{"id":2823,"date":"2019-11-10T21:56:04","date_gmt":"2019-11-10T18:56:04","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=2823"},"modified":"2023-04-17T22:21:11","modified_gmt":"2023-04-17T20:21:11","slug":"sembolist-edebiyat-ceviri","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2019\/11\/10\/sembolist-edebiyat-ceviri\/","title":{"rendered":"Sembolist Edebiyat (\u00c7eviri)"},"content":{"rendered":"\r\n

(Brittanica’n\u0131n Sembolist Edebiyat makalesinin<\/a> \u00e7evirisi. Rodenbach okuyunca merak ettim sembolistleri. Tersine’yi okumal\u0131y\u0131m.)<\/em><\/p>\r\n

19. y\u00fczy\u0131l sonlar\u0131nda Frans\u0131z \u015fairleri aras\u0131nda k\u0131smen organize bir \u015fekilde do\u011fan edebi ve sanatsal bir hareket olarak Sembolizm, resim ve tiyatroya geni\u015fledi, 20. y\u00fczy\u0131l Avrupal\u0131 ve Amerikal\u0131 edebiyat\u00e7\u0131lar\u0131n\u0131 \u00e7e\u015fitli derecelerde etkiledi. Sembolist sanat\u00e7\u0131lar bireyin duygusal deneyimini incelikli ve davetkar bir simgesel dille ifade etmenin yollar\u0131n\u0131 arad\u0131lar.<\/p>\r\n

Sembolist Edebiyat<\/strong><\/p>\r\n

Ba\u015fl\u0131ca sembolistler aras\u0131nda Frans\u0131z St\u00e9phane Mallarm\u00e9<\/em>, Paul Verlaine<\/em>, Arthur Rimbaud<\/em>, Jules Laforgue<\/em>, Henri de R\u00e9gnier<\/em>, Ren\u00e9 Ghil<\/em>, ve Gustave Kahn<\/em>; Bel\u00e7ikal\u0131 \u00c9mile Verhaeren<\/em> ve Georges Rodenbach<\/em>; Yunanistan’da do\u011fan Jean Mor\u00e9as<\/em>; ve Amerika’da do\u011fan Francis Vi\u00e9l\u00e9-Griffin<\/em> ve Stuart Merrill<\/em> say\u0131l\u0131r. Sembolizmin \u00f6nde gelen ele\u015ftirmeni R\u00e9my de Gourmont<\/em>, sembolist kriterleri Joris-Karl Huysmans<\/em>‘\u0131n roman\u0131na ve Bel\u00e7ikal\u0131 Maurice Maeterlinck<\/em>‘in oyunlar\u0131na uygulad\u0131. Frans\u0131z \u015fairleri Paul Val\u00e9ry<\/em> ve Paul Claudel<\/em> de yer yer sembolistlerin 20. y\u00fczy\u0131l miras\u00e7\u0131lar\u0131 olarak de\u011ferlendirilir.<\/p>\r\n

Sembolizm, Frans\u0131z \u015fiirinde hem teknik hem de tematik olarak h\u00fck\u00fcm s\u00fcren, Parnas\u00e7\u0131 \u015fiirdeki titiz\/kesin tasvirlerde a\u00e7\u0131\u011fa \u00e7\u0131kan, kat\u0131 kurallara ba\u015fkald\u0131ran Frans\u0131z \u015fairlerle do\u011fdu. Sembolistler \u015fiiri a\u00e7\u0131klay\u0131c\u0131 i\u015flevinden ve bi\u00e7imselle\u015fmi\u015f hitabetten \u00f6zg\u00fcrle\u015ftirerek insan\u0131n i\u00e7 d\u00fcnyas\u0131nda ve deneyimlerindeki anl\u0131k, dolays\u0131z duyumlar\u0131 tarif etmeyi arzulad\u0131lar.<\/p>\r\n

Serbest\u00e7e ve b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ki\u015fisel bir \u015fekilde metaforlar\u0131 ve imajlar\u0131 kullanarak insan\u0131n i\u00e7 d\u00fcnyas\u0131nda, kelimelerle ifade edilemeyen sezgileri ve duyusal izlenimleri hissettirmeye, varolu\u015fun alt\u0131nda yatan gizemi aktarmaya \u00e7al\u0131\u015ft\u0131lar. Bu metafor ve imajlar kesin bir anlamdan yoksun olsalar da, \u015fairin zihinsel durumunu aktarabilir ve ifade edilemez ger\u00e7ekli\u011fin “karanl\u0131k ve \u00e7apra\u015f\u0131k birli\u011fini” sezindirebilirdi.<\/p>\r\n

Verlaine<\/em> ve Rimbaud<\/em> gibi sembolizmin \u00f6nde gelenleri Charles Baudelaire<\/em>‘in \u015fiiri ve d\u00fc\u015f\u00fcncesinden derinden etkilenmi\u015flerdi, \u00f6zellikle de K\u00f6t\u00fcl\u00fck \u00c7i\u00e7ekleri (1857) \u015fiirlerinden. Baudelaire<\/em>‘in duyular aras\u0131 \u00f6rt\u00fc\u015fmeler kavram\u0131n\u0131 benimseyerek, bunu sanatlar\u0131n sentezine dair Wagnerci idealle birle\u015ftirerek \u015fiirin m\u00fczikal niteliklerine dair \u00f6zg\u00fcn bir kavray\u0131\u015f \u00fcretmeye \u00e7al\u0131\u015ft\u0131lar. B\u00f6ylelikle, sembolistlere g\u00f6re \u015fiirdeki tema, dikkatlice se\u00e7ilmi\u015f kelimelere i\u00e7kin armoniler, tonlar ve renklerin hassas kullan\u0131m\u0131yla geli\u015ftirilebilir ve d\u00fczenlenebilir (orchestrate<\/em>).<\/p>\r\n

Sembolistlerin \u015fiirsel arac\u0131n esas ve i\u00e7kin niteliklerini vurgulama giri\u015fimleri, sanat\u0131 di\u011fer b\u00fct\u00fcn ifade ara\u00e7lar\u0131 ve bilgi t\u00fcrlerinden \u00fcst\u00fcn bir yere yerle\u015ftirmelerinden temellenir. Bu da, dolay\u0131s\u0131yla, onlar\u0131n fiziksel d\u00fcnyan\u0131n alt\u0131nda ba\u015fka bir maddilik ve bireyselli\u011fin, \u00f6z\u00fc ancak sanat eserine katk\u0131 sunan veya ondan kaynaklanan \u00f6znel duygusal tepkilerinde temellenen ba\u015fka bir ger\u00e7ekli\u011fin oldu\u011funa dair idealist inan\u00e7lar\u0131na dayan\u0131r.<\/p>\r\n

Verlaine<\/em>‘in Romances sans paroles (1874; Songs Without Words) ya da Mallarm\u00e9<\/em>\u2019nin L\u2019Apr\u00e8s-midi d\u2019un faune (1876) eserleri gibi ba\u015fyap\u0131tlar bu yenilik\u00e7i Frans\u0131z \u015fairlerinin do\u011fmakta olan yeniliklerine artan bir ilgi uyand\u0131rd\u0131lar. Sembolist manifesto Jean Mor\u00e9as<\/em> taraf\u0131ndan Le Figaro’da 18 Eyl\u00fcl 1886’da yay\u0131mland\u0131; burada \u015fair ger\u00e7ek\u00e7i tiyatronun betimleyici e\u011filimlerine, nat\u00fcralist romana ve Parnas\u00e7\u0131 \u015fiire sald\u0131rd\u0131. Bunun yan\u0131 s\u0131ra, Baudelaire<\/em> ve di\u011ferlerini ifade etmek i\u00e7in kullan\u0131lan dekadan terimini, sembolist ve sembolizm terimleriyle yer de\u011fi\u015ftirmeyi \u00f6nerdi. 1880’lerin sonlar\u0131nda bir\u00e7ok k\u00fc\u00e7\u00fck sembolist de\u011ferlendirme yaz\u0131lar\u0131 ve dergiler ortaya \u00e7\u0131kt\u0131, yazarlar\u0131 harekete d\u00fc\u015fman ele\u015ftirmenlerin sald\u0131r\u0131lar\u0131na kar\u015f\u0131 ba\u011f\u0131ms\u0131z tart\u0131\u015fmalara kat\u0131ld\u0131. Mallarm\u00e9<\/em> sembolistlerin lideri oldu ve Divagations (1897) hareketin esteti\u011fine dair en de\u011ferli a\u00e7\u0131klama olarak g\u00fcn\u00fcm\u00fcze kald\u0131. Kat\u0131 metrik kal\u0131plardan ka\u00e7mak ve daha \u00f6zg\u00fcr \u015fiirsel ritimlere ula\u015fmak i\u00e7in \u00e7abalar\u0131nda sembolist \u015fairler, bug\u00fcn art\u0131k g\u00fcncel \u015fiirin temel bi\u00e7imleri haline gelen nesir \u015fiirlerin ve serbest vezinin ala\u015f\u0131mlar\u0131na ba\u015fvurdular.<\/p>\r\n

Sembolist hareket Rusya’ya da s\u0131\u00e7rad\u0131. Valery Bryusov<\/em>, 1894-1895 aras\u0131ndaki Rus ve Frans\u0131z sembolist \u015fiirlerinden bir antoloji yay\u0131mlad\u0131. Rusya’da bu hareketle birlikte \u015fiirin canlanmas\u0131n\u0131n \u00f6nc\u00fcs\u00fc Vladimir Sergeyevich Solovyov<\/em> oldu. Onun \u015fiiri, d\u00fcnyan\u0131n metafizik ger\u00e7eklikleri d\u0131\u015favuran bir semboller sistemi oldu\u011funa dair bir inanc\u0131 ifade ediyordu. Hareketin en b\u00fcy\u00fck \u015fairi Aleksandr Blok<\/em>, Dvenadtsat’ta (1918; The Twelve) Rus Devrimi’yle Tanr\u0131’y\u0131, on iki K\u0131z\u0131l Ordu \u00fcyesinin, \u0130sa’n\u0131n \u00f6nderli\u011finde Yeni D\u00fcnya’n\u0131n havarileri olarak apokaliptik bir imgelemle birle\u015ftirdi. Di\u011fer Rus sembolist \u015fairleri Vyacheslav Ivanovich Ivanov<\/em>, Fyodor Sologub<\/em>, Andrey Bely<\/em> ve Nikolay Gumilyov<\/em> idi.<\/p>\r\n

\u015eiirde sembolist hareket zirvesine 1890 civarlar\u0131nda ula\u015ft\u0131 ve 1900’lerde yoku\u015f a\u015fa\u011f\u0131 bir d\u00fc\u015f\u00fc\u015fe ge\u00e7ti. Sembolist \u015fiirin atmosferik, odaklanmayan imgelemi fazla ar\u0131t\u0131lm\u0131\u015f ve yapmac\u0131kl\u0131 g\u00f6r\u00fclmeye, sembolistlerin bir zamanlar \u00f6v\u00fcnerek sahiplendi\u011fi dekadan terimi de di\u011ferleri gibi y\u00fczy\u0131l sonu s\u00fcsl\u00fc anlat\u0131m\u0131n\u0131 imleyen alayc\u0131 bir terime d\u00f6n\u00fc\u015ft\u00fc. Yine de, sembolist eserler 20. y\u00fczy\u0131l \u0130ngiliz ve Amerikan edebiyat\u0131nda g\u00fc\u00e7l\u00fc ve kal\u0131c\u0131 etki b\u0131rakt\u0131lar. Bu deneysel y\u00f6ntemler, modern \u015fiirin y\u00f6ntemleriyle zenginle\u015fti ve sembolist teoriler W. B. Yeats ve T. S. Eliot’un \u015fiirlerinde; armoninin ve imgesel desenlerin anlat\u0131ya \u00fcst\u00fcnl\u00fck kurdu\u011fu, James Joyce ve Virginia Woolf’un temsil etti\u011fi modern romanda meyvesini verdi.<\/p>\r\n

Sembolist roman\u0131n ba\u015far\u0131l\u0131 nadir \u00f6rneklerinden biri J. K. Huysmans<\/em>‘\u0131n Tersine (1884) roman\u0131 oldu. Kitap s\u0131k\u0131lm\u0131\u015f bir aristokrat\u0131n \u00e7e\u015fitli ve \u015fa\u015f\u0131rt\u0131c\u0131 derecede becerikli deneylerini estetik dekadansta hikaye etti. 20. y\u00fczy\u0131l Amerikan ele\u015ftirmeni Edmund Wilson<\/em>‘\u0131n sembolist harekete dair ara\u015ft\u0131rmas\u0131, Axel’s Castle (1931) bir modern edebiyat ara\u015ft\u0131rmas\u0131 klasi\u011fi ve harekete dair yetkin bir \u00e7al\u0131\u015fma olarak kabul edilir.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

(Brittanica’n\u0131n Sembolist Edebiyat makalesinin \u00e7evirisi. Rodenbach okuyunca merak ettim sembolistleri. Tersine’yi okumal\u0131y\u0131m.) 19. y\u00fczy\u0131l sonlar\u0131nda Frans\u0131z \u015fairleri aras\u0131nda k\u0131smen organize bir \u015fekilde do\u011fan edebi ve sanatsal bir hareket olarak Sembolizm, resim ve tiyatroya geni\u015fledi, 20. y\u00fczy\u0131l Avrupal\u0131 ve Amerikal\u0131 edebiyat\u00e7\u0131lar\u0131n\u0131 \u00e7e\u015fitli derecelerde etkiledi. Sembolist sanat\u00e7\u0131lar bireyin duygusal deneyimini incelikli ve davetkar bir simgesel dille ifade … Continue reading Sembolist Edebiyat (\u00c7eviri)<\/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":[248,7],"tags":[592],"class_list":["post-2823","post","type-post","status-publish","format-standard","hentry","category-ceviri","category-edebiyat","tag-sembolist-edebiyat"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-Jx","jetpack-related-posts":[{"id":1480,"url":"https:\/\/yalpertem.com\/blog\/2018\/05\/14\/bloom-edebiyat-calismalari-okumanin-bugunu\/","url_meta":{"origin":2823,"position":0},"title":"Bloom, Edebiyat \u00c7al\u0131\u015fmalar\u0131 ve Okuman\u0131n Bug\u00fcn\u00fc","author":"yalpertem","date":"14 May 2018","format":false,"excerpt":"\u015eimdiye dek edebiyat ele\u015ftirileri, k\u00fclt\u00fcrel \u00e7al\u0131\u015fmalar, k\u00fclt\u00fcrel sermaye tart\u0131\u015fmalar\u0131, post-marksist veya post-yap\u0131salc\u0131 d\u00fc\u015f\u00fcn\u00fcrler vb. kanallar\u0131ndan a\u015fina oldu\u011fum g\u00f6r\u00fc\u015flerin b\u00fcy\u00fck k\u0131sm\u0131na bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f Harold Bloom'unki. \"\u0130ngiliz\/Amerikan Edebiyat\u0131\" e\u011fitiminde payla\u015f\u0131lan baz\u0131 g\u00f6r\u00fc\u015fler olsa gerek, ben oraya \u00e7ok a\u015fina olmad\u0131\u011f\u0131mdan \u015fa\u015f\u0131rd\u0131m. 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Neil\u2026","rel":"","context":"In "genel"","block_context":{"text":"genel","link":"https:\/\/yalpertem.com\/blog\/category\/genel\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/05\/harold-bloom-bat%C4%B1-kanonu-%C3%A7a%C4%9Flar%C4%B1n-ekolleri-ve-kitaplar%C4%B1-200x300.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2281,"url":"https:\/\/yalpertem.com\/blog\/2018\/11\/15\/tek-cumlelik-nobel-edebiyat-odulu-aciklamalari-2000-2017\/","url_meta":{"origin":2823,"position":1},"title":"Tek C\u00fcmlelik Nobel Edebiyat \u00d6d\u00fcl\u00fc A\u00e7\u0131klamalar\u0131 (1990-2017)","author":"yalpertem","date":"15 November 2018","format":false,"excerpt":"A\u00e7\u0131klamalar\u0131 Nobel'in sitesinden \u00e7evirdim -kesin ba\u015fkalar\u0131 \u00e7ok daha nitelikli bir \u015fekilde \u00e7evirmi\u015ftir, amac\u0131m elbette iyi \u00e7eviriden ziyade yak\u0131n okuma yapmak ve \u00e7e\u015fitli kelimeler \u00fczerinde vakit harcamak. 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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":1969,"url":"https:\/\/yalpertem.com\/blog\/2018\/08\/11\/kazuo-ishiguro-gunden-kalanlarin-cikis-fikri-ceviri\/","url_meta":{"origin":2823,"position":4},"title":"Kazuo Ishiguro – “G\u00fcnden Kalanlar”\u0131n \u00c7\u0131k\u0131\u015f Fikri (\u00c7eviri)","author":"yalpertem","date":"11 August 2018","format":false,"excerpt":"Kazuo Ishiguro 2017'de Toronto Film Festivali'nde s\u00f6yle\u015fi yapm\u0131\u015f. S\u00f6yle\u015fi temelde G\u00fcnden Kalanlar'\u0131n (1989) uyarlamas\u0131 The Remains of the Day (1993) \u00fczerinden bu roman\u0131n uyarlama s\u00fcreci, sinema\/edebiyat ili\u015fkisi ve haf\u0131zan\u0131n kendi romanc\u0131l\u0131\u011f\u0131ndaki merkezi rol\u00fc \u00fczerine. \u00c7evirdi\u011fim k\u0131s\u0131m, konu\u015fman\u0131n ba\u015f\u0131nda (00:00 - 05:14) Ishiguro'nun roman\u0131n ana karakteri ba\u015fu\u015fak Stevens'\u0131n temsil etti\u011fi iki\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\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":2839,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/13\/ozlu-walserle-tanisma\/","url_meta":{"origin":2823,"position":5},"title":"\u00d6zl\u00fc, Walser’le Tan\u0131\u015fma","author":"yalpertem","date":"13 November 2019","format":false,"excerpt":"Bu mektuplarda yeni bir yazarla tan\u0131\u015fma, ondan etkilenme, onu T\u00fcrk\u00e7eye \u00e7evirip yay\u0131mlamaya dair samimi (\"i\u00e7ten duydu\u011fum bir yazar\"), entelekt\u00fcel (\"okur i\u00e7in daha iyi olur\") ve profesyonel (\"ka\u00e7a m\u00e2l olur\") ifadeler var. \"Bilmem Robert Walser'i tan\u0131r m\u0131s\u0131n? \u0130svi\u00e7re edebiyat\u0131n\u0131n bence en \u00f6nemli yazar\u0131. Tam bir Kafkaesk korku ve Dostoyevski y\u00fcre\u011fi ve\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/11\/tezer-ozlu-ferit-edgu-her-seyin-sonundayim-min-194x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2823","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=2823"}],"version-history":[{"count":2,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2823\/revisions"}],"predecessor-version":[{"id":6042,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2823\/revisions\/6042"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=2823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=2823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=2823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}