{"id":2851,"date":"2019-11-17T19:52:55","date_gmt":"2019-11-17T16:52:55","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=2851"},"modified":"2020-01-18T15:09:09","modified_gmt":"2020-01-18T12:09:09","slug":"benjamin-robert-walser","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2019\/11\/17\/benjamin-robert-walser\/","title":{"rendered":"Benjamin, Robert Walser"},"content":{"rendered":"\n

Walser’den hen\u00fcz sadece Jakob von Gunten’i okudum. \u0130kinci roman\u0131n ortalar\u0131nday\u0131m. Yazar\u0131n etraf\u0131ndaki haleye besledi\u011fim a\u015final\u0131k beni bir anda hakk\u0131nda yazanlar\u0131n metinlerine g\u00f6t\u00fcrd\u00fc. Jakob von Gunten’in arka kapa\u011f\u0131nda adam asmaca misali bo\u015f al\u0131nt\u0131larda ge\u00e7it yapan Alman ekol\u00fc yazarlar, Ben Lerner, Ferit Edg\u00fc ve Coetzee de bir halo etkisi yapm\u0131\u015f olsa gerek.<\/p>\n

Benjamin’in aslen Illuminationen’de yer alan Walser pasaj\u0131n\u0131 kitap\u00e7\u0131 gezmelerime ra\u011fmen T\u00fcrk\u00e7ede bulamam\u0131\u015ft\u0131m, belki vard\u0131r bir derlemede -Walter Benjamin Kitab\u0131’nda belki, onu g\u00f6remedim kitap\u00e7\u0131larda. \u0130ngilizcede Selected Writings 2\/1’de bulup okudum. T\u00fcrk\u00e7ede umudumu kestikten sonra ikinci Walser roman\u0131n\u0131 okumaya haz\u0131r oldu\u011fumu hissetti\u011fim bir g\u00fcn Tanner Karde\u015fler’i elime ald\u0131m. Kapa\u011f\u0131 a\u00e7\u0131nca, birden Benjamin ortaya \u00e7\u0131kt\u0131 ve \u015f\u00f6yle dedi: “Robert Walser’den \u00e7ok \u015fey okunabilir, ne var ki onun hakk\u0131nda okunabilecek hi\u00e7bir \u015fey yoktur”.<\/em><\/p>\n

\"\"<\/p>\n

“<\/p>\n

Robert Walser [1]<\/strong><\/p>\n

Robert Walser’den \u00e7ok \u015fey okunabilir, ne var ki onun hakk\u0131nda okunabilecek hi\u00e7bir \u015fey yoktur. Mevcut yorum formunu do\u011fru \u015fekilde kullanmay\u0131 bilen, onu kendine do\u011fru “\u00e7ekerek” y\u00fcceltmek isteyen kalem\u015f\u00f6rler gibi de\u011fil de, ona canland\u0131r\u0131c\u0131l\u0131k ve ar\u0131nd\u0131r\u0131c\u0131l\u0131k katmak amac\u0131yla onun k\u00fc\u00e7\u00fck, g\u00f6steri\u015fsiz g\u00f6n\u00fcll\u00fcl\u00fc\u011f\u00fcnden yararlanabilen aram\u0131zdaki nadir insanlar hakk\u0131nda ne biliyoruz ki? Alfred Polgar’\u0131n deyi\u015fiyle bu “k\u00fc\u00e7\u00fck form”un neyi i\u00e7erdi\u011fini ve b\u00fcy\u00fck oldu\u011fu s\u00f6ylenegelen edebiyat\u0131n k\u00fcstah kayal\u0131klar\u0131ndan ka\u00e7 \u00fcmit kelebe\u011finin ka\u00e7\u0131p onun m\u00fctevaz\u0131 goncalar\u0131na kondu\u011funu, i\u015fte sadece bu az say\u0131dakiler biliyor. Di\u011ferleriyse bir Polgar’a, bir Hessel’e, bir Walser’e bu kuru yapraklar orman\u0131ndaki narin ya da dikenli \u00e7i\u00e7ekler i\u00e7in neler bor\u00e7lu olduklar\u0131n\u0131n fark\u0131nda bile de\u011fil. Kald\u0131 ki Robert Walser b\u00f6yleleri i\u00e7in herhalde en son s\u0131rada gelir. \u00c7\u00fcnk\u00fc yetersiz e\u011fitim bilgileriyle verdikleri ilk tepki, ki edebiyata ili\u015fkin \u015feyler s\u00f6z konusu oldu\u011funda tek bildikleri de budur zaten, onlara, i\u00e7eri\u011fin \u00f6nemsizli\u011fi diye adland\u0131rd\u0131klar\u0131 \u015feyin ac\u0131s\u0131n\u0131 “se\u00e7kin”, “asil” bi\u00e7imden \u00e7\u0131karmalar\u0131n\u0131 tavsiye eder. \u0130\u015fte bu noktada, \u00f6zellikle de Robert Walser’de her \u015feyden \u00f6nce hi\u00e7 al\u0131\u015f\u0131lmad\u0131k, tarifi g\u00fc\u00e7 bir ald\u0131rmazl\u0131k dikkat \u00e7eker. Nihayetinde bu \u00f6nemsizli\u011fin a\u011f\u0131rl\u0131k, da\u011f\u0131n\u0131kl\u0131\u011f\u0131nsa dayan\u0131kl\u0131l\u0131k oldu\u011fu, Walser’in \u00e7al\u0131\u015fmalar\u0131na ancak dikkatle bak\u0131ld\u0131\u011f\u0131nda anla\u015f\u0131l\u0131r.<\/p>\n

Kolay de\u011fildir bu. Ne de olsa bizler \u00fcsluba ili\u015fkin muammay\u0131, az \u00e7ok, kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z bi\u00e7imi yetkin, amac\u0131 belli sanat yap\u0131tlar\u0131ndan hareketle g\u00f6rmeye al\u0131\u015fm\u0131\u015fken burada en az\u0131ndan g\u00f6r\u00fcn\u00fc\u015fte ama\u00e7tan b\u00fcsb\u00fct\u00fcn yoksun, ama yine de \u00e7ekici ve b\u00fcy\u00fcleyici dilsel bir ba\u015f\u0131bo\u015flukla kar\u015f\u0131 kar\u015f\u0131ya kal\u0131r\u0131z. Zarafetten ha\u015finli\u011fe var\u0131ncaya de\u011fin b\u00fct\u00fcn bi\u00e7imleri g\u00f6steren bir kendini koyuveri\u015ftir bu. G\u00f6r\u00fcn\u00fc\u015fte bunun ama\u00e7tan yoksun oldu\u011funu zaman zaman s\u00f6ylemi\u015ftik. Bunun ger\u00e7ekten b\u00f6yle olup olmad\u0131\u011f\u0131 zaman zaman tart\u0131\u015f\u0131lm\u0131\u015ft\u0131r. Ancak Walser’in, kendi \u00e7al\u0131\u015fmalar\u0131n\u0131n tek bir sat\u0131r\u0131n\u0131 bile asla de\u011fi\u015ftirmedi\u011fi y\u00f6n\u00fcndeki itiraf\u0131 akla getirildi\u011finde, bunun k\u0131s\u0131r bir tart\u0131\u015fma oldu\u011fu anla\u015f\u0131l\u0131r. \u015e\u00fcphesiz, bu konuda ona inanmak zorunda de\u011filiz ama inanmakta fayda var. Zira o zaman insan \u015funa ikna olarak rahatlayacakt\u0131r: Yazmak ve yaz\u0131lan\u0131 hi\u00e7 d\u00fczeltmemek, en u\u00e7 noktas\u0131ndaki ama\u00e7tan yoksunluk ile en tepe noktadaki amac\u0131n tam da m\u00fckemmel bir \u015fekilde i\u00e7 i\u00e7e ge\u00e7mesi.<\/p>\n

Peki. Ama bu, \u015f\u00fcphesiz, bu ald\u0131rmazl\u0131\u011f\u0131n as\u0131l sebeplerini ara\u015ft\u0131rmaya hi\u00e7 de engel de\u011fil. Demi\u015ftik ki: Walser’in \u00e7al\u0131\u015fmalar\u0131 ald\u0131rmazl\u0131\u011f\u0131n b\u00fct\u00fcn bi\u00e7imlerini bar\u0131nd\u0131r\u0131r. O halde \u015funu da ekleyelim: Tek bir istisnayla. Bu da, ba\u015fka hi\u00e7bir \u015feye de\u011fil de i\u00e7eri\u011fe \u00f6nem veren en yayg\u0131n ald\u0131r\u0131\u015fs\u0131zl\u0131kt\u0131r. Walser i\u00e7in \u00e7al\u0131\u015fman\u0131n “nas\u0131l”\u0131 o denli \u00f6nem ta\u015f\u0131r ki, s\u00f6yleyece\u011fi her \u015fey, yazma ediminin anlam\u0131 kar\u015f\u0131s\u0131nda b\u00fcsb\u00fct\u00fcn geri \u00e7ekilir. S\u00f6yleyeceklerinin daha yazarken t\u00fckendi\u011fi s\u00f6ylenebilir. Bunun a\u00e7\u0131klanmas\u0131 gerekir. Bununla ilgili olarak bu yazarda \u00e7ok\u00e7a \u0130svi\u00e7re’ye \u00f6zg\u00fc bir \u015feye rastlan\u0131r: ar duygusuna. Arnold B\u00f6cklin, o\u011flu Carlo ve Gottfried Keller hakk\u0131nda \u015f\u00f6yle bir hik\u00e2ye anlat\u0131l\u0131r: S\u0131k s\u0131k oldu\u011fu gibi, \u00fc\u00e7\u00fc yine bir g\u00fcn meyhanede oturuyorlarm\u0131\u015f. M\u00fcdavimi olduklar\u0131 masa ketum, i\u00e7ine kapal\u0131 tarz\u0131yla \u00e2lemciler aras\u0131nda nicedir me\u015fhurmu\u015f. Topluluk bu defa da yine \u00f6yle suskun, beraberce oturmaktaym\u0131\u015f. Aradan uzun bir s\u00fcre ge\u00e7tikten sonra gen\u00e7 B\u00f6cklin, “Hava s\u0131cak,” demi\u015f, bir \u00e7eyrek saat ge\u00e7tikten sonraysa ya\u015fl\u0131 olan\u0131 eklemi\u015f: “\u00dcstelik yaprak bile k\u0131p\u0131rdam\u0131yor.” Keller’se bir s\u00fcre bekledikten sonra \u015fu s\u00f6zlerle yerinden do\u011frulmu\u015f: “Gevezelerle i\u00e7mek istemem.” Burada eksantrik bir espriyle bulu\u015fan k\u00f6yl\u00fcl\u00fc\u011fe has bu dilsel utanga\u00e7l\u0131k, Walser’in meselesidir. Daha kalemi eline al\u0131r almaz Walser \u00fcmitsizli\u011fe kap\u0131l\u0131r. Her \u015fey ona bo\u015funaym\u0131\u015f gibi gelir, her c\u00fcmlenin g\u00f6revinin bir \u00f6ncekini unutturmak oldu\u011fu bir kelimeler y\u0131\u011f\u0131n\u0131 bo\u015fan\u0131r. Bir ba\u015fyap\u0131ttaki “Bu dar yoldan gelecek,” [2] monolo\u011funu d\u00fczyaz\u0131ya d\u00f6kerken, [3] o klasik “Bu dar yoldan…” s\u00f6zleriyle ba\u015flar; ancak Walser’in Tell’i daha o anda \u00fcmitsizli\u011fe kap\u0131l\u0131r, dengesini kaybetmi\u015f, k\u00fc\u00e7\u00fclm\u00fc\u015f, kaybolmu\u015f gibi olur ve \u015f\u00f6yle devam eder: “Bu dar yoldan, san\u0131yorum ki, gelecek.”<\/p>\n

Benzerleri vard\u0131 mutlaka. Dile dair b\u00fct\u00fcn \u015feylerdeki bu \u00e7ekingen, ustal\u0131kl\u0131 hantall\u0131k, delili\u011fin miras\u0131ndan al\u0131nan payd\u0131r. Laf ebeli\u011finin timsali Polonius [4] bir jongl\u00f6rken Walser, Bacchus misali, boynuna ge\u00e7irdi\u011fi dilin sarma\u015f\u0131k \u00e7elenkleri y\u00fcz\u00fcnden yere kapaklan\u0131r. Sarma\u015f\u0131k \u00e7elenk ger\u00e7ekten de onun c\u00fcmlelerine ili\u015fkin imgedir. Oysa bu c\u00fcmlelerin i\u00e7inde t\u00f6kezleyen d\u00fc\u015f\u00fcnce, t\u0131pk\u0131 Walser’in d\u00fczyaz\u0131lar\u0131n\u0131n kahramanlar\u0131 gibi avare, serseri ve d\u00e2hidir. \u00dcstelik Walser “kahramanlar”dan ba\u015fka hi\u00e7bir \u015feyi tasvir edemez, ana karakterlerden uzakla\u015famaz, kald\u0131 ki, sonralar\u0131 sadece \u00e7ok sevdi\u011fi y\u00fczlerce serseriyle karde\u015flik ya\u015famak \u00fczere, erken d\u00f6nemde yazd\u0131\u011f\u0131 \u00fc\u00e7 romanla yetinmi\u015ftir.<\/p>\n

Bilindi\u011fi gibi, g\u00fcvenilmez, hi\u00e7bir i\u015fe yaramaz, avare ve sefil kahramanlar\u0131n tam da Germen edebiyat\u0131nda baz\u0131 b\u00fcy\u00fck \u00f6rnekleri vard\u0131r. Bu t\u00fcrden karakterlerin ustalar\u0131ndan biri olan Knut Hamsun daha k\u0131sa bir s\u00fcre \u00f6nce onurland\u0131r\u0131ld\u0131. “Aylak”\u0131 [5] yaratan Eichendorff, Zundelfrieder’i [6] yaratan Hebel ise di\u011ferleridir. Peki Walser’in karakterleri bu toplumda kendilerini nas\u0131l var ederler? Nereden gelmektedirler? “Aylak”\u0131n nereden geldi\u011fini biliyoruz. Romantik Almanya’n\u0131n ormanlar\u0131ndan ve vadilerinden. Zundelfrieder de y\u00fczy\u0131l d\u00f6n\u00fcm\u00fc Ren Nehri kentlerinin asi, ayd\u0131nlanm\u0131\u015f k\u00fc\u00e7\u00fck burjuvazisinden. Hamsun’un karakterleri ise fiyortlar\u0131n ilken d\u00fcnyas\u0131ndan – yuva \u00f6zlemlerini yanlar\u0131nda ta\u015f\u0131yan insanlard\u0131r bunlar. Peki Walser’inkiler? Glarus Da\u011flar\u0131’ndan m\u0131? Walser’in de geldi\u011fi Appenzell’in Matten’inden mi? Alakas\u0131 yok. Gecenin i\u00e7inden gelir onlar, gecenin zifir\u00ee karanl\u0131k oldu\u011fu yerden, dilerseniz, Venedik’inkisi kadar koyu bir gecenin i\u00e7inden deyin siz, g\u00f6zde b\u0131rakt\u0131klar\u0131 sabit bir p\u0131r\u0131lt\u0131yla umudun y\u0131rt\u0131k k\u00e2\u011f\u0131t fenerlerinin ayd\u0131nlatt\u0131\u011f\u0131 bir gecenin i\u00e7inden; fakat sars\u0131lm\u0131\u015f ve a\u011flayas\u0131ya h\u00fcz\u00fcnl\u00fcd\u00fcrler. D\u00f6kt\u00fckleri g\u00f6zya\u015f\u0131, d\u00fczyaz\u0131d\u0131r. \u00c7\u00fcnk\u00fc h\u0131\u00e7k\u0131r\u0131klar, Walser’in gevezeli\u011finin melodisidir. Bu h\u0131\u00e7k\u0131r\u0131klar, Walser’in sevdiklerinin nereden geldi\u011fini ele verir. Delilikten gelir \u00f6yle onlar, ba\u015fka hi\u00e7bir yerden de\u011fil. Delili\u011fi geride b\u0131rakm\u0131\u015f, dolay\u0131s\u0131yla da bu denli h\u0131rpalay\u0131c\u0131, bu denli insanl\u0131kd\u0131\u015f\u0131, sapmaz bir y\u00fczeysellikteki karakterlerdir. Bu karakterlerde sezinlenen keyif verici ya da tekinsiz \u015fey tek kelimeyle anlat\u0131lmak istenirse o zaman \u015f\u00f6yle denmelidir: Hepsi iyile\u015fmi\u015ftir. Ne var ki biz bu iyile\u015fme s\u00fcrecini asla \u00f6\u011frenemeyiz, t\u00fcm yazarlar\u0131n g\u00f6r\u00fcn\u00fc\u015fte bu en oyuncusunun, amans\u0131z Franz Kafka’n\u0131n ni\u00e7in en sevdi\u011fi yazarlardan biri oldu\u011funu anlamaya ba\u015fl\u0131 ba\u015f\u0131na yetecek “Schneewittchen”\u0131 [7] (Pamuk Prenses) -modern edebiyat\u0131n en derin anlaml\u0131 \u00fcr\u00fcnlerinden biri- ele alma cesaretini g\u00f6steremedik\u00e7e tabii.<\/p>\n

Hi\u00e7 al\u0131\u015f\u0131lmad\u0131k \u015fekilde duyguludur bu \u00f6yk\u00fcler, bunu herkes kavrar. Bu \u00f6yk\u00fclerde, dekadan bir hayat\u0131n sinir geriliminin de\u011fil, nekahatteki bir ya\u015fam\u0131n saf ve diri ruh halinin yatt\u0131\u011f\u0131n\u0131 ise herkes g\u00f6rmez. Franz Moor’un [8], “D\u00fcnyada ba\u015far\u0131l\u0131 olabilece\u011fim d\u00fc\u015f\u00fcncesi beni deh\u015fete d\u00fc\u015f\u00fcr\u00fcyor,” \u015fekildeki diyalo\u011funu kullan\u0131r Walser bir yerde. Onun b\u00fct\u00fcn kahramanlar\u0131, i\u015fte bu deh\u015fet duygusunu payla\u015f\u0131rlar. Peki ama neden? Kesinlikle d\u00fcnyadan tiksinmekten, ahlaki h\u0131n\u00e7tan ya da pathos<\/em>‘tan de\u011fil, bilakis son derece Epikuros\u00e7u nedenlerden \u00f6t\u00fcr\u00fc. Kendi kendilerinden keyif almak ister onlar. Bunun i\u00e7in hi\u00e7 al\u0131\u015f\u0131lmad\u0131k bir becerileri vard\u0131r. Kald\u0131 ki bu hususta hi\u00e7 al\u0131\u015f\u0131lmad\u0131k bir haklar\u0131 da vard\u0131r. \u00c7\u00fcnk\u00fc hi\u00e7 kimse, nekahatteki biri kadar keyif alamaz. Sefahat ona uzakt\u0131r: Damarlar\u0131ndaki yenilenmi\u015f kan\u0131n u\u011fultusu derelerden, dudaklar\u0131ndaki temizlenen soluksa y\u00fcce a\u011fa\u00e7lar\u0131n zirvelerindenmi\u015f gibi gelir. Walser’in insanlar\u0131 bu \u00e7ocuksu asaleti i\u015fte geceden ve delilikten, yani mitosun delili\u011finden \u00e7\u0131kagelen masal kahramanlar\u0131yla payla\u015f\u0131rlar. Bu uyan\u0131\u015f\u0131n genellikle pozitif dinlerde ger\u00e7ekle\u015fti\u011fi d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Bu do\u011fruysa bile, o zaman kesinlikle \u00e7ok yal\u0131n ve tekanlaml\u0131 bir yoldan olmaz bu. Bunun yolunu, mitosla giri\u015filen ve masal\u0131 ortaya \u00e7\u0131karan b\u00fcy\u00fck d\u00fcnyevi tart\u0131\u015fmalarda aramak gerekir. Masal kahramanlar\u0131n\u0131n Walser’e \u00f6zg\u00fc olanla elbette \u00f6yle dolamba\u00e7s\u0131z bir benzerli\u011fi yoktur. Onlar kendilerini ac\u0131dan kurtarmak i\u00e7in m\u00fccadele ederler. Walser masal\u0131n bitti\u011fi yerde devreye girer. “Onlar ermi\u015f murad\u0131na, biz \u00e7\u0131kal\u0131m kerevetine.” Walser onlar\u0131n “nas\u0131l” ya\u015fad\u0131klar\u0131n\u0131 g\u00f6sterir. Walser’in \u00e7al\u0131\u015fmalar\u0131 demek \u00f6yk\u00fc, inceleme, kurmaca, k\u0131sa d\u00fczyaz\u0131 ve benzeri demektir, diyerek s\u00f6zlerimi onun ba\u015flad\u0131\u011f\u0131 yerde noktal\u0131yorum.”<\/p>\n

Walter Benjamin, Illuminationen’den \u00e7eviren \u015eebnem Sunar, Tanner Karde\u015fler, Can Yay\u0131nlar\u0131, 2011, s. 9-13.<\/p>\n

—<\/p>\n

[1] Walter Benjamin’in Robert Walser hakk\u0131nda yazd\u0131\u011f\u0131 1929 tarihli bu yaz\u0131 \u015fu kaynaktan al\u0131nm\u0131\u015ft\u0131r: Walter Benjamin. Illuminationen. Ausgew\u00e4hlte Schriften 1. Suhrkamp Verlag: Frankfurt a.M. 1977. 349 ve devam\u0131. (\u00c7.N.)<\/p>\n

[2] Friedrich Schiller’in 1804 tarihli Wilhelm Tell<\/em> adl\u0131 dram\u0131ndan (IV,3). Wilhelm Tell, zalim Vali Gessler’e K\u00fcssnacht’a \u00e7\u0131kan dar yolda pusu kurar ve kendi kendisiyle vicdan muhasebesine giri\u015fti\u011finde bu s\u00f6zleri s\u00f6yler. (\u00c7.N.)<\/p>\n

[3] Robert Walser, \u0130svi\u00e7reli ulusal kahraman Wilhelm Tell’in \u00f6yk\u00fcs\u00fcn\u00fc farkl\u0131 yerlerde yeniden i\u015flemi\u015ftir. Motifin burada s\u00f6z\u00fc edilen bi\u00e7imi i\u00e7in, bkz. Robert Walser’in 1907 tarihli “Tell in Prosa” adl\u0131 metni; kar\u015f. Robert Walser. Das Gesamtwerk. Cilt 1. Suhrkamp Verlag: Frankfurt a.M. 1978. 258-260. Schiller’in \u015fiir bi\u00e7imindeki yap\u0131t\u0131n\u0131n aksine “Tell in Prosa”, daha ba\u015fl\u0131\u011f\u0131yla bile bize gelenekten ayr\u0131laca\u011f\u0131n\u0131 haber verir. Kald\u0131 ki Walser’in Tell’i \u00e7ekinceleri ve \u015f\u00fcpheleriyle karakter olarak da bir antikahraman g\u00f6r\u00fcn\u00fcm\u00fc \u00e7izer. (\u00c7.N.)<\/p>\n

[4] Shakespeare’in Hamlet<\/em>‘indeki saray naz\u0131r\u0131. (\u00c7.N.)<\/p>\n

[5] Almancas\u0131 Taugenichts; <\/em>Josef von Eichendorff’un 1826 tarihli Aus dem Leben eines Taugenichts<\/em> novellas\u0131n\u0131n \u00fcnl\u00fc karakteri. Bir ayla\u011f\u0131n baba evinden kovulduktan sonra, gelecek kayg\u0131s\u0131 duymadan bilinmeyene do\u011fru ba\u015flad\u0131\u011f\u0131 yolculuklar\u0131n\u0131n anlat\u0131ld\u0131\u011f\u0131 yap\u0131t, ge\u00e7 d\u00f6nem Alman Romantik edebiyat\u0131n\u0131n temel ta\u015flar\u0131ndand\u0131r. (\u00c7.N.)
<\/em><\/p>\n

[6] Johan Peter Hebel’in 1810 tarihli Die drei Diebe: Eine Geschichte vom Zundelfrieder<\/em> adl\u0131 \u00f6yk\u00fcs\u00fcn\u00fcn h\u0131rs\u0131z kahraman\u0131. (\u00c7.N.)<\/p>\n

[7] Benjamin burada Robert Walser’in 1901’de Die Insel<\/em> dergisinde yay\u0131mlad\u0131\u011f\u0131 “Schneewittchen”a g\u00f6ndermede bulunuyor. Walser yeniden yaz\u0131m\u0131n\u0131 yapt\u0131\u011f\u0131 masal\u0131n oda\u011f\u0131na ba\u011f\u0131\u015flama temas\u0131n\u0131 koyar ve masaldaki \u00fcvey annenin mutlak k\u00f6t\u00fcl\u00fc\u011f\u00fcn\u00fcn ancak babayla kar\u015f\u0131la\u015fmak suretiyle a\u015f\u0131labilece\u011fini vurgular. (\u00c7.N.)<\/p>\n

[8] Friedrich Schiller’in iki karde\u015fin rekabeti \u00fczerinden yasa ve \u00f6zg\u00fcrl\u00fck \u00e7at\u0131\u015fmas\u0131n\u0131 i\u015fledi\u011fi 1781 tarihli Haydutlar<\/em> dram\u0131nda, baba sevgisinden yoksun kald\u0131\u011f\u0131 i\u00e7in a\u011fabeyi Karl’a duydu\u011fu k\u0131skan\u00e7l\u0131k gitgide nefrete d\u00f6n\u00fc\u015fen karakter. (\u00c7.N.)<\/p>\n","protected":false},"excerpt":{"rendered":"

Walser’den hen\u00fcz sadece Jakob von Gunten’i okudum. \u0130kinci roman\u0131n ortalar\u0131nday\u0131m. Yazar\u0131n etraf\u0131ndaki haleye besledi\u011fim a\u015final\u0131k beni bir anda hakk\u0131nda yazanlar\u0131n metinlerine g\u00f6t\u00fcrd\u00fc. Jakob von Gunten’in arka kapa\u011f\u0131nda adam asmaca misali bo\u015f al\u0131nt\u0131larda ge\u00e7it yapan Alman ekol\u00fc yazarlar, Ben Lerner, Ferit Edg\u00fc ve Coetzee de bir halo etkisi yapm\u0131\u015f olsa gerek. Benjamin’in aslen Illuminationen’de yer alan … Continue reading Benjamin, Robert Walser<\/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":[33,31,252],"tags":[588,64],"class_list":["post-2851","post","type-post","status-publish","format-standard","hentry","category-alinti","category-deneme","category-yazin","tag-robert-walser","tag-walter-benjamin"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-JZ","jetpack-related-posts":[{"id":2839,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/13\/ozlu-walserle-tanisma\/","url_meta":{"origin":2851,"position":0},"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":[]},{"id":5072,"url":"https:\/\/yalpertem.com\/blog\/2022\/07\/03\/gurbuz-kiyamet-emeklisi-notlar-4\/","url_meta":{"origin":2851,"position":1},"title":"G\u00fcrb\u00fcz, K\u0131yamet Emeklisi | Notlar 4","author":"yalpertem","date":"3 July 2022","format":false,"excerpt":"[235-] Aziz'in kula\u011f\u0131ndaki ta\u015flar \u00e7\u0131kart\u0131lm\u0131\u015f, Kas\u0131m gelmi\u015f, 70'lerin sonlar\u0131nda olsak gerek. Baba'dan \"vakar\"l\u0131 g\u00f6r\u00fcnme \u00fcst\u00fcne bir \u00f6vg\u00fc al\u0131yor, vakar\u0131 olmasa da varm\u0131\u015f gibi yapmak iyidir diyor Baba (s. 236). Vakar'\u0131n ilk \u00e7a\u011f\u0131rd\u0131\u011f\u0131 Ishiguro'nun G\u00fcnden Kalanlar'\u0131. \u00c7ok \u00e7ok uzaklardan da olsa, o roman Aziz'e hayat\u0131n nas\u0131l ya\u015fanabilece\u011fine dair olumsuz bir \u00f6neri\u2026","rel":"","context":"In "genel"","block_context":{"text":"genel","link":"https:\/\/yalpertem.com\/blog\/category\/genel\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2810,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/13\/walser-jakob-von-gunten-dolasiyor\/","url_meta":{"origin":2851,"position":2},"title":"Walser, Jakob von Gunten Dola\u015f\u0131yor","author":"yalpertem","date":"13 November 2019","format":false,"excerpt":"Epeydir y\u00fcr\u00fcme metinleri ta\u015f\u0131m\u0131yordum buraya. Y\u00fcr\u00fcme edebiyat\u0131na ilgimi de iyiden yitirmi\u015fken Walser geri \u00e7a\u011f\u0131rd\u0131. Tramvay, otob\u00fcsler, iti\u015f kak\u0131\u015f... Metrob\u00fcs \u00f6ncesi kent kurgusu ve bakan insanlar. \" S\u0131k s\u0131k tek ba\u015f\u0131ma sokaklarda dola\u015fmaya \u00e7\u0131k\u0131yorum ve \u00e7ok vah\u015fi oldu\u011fu izlenimi uyand\u0131ran bir peri masal\u0131n\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131m\u0131z\u0131 d\u00fc\u015f\u00fcn\u00fcyorum. Nas\u0131l bir iti\u015f kak\u0131\u015f, nas\u0131l\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\/robert-walser-jakob-von-gunten-194x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2834,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/13\/sebald-walserin-ucuculugu\/","url_meta":{"origin":2851,"position":3},"title":"Sebald, Walser’in U\u00e7uculu\u011fu","author":"yalpertem","date":"13 November 2019","format":false,"excerpt":"Robert Walser'in hayat hik\u00e2yesinde b\u0131rakt\u0131\u011f\u0131 izler \u00f6yle silikti ki r\u00fczg\u00e2r onlar\u0131 az kals\u0131n al\u0131p g\u00f6t\u00fcrecekti. En az\u0131ndan 1913 bahar\u0131nda \u0130svi\u00e7re'ye d\u00f6nd\u00fc\u011f\u00fcnden beri, ger\u00e7ekteyse elbette ba\u015f\u0131ndan itibaren, d\u00fcnyaya pamuk ipli\u011fiyle ba\u011fl\u0131yd\u0131.","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\/w-g-sebald-k%C4%B1r-evinde-ikamet-192x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2949,"url":"https:\/\/yalpertem.com\/blog\/2019\/12\/12\/canetti-robert-walser-i\/","url_meta":{"origin":2851,"position":4},"title":"Canetti, Robert Walser (I)","author":"yalpertem","date":"12 December 2019","format":false,"excerpt":"D\u00fcnyaya beliren k\u00f6kensiz bir hayranl\u0131k, yazar\u0131n ve karakterlerinin kendilerini s\u00fcrekli d\u0131\u015far\u0131da hissetmeleri, imkans\u0131z fakat k\u0131s\u0131r d\u00f6ng\u00fcde bir inkarc\u0131l\u0131k, her t\u00fcr b\u00fcy\u00fckl\u00fckten ka\u00e7\u0131\u015f \u00e7izgileri, bir ak\u0131l hastanesi benzetmesi olarak 'modern manast\u0131r', kahramanlar\u0131n\u0131n s\u0131k an\u0131lan e\u015fsizli\u011fi ve yenili\u011fi (g\u00fczel bir tart\u0131\u015fma, daha \u00f6nceden olmayan neyi bulmu\u015f bu yazar?), Canetti'nin i\u00e7ten \u00f6yk\u00fcnmeleri 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\/12\/elias-canetti-edebiyat%C3%A7%C4%B1lar-%C3%BCzerine-206x300.png?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1857,"url":"https:\/\/yalpertem.com\/blog\/2018\/07\/08\/benjamin-okuma-sandigi\/","url_meta":{"origin":2851,"position":5},"title":"Benjamin, Okuma Sand\u0131\u011f\u0131","author":"yalpertem","date":"8 July 2018","format":false,"excerpt":"\" Unutulmu\u015fu bir daha asla tamamen geri getiremeyiz. B\u00f6ylesi de belki iyidir. Yoksa, onu yeniden elde etmenin \u015foku o kadar y\u0131k\u0131c\u0131 olurdu ki, hasretimizi anlama i\u015fini an\u0131nda b\u0131rakmam\u0131z gerekirdi. Oysa b\u00f6yle, anlar\u0131z hasreti, hem, unutulan \u015fey i\u00e7imize ne kadar g\u00f6m\u00fclm\u00fc\u015fse, o kadar iyi anlar\u0131z. Daha demin dilimizin ucunda olan kay\u0131p\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\/07\/walter-benjamin-bin-dokuz-y%C3%BCzlerin-ba%C5%9F%C4%B1nda-berlinde-%C3%A7ocukluk-191x300.png?resize=350%2C200","width":350,"height":200},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2851","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=2851"}],"version-history":[{"count":1,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2851\/revisions"}],"predecessor-version":[{"id":3021,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2851\/revisions\/3021"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=2851"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=2851"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=2851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}