em> dayan\u0131r. E\u011fer ben bir leh\u00e7eler d\u00fcnyas\u0131nda kendi leh\u00e7emi konu\u015facaksam, onun tek ‘dil’ olmad\u0131\u011f\u0131n\u0131n yan\u0131 s\u0131ra kesinlikle bir\u00e7ok dilden biri oldu\u011funun fark\u0131nda olmal\u0131y\u0131m. E\u011fer bu \u00e7okk\u00fclt\u00fcrl\u00fc d\u00fcnyada kendi dinsel, estetik, siyasal ve etnik de\u011ferler dizgemi olu\u015fturacaksam, ba\u015fta kendiminki olmak \u00fczere, b\u00fct\u00fcn bu dizgelerin tarihselli\u011finin, olumsall\u0131\u011f\u0131n\u0131n ve s\u0131n\u0131rl\u0131l\u0131\u011f\u0131n\u0131n kesinlikle bilincinde olmal\u0131y\u0131m.<\/p>\n

Nietzsche \u015een Bilim<\/em>‘de (7) (The Gay Science) bunu “birisinin d\u00fc\u015f g\u00f6rd\u00fc\u011f\u00fcn\u00fc bilmeyi d\u00fc\u015flemeyi s\u00fcrd\u00fcrmek” diye adlan\u00add\u0131rd\u0131. Ne ki, b\u00f6yle bir \u015fey olanakl\u0131 m\u0131? Bu, Nietzsche’nin ‘\u00fcstinsan’ (ya da insan-\u00f6tesi), \u00dcbermensch<\/em> diye adland\u0131rd\u0131\u011f\u0131 \u015fe\u00adyin \u00f6z\u00fcd\u00fcr. Ayr\u0131ca Nietzsche ileti\u015fimin yo\u011funla\u015ft\u0131\u011f\u0131 d\u00fcnyada buna ula\u015fma g\u00f6revini gelece\u011fin insanl\u0131\u011f\u0131na verir.<\/p>\n

Leh\u00e7elerin \u00f6zg\u00fcrle\u015fim sunan ‘kar\u0131\u015f\u0131kl\u0131\u011f\u0131’n\u0131n \u00f6nemi, (ka\u00adn\u0131mca, Heidegger i\u00e7in de belirleyici bir betimleme olan) Dilthey’\u0131n estetik deneyime ili\u015fkin betimlemesinde \u00f6rnekle\u00adnir. Dilthey’a g\u00f6re, bir sanat yap\u0131t\u0131yla kar\u015f\u0131 kar\u015f\u0131ya gelmek (ya da asl\u0131nda tarihsel bilgiye ula\u015fmak), somut g\u00fcndelik\u00a0ya\u015fant\u0131m\u0131zda i\u00e7ine g\u00f6m\u00fcld\u00fc\u011f\u00fcm\u00fczden farkl\u0131 varolu\u015f bi\u00ad\u00e7imlerini ve ya\u015fam tarzlar\u0131n\u0131 imgelemde deneyimlemektir. Ya\u015fland\u0131k\u00e7a hepimiz herhangi bir konuda uzmanla\u015farak ve kendimizi belirli bir tan\u0131\u015f, ilgi ve bilgi \u00e7evresiyle s\u0131n\u0131rlayarak ya\u015fam ufuklar\u0131m\u0131z\u0131 daralt\u0131yoruz. Estetik deneyim, bizi ba\u015fka olanakl\u0131 d\u00fcnyalara g\u00f6t\u00fcrmekte ve i\u00e7inde ya\u015famak zorunda oldu\u011fumuz ‘ger\u00e7ek’ d\u00fcnyan\u0131n olumsall\u0131\u011f\u0131n\u0131 ve g\u00f6relili\u011fini kavramam\u0131z\u0131 sa\u011flamaktad\u0131r.<\/p>\n

\u0130leti\u015fimin yayg\u0131nla\u015ft\u0131\u011f\u0131 ve k\u00fclt\u00fcrlerin \u00e7o\u011fulla\u015ft\u0131\u011f\u0131 bir top\u00adlumda imgelemlerimizde ba\u015fka d\u00fcnyalarla ve ya\u015fam bi\u00e7im\u00adleriyle kar\u015f\u0131la\u015fma olana\u011f\u0131 belki de Dilthey i\u00e7in oldu\u011fundan daha azd\u0131r. ‘Ba\u015fka’ varolu\u015f olanaklar\u0131, ‘leh\u00e7eler’in \u00e7oklu\u011fun\u00adda ve kap\u0131lan insanbilim ile budunbilim taraf\u0131ndan a\u00e7\u0131lan farkl\u0131 k\u00fclt\u00fcrel evrenlerde tam da g\u00f6zlerimizin \u00f6n\u00fcnde ger\u00ad\u00e7ekle\u015fiyor. Bu \u00e7o\u011fulcu d\u00fcnyada ya\u015famak, \u00f6zg\u00fcrl\u00fc\u011f\u00fc aidiyet ile y\u00f6nelimsizlik aras\u0131nda s\u00fcrekli bir sal\u0131nma olarak deneyimlemek anlam\u0131na geliyor.<\/p>\n

B\u00f6yle bir \u00f6zg\u00fcrl\u00fck sorunludur. Bu \u00f6zg\u00fcrl\u00fck, kitle ileti\u015fim ara\u00e7lar\u0131n\u0131n bir eseri oldu\u011fundan g\u00fcvence alt\u0131na al\u0131namaz ve h\u00e2l\u00e2 onaylanmas\u0131, u\u011fruna m\u00fccadele verilmesi gereken bir olanak olarak durmaktad\u0131r (kitle ileti\u015fim ara\u00e7lar\u0131 her zaman ve her yerde “B\u00fcy\u00fck Birader”in ya da kal\u0131pla\u015fm\u0131\u015f s\u0131radanl\u0131\u011f\u0131n sesi, anlam\u0131n ge\u00e7ersiz k\u0131l\u0131nmas\u0131… olabilir). Dahas\u0131 \u00f6zg\u00fcr\u00adl\u00fc\u011f\u00fcn \u00e7ehresine ili\u015fkin halen daha a\u00e7\u0131k se\u00e7ik bir d\u00fc\u015f\u00fcnceye sahip de\u011filiz ve dolay\u0131s\u0131yla da sal\u0131nmay\u0131 bir \u00f6zg\u00fcrl\u00fck olarak g\u00f6rmekte zorluk \u00e7ekiyoruz. Bizler g\u00fcven veren ama insan\u0131n elini kolunu da ba\u011flayan ufuklar\u0131n kapan\u0131\u015f\u0131na (8) h\u00e2l\u00e2 bireysel\u00a0ve toplu olarak derinlere k\u00f6k salm\u0131\u015f bir nostalji duyuyoruz. Nietzsche ile Heidegger gibi nihilist felsefeciler (ve aynca Dewey ile Wittgenstein gibi pragmac\u0131lar), varl\u0131\u011f\u0131n zorunlu ola\u00adrak dengeli, sabit ve s\u00fcrekli olanla \u00f6rt\u00fc\u015fmesi gerekmedi\u011fini, aksine olayla, uzla\u015fmayla, diyalog ve yorumla uyu\u015ftu\u011funu tan\u0131tlarken, bize postmodern d\u00fcnyada sal\u0131nma deneyimini (belki de en sonunda) insan olman\u0131n yeni bir yolu i\u00e7in bir f\u0131r\u00adsat olarak nas\u0131l d\u00fc\u015f\u00fcnebilece\u011fimizi g\u00f6stermeye \u00e7al\u0131\u015f\u0131yorlar.<\/p>\n

”<\/p>\n

Dipnotlar:<\/span><\/span>
\n(1) “modern” terimi metin boyunca yeni diye de okunabilir.<\/span>
\n(2) \u0130nsan Soyunun E\u011fitimi<\/em>, Gotthold Ephraim Lessing, \u00c7ev. Ahmet Aydo\u011fan, 1. Bask\u0131, Say Yay\u0131nlar\u0131, \u0130stanbul, 2011.<\/span>
\n(3)\u00a0Telematik: uzak mesafeden kablosuz eri\u015fim cihazlar\u0131ndan veri al\u00admak, veri g\u00f6ndermek ve veriyi i\u015flemek i\u00e7in kullan\u0131lan sistemlere verilen ad. G\u00fcn\u00fcm\u00fczde yayg\u0131nla\u015fan filo y\u00f6netimi ve ara\u00e7 takip sistemleri telematik uygulamalara birer \u00f6rnektir.<\/span>
\n(4) T\u00fcrk\u00e7esi: \u00c7ev. Elif \u00d6ztarhan ve Nihat \u00dclner, \u0130stanbul: Kabalc\u0131 Yay\u0131\u00adnevi, 2010.<\/span>
\n(5)\u00a0T\u00fcrk\u00e7esi: \u00c7ev. Ahmet Do\u011fukan ve Orhan Ko\u00e7ak, \u0130stanbul: Metis Yay\u0131nlar\u0131, 6. Bas\u0131m, 2009.<\/span>
\n(6)\u00a0T\u00fcrk\u00e7esi: \u00c7ev. Nuran Akg\u00f6ren, \u0130stanbul: Can Yay\u0131nlan, 30. Bas\u0131m. 2012.<\/span>
\n(7) T\u00fcrk\u00e7esi: \u00c7ev. Ahmet \u0130nam, \u0130stanbul: Say Yay\u0131nlan, 3. Bas\u0131m. 2011.<\/span>
\n(8)\u00a0kapan\u0131\u015f: de\u011fi\u015fik d\u00fc\u015f\u00fcn ya da sanat alanlar\u0131nda \u00fcretilmi\u015f yap\u0131tlardan, bitmi\u015flik, sonlanm\u0131\u015fl\u0131k, tamamlanm\u0131\u015fl\u0131k, belli bir \u00e7\u00f6z\u00fcme kavu\u015fturulmu\u015fluk duygusu yaratanlar\u0131n en belirgin \u00f6zelli\u011fini an\u00adlatmak amac\u0131yla ba\u015fvurulan yaz\u0131n felsefesi terimi. Daha ayr\u0131nt\u0131\u00adl\u0131 bilgi i\u00e7in bkz. Felsefe S\u00f6zl\u00fc\u011f\u00fc, Ankara: Bilim ve Sanat Yay\u0131nlar\u0131, 2008.<\/span><\/p>\n

Gianni Vattimo, \u015eeffaf Toplum, \u00e7ev. \u00dcmit H\u00fcsrev Yolsal, Say Yay\u0131nlar\u0131, 2012 [1989], s. 9-20.<\/p>\n","protected":false},"excerpt":{"rendered":"

” \u0130lk \u00f6nce postmodern \u00fczerine konu\u015faca\u011f\u0131z, \u00e7\u00fcnk\u00fc kimi temel y\u00f6nlerden modernli\u011fin sona erdi\u011fini hissediyoruz. Modernlik sona erdi denilerek ne ifade edildi\u011fini anlamak i\u00e7in ilk \u00f6nce modernli\u011fin ne demeye geldi\u011fini anlamam\u0131z gerekiyor. Bir\u00e7ok modernlik tan\u0131m\u0131 aras\u0131nda \u00fczerinde genel bir anla\u015fmaya var\u0131labilecek bir tan\u0131m s\u00f6z konusu: Modernlik, salt modern (1) olman\u0131n kendi ba\u015f\u0131na belirleyici bir de\u011fer haline … Continue reading Vattimo, Postmodern: \u015eeffaf Bir Toplum?<\/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":[33,133,20],"tags":[468,470,469],"class_list":["post-1800","post","type-post","status-publish","format-standard","hentry","category-alinti","category-postmodernizm","category-sosyoloji","tag-gianni-vattimo","tag-kitle-iletisimi","tag-seffaf-toplum"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-t2","jetpack-related-posts":[{"id":737,"url":"https:\/\/yalpertem.com\/blog\/2017\/12\/18\/touraine-entelektueller-ve-modernlik-uzerine\/","url_meta":{"origin":1800,"position":0},"title":"Touraine, Entelekt\u00fceller ve Modernlik \u00dczerine","author":"yalpertem","date":"18 December 2017","format":false,"excerpt":"\"Entelekt\u00fceller, bilimin ilerlemelerini ge\u00e7mi\u015f kurum ve inan\u00e7lar\u0131n ele\u015ftirisiyle birle\u015ftirerek ak\u0131lc\u0131la\u015ft\u0131rma hareketini y\u00fcr\u00fctm\u00fc\u015flerdi. Hatta, Medici'ler d\u00f6neminden bu yana, otoriterliklerinden rahats\u0131zl\u0131k duymadan, seve seve ayd\u0131n h\u00fck\u00fcmdarlara hizmet etmi\u015flerdir. Ama modernizmin ilk y\u00fczy\u0131llar\u0131ndan sonra, XX. y\u00fczy\u0131lda, entelekt\u00fcellerle tarihin ili\u015fkisi tersine d\u00f6ner. Bunun, birbirinin tamamlay\u0131c\u0131s\u0131 olmaktan \u00e7ok kar\u015f\u0131t\u0131 olan iki nedeni vard\u0131r: Birincisi, modernli\u011fin\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\/12\/alain-touraine-modernligin-elestirisi-192x300.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":1800,"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. 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":626,"url":"https:\/\/yalpertem.com\/blog\/2017\/11\/29\/gurbilek-1980lerde-baski-ozgurlesme-ve-tasra-uzerine\/","url_meta":{"origin":1800,"position":2},"title":"G\u00fcrbilek, 1980’lerde Bask\u0131, \u00d6zg\u00fcrle\u015fme ve Ta\u015fra \u00dczerine","author":"yalpertem","date":"29 November 2017","format":false,"excerpt":"\"1980'leri \u00f6nceki bask\u0131 d\u00f6nemlerinden ay\u0131ran, bu bask\u0131n\u0131n kar\u015f\u0131t\u0131yla birlikte, k\u00fclt\u00fcrel alanda bir \u00f6zg\u00fcrl\u00fck vaadiyle birlikte varolmas\u0131yd\u0131.Bu d\u00f6nemi yaln\u0131zca bask\u0131 kavram\u0131yla anlamaya \u00e7al\u0131\u015fman\u0131n zorlu\u011fu da burada: 80'ler bir yandan bu toplumda ya\u015fanm\u0131\u015f en sert bask\u0131 d\u00f6nemiydi, devlet \u015fiddetinin kendisini en \u00e7\u0131plak bi\u00e7imde hissettirdi\u011fi d\u00f6nemdi, ama bir yandan da bir k\u00fclt\u00fcrel \u00e7o\u011fulla\u015fmay\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\/2017\/11\/vitrinde-yasamak-nurdan-gurbilek-200x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1738,"url":"https:\/\/yalpertem.com\/blog\/2018\/06\/20\/lyotard-bilgisayarlastirilmis-toplumlarda-bilgi\/","url_meta":{"origin":1800,"position":3},"title":"Lyotard, Bilgisayarla\u015ft\u0131r\u0131lm\u0131\u015f Toplumlarda Bilgi","author":"yalpertem","date":"20 June 2018","format":false,"excerpt":"Lyotard'\u0131n me\u015fhur Postmodern Durum raporunun ilk, giri\u015f par\u00e7as\u0131. Baudrillard ve Lyotard'\u0131n 1970'lerde, 1980'lerde bilgi, ileti\u015fim ve minitel (pre-internet) \u00fczerine konu\u015furken s\u00f6yledikleri bana s\u0131kl\u0131kla isabetli kehanetler gibi geliyor. Bu b\u00f6l\u00fcmdeki IBM bahsi, \"veri\" sahipli\u011fini sorunla\u015ft\u0131rma fikri, k\u00fcreselle\u015fmenin diline pelesenk olan ulus devlet g\u00fc\u00e7s\u00fczle\u015fmesi iddialar\u0131 (h\u00e2l\u00e2 kimi zaman haks\u0131z, kimi zaman haks\u0131z\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\/06\/jean-fran%C3%A7ois-lyotard-postmodern-durum-206x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":770,"url":"https:\/\/yalpertem.com\/blog\/2017\/12\/24\/agamben-zoe-ve-bios-kutsal-insana-giris\/","url_meta":{"origin":1800,"position":4},"title":"Agamben, Zo\u0113 ve Bios: Kutsal \u0130nsan’a Giri\u015f","author":"yalpertem","date":"24 December 2017","format":false,"excerpt":"Neden Kutsal \u0130nsan'\u0131n a\u00e7\u0131l\u0131\u015f pasaj\u0131n\u0131 buraya tekrar yazd\u0131m? Metnin i\u00e7inden se\u00e7ilmi\u015f bir noktaya de\u011finme \u00f6rne\u011fi de de\u011fil, sadece kitaba -tek kitaba de\u011fil, devasa bir seriye- ba\u015flanan bir giri\u015f k\u0131sm\u0131ndan bu pasaj. Agamben ile ilgili okuduklar\u0131m, kitab\u0131n a\u00e7\u0131l\u0131\u015f\u0131ndaki zo\u0113 ve bios kavramlar\u0131n\u0131n d\u00fc\u015f\u00fcn\u00fcr\u00fcn kavramsalla\u015ft\u0131rmas\u0131nda \u00e7ok merkezi rol oynad\u0131\u011f\u0131n\u0131 g\u00f6steriyordu. Bu ilk\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\/12\/giorgio-agamben-kutsal-insan-200x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1572,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/22\/simmel-toplumsal-tip-yabanci\/","url_meta":{"origin":1800,"position":5},"title":"Simmel, Toplumsal Tip: Yabanc\u0131","author":"yalpertem","date":"22 May 2018","format":false,"excerpt":"uzaklarda olmayan i\u00e7erilen bilinen, etraftaki yabanc\u0131 hep yabanc\u0131 olarak gezen t\u00fcccar en gizli s\u0131rlar\u0131n if\u015fa edilebilece\u011fi bir fig\u00fcr olarak yabanc\u0131 meselelere zorunlu nesnel ve mesafeli yakla\u015f\u0131m\u0131 yerle\u015fikle kurdu\u011fu na-ki\u015fisel ili\u015fki benzerliklerin yak\u0131n k\u0131ld\u0131\u011f\u0131 benzersizlik duygusundan insanl\u0131\u011f\u0131n kaderini belirlemeye ge\u00e7i\u015fin g\u00f6lgesi yak\u0131nl\u0131\u011f\u0131 ve uzakl\u0131\u011f\u0131n\u0131n yak\u0131nl\u0131\u011f\u0131 ve gerilimi \" MEK\u00c2NDAK\u0130 VER\u0130L\u0130 HER\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\/georg-simmel-bireysellik-ve-k%C3%BClt%C3%BCr-184x300.png?resize=350%2C200","width":350,"height":200},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/1800","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=1800"}],"version-history":[{"count":0,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/1800\/revisions"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=1800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=1800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=1800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}