{"id":3502,"date":"2020-05-19T23:21:13","date_gmt":"2020-05-19T20:21:13","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=3502"},"modified":"2023-02-12T02:47:18","modified_gmt":"2023-02-12T01:47:18","slug":"sebald-bilinmeyen-ulke-kafkanin-satosunda-olum-motifi-ceviri","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2020\/05\/19\/sebald-bilinmeyen-ulke-kafkanin-satosunda-olum-motifi-ceviri\/","title":{"rendered":"Sebald, Bilinmeyen \u00dclke: Kafka\u2019n\u0131n \u015eato\u2019sunda \u00d6l\u00fcm Motifi (\u00c7eviri)"},"content":{"rendered":"\r\n

W. G. Sebald’\u0131n 1972’de Kafka’n\u0131n \u015eato roman\u0131 \u00fczerine yazd\u0131\u011f\u0131 bir makaleyi \u00e7evirdim. Journal of European Studies’de yay\u0131mlanm\u0131\u015f<\/a>. Vertigo’dan 18 y\u0131l \u00f6nce. Kafka’n\u0131n edebiyat\u0131na genel bir bak\u0131\u015f\u0131n ard\u0131ndan temelde romandaki \u00f6l\u00fcm imgeleri ve Yahudi mesiyanizmi \u00fczerinden ilerliyor. Verdi\u011fi referanslar\u0131n eri\u015febildi\u011fim T\u00fcrk\u00e7e \u00e7evirilerini bulup onlar\u0131 kulland\u0131m. Birka\u00e7\u0131n\u0131 \u00fcst \u00fcste dizerek hat\u0131ra foto\u011fraf\u0131 \u00e7ektim. Sebald’\u0131n o zamanlarda makale formunda yazarken bile roman\u0131 katetme bi\u00e7imi, belli bir merkezi imge \u00fczerinden daireler \u00e7izi\u015fi ve kaynak\u00e7as\u0131 ileride yazacaklar\u0131na dair n\u00fcveler bar\u0131nd\u0131r\u0131yor. \u00c7eviri yapmay\u0131 bilmiyorum sadece sevdi\u011fim metinlere daha yak\u0131nla\u015fabilmek i\u00e7in \u00e7eviriyi deniyorum nadiren. O y\u00fczden hatalar\u0131m \u00e7oktur, okuyup da dikkatini \u00e7eken olursa l\u00fctfen iletsin, d\u00fczeltmeyi \u00e7ok isterim.<\/p>\r\n

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Bilinmeyen \u00dclke: Kafka\u2019n\u0131n \u015eato\u2019sunda \u00d6l\u00fcm Motifi[1]<\/a>
<\/strong>W. G. Sebald<\/strong><\/span><\/p>\r\n

\u00d6mr\u00fcn\u00fcn sonuna geldi\u011finde ya da bu sona yakla\u015ft\u0131\u011f\u0131nda, karanl\u0131k basarken, elinde bir sopa, bilmedi\u011fi yollara d\u00fc\u015fmek i\u00e7in miydi b\u00fct\u00fcn bunlar? Kocaman bir sopayd\u0131; ilerlerken destek almak, bir de gerekti\u011finde h\u0131rs\u0131zlardan, u\u011fursuzlardan, k\u00f6peklerden korunmak i\u00e7in kullan\u0131yordu onu. Evet, gece oluyordu ama adam masumdu, fevkalade masumdu, hi\u00e7bir \u015feyden korkmuyordu, hay\u0131r, korkuyordu ama korkmas\u0131 i\u00e7in bir neden yoktu, ona hi\u00e7bir \u015fey yapamazlard\u0131 ya da \u00e7ok az \u015fey yapabilirlerdi.<\/p>\r\n

Beckett, Molloy[2]<\/strong><\/a><\/em><\/p>\r\n

 <\/p>\r\n

Kafka\u2019n\u0131n eserlerinin p\u00fcr\u00fczs\u00fcz y\u00fczeyi, yorumcular\u0131n\u0131n onun derinliklerinden e\u015felemeyi ba\u015fard\u0131klar\u0131na ra\u011fmen bir muamma olarak kald\u0131. Y\u00fckselen ele\u015ftirilerin kar\u015f\u0131s\u0131nda kendi b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc korudu. Onun iletti\u011fi, denizci k\u0131yafetleri giymi\u015f, elinde parlak kara y\u00fcr\u00fcy\u00fc\u015f bastonu ve has\u0131r \u015fapkas\u0131, i\u00e7 karart\u0131c\u0131 egzotizmiyle Prag\u2019da bir foto\u011fraf st\u00fcdyosuna s\u00fcr\u00fcklenmi\u015f be\u015f ya\u015f\u0131ndaki bir \u00e7ocu\u011fun sonsuz kasvetli bak\u0131\u015f\u0131d\u0131r. Ele\u015ftirmenler tuhaf bir bi\u00e7imde bu bak\u0131\u015fla uzla\u015fmay\u0131 ba\u015faramad\u0131, Kafka\u2019n\u0131n \u00f6zlemini, k\u00fclliyat\u0131n\u0131 ku\u015fatan ve \u0131srarc\u0131l\u0131\u011f\u0131 kadar zamans\u0131zl\u0131\u011f\u0131yla da sald\u0131ran melankolisini a\u00e7\u0131\u011fa vuran \u00f6l\u00fcm\u00fcn korkutucu imgelerini g\u00f6rmezden geldi. \u00d6l\u00fcme ilerleyen hastal\u0131k, intiharla tasfiye edilmedik\u00e7e, toplum nezdinde daima \u015f\u00fcpheleri \u00fczerine \u00e7ekti. Bu y\u00fczden g\u00f6rmezden gelindi, bunun yerine Kafka\u2019n\u0131n k\u00fclliyat\u0131ndan olumlu anlamlar \u00e7ekip al\u0131nmaya \u00e7al\u0131\u015f\u0131ld\u0131\u2014gerekti\u011fi takdirde, varolu\u015f\u00e7u bir tersine \u00e7evirme ruhuyla, \u00f6zg\u00fcrl\u00fc\u011f\u00fcn bizzat u\u011fra\u015f\u0131n abs\u00fcrtl\u00fc\u011f\u00fcnden ileri geldi\u011fi s\u00f6ylendi. Kafka\u2019n\u0131n deneyimlemi\u015f olabilece\u011fi her t\u00fcr mutlulu\u011fu bir fiziksel bozuklukmu\u015f\u00e7as\u0131na saklamay\u0131 kendi zorunlulu\u011fu hissedi\u015fi besbelli olsa da, bu gibi yorumlar bu ger\u00e7e\u011fe kar\u015f\u0131 koymay\u0131 denediler. K.\u2019n\u0131n \u00f6l\u00fcm arzusuna olumlu bir yorum yap\u0131labilse bu toplum i\u00e7in bir g\u00fcnah \u00e7\u0131karma anlam\u0131na gelirdi, \u00e7\u00fcnk\u00fc bu amans\u0131z, k\u00f6kl\u00fc arzuyu en ba\u015f\u0131nda ona a\u015f\u0131layan toplumdu ve \u00f6l\u00fcm\u2014en az\u0131ndan genel varsay\u0131ma g\u00f6re\u2014kurtulu\u015fun tek anahtar\u0131yd\u0131.<\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Hik\u00e2yenin sonlar\u0131na do\u011fru K., Herrenhof\u2019taki hanc\u0131 kad\u0131nla s\u00f6yle\u015fir. \u201c\u2018Terzilik \u00f6\u011frenmedin mi sen hi\u00e7?\u2019\u00a0 diye sordu hanc\u0131 kad\u0131n. K. \u2018Hay\u0131r, hi\u00e7,\u2019 dedi. \u2018Sen nesin ki asl\u0131nda?\u2019 \u2018Kadastrocu.\u2019 \u2018O<\/em> nedir?\u2019. K. a\u00e7\u0131klad\u0131, a\u00e7\u0131klama kad\u0131n\u0131n esnemesine yol a\u00e7t\u0131. \u2018Hakikati s\u00f6ylemiyorsun. Ni\u00e7in hakikati s\u00f6ylemiyorsun?\u2019 \u2018Sen de s\u00f6ylemiyorsun.\u2019\u201d[3]<\/a> O halde bilirki\u015fi de\u011fildir, iddias\u0131n\u0131 do\u011frulayacak hi\u00e7bir \u015feyi yoktur, yaln\u0131zca bir avaredir, en ba\u015f\u0131ndan \u201cufac\u0131k bir s\u0131rt \u00e7antas\u0131\u201d ve \u201cbo\u011fumlu bir baston\u201d[4]<\/a> ile beliren bir fig\u00fcr. Psikanaliz yolculu\u011fun ya da t\u0131rman\u0131\u015f\u0131n imgesini bir \u00f6l\u00fcm sembol\u00fc olarak tan\u0131mlar, Adorno da Schubert\u2019in iki m\u00fcthi\u015f dizisinin d\u00f6ng\u00fcsel d\u00fczenlemesini \u015f\u00f6yle betimler: \u201c\u0130ki b\u00fcy\u00fck Lied<\/em> dizisinin de, \u00f6l\u00fcm imgeleriyle y\u00fcz y\u00fcze gelen ve onlar\u0131n aras\u0131nda Dreim\u00e4derlhaus<\/em>\u2019taki Schubert gibi k\u00fc\u00e7\u00fclerek gezinip duran insan\u0131 konu alan \u015fiirleri temel ald\u0131\u011f\u0131n\u0131 hi\u00e7 unutmayal\u0131m. Bir r\u00fcyadaym\u0131\u015f gibi yalanc\u0131 g\u00fcne\u015flerin alacakaranl\u0131\u011f\u0131nda zaman\u0131n d\u0131\u015f\u0131na do\u011fru uzanan dere, de\u011firmen ve k\u0131\u015f\u0131n karanl\u0131k \u0131ss\u0131zl\u0131\u011f\u0131, bunlar\u0131n hepsi Schubert\u2019in manzaras\u0131n\u0131n alametleridir, kurumu\u015f \u00e7i\u00e7ekler manzaran\u0131n matem tutan s\u00fcsleridir.\u201d[5]<\/a> Bir ba\u015fka Alman \u015fairin Orta \u00c7a\u011f sonlar\u0131na do\u011fru \u00f6l\u00fcmle and\u0131\u011f\u0131 kahverengi bohem d\u00fcnya[6]<\/a> \u015eato\u2019yu da sarar. Klaus Wagenbach\u2019\u0131n derledi\u011fi resimlerin g\u00f6sterdi\u011fi \u00fczere, Kafka da bir rahatlama kayna\u011f\u0131 olarak, manzaras\u0131na organik do\u011fan\u0131n a\u00e7\u0131k ye\u015filini d\u00e2hil etmekten imtina ederdi. Zemin don ve karla kapl\u0131d\u0131r, cans\u0131z-ya\u015fam, her t\u00fcrl\u00fc yeniden do\u011fma umudunu olanaks\u0131zla\u015ft\u0131ran bir nat\u00fcrmort; bu durum Pepi\u2019nin k\u0131\u015f\u0131n \u00e7ok uzun s\u00fcrd\u00fc\u011f\u00fcn\u00fc, \u00f6yle uzun ki belle\u011finde ilkbahar ve yaz ancak iki \u00fc\u00e7 g\u00fcnl\u00fc\u011f\u00fcne belirir, anlatt\u0131\u011f\u0131 b\u00f6l\u00fcmlerde peki\u015ftirilir, \u201c\u00fcstelik o g\u00fcnlerde bile, en g\u00fczel g\u00fcnde bile, arada kar ya\u011fd\u0131\u011f\u0131 olur.\u201d[7]<\/a> K. s\u0131kl\u0131kla b\u00f6ylesi bir manzaran\u0131n kar\u015f\u0131s\u0131nda herhangi bir ilerleme kaydetmenin zorlu\u011fundan \u015fik\u00e2yet eder. Tekd\u00fczeli\u011fin de \u00fcst\u00fcne binmesiyle, bunu a\u015fmaya \u00e7al\u0131\u015fan aylak s\u00fcrekli kendi ayak izlerine geri d\u00f6ner. \u201cHer noktan\u0131n merkeze e\u015fit uzakl\u0131kta oldu\u011fu bu manzaran\u0131n d\u0131\u015fmerkezli yap\u0131s\u0131, asl\u0131nda hi\u00e7bir ilerleme kaydetmeden onun i\u00e7inde dolan\u0131p duran gezgine if\u015fa eder kendini: buradaki b\u00fct\u00fcn geli\u015fmeler geli\u015fmenin tam aksidir, ilk ad\u0131m son ad\u0131m kadar yak\u0131nd\u0131r \u00f6l\u00fcme ve manzaran\u0131n i\u00e7inde d\u00f6n\u00fcp durarak etrafa da\u011f\u0131lm\u0131\u015f b\u00fct\u00fcn noktalar\u0131n\u0131 k\u00f6\u015fe bucak arar, onu terk etmez. \u00c7\u00fcnk\u00fc Schubert\u2019in temalar\u0131 da t\u0131pk\u0131 de\u011firmenci ya da k\u0131\u015f vaktinde a\u015f\u0131\u011f\u0131n\u0131 terk eden ki\u015fi gibi gezinir durur. Bu temalarda tarih yoktur, sadece perspektif de\u011fi\u015ftirerek gezinme vard\u0131r: bu temalardaki her de\u011fi\u015fim, \u0131\u015f\u0131ktaki bir de\u011fi\u015fimdir\u201d.[8]<\/a> Kafka\u2019n\u0131n arzusunun geometrik yerle\u015fiminde ahenklili\u011fi a\u00e7\u0131k\u00e7a d\u0131\u015flayan ortam \u00fczerine, Adorno\u2019nun Schubert\u2019in eserlerinin yap\u0131s\u0131na dair sat\u0131rlar\u0131ndan daha uygun bir betimleme zor bulunur. K.\u2019n\u0131n \u2018geli\u015fimini\u2019 tart\u0131\u015fmak kula\u011fa \u00e7ok korkun\u00e7 gelir, K. kitab\u0131n ilk b\u00f6l\u00fcm\u00fcnde dere boyunca ah\u015fap k\u00f6pr\u00fcy\u00fc ge\u00e7ip \u015eato\u2019nun sahas\u0131n\u0131 ihlal etti\u011fi s\u0131rada \u201chuzur nedir bilmeksizin gezinen, ama tarihten yoksun ruhlara benzer\u201d.[9]<\/a> \u00d6l\u00fc manzaran\u0131n kalabal\u0131kl\u0131\u011f\u0131, k\u0131zaklar\u0131n ve davac\u0131lar\u0131n oradan oraya tekrarlayan hareketleri, \u00f6l\u00fcm\u00fcn sahas\u0131nda bir \u00e7e\u015fit ama\u00e7 elde etmek i\u00e7in her giri\u015fim devasa bir beyhudeli\u011fin izlerini ta\u015f\u0131r. Halk bilgisi de bilinmeyen \u00fclkede \u00f6nce \u00fc\u00e7 ad\u0131m ileri, sonra da \u00fc\u00e7 ad\u0131m geri at\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yler.[10]<\/a> Cesaret Ana<\/em>\u2019n\u0131n Berliner Ensemble yap\u0131m\u0131nda kahraman d\u00f6nmekte olan sahne \u00fczerinde \u0130mparatorlu\u011fun y\u0131k\u0131ma u\u011fram\u0131\u015f topraklar\u0131na do\u011fru y\u00fcr\u00fcrken durumunun de\u011fi\u015fmesine dair umutlar\u0131n\u0131 t\u00fcketmi\u015fti. K. da, \u015eato\u2019ya \u0131srarla girmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 ilk denemesinde d\u0131\u015far\u0131dan uygulanan bir kuvvetle ilerleme iradesinin felce u\u011fray\u0131\u015f\u0131n\u0131 deneyimler. \u201cSonunda onu b\u0131rakmayan bu sokaktan kopup ayr\u0131ld\u0131, dar bir ara sokak \u00e7ekti onu, daha derin bir kara bat\u0131rd\u0131, kara dalan ayaklar\u0131n\u0131 geri \u00e7\u0131karmak a\u011f\u0131r bir i\u015fti, ter bo\u015fand\u0131, birden duruverdi, daha fazla ilerleyemiyordu.\u201d[11]<\/a> Kierkegaard kendi teleolojisine kar\u015f\u0131 y\u00f6nelen bu ilerleyi\u015fin g\u00fcl\u00fcn\u00e7 bir muadilini Berlin\u2019deki eski Friedrichst\u00e4dter Tiyatrosu ve Beckmann ad\u0131ndaki komedyenden bahsetti\u011fi bir pasajda betimler:<\/p>\r\n

Sadece y\u00fcr\u00fcmeyi de\u011fil, y\u00fcr\u00fcyerek gelmeyi de ba\u015far\u0131yor. Y\u00fcr\u00fcyerek gelmek olduk\u00e7a ay\u0131rt edici bir \u00f6zelliktir ve bu deha sayesinde b\u00fct\u00fcn bir sahne dekorunu da do\u011fa\u00e7lama bir \u015fekilde \u00fcretiyor. Sadece gezgin bir zanaatk\u00e2r\u0131 betimlemekle kalm\u0131yor, ayn\u0131 zamanda \u00f6yleymi\u015f gibi y\u00fcr\u00fcyor ve bunu \u00f6yle bir bi\u00e7imde yap\u0131yor ki izleyici her \u015feyi deneyimliyor, tozlu anayoldan g\u00fcl\u00fcmseyen k\u00fc\u00e7\u00fck k\u00f6y\u00fc inceliyor, onun sessiz g\u00fcr\u00fclt\u00fcs\u00fcn\u00fc duyuyor, nalband\u0131n oradan d\u00f6nerken k\u00f6ydeki g\u00f6letten a\u015fa\u011f\u0131ya inen patikay\u0131 g\u00f6r\u00fcyor\u2014o esnada biz de s\u0131rt\u0131nda boh\u00e7as\u0131, elinde sopas\u0131, tasas\u0131z ve korkusuz y\u00fcr\u00fcyen Beckman\u2019\u0131 g\u00f6r\u00fcyoruz. Kimsenin g\u00f6rmedi\u011fi ha\u015far\u0131 \u00e7ocuklar taraf\u0131ndan takip edilirken sahneye \u00e7\u0131kabiliyor.[12]<\/a><\/p>\r\n

Adorno bu pasaj\u0131 Chaplin \u00fczerine yazd\u0131\u011f\u0131 bir denemede al\u0131nt\u0131l\u0131yor. Karl Rossman\u2019\u0131n maceralar\u0131n\u0131n ve Kafka\u2019n\u0131n kendi foto\u011fraflar\u0131n\u0131n bize hat\u0131rlatt\u0131\u011f\u0131\u2014kendi tela\u015f\u0131yla ba\u015f\u0131 dertte olan\u2014modern e\u011flencenin kahraman\u0131 olan Chaplin. Kafka\u2019n\u0131n Janouch\u2019a \u201cihmal edilmi\u015f gen\u00e7li\u011fin b\u00fcy\u00fcl\u00fc feneri\u201d[13]<\/a> diye anlatt\u0131\u011f\u0131, ihmal edilmi\u015f gen\u00e7li\u011fin ona vakitsiz bir \u00f6l\u00fcm gibi g\u00f6r\u00fcnd\u00fc\u011f\u00fc Chaplin.<\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00d6l\u00fcm\u00fcn imgesel manzaras\u0131 olan \u015eato\u2019nun kendisi hakk\u0131nda \u00e7ok az bilgi ediniriz. Yine de hik\u00e2yenin ilerleyi\u015findeki imgeler onun do\u011fas\u0131na dair belli sonu\u00e7lar\u0131 \u00e7\u0131karmam\u0131z\u0131 sa\u011flar. \u0130lk olarak bitkin K.\u2019y\u0131 yasak uykusundan uyand\u0131ran Schwarzer var. \u0130smi[14]<\/a> \u015eato\u2019da bask\u0131n olan renklere; ahaliye, bir \u00e7e\u015fit \u00fcniforma olarak siyah dar k\u0131yafetler giyen yard\u0131mc\u0131lara dikkatimizi \u00e7eker. Yine de yard\u0131mc\u0131lar yer yer g\u00f6sterdikleri y\u0131l\u0131\u015f\u0131k canl\u0131l\u0131klar\u0131na ra\u011fmen tam anlam\u0131yla ya\u015f\u0131yor gibi g\u00f6r\u00fcnmezler. Artur efendisine dair bir \u015fik\u00e2yeti arz etmek i\u00e7in \u015eato\u2019ya d\u00f6nd\u00fc\u011f\u00fc s\u0131rada, geride kalan Jeremias\u2019ta ona tiksinti veren \u015feyin ne oldu\u011funun ilk kez fark\u0131na var\u0131r\u2014\u201cbazen tam anlam\u0131yla canl\u0131 de\u011filmi\u015f izlenimi uyand\u0131ran \u015fu et par\u00e7as\u0131\u201d[15]<\/a>. K\u0131sa s\u00fcre sonra Jeremias\u2019\u0131n g\u00f6r\u00fcn\u00fc\u015f\u00fc tekinsiz \u015f\u00fcphesini do\u011frular:<\/p>\r\n

O haliyle, sa\u00e7lar\u0131 yoluk yoluk, seyrek b\u0131y\u0131klar\u0131 ya\u011fmurdan \u0131slanm\u0131\u015f gibi, g\u00f6zleri yalvaran ve tarizk\u00e2r bir ifadeyle zor zahmet kocaman a\u00e7\u0131lm\u0131\u015f, esmer yanaklar\u0131 k\u0131zarm\u0131\u015f ama gev\u015fek bir ettenmi\u015f\u00e7esine sark\u0131k, \u00e7\u0131plak bacaklar\u0131 so\u011fuktan titrer\u2014\u00f6yle ki \u015fal\u0131n uzun p\u00fcsk\u00fcllerini de titretir\u2014vaziyette duru\u015fuyla, hastaneden ka\u00e7m\u0131\u015f bir hastaya benziyordu, insan ona bak\u0131nca tekrar yata\u011fa g\u00f6t\u00fcrmekten ba\u015fka hi\u00e7bir \u015fey d\u00fc\u015f\u00fcnemezdi.[16]<\/a><\/p>\r\n

Darmada\u011f\u0131n\u0131k sa\u00e7lar, \u0131slak sakallar, g\u00fc\u00e7l\u00fckle a\u00e7\u0131k tutulan g\u00f6zler, gev\u015fek et\u2014sanki Jeremias bir \u00e7\u00fcr\u00fcme evresindedir, mezardan ka\u00e7m\u0131\u015f bir ceset. Sonu\u00e7ta, \u2018yatak\u2019 ve \u2018uyku\u2019 genelde \u00f6l\u00fcm durumunu ikame eder, burada da ba\u015fka edebi metinlerde de. Frieda K.\u2019n\u0131n casus deli\u011finden Klamm\u2019\u0131n odas\u0131n\u0131 dikizlemesine izin verdi\u011finde Klamm tamamen sabit, masada oturuyordur. Tek canl\u0131l\u0131k belirtisi hareketsiz elinde t\u00fcten purosu ve\u2014insan\u0131n en ya\u015famsal par\u00e7as\u0131 olan\u2014g\u00f6zlerini kapatan par\u0131lt\u0131l\u0131 kelebek g\u00f6zl\u00fc\u011f\u00fcd\u00fcr. Hemen ard\u0131ndan K. Klamm\u2019\u0131n yard\u0131mc\u0131lar\u0131n kabal\u0131klar\u0131ndan rahats\u0131z olup olmad\u0131\u011f\u0131n\u0131 merak eder. \u201c\u2018Hay\u0131r,\u2019 dedi Frieda. \u2018Uyuyor.\u2019\u2014K. \u2018Nas\u0131l?\u2019 diye hayk\u0131rd\u0131. \u2018Uyuyor mu? Odada onu g\u00f6rd\u00fc\u011f\u00fcmde uyan\u0131kt\u0131, masa ba\u015f\u0131nda oturuyordu.\u2019 \u2018H\u00e2l\u00e2 \u00f6yle oturuyor,\u2019 dedi Frieda, \u2018siz onu g\u00f6rd\u00fc\u011f\u00fcn\u00fczde de uyuyordu. Yoksa i\u00e7eri bakman\u0131za izin verir miydim? Onun uyurkenki duru\u015fu b\u00f6yledir, beyler \u00e7ok uyurlar. . .\u2019\u201d[17]<\/a> Uyku \u00f6l\u00fcm\u00fcn karde\u015fidir, \u015eato\u2019nun sakinlerince \u0131srarla i\u015flenip geli\u015ftirilir. Bir duru\u015fmaya kat\u0131lmak i\u00e7in b\u00fcroyu terk ettiklerinde ak\u015fam uyumay\u0131 tercih ederler ve kendilerini yata\u011fa t\u0131pk\u0131 B\u00fcrgel gibi yerle\u015ftirirler, bu K.\u2019n\u0131n tutkulu bir \u015fekilde, hasretle d\u00f6nmek istedi\u011fi regresif varolu\u015f imgesidir. B\u00fcrgel vaktinin \u00e7o\u011funu yatakta ge\u00e7irir, yaz\u0131\u015fmalar\u0131yla yatakta ilgilenir, davac\u0131lar\u0131n soru\u015fturmalar\u0131n\u0131 yatakta yapar. Di\u011fer memurlar\u0131n aksine B\u00fcrgel insomnia rahats\u0131zl\u0131\u011f\u0131ndan mustariptir. K. da uykusuz bir ruhtur. B\u00fcrgel\u2019in ona bir \u00e7\u0131k\u0131\u015f yolu g\u00f6stermeye hevesli olmas\u0131n\u0131n ve hatta g\u00f6sterebilmesinin sebebi bu olabilir. Fakat K., dayan\u0131lmaz bitkinli\u011fine yenik d\u00fc\u015ferek ayd\u0131nlanma f\u0131rsat\u0131 i\u00e7in hakk\u0131n\u0131 kaybeder, t\u0131pk\u0131 Yidi\u015f hik\u00e2yesinde mah\u015fer g\u00fcn\u00fc uyuyakalan karakter gibi. K.\u2019n\u0131n Olga\u2019n\u0131n hik\u00e2yesi dolay\u0131s\u0131yla kar\u015f\u0131la\u015ft\u0131\u011f\u0131 Sortini de bir \u00f6l\u00fcm habercisidir. Klamm gibi ya\u015fland\u0131k\u00e7a \u015fi\u015fmi\u015f ya da B\u00fcrgel gibi bebek y\u00fczl\u00fc olan memurlardan de\u011fil: onun \u00f6zellikleri daha farkl\u0131. Olga onu k\u0131sa boylu, zay\u0131f, dalg\u0131n birisi olarak betimler ve devam eder \u201conu fark edebilmi\u015f olan herkesin dikkatini \u00e7eken \u015fey, aln\u0131n\u0131n k\u0131r\u0131\u015fma tarz\u0131yd\u0131, zira b\u00fct\u00fcn k\u0131r\u0131\u015f\u0131kl\u0131klar\u2014ki ya\u015f\u0131 kesinlikle k\u0131rktan fazla olmamas\u0131na ra\u011fmen \u00e7ok fazla k\u0131r\u0131\u015f\u0131\u011f\u0131 vard\u0131\u2014dosdo\u011fru aln\u0131ndan burun k\u00f6k\u00fcne kadar yelpaze gibi yay\u0131l\u0131yorlard\u0131, b\u00f6yle bir \u015feyi hi\u00e7 g\u00f6rmedim.\u201d[18]<\/a> Olga\u2019n\u0131n burada betimledi\u011fi fizyonomi kolayl\u0131kla b\u00fcz\u00fclme s\u00fcrecinde bozulan bir mumyay\u0131 hat\u0131rlat\u0131r. Yine de yabani Sortini\u2019yi bir \u00f6l\u00fcm el\u00e7isi yapan tek \u015fey bu de\u011fil, gelin gibi s\u00fcslenmi\u015f Amalia\u2019ya yakla\u015fmak i\u00e7in, masa ba\u015f\u0131 i\u015fi y\u00fcz\u00fcnden tutulmu\u015f bacaklar\u0131yla itfaiye pompas\u0131n\u0131n \u00fczerinden atlad\u0131\u011f\u0131 sahne de var. Politzer, Sortini\u2019nin Amalia\u2019yla tan\u0131\u015ft\u0131\u011f\u0131 itfaiye partisini bahar ayini [sacre du printemps<\/em>] olarak anar fakat bu ayinle \u00f6l\u00fcm aras\u0131ndaki arketipik yak\u0131nl\u0131\u011fa dikkat \u00e7ekmeyi ihmal eder, hizmet\u00e7i k\u0131zlar\u0131n kurban verme \u015f\u00f6lenini saran \u00f6l\u00fcm sembolizminin bir yaz\u0131nsal topos<\/em> oldu\u011fu s\u00f6ylenebilir. \u00d6rne\u011fin Adrian Leverk\u00fchn k\u0131z karde\u015finin d\u00fc\u011f\u00fcn\u00fcnde \u201cbek\u00e2retin beyaz kefeni, \u00f6l\u00fclerin saten terlikleri\u201dnin[19]<\/a> kullan\u0131lmas\u0131yla bir bask\u0131lanma ya\u015fam\u0131\u015ft\u0131r. Amalia da itfaiyecilerin e\u011flencesine t\u0131pk\u0131 bu \u015fekilde haz\u0131rlan\u0131r. \u201c\u00d6zellikle Amalia\u2019n\u0131n elbisesi g\u00fczeldi\u201d, diye anlat\u0131r Olga, \u201cbeyaz bluzu s\u0131ra s\u0131ra dantelalarla iyice kabarm\u0131\u015ft\u0131, anne dantelalar\u0131 bunun i\u00e7in \u00f6d\u00fcn\u00e7 alm\u0131\u015ft\u0131\u201d[20]<\/a>. Olga sonras\u0131nda Bohemya lal ta\u015f\u0131ndan kolyeyi anlat\u0131r ve babas\u0131n\u0131n \u201cBug\u00fcn Amalia\u2019ya bir k\u0131smet \u00e7\u0131kar, bu dedi\u011fimi hat\u0131rlay\u0131n\u201d[21]<\/a> s\u00f6z\u00fcn\u00fc aktar\u0131r. Fakat Amalia Sortini\u2019nin yakla\u015fma \u00e7abalar\u0131n\u0131 reddeder, bahar ayininin zoraki hali ve i\u00e7ine do\u011fan daha m\u00fcphem duygularla birlikte, arzular\u0131n\u0131 yat\u0131\u015ft\u0131rabilecek herhangi bir \u015feyle kar\u015f\u0131la\u015famamak onu tela\u015fland\u0131r\u0131r. \u00d6zg\u00fcrce bir sevi\u015fmeyi an\u0131\u015ft\u0131ran bereketli manzaraya dair hi\u00e7bir i\u015faret yoktur, bahar mevsimini g\u00f6steren bir ifade olarak ancak kuru bir tarih g\u00f6z\u00fcm\u00fcze ili\u015fir, 3 Temmuz, bir de e\u011flencenin ortas\u0131nda duran yang\u0131n s\u00f6nd\u00fcr\u00fcc\u00fc \u015feklindeki mekanik yarat\u0131k. Bu sebeple, Amalia ertesi g\u00fcn Sortini\u2019den gelen mektuptaki daveti reddeder, Olga\u2019ya g\u00f6re, bak\u0131r levhaya el yaz\u0131s\u0131yla yaz\u0131lm\u0131\u015f pornografik bir dok\u00fcmand\u0131r bu. Ve bu olay ailesine musallat olacak laneti \u00e7a\u011f\u0131r\u0131r. O andan itibaren babas\u0131 her g\u00fcn \u015fatonun ya da mezarl\u0131\u011f\u0131n giri\u015fine do\u011fru a\u011f\u0131r ad\u0131mlarla y\u00fcr\u00fcr, niyeti yoldan k\u0131zaklar\u0131yla ge\u00e7en ahalinin dikkatini \u00fczerine ve ailesinin \u00fcz\u00fcc\u00fc yazg\u0131s\u0131na \u00e7ekmektir.<\/p>\r\n

En iyi k\u0131yafetiyle\u2014ki tek k\u0131yafeti olacakt\u0131r \u00e7ok ge\u00e7meden\u2014, her sabah hay\u0131r dualar\u0131m\u0131zla evden \u00e7\u0131kar. Asl\u0131nda usuls\u00fczce al\u0131koydu\u011fu k\u00fc\u00e7\u00fck itfaiye rozetini yan\u0131na al\u0131r, k\u00f6y\u00fcn d\u0131\u015f\u0131nda takar onu yakas\u0131na \u2026 \u015eatonun giri\u015fine \u00e7ok uzak olmayan bir bostan vard\u0131r, Bertuch diye birine aittir, \u015fatoya sebze tedarik eder. Baba i\u015fte orada, bostan\u0131n parmakl\u0131klar\u0131n\u0131n alt\u0131ndaki ta\u015f duvar\u0131n \u00fczerine yerle\u015fti.[22]<\/a><\/p>\r\n

\u00c7ok ge\u00e7meden tek k\u0131yafeti olacak en iyi k\u0131yafet, ailesinin dualar\u0131, k\u00fc\u00e7\u00fck rozet, bostan, sahibinin ad\u0131 ve dar ta\u015f duvar, t\u00fcm bunlar\u2014e\u011fer bu ger\u00e7ek\u00fcst\u00fc d\u00fc\u015fsel imgeleri rasyonel kavramlara d\u00f6n\u00fc\u015ft\u00fcr\u00fcrsek\u2014cenazeleri ve mezarl\u0131klar\u0131 hat\u0131rlat\u0131r. Hemen sonras\u0131nda e\u015finin de bu gezintilerde babay\u0131 takip etmeye ba\u015flamas\u0131 bu manzaraya ya\u015fl\u0131 \u00e7iftin \u00f6l\u00fcm\u00fcn\u00fc ekler. Olga \u201cS\u0131k s\u0131k yanlar\u0131na gidiyor, yemek g\u00f6t\u00fcr\u00fcyor ya da sadece ziyaret ediyor veya eve d\u00f6nmeye ikna etmeye \u00e7al\u0131\u015f\u0131yorduk\u201d[23]<\/a> diye aktard\u0131\u011f\u0131nda bahsetti\u011fi mezarl\u0131k ve mezar ba\u015f\u0131 ziyaretinin deneysel e\u015fde\u011feridir; ba\u015f\u0131bo\u015f dola\u015fan ruhlara yemek b\u0131rakmak, takdis olunmu\u015f suyun serpilmesiyle hala s\u00fcrd\u00fcr\u00fclmekte olan bir gelenektir. Asl\u0131nda merhumu eve d\u00f6nmeye ikna etme \u00e7abas\u0131, bir Polonya seyahatinde Var\u015fova\u2019daki Yahudi mezarl\u0131\u011f\u0131n\u0131 Kefaret G\u00fcn\u00fc ak\u015fam\u0131nda ziyaret eden D\u00f6blin[24]<\/a> \u00fczerinde b\u00fcy\u00fck bir etki uyand\u0131ran, arkaik bir tortudur. Evde, ayn\u0131 zamanda, anne ve babas\u0131 kat\u0131 ve aciz bedenlerini b\u0131rakm\u0131\u015flard\u0131r, Amalia onlar\u0131 giydirir ve soyar, yata\u011fa yat\u0131r\u0131r ve besler, t\u0131pk\u0131 Oyun Sonu<\/em>\u2019ndaki Nag ve Nell gibi.<\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 K. \u015fatoya ula\u015fmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131nda, k\u00f6yde kald\u0131\u011f\u0131 g\u00fcnlerin ba\u015f\u0131nda iki defa denemi\u015ftir, zihninde istemsizce ev imajlar\u0131 belirir. \u0130lk denemesinde, ki bu deneme Lasemann\u2019\u0131n evinde yeniden haz\u0131rlanma sahnesiyle sonlan\u0131r, \u015fatoyla kendi b\u00fcy\u00fcd\u00fc\u011f\u00fc k\u00fc\u00e7\u00fck kasaban\u0131n aras\u0131ndaki benzerli\u011fe \u015fa\u015f\u0131r\u0131r, \u015fatoya do\u011fru gitmek yerine eve d\u00f6nmek daha iyi olmaz m\u0131yd\u0131 diye d\u00fc\u015f\u00fcn\u00fcr. Barnabas\u2019la kol kola y\u00fcr\u00fcrken \u015fatoya yakla\u015ft\u0131\u011f\u0131na inand\u0131\u011f\u0131 ikinci seferinde yine bir ev hat\u0131ras\u0131 akl\u0131na gelir.<\/p>\r\n

Y\u00fcr\u00fcyorlard\u0131 fakat K. nereye do\u011fru y\u00fcr\u00fcd\u00fcklerini bilmiyordu; hi\u00e7bir \u015feyi ay\u0131rt edemiyordu. Kiliseyi ge\u00e7tiler mi, onu bile bilmiyordu, sadece y\u00fcr\u00fcmeye hasretti\u011fi gayretten \u00f6t\u00fcr\u00fc, d\u00fc\u015f\u00fcncelerine h\u00e2kim olam\u0131yordu. Hedefe y\u00f6neleceklerine, yollar\u0131n\u0131 \u015fa\u015f\u0131rd\u0131lar. Habire memleketi beliriyordu g\u00f6z\u00fcn\u00fcn \u00f6n\u00fcnde, oraya dair hat\u0131ralar zihnini dolduruyordu. Orada da ana meydanda bir kilise vard\u0131, etraf\u0131 k\u0131smen eski bir mezarl\u0131k taraf\u0131ndan \u00e7evriliydi, mezar\u0131n etraf\u0131nda da y\u00fcksek bir duvar dikilirdi. Bu duvara t\u0131rmanabilen \u00e7ok az say\u0131da o\u011flan vard\u0131, K. da hen\u00fcz ba\u015faramam\u0131\u015ft\u0131 bunu. Onlar\u0131 buna iten, merak de\u011fildi, mezarl\u0131k onlar i\u00e7in art\u0131k bir s\u0131r ta\u015f\u0131m\u0131yordu. K\u00fc\u00e7\u00fck parmakl\u0131kl\u0131 kap\u0131s\u0131ndan ka\u00e7 defa i\u00e7eri girmi\u015flerdi, yaln\u0131zca \u015fu d\u00fcz, y\u00fcksek duvar\u0131 alt etmek istiyordu. Bir \u00f6\u011fleden \u00f6nce\u2014sessiz bo\u015f meydan \u0131\u015f\u0131k seli alt\u0131ndayd\u0131, K. oray\u0131 evvelinde veya sonras\u0131nda bir daha ne zaman b\u00f6yle g\u00f6rm\u00fc\u015ft\u00fc ki?\u2014\u015fa\u015f\u0131rt\u0131c\u0131 bir kolayl\u0131kla ba\u015fard\u0131 bunu; di\u015flerinin aras\u0131nda ufak bir bayrakla, daha \u00f6nce defalarca geri \u00e7evrildi\u011fi bir yerinden duvara ilk seferde t\u0131rman\u0131verdi. Ufak ta\u015flar h\u00e2l\u00e2 p\u0131t\u0131r p\u0131t\u0131r d\u00f6k\u00fcl\u00fcrken, o yukar\u0131 varm\u0131\u015ft\u0131 bile. Bayra\u011f\u0131 tutturdu, bez r\u00fczg\u00e2rda a\u00e7\u0131larak gerildi, a\u015fa\u011f\u0131y\u0131 ve \u00e7evreyi g\u00f6zden ge\u00e7irdi, topra\u011fa g\u00f6m\u00fclm\u00fc\u015f ha\u00e7lara da bakt\u0131 omzunun \u00fczerinden; \u015fimdi, burada, ondan b\u00fcy\u00fc\u011f\u00fc yoktu.[25]<\/a><\/p>\r\n

T\u0131pk\u0131 \u00f6l\u00fcm\u00fcn daima insanl\u0131\u011f\u0131n ikinci evi olarak g\u00f6r\u00fclmesi gibi, \u015fatoya giden yolda K.\u2019n\u0131n hayalinde ilk yuvas\u0131na dair imajlar u\u00e7u\u015fur. Buna ek olarak, Adorno\u2019da bize hat\u0131rlatt\u0131\u011f\u0131 \u00fczere Schubert de \u201cmerkezinde \u2018b\u00fct\u00fcn d\u00fc\u015flerimi ard\u0131mda b\u0131rakt\u0131m\u2019 c\u00fcmlesinin bulundu\u011fu dizide, karanl\u0131k bir \u00f6nseziyle, \u2018otel\u2019 s\u00f6z\u00fcn\u00fc sadece mezarl\u0131k i\u00e7in ge\u00e7erli bir kavram haline getirir\u201d.[26]<\/a> B\u00f6ylesi bir kavram\u0131n \u00f6nemi K.\u2019n\u0131n duvara t\u0131rmanma an\u0131s\u0131ndan anla\u015f\u0131labilir. Kaba bir psikolojik yorumun, bayrak dikme ve gerili kuma\u015f g\u00f6r\u00fcnt\u00fcs\u00fcnden\u2014ya\u015fam\u0131n g\u00fcc\u00fcyle \u00f6l\u00fcm\u00fcn ele ge\u00e7irili\u015fini ileten bir sembol\u2014, hemen net bir orgazmik sembol olarak yorumlayaca\u011f\u0131 an K.\u2019n\u0131n zihninde net olmaktan ba\u015fka her \u015feydir. Aksine, omzunun \u00fczerinden topra\u011fa g\u00f6m\u00fclm\u00fc\u015f ha\u00e7lara bakan \u00e7ocu\u011fun bu k\u0131sa zafer an\u0131 ki\u015fisel mutlulu\u011fa k\u0131sa s\u00fcren bir teslim olu\u015fun ifadesi olarak ele al\u0131nabilir. Hemen ard\u0131nda mezarl\u0131k vard\u0131r, sonras\u0131nda \u00f6\u011fretmen, ger\u00e7ek\u00e7ili\u011fin bir temsilcisi, gelir ve tek bir bak\u0131\u015f\u0131 derme \u00e7atma evi ala\u015fa\u011f\u0131 eder. Bu b\u00f6l\u00fcm\u00fc ve i\u00e7inde ge\u00e7ti\u011fi ba\u011flam\u0131 anlamam\u0131za yard\u0131mc\u0131 olmas\u0131 a\u00e7\u0131s\u0131ndan daha uygun bir ara\u00e7 Freud\u2019un, ge\u00e7 d\u00f6neminde geli\u015ftirdi\u011fi, ya\u015fam ve \u00f6l\u00fcm d\u00fcrt\u00fcs\u00fcn\u00fcn benzerliklerine dair teorisi olabilir. Freud iki d\u00fcrt\u00fcy\u00fc de ruhsal ve fiziksel bireyle\u015fmeden ka\u00e7\u0131\u015fla ilgili ve do\u011fum travmas\u0131n\u0131n \u00f6tesindeki bir ac\u0131s\u0131zl\u0131k durumuna ula\u015fma niyeti a\u00e7\u0131s\u0131ndan koruyucu d\u00fcrt\u00fcler olarak g\u00f6r\u00fcyordu. Kafka bir seferinde, K. ve Frieda birbirilerinin i\u00e7inde kendilerini kaybetmeye \u00e7al\u0131\u015ft\u0131klar\u0131 pasajlarda bu birle\u015fimi teselli edici fakat umutsuzca bir \u00e7aba olarak g\u00f6r\u00fcr. K\u00f6ye geldikten hemen sonra K.\u2019n\u0131n Frieda\u2019n\u0131n kollar\u0131nda sonsuz bir kendine yabanc\u0131la\u015fmay\u0131 deneyimledi\u011fi \u00f6nemli ama k\u0131sac\u0131k an\u0131 g\u00f6zden ka\u00e7\u0131rmamal\u0131y\u0131z; fakat bu kurtulu\u015fun aynas\u0131 ikisinin \u00e7ok ge\u00e7meden tekrar bir unitas unitatis<\/em> yaratmak i\u00e7in nafile \u00e7abalar\u0131n\u0131n betimlenmesiyle parampar\u00e7a olur.<\/p>\r\n

Orada yat\u0131p kald\u0131lar ama geceki gibi kendilerini koyvermi\u015f de\u011fildiler. K\u0131z da, o da bir \u015feyler ar\u0131yordu, \u00f6fke sa\u00e7arak, y\u00fczlerini buru\u015fturarak, kafalar\u0131n\u0131 birbirlerinin g\u00f6\u011fs\u00fcne toslayarak aran\u0131p durdular, kucakla\u015fmalar\u0131 ve ahenklerini bulan bedenleri kendilerini unutturmuyordu da onlara, arama g\u00f6revini hat\u0131rlat\u0131yordu; k\u00f6peklerin \u00fcmitsizce yerde e\u015finmeleri gibi birbirlerinin bedenlerinde e\u015finiyorlard\u0131; \u00e7aresiz, hayal k\u0131r\u0131kl\u0131\u011f\u0131 i\u00e7inde, belki son bir \u00fcmit k\u0131r\u0131nt\u0131s\u0131n\u0131 almak \u00fczere ara ara dilleri birbirlerinin y\u00fcz\u00fcn\u00fc yal\u0131yordu geni\u015f\u00e7e. Ancak yorulunca sakinle\u015ftiler ve birbirlerine \u015f\u00fckran duydular. Hizmet\u00e7i k\u0131zlar da o esnada yukar\u0131 geldiler. \u201cBak, nas\u0131l da uzanm\u0131\u015flar,\u201d dedi birisi, ac\u0131yarak \u00fczerlerine bir \u00f6rt\u00fc serdi.[27]<\/a><\/p>\r\n

Kafka\u2019da s\u0131kl\u0131kla betimlemenin sonundaki tekil ve ayr\u0131ks\u0131 jest b\u00fct\u00fcn anlam\u0131 \u00f6zetliyor gibi g\u00f6r\u00fcn\u00fcr. \u00d6len \u00e2\u015f\u0131klar\u0131n burkulmu\u015f cesetlerinin \u00fczerine bir \u00e7ar\u015faf serilir. \u0130yi bilindi\u011fi \u00fczere, Kafka\u2019n\u0131n romanlar\u0131ndaki kad\u0131n karakterlerin tamam\u0131 insan ya\u015fam\u0131n\u0131n do\u011fu\u015fundan \u00f6nceki bir evrimsel a\u015famaya ba\u011flanm\u0131\u015ft\u0131r. \u00d6rne\u011fin Amerika\u2019da \u015fi\u015fmi\u015f Brunelda, Bayan Burstner, ya da sa\u011f elinin orta ve y\u00fcz\u00fck parmaklar\u0131n\u0131n aras\u0131ndaki perdeli dokunun k\u00f6kenlerini tarih\u00f6ncesi bir batakl\u0131\u011fa i\u015faret etti\u011fi Leni; g\u00fcne\u015ften sak\u0131nan solmu\u015f bir canl\u0131 olarak betimlenen Frieda da bu gruba girer, Br\u00fcckenhof\u2019un yeralt\u0131 d\u00fcnyas\u0131n\u0131n derinliklerinden y\u00fckselen Pepi de, Gardena da, karnivor bir bitki gibi yata\u011f\u0131nda beslenen. Walter Benjamin \u00e7ok daha \u00f6nceden bu canl\u0131lar\u0131n \u201cBachofen\u2019den al\u0131nt\u0131 yaparsak dizginsiz \u015fehvet [hetaeric]\u201d[28]<\/a> d\u00f6nemine ait oldu\u011funu g\u00f6rm\u00fc\u015ft\u00fc. Kendini unutan bir ya\u015fam\u0131n, dolay\u0131s\u0131yla, ayn\u0131 zamanda da \u00f6l\u00fcm\u00fcn tecellisi. T\u0131pk\u0131 fahi\u015fenin kuca\u011f\u0131ndayken \u00f6l\u00fcm\u00fcn zehrine maruz kalan Adrian Leverk\u00fchn\u2019\u00fcn mektuplar\u0131nda tekrarlayan \u2018hetaera esmeralda\u2019n\u0131n kompozisyonlar\u0131na musallat olmas\u0131 gibi, Kafka\u2019n\u0131n romanlar\u0131na da anaerkil fig\u00fcrlerin karanl\u0131k g\u00fc\u00e7lerle erkek e\u015flerini had\u0131mla\u015ft\u0131rd\u0131\u011f\u0131 bir d\u00fcnyan\u0131n kasveti n\u00fcfuz eder. Fakat bu anaerkil fig\u00fcrler Cehennem\u2019in ge\u00e7itlerinde dururlar, Berthold von Regensburg\u2019un bize Cehennem\u2019in d\u00fcnyan\u0131n bu\u011fulu batakl\u0131klar\u0131n\u0131n kalbinde yatt\u0131\u011f\u0131n\u0131[29]<\/a> s\u00f6yledi\u011fi gibi. Kafka\u2019n\u0131n eserlerinde ya\u015fam\u0131n g\u00fcc\u00fcn\u00fc felce u\u011fratan da b\u00f6ylesi korkun\u00e7 bir m\u00fcphemliktir. \u0130lk ba\u015far\u0131s\u0131z seferini yapt\u0131ktan sonra Gerst\u00e4cker onu k\u0131za\u011f\u0131yla Br\u00fcckenhof\u2019a g\u00f6t\u00fcr\u00fcrken K.\u2019n\u0131n bir \u00e7an sesi duydu\u011funu sand\u0131\u011f\u0131nda ald\u0131\u011f\u0131 mesaj a\u015fk\u0131n \u00f6l\u00fcm d\u00fcrt\u00fcs\u00fcne benzer. \u201cK.\u2019n\u0131n bug\u00fcn varmay\u0131 umdu\u011fu, \u015fimdiden tuhaf bir karanl\u0131\u011fa b\u00fcr\u00fcnm\u00fc\u015f olan \u015eato, tekrar uzakla\u015f\u0131yordu yukar\u0131larda. Fakat sanki yine de ona ge\u00e7ici bir veda i\u015fareti verilmesi l\u00e2z\u0131mm\u0131\u015f\u00e7as\u0131na bir \u00e7an sesi i\u015fitildi oradan; ne\u015feyle hareketlendiren \u00e7an en az\u0131ndan bir anl\u0131\u011f\u0131na kalbini titretti, adeta belli belirsiz \u00f6zlemini duydu\u011fu bir \u015feyin ger\u00e7ekle\u015fmesinin tehdidini hissediyordu.\u201d[30]<\/a> Vaat bir \u00f6l\u00fcm tehdidine d\u00f6n\u00fc\u015ft\u00fck\u00e7e, \u00e7an sesi susmaya ba\u015flar, daha az belirsiz bir ses onun yerini al\u0131r: \u201conun yerini yeknesak, zay\u0131f bir \u00e7an sesi ald\u0131 . . . bu \u00e7\u0131nlamalar tabii gidi\u015flerinin yava\u015fl\u0131\u011f\u0131yla ve sefil ama y\u0131lmak bilmez arabac\u0131yla daha uyumluydu.\u201d[31]<\/a><\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Bu tart\u0131\u015fma ba\u011flam\u0131nda, Kafka\u2019n\u0131n alter ego\u2019su K.\u2019ya bah\u015fetti\u011fi, \u00e7a\u011fda\u015flar\u0131na g\u00f6re daha g\u00f6steri\u015fsiz fakat ayn\u0131 zamanda tamam\u0131ndan daha ciddi mesiyanik nitelikleri incelemek uygun g\u00f6r\u00fcn\u00fcyor. K.\u2019n\u0131n mesiyanik tasavvurunun en u\u00e7lar\u0131nda, Kafka\u2019n\u0131n insanl\u0131\u011f\u0131n ikilemlerinin a\u015f\u0131labilmesi ihtimali olarak g\u00f6rd\u00fc\u011f\u00fc m\u00fcthi\u015f bir \u015f\u00fcphecilik vard\u0131r. Ku\u015fkusuz, K. k\u00f6y\u00fcn sekreteri Momus\u2019a kimlik bilgilerinin detaylar\u0131n\u0131 vermeyi reddetti\u011fi, dolay\u0131s\u0131yla \u00f6l\u00fcler diyar\u0131na kabul edilmek i\u00e7in ola\u011fan kabul usul\u00fcn\u00fc savu\u015fturdu\u011fu i\u00e7in, onun amac\u0131n\u0131n \u015fatoya ya\u015fayan birisi olarak girerek oray\u0131 i\u015fgal etmek ve \u00f6l\u00fcm\u00fcn ya\u015fam \u00fcst\u00fcndeki lanetini feshetmek oldu\u011fu s\u00f6ylenebilir. Fakat bunun d\u0131\u015f\u0131nda \u00fcst\u00fcne y\u00fcklenen b\u00fct\u00fcn mesiyanik umutlar kendi hak taleplerinden ayr\u0131 olarak, ona ba\u015fkalar\u0131 taraf\u0131ndan y\u00fcklenmi\u015ftir, bu sebeple bu yans\u0131tmalar insanl\u0131k dininin[32]<\/a> k\u00f6kenine ba\u011fl\u0131d\u0131r. K. en ba\u015fta Barnabas\u2019\u0131n ailesi i\u00e7in bu t\u00fcr bir umudu temsil eder, Olga\u2019n\u0131n bile kendi hik\u00e2yesinin sonlar\u0131na do\u011fru belki sadece bir \u201cyan\u0131lg\u0131\u201d[33]<\/a> olmas\u0131ndan korksa da ailesi i\u00e7in daima o g\u00fcn\u00fcn gelece\u011fine dair bir umut: \u201cbu ziyaret\u00e7i silsilesi i\u00e7inden sonunda birisi \u00e7\u0131k\u0131p \u2018dur\u2019 diyecek ve her \u015feyi geriye d\u00f6nd\u00fcrecek\u201d[34]<\/a>. Fakat s\u00fcreci sona erdirmek, kendini sonsuza dek tekrar etmesini sa\u011flayan s\u00f6ylencesel g\u00fcc\u00fcn y\u00f6n\u00fcn\u00fc de\u011fi\u015ftirmeye zorlayarak yok etmek\u2014t\u0131pk\u0131 Kafka\u2019n\u0131n Galeride<\/em> \u00f6yk\u00fcs\u00fcndeki gen\u00e7 g\u00f6zlemcideki gibi K.\u2019da da art\u0131k b\u00f6ylesi bir g\u00fc\u00e7 kalmam\u0131\u015ft\u0131r. T\u0131pk\u0131 onun gibi K. da y\u00fczeydeki olaylardan g\u00f6z\u00fc kama\u015fm\u0131\u015f ve kafas\u0131 kar\u0131\u015fm\u0131\u015f bir haldedir, g\u00f6steriye \u00e7ekilir ve b\u00f6ylelikle su\u00e7 orta\u011f\u0131 haline gelir. \u201cSonra,\u201d der Olga, \u201cseni kaybettik, sen ki, \u015fimdi itiraf ediyorum bunu, Barnabas\u2019\u0131n \u015fimdiye kadarki \u015fato hizmetinden daha fazla \u015fey ifade ediyorsun benim i\u00e7in.\u201d[35]<\/a> Pepi, rutubetli kilerde ya\u015fayan hizmet\u00e7i, i\u00e7in de K. daha iyi bir hayat\u0131n ayd\u0131nland\u0131\u011f\u0131 an\u0131 temsil eder. \u201cO s\u0131ralar,\u201d diye okuruz, \u201cK.\u2019y\u0131, daha \u00f6nce ba\u015fka kimseyi sevmemi\u015f oldu\u011fu gibi seviyordu; aylarca a\u015fa\u011f\u0131da ufac\u0131k, karanl\u0131k h\u00fccresinde oturmu\u015f, y\u0131llar\u0131n\u0131 ve \u015fartlar elveri\u015fsiz geli\u015firse t\u00fcm hayat\u0131n\u0131 kimsenin dikkatini \u00e7ekmeden orada ge\u00e7irmeye haz\u0131rlam\u0131\u015ft\u0131 kendini, derken bir anda K. ortaya \u00e7\u0131km\u0131\u015f\u2014bir kahraman, k\u0131zlar\u0131n kurtar\u0131c\u0131s\u0131\u2014, onu yukar\u0131ya \u00e7\u0131kartan yolu a\u00e7m\u0131\u015ft\u0131.\u201d[36]<\/a> T\u00fcm bu umutlar\u0131n sonu tan\u0131d\u0131kt\u0131r. Bar\u0131n arkas\u0131ndaki k\u0131sa bir moladan sonra Pepi geldi\u011fi d\u00fcnyaya geri d\u00f6nmek zorundad\u0131r, Frieda\u2019y\u0131 ve hademelik i\u015fini kaybetti\u011fine g\u00f6re K. da onunla gidecek gibidir. Kurtar\u0131c\u0131 ona atfedilen b\u00fcy\u00fck beklentilere cevap veremez ve onun geli\u015fiyle umutlananlar\u0131n seviyesine iner. Bu ge\u00e7i\u015fte Hans Brunswick\u2019in oldu\u011fu b\u00f6l\u00fcm tuhaf bir m\u00fcphemlik bar\u0131nd\u0131r\u0131r. K. ona evindeyken \u201c\u015fifal\u0131 etkisinden dolay\u0131 \u00e7oban doktor [bitter herb]\u201d[37]<\/a> dendi\u011fini s\u00f6yler. \u00c7oban doktor narin bir hipokratik iyile\u015fme ya da \u00f6l\u00fcm sembol\u00fc yerine ge\u00e7ebilir. Doktor, hastal\u0131klar\u0131 ac\u0131 \u00e7eken bedenden defeden sek\u00fclerle\u015fmi\u015f bir mesih oldu\u011fu kadar \u00f6l\u00fcm\u00fcn de su\u00e7 orta\u011f\u0131d\u0131r. Kafka\u2019n\u0131n erken d\u00f6nem eserlerinde mevcut olan bu mu\u011flakl\u0131k bir \u00e7ocu\u011fun yabanc\u0131 birine kar\u015f\u0131 tutumunda g\u00f6r\u00fclebilir. \u00c7ocu\u011fun iyimser enerjisi\u2014\u00e7\u00fcnk\u00fc \u201chi\u00e7 kimse bir \u015feyleri de\u011fi\u015ftirmek i\u00e7in bir \u00e7ocuk kadar istekli de\u011fildir\u201d[38]<\/a>\u2014K.\u2019n\u0131n karars\u0131zl\u0131\u011f\u0131n\u0131n \u00fcstesinden gelmeye \u00e7al\u0131\u015f\u0131r ve buradan do\u011fan tezatl\u0131ktan dolay\u0131 K.\u2019n\u0131n i\u00e7inde olu\u015fan inan\u00e7:<\/p>\r\n

ger\u00e7i \u015fimdi a\u015fa\u011f\u0131 ve korkutucu bir durumda oldu\u011fu fakat \u00f6ng\u00f6r\u00fclebilir bir gelecekte herkesten \u00fcst\u00fcn bir konuma \u00e7\u0131kaca\u011f\u0131 idi. \u0130\u015fte bu adeta delice uzakl\u0131k ve oraya eri\u015ftirmesi umulan gurur verici geli\u015fme cezbediyordu Hans\u2019\u0131; bu \u00f6d\u00fcl u\u011fruna, K.\u2019n\u0131n \u015fimdiki haline bile katlanacakt\u0131. Bu arzudaki \u00e7ocuksu \u00e7okbilmi\u015fli\u011fin belirtisi Hans\u2019\u0131n K.\u2019ya k\u00fc\u00e7\u00fc\u011f\u00fc gibi bakmas\u0131yd\u0131, gelece\u011fi kendisininkinden yani ufak bir o\u011flan\u0131nkinden daha \u00f6telere uzanan bir k\u00fc\u00e7\u00fc\u011f\u00fc gibi.[39]<\/a><\/p>\r\n

Hans\u2019\u0131n ko\u015fullara ba\u011fl\u0131 arzular\u0131 K.\u2019ya herhangi bir mesiyanik hareket i\u00e7in esin kayna\u011f\u0131 olmam\u0131\u015f, aksine \u201cpek olas\u0131 olmad\u0131\u011f\u0131n\u0131 teslim etti\u011fi, tamamen temelsiz fakat yine de akl\u0131ndan \u00e7\u0131karamad\u0131\u011f\u0131 yeni umutlar vermi\u015fti ona\u201d[40]<\/a>. Kafka\u2019n\u0131n Leh \u00e7evirmeni Bruno Schulz\u2019un g\u00f6sterdi\u011fi \u00fczere, b\u00fct\u00fcn umutlar\u0131 dairesel kal\u0131r ve sonunda bir \u2018yanl\u0131\u015f anla\u015f\u0131lma\u2019dan \u00f6te bir \u015fey haline gelemez[41]<\/a>. Yine de mesiyanik ideal K.\u2019n\u0131n \u00fczerine bir kez daha isnat eder. Roman\u0131n sonlar\u0131na do\u011fru bir soru\u015fturmaya giderken kazara kendini B\u00fcrgel\u2019in odas\u0131nda bulur ve sekreter ona \u00e7\u0131kmazdan kurtulabilmesi i\u00e7in ya\u015famsal olan bilgiler verirken a\u011f\u0131r bir uykuya dalar. Bir \u00e7e\u015fit zorlanmayla da olsa B\u00fcrgel uyuyan K.\u2019ya tam da o anda sistemin b\u00fct\u00fcnselli\u011fine kar\u015f\u0131 nas\u0131l bir tehdit olu\u015fturdu\u011funu a\u00e7\u0131klar. \u201c\u00c7ok ge\u00e7meden bir ricay\u0131 geri \u00e7evirmenin imk\u00e2ns\u0131z hale gelece\u011fi bir durumdur bu. Asl\u0131na bakarsan\u0131z \u00e7aresizlik i\u00e7indesinizdir; daha da asl\u0131na bakarsan\u0131z, \u00e7ok mutlusunuzdur. \u00c7aresizsinizdir \u00e7\u00fcnk\u00fc burada oturup daval\u0131n\u0131n ricas\u0131n\u0131 beklemenin ve rica bir kez dillendirildi\u011finde, resm\u00ee \u00f6rg\u00fctsel d\u00fczeni\u2014onu g\u00f6rebildi\u011fimiz kadar\u0131yla\u2014parampar\u00e7a edecek olsa bile onu yerine getirmek gerekti\u011fini bilmenin savunmas\u0131zl\u0131\u011f\u0131, pratikte insan\u0131n ba\u015f\u0131na gelebilecek en feci \u015feydir\u201d.[42]<\/a> Bu vahiysel yok olu\u015fun vaadidir, fakat olas\u0131 mesih bitkinlikten uykuya dalm\u0131\u015ft\u0131r\u2014ba\u015fka bir ifadeyle, uykunun karde\u015fine yenik d\u00fc\u015fm\u00fc\u015ft\u00fcr\u2014ve kendisine y\u00f6neltilen \u00e7a\u011fr\u0131lar\u0131 duymaz. Tam da hem kendi hem de d\u00fcnyan\u0131n geri kalan\u0131 i\u00e7in kurtulu\u015fa en yak\u0131nla\u015ft\u0131\u011f\u0131 anda ayn\u0131 zamanda ondan en uzaktad\u0131r, sebebiyse Kafka\u2019n\u0131n d\u00fcnyas\u0131n\u0131n ayr\u0131ks\u0131 yap\u0131s\u0131d\u0131r. Tam ruhu \u00e7a\u011fr\u0131ld\u0131\u011f\u0131 anda K. uykudad\u0131r. K.\u2019n\u0131n sadece uzaktan bir m\u0131r\u0131ldanma \u015feklinde duydu\u011fu B\u00fcrgel\u2019in s\u00f6zleri onu yeni bir ya\u015fama uyand\u0131rmay\u0131 ba\u015faramaz, aksine asla uyanamayaca\u011f\u0131 uykunun i\u00e7inde iyice may\u0131\u015ft\u0131r\u0131r. \u201c\u2018T\u0131k\u0131rda, de\u011firmen, t\u0131k\u0131rda,\u2019 diye d\u00fc\u015f\u00fcnd\u00fc, \u2018uyut art\u0131k beni\u2019.\u201d[43]<\/a> Uykunun cazibesine kap\u0131larak ve Pascal\u2019\u0131n metafiziksel \u201cDaha fazla uyumayacaks\u0131n\u201d buyru\u011funa ayk\u0131r\u0131 davranarak, K. \u015fato i\u00e7in kendisinin temsil etti\u011fi gibi bir tehlikeyi de bertaraf etmi\u015f olur. Ka\u00e7\u0131n\u0131lmaz olsa da, birinin kendi varolu\u015funun s\u0131n\u0131rland\u0131rmalar\u0131ndan ka\u00e7mak i\u00e7in harcayaca\u011f\u0131 b\u00fct\u00fcn insani gayrete dair \u00e7\u0131lg\u0131nca bir ironi ta\u015f\u0131r. \u201cBedensel g\u00fc\u00e7lerimiz ancak belirli bir hadde kadar yeter;\u201d diye a\u00e7\u0131klar bir Mefistoteles\u00e7i olan B\u00fcrgel, \u201co had ba\u015fka bak\u0131mlardan da b\u00f6yle \u00f6nem kazanabiliyor i\u015fte, kim ne yapabilir? Kimse bir \u015fey yapamaz. D\u00fcnya kendi gidi\u015fini b\u00f6yle d\u00fczeltir, dengesini b\u00f6yle korur zaten. Bu m\u00fckemmel, her seferinde tasavvur edilemeyecek kadar m\u00fckemmel i\u015fleyen bir d\u00fczendir, ba\u015fka bak\u0131mlardan \u00fcmitsiz olsa bile.\u201d[44]<\/a> \u00d6te yandan, \u00f6l\u00fclerin diyar\u0131n\u0131 ya\u015fayan bir kurtar\u0131c\u0131 olarak i\u015fgal etmeye d\u00f6n\u00fck mesiyanik g\u00f6rev ba\u015fka t\u00fcrl\u00fc de yorumlanabilir, e\u011fer \u00f6l\u00fcler diyar\u0131 atalar\u0131n topland\u0131\u011f\u0131 bir yerle e\u015fle\u015ftirilirse. \u00d6nemsiz gibi g\u00f6r\u00fcnen jestlerden birisinde temsil edilen, atalara ait \u00f6rt\u00fcl\u00fc gelene\u011fin pe\u015fine d\u00fc\u015f\u00fc\u015f, Kafka\u2019n\u0131n gizemine dair bir anahtar sunuyor gibidir.<\/p>\r\n

\u2026 kolu art\u0131k ba\u015f\u0131na dayanak olmaya yetmiyordu, K. gayr\u0131 irad\u00ee olarak sa\u011f eliyle yorgan\u0131 ittirip yeni bir dayanak buldu, o s\u0131rada B\u00fcrgel\u2019in istemsizce yorgan\u0131n alt\u0131n\u0131 yoklayan aya\u011f\u0131n\u0131 yakalay\u0131verdi.[45]<\/a><\/p>\r\n

Bu ger\u00e7ek\u00fcst\u00fcc\u00fc detay Ortodoks Yahudili\u011finden bir hat\u0131rad\u0131r, merhumun ard\u0131ndan onunla son bir kez kal\u0131c\u0131 temas kurabilmek i\u00e7in cesedin aya\u011f\u0131na dokunulur. Kafka ba\u015fka bir noktada \u015funlar\u0131 yazarken yine akl\u0131nda bu jest vard\u0131r:<\/p>\r\n

Uzun ak sakal\u0131yla hayli dindar ve okumu\u015f bir adam olarak annemin belle\u011finde kalan anne taraf\u0131ndan dedesi gibi, benim de ad\u0131m \u0130branice Amschel’dir. Dedesi \u00f6ld\u00fc\u011f\u00fcnde alt\u0131 ya\u015f\u0131ndaym\u0131\u015f annem; \u00f6lm\u00fc\u015f dedesinin ayak parmaklar\u0131na s\u0131ms\u0131k\u0131 sar\u0131larak dedesine kar\u015f\u0131 i\u015flemi\u015f olabilece\u011fi kabahatlerden \u00f6t\u00fcr\u00fc kendisinden af dilemek zorunda b\u0131rak\u0131ld\u0131\u011f\u0131n\u0131 an\u0131ms\u0131yor.[46]<\/a><\/p>\r\n

Dahas\u0131, Klaus Wagenbach da Kafka\u2019n\u0131n \u015fatosu ile babas\u0131n\u0131n ailesinin geldi\u011fi Wossek k\u00f6y\u00fcn\u00fcn topo\u011frafik benzerliklerini g\u00f6stermi\u015fti. K.\u2019n\u0131n \u015fatonun bi\u00e7imsiz kanatlar\u0131na gizlice girme te\u015febb\u00fcs\u00fc o halde atalar\u0131n\u0131n manevi geleneklerine yeniden kat\u0131lmak olarak yorumlanabilir. Kafka s\u0131k s\u0131k ona ne kadar uzak g\u00f6r\u00fcnd\u00fcklerinden, asimilasyon s\u00fcreciyle birlikte onlara yabanc\u0131la\u015ft\u0131\u011f\u0131ndan dolay\u0131 hay\u0131flan\u0131r. \u201cAma bana \u00f6yle geliyor ki, ben i\u00e7lerinde en Bat\u0131l\u0131s\u0131y\u0131m; biraz \u015fi\u015firerek s\u00f6ylersem, bu \u015fu demektir: Hi\u00e7bir \u015feyime g\u00f6z yumulmaz, rahat edeyim diye bir dakika bile verilmemi\u015ftir bana; zaten hi\u00e7bir \u015fey verilmez bana, her \u015feyi kendim \u00e7abalayarak elde etmek zorunday\u0131md\u0131r, ya\u015fad\u0131\u011f\u0131m g\u00fcnlerle gelece\u011fi de\u011fil, ge\u00e7mi\u015fimi bile kendim yaratmak zorunday\u0131m, do\u011fal olarak herkesin bir ge\u00e7mi\u015fi vard\u0131r belki, ben onu bile kendim elde etmek zorunday\u0131m; bence bu en zor i\u015f.\u201d[47]<\/a> E\u011fer roman\u0131n sonunda (g\u00fcn\u00fcm\u00fcze ula\u015fan par\u00e7an\u0131n son buldu\u011fu yerden \u00e7ok daha ileride olmayacakt\u0131) K. bitkinlikten \u00f6lseydi, Max Brod\u2019a g\u00f6re bu \u015fa\u015f\u0131rt\u0131c\u0131 olmazd\u0131, atalar\u0131yla yak\u0131nl\u0131k kurabilmenin bedelini hayat\u0131yla \u00f6deseydi bu da \u015fa\u015f\u0131rt\u0131c\u0131 olmazd\u0131.<\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Kafka\u2019n\u0131n \u015fatosunu saran manzarada ba\u015fka \u00f6l\u00fcm imgeleri de var. Halkbilimi bize han\u0131n \u00f6l\u00fcler diyar\u0131n\u0131n sembol\u00fc oldu\u011funu s\u00f6yler. \u00d6l\u00fcler cehenneme inmeden \u00f6nce orada toplan\u0131rlar, efsaneye g\u00f6re \u015feytan\u0131n han\u0131 \u00f6l\u00fclerin yolculu\u011funun son a\u015famas\u0131d\u0131r. Br\u00fcckenhof gibi o da \u00f6te d\u00fcnyan\u0131n s\u0131n\u0131r\u0131nda bekler.[48]<\/a> Herrenhof\u2019un mimarisinin bile yeralt\u0131 atmosferiyle bir ilgisi var gibidir, hizmetk\u00e2r K.\u2019y\u0131 avluya<\/p>\r\n

ve oradan b\u00fcy\u00fck kap\u0131dan ge\u00e7irip biraz yoku\u015f a\u015fa\u011f\u0131 meyleden d\u00fc\u015f\u00fck tavanl\u0131 bir koridora \u2026 Hizmetk\u00e2r fenerini s\u00f6nd\u00fcrd\u00fc \u00e7\u00fcnk\u00fc burada parlak bir elektrikli ayd\u0131nlatma vard\u0131. Her \u015fey k\u00fc\u00e7\u00fck ama zarif yap\u0131lm\u0131\u015ft\u0131. Mek\u00e2n olabildi\u011fince iyi de\u011ferlendirilmi\u015fti. Koridorun y\u00fcksekli\u011fi anca dik y\u00fcr\u00fcyebilecek kadard\u0131. Kenarlarda kap\u0131lar adeta dip dibeydi. Yan duvarlar tavana kadar uzanm\u0131yordu, muhtemelen havaland\u0131rma m\u00fclahazalar\u0131yla b\u00f6yleydi, zira bu bodrumvari derin koridordaki odac\u0131klar\u0131n penceresi yoktu herhalde.[49]<\/a><\/p>\r\n

Sonras\u0131nda da g\u00fcr\u00fclt\u00fc betimlenir, g\u00fcr\u00fclt\u00fcn\u00fcn karga\u015fas\u0131, dikte edenler ve bir \u015feyler okuyanlar, \u00e7am \u015fang\u0131rt\u0131lar\u0131 ve \u00e7eki\u00e7 sesleri\u2014g\u00fcr\u00fclt\u00fcye olan hassasl\u0131\u011f\u0131yla me\u015fhur olan Kafka i\u00e7in en uygun Cehennem imgesi olabilecek bir kakofoni. Yolculuk i\u00e7in k\u0131zaklar\u0131n kullan\u0131lmas\u0131 da \u00f6l\u00fcm manzaras\u0131na benzer \u015fekilde uyar, t\u0131pk\u0131 telefon gibi, Proust ve Benjamin\u2019in olduk\u00e7a dokunakl\u0131 \u00f6vg\u00fclerini alan, dini s\u0131rlar\u0131 a\u00e7\u0131\u011fa vuran ayg\u0131t.[50]<\/a> \u00c7o\u011fumuzun telgraf tellerinin kenar\u0131nda yapt\u0131\u011f\u0131m\u0131z \u00e7ocukluk y\u00fcr\u00fcy\u00fc\u015flerinden hat\u0131rlayaca\u011f\u0131 ve \u00f6zel bir melankolik etki bulaca\u011f\u0131 gibi, Kafka da telefonda eleusis\u00e7i bir u\u011fultu hisseder. Ama \u015fatonun y\u00f6netsel ayg\u0131t\u0131n\u0131n sonsuz bir \u00f6l\u00fcler katalo\u011fuyla dolu oldu\u011funa dair en net kan\u0131t b\u00fct\u00fcn bu karma\u015faya ve \u00e7eli\u015fkilere ra\u011fmen kimsenin yasan\u0131n elinden kurtulamamas\u0131d\u0131r.[51]<\/a> Bu \u00f6l\u00fcm k\u00fcresinin bizi en \u00e7ok etkileyen avutulamaz yan\u0131, hayatta da oldu\u011fu gibi, g\u00fc\u00e7l\u00fc ve zay\u0131flar\u0131n ayr\u0131lm\u0131\u015fl\u0131\u011f\u0131d\u0131r, t\u0131pk\u0131 ge\u00e7mi\u015f hayatlar\u0131nda oldu\u011fu gibi beyefendiler \u015fatoda ikamet ederken (yine halkbilimine uyan bir \u015fekilde) k\u00f6yl\u00fcler yerin alt\u0131nda tek bir odada birlikte otururlar.[52]<\/a> Son olarak, K.\u2019n\u0131n k\u00f6ye girmesiyle \u00f6l\u00fcme yakla\u015fmas\u0131na dair olduk\u00e7a yerinde bir iddia Ronald Gray\u2019in \u015eato \u00fczerine olan kitab\u0131nda sunulmu\u015ftur. Roman\u0131n son b\u00f6l\u00fcm\u00fcn\u00fc yorumlarken Gray asl\u0131nda yukar\u0131daki modeldeki gibi \u00f6l\u00fcm sembollerini toplamaz, onun g\u00f6r\u00fc\u015f\u00fcne g\u00f6re K. \u00f6l\u00fcmle adeta kazara kar\u015f\u0131la\u015f\u0131r: ba\u015f\u0131ndan beri beklenen bir olay de\u011fil de anlat\u0131sal uzla\u015f\u0131m\u0131n bir yans\u0131mas\u0131 gibi g\u00f6r\u00fcn\u00fcr \u00f6l\u00fcm. Herrenhof\u2019taki hanc\u0131 kad\u0131n bu pasajda kendi garip eski moda ve karman \u00e7orman dolab\u0131ndan, K.\u2019n\u0131n eskimi\u015fli\u011fi ve baya\u011f\u0131l\u0131\u011f\u0131ndan dolay\u0131 onaylamad\u0131\u011f\u0131n\u0131 ortaya koydu\u011fu pompes fun\u00e8bres<\/em>\u2019den [cenaze merasimi] kalma k\u0131yafetlerinden bahseder. \u201cE\u011fer k\u0131yafetler\u201d, diye yazar Gray, \u201chanc\u0131n\u0131n insanlara \u00f6l\u00fcmleri an\u0131nda a\u00e7\u0131klamay\u0131 yaparken k\u0131l\u0131k de\u011fi\u015ftirmek i\u00e7in giydi\u011fi k\u0131yafetlerse bir\u00e7ok \u015fey yerli yerine oturur.\u201d[53]<\/a> D\u00fcnya\u2019n\u0131n Sahibesi olarak ev sahibesi, \u015feytana ait olan hanc\u0131, Walther von der Vogelweide\u2019\u0131n bir \u015fiirinde ge\u00e7er, Rilke\u2019de seyyah akrobatlara adad\u0131\u011f\u0131 \u015fu a\u011f\u0131t\u0131nda Kafka ile ayn\u0131 alegorik karaktere sayg\u0131s\u0131n\u0131 g\u00f6sterir: \u201ckad\u0131n \u015fapkac\u0131s\u0131 Madame Lamort’un \/ sar\u0131p ba\u011flad\u0131\u011f\u0131 yer tedirgin yollar\u0131n\u0131 yery\u00fcz\u00fcn\u00fcn \/ o sonsuz \u015feritleri, bunlardan hep yeni fiyongalar \/ s\u00fcsler, \u00e7i\u00e7ekler, d\u00fc\u011fmeler, meyveler yapt\u0131\u011f\u0131 \/ hepsi yalanc\u0131ktan renkli \/ yazg\u0131n\u0131n kelepir k\u0131\u015f \u015fapkalar\u0131n\u0131 s\u00fcslemek i\u00e7in\u201d.[54]<\/a> O halde, Gray\u2019in son sahneye dair yorumlar\u0131nda hakl\u0131 oldu\u011funu kabul edebiliriz, bunca \u015feyi s\u00f6yledikten sonra, Kafka fragman\u0131na bundan daha do\u011fru bir son zor bulunurdu, roman\u0131n par\u00e7al\u0131 karakterinin roman\u0131n \u00f6tesine ge\u00e7i\u015fi. Bu sonu Gray gayet uygun bir \u015fekilde \u015f\u00f6yle yorumlar:<\/p>\r\n

Kharon-vari fig\u00fcr Gerst\u00e4cker K.\u2019y\u0131 d\u00fcz, oturaks\u0131z k\u0131za\u011f\u0131yla uzaklara g\u00f6t\u00fcrmek i\u00e7in \u00e7oktan ceketinin yeninden tutmu\u015ftur. Bir \u00f6nceki sayfada hanc\u0131 kad\u0131n K.\u2019n\u0131n var\u0131\u015f yeriyle ilgili talimatlar veriyor gibidir. \u015eimdi de muhtemelen mu\u011flak bir ifadeyle noktay\u0131 koyar: \u201cYar\u0131n yeni bir k\u0131yafet gelecek bana, belki sana ald\u0131rt\u0131r\u0131m\u201d.[55]<\/a><\/p>\r\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 K.\u2019n\u0131n do\u011fal ak\u0131\u015f\u0131nda ula\u015ft\u0131\u011f\u0131 son ancak ba\u015f\u0131na daha b\u00fcy\u00fck bir tehlike gelmesi alternatifiyle kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda bir huzur ve kurtulu\u015f olarak g\u00f6r\u00fclebilir: d\u00fcnyada sonsuz bir \u2018yabanc\u0131 ve hac\u0131\u2019 olarak kalabilirdi, t\u0131pk\u0131 Gezgin Yahudi Ahasuerus efsanesinde oldu\u011fu gibi. Bu kaderi savu\u015fturmak i\u00e7in K. kendi r\u0131zas\u0131yla \u00f6l\u00fcm\u00fcn diyar\u0131n\u0131 aray\u0131p bulur, bu y\u00fczden Frieda \u0130spanya\u2019ya ya da G\u00fcney Fransa\u2019ya g\u00f6\u00e7me hayallerini reddeder, \u201cBu \u00e7orak memlekette beni \u00e7eken ne olabilirdi ki burada kalma arzusundan ba\u015fka?\u201d[56]<\/a> K.\u2019n\u0131n d\u00fcnyas\u0131nda sadece \u00f6l\u00fcm\u00fcn sa\u011flayabilece\u011fi bir huzur hasreti, \u00f6lmeyi ba\u015faramamaktan duyulan korku (Kafka\u2019n\u0131n Avc\u0131 Gracchus\u2019u gibi), sahipsiz topraklarda insan ve e\u015fya aras\u0131nda edebi ikametin korkusu\u2014K.\u2019n\u0131n ad\u0131n\u0131 asla \u00f6\u011frenemeyece\u011fimiz k\u00f6ye yolculu\u011funun asli saikleri bu hasret ve bu korkudur. Ger\u00e7i bu k\u00f6y bir zamanlar Jean-Paul\u2019\u00fcn soluklanmak i\u00e7in oraya varan ruhlara \u201cSonsuzlu\u011fun avlusunday\u0131z, son bir \u00f6l\u00fcm daha, sonra Tanr\u0131\u2019y\u0131 g\u00f6rebiliriz.\u201d[57]<\/a> dedi\u011fi k\u00f6yd\u00fcr.<\/p>\r\n

Referanslar<\/strong><\/p>\r\n

[1]<\/a> Bu makale, \u201cThe Undiscover\u2019d Country: The Death Motif in Kafka\u2019s Castle\u201d, Journal of European Studies<\/em>, 2, 1972, s. 22-34 yay\u0131nlanm\u0131\u015ft\u0131r. Ba\u015fl\u0131ktaki \u201cThe Undiscover\u2019d Country\u201d ifadesi Hamlet\u2019in \u00fcnl\u00fc \u201cvar olmak ya da olmamak\u201d tirad\u0131nda ge\u00e7iyor. Buradaki ba\u011flama en uygun oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm, B\u00fclent Bozkurt\u2019un \u201cBilinmeyen \u00dclke\u201d \u00e7evirisini kulland\u0131m.<\/p>\r\n

[2]<\/a> S. Beckett, Molloy<\/em>, \u00e7ev. U. \u00dcn, K\u0131rm\u0131z\u0131 Kedi Yay\u0131nevi, \u0130stanbul: 2017, s. 19.<\/p>\r\n

[3]<\/a> F. Kafka, \u015eato<\/em>, \u00e7ev. T. Bora, \u0130leti\u015fim Yay\u0131nlar\u0131, 2018, s. 360. \u015eato\u2019dan yap\u0131lan t\u00fcm alint\u0131lar i\u00e7in bu \u00e7eviriyi kulland\u0131m.<\/p>\r\n

[4]<\/a> A.g.e., s. 49.<\/p>\r\n

[5]<\/a> T.W. Adorno, M\u00fczik Yaz\u0131lar\u0131<\/em>, \u00e7ev. \u015e. \u00d6zt\u00fcrk, Yap\u0131 Kredi Yay\u0131nlar\u0131, 2019, s. 38.<\/p>\r\n

[6]<\/a> J. von Tepla (von Saaz), Der Ackermann aus B\u00f6hmen<\/em>.<\/p>\r\n

[7]<\/a> \u015eato, a.g.e., <\/em>s. 358<\/p>\r\n

[8]<\/a> Adorno, a.g.e.<\/em>, s. 38-9.<\/p>\r\n

[9]<\/a> W. Benjamin. (7). Pasajlar, \u00e7ev. A. Cemal, Yap\u0131 Kredi Yay\u0131nlar\u0131, 2011, \u00a0s. 235.<\/p>\r\n

[10]<\/a> Handw\u00f6rterbuch des deutschen Aberglaubens<\/em>, H. B\u00e4chtold-St\u00e4ubli, ed. Vol. IV, Col. 198, Berlin, 1938-41.<\/p>\r\n

[11]<\/a> \u015eato, a.g.e., <\/em>s. 56.<\/p>\r\n

[12]<\/a> Adorno taraf\u0131ndan: Zweimal Chaplin<\/em>, p. 89; Ohne Leitbild. Parva Aesthetica<\/em> i\u00e7inde, Frankfurt am Main, 1969 al\u0131nt\u0131lanm\u0131\u015ft\u0131r. Al\u0131nt\u0131, Kierkegaard\u2019nun mahlasla yazd\u0131\u011f\u0131 Tekerr\u00fcr ba\u015fl\u0131kl\u0131 erken d\u00f6nem eserinden. T\u00fcrk\u00e7esi: S. Kierkegaard, Tekerr\u00fcr: Deneysel Psikolojiye Tehlikeli Bir Te\u015febb\u00fcs<\/em>, \u00e7ev. Z. Talay, Pinhan Yay\u0131nlar\u0131, 2018, s. 51.<\/p>\r\n

[13]<\/a> G. Janouch, Gespr<\/em>\u00e4che mit Kafka<\/em>, Frankfurt am Main, 1969, s. 217.<\/p>\r\n

[14]<\/a> Schwarz: Alm. siyah.<\/p>\r\n

[15]<\/a> \u015eato, a.g.e.<\/em>, 282. Bu ba\u011flamda, hizmet\u00e7i Pepi\u2019nin \u015eato sekreterleri hakk\u0131nda \u015f\u00f6yle bir yorumda bulunur: \u201cDo\u011fruya do\u011fru, hepsi y\u00fcce beylerdir fakat arkalar\u0131ndan ortal\u0131\u011f\u0131 toplayabilmek i\u00e7in insan\u0131n tiksintisinin \u00fcstesinden gelmesi gerekir.\u201d s. 338.<\/p>\r\n

[16]<\/a> A.g.e.<\/em>, s. 301-2.<\/p>\r\n

[17]<\/a> A.g.e.<\/em>, s. 85.<\/p>\r\n

[18]<\/a> A.g.e.<\/em>, s. 236-7.<\/p>\r\n

[19]<\/a> T. Mann, Doktor Faustus<\/em>, Stockholmer Ausgabe, Frankfurt am Main, 1967, s. 248.<\/p>\r\n

[20]<\/a> \u015eato, a.g.e.<\/em>, s.237.<\/p>\r\n

[21]<\/a> A.g.e.<\/em>, s. 237.<\/p>\r\n

[22]<\/a> A.g.e.<\/em>, s. 264.<\/p>\r\n

[23]<\/a> A.g.e.<\/em>, s. 265.<\/p>\r\n

[24]<\/a> Son derece canl\u0131 betimlemelerinin sonlar\u0131na do\u011fru D\u00f6blin tan\u0131k oldu\u011fu \u015feyi s\u0131n\u0131fland\u0131rmay\u0131 dener: \u201cBu korkun\u00e7 bir \u015fey. Bu ilkel, atalarla ilgili bir \u015fey. Bunun Yahudilikle bir alakas\u0131 var m\u0131? Bunlar kadim fikirlerin tortular\u0131. \u00d6l\u00fclerden korkman\u0131n, huzur bulmadan dola\u015fan ruhlardan korkunun tortular\u0131. Dinleriyle birlikte bu insanlara bir his miras b\u0131rak\u0131lm\u0131\u015f. Bu his ba\u015fka bir dinden, animizmden, bir \u00f6l\u00fcm k\u00fclt\u00fcnden kalma.\u201d (A. D\u00f6blin, Reise in Polen<\/em>, Olten und Freiburg i. Br., 1968, s. 92).<\/p>\r\n

[25]<\/a> \u015eato, a.g.e.<\/em>, s. 74.<\/p>\r\n

[26]<\/a> T.W. Adorno, Minima Moralia<\/em>, \u00e7ev. O. Ko\u00e7ak & A. Do\u011fukan, Metis Yay\u0131nlar\u0131, 2009, s. 122.<\/p>\r\n

[27]<\/a> \u015eato, a.g.e.<\/em>, s. 92-3.<\/p>\r\n

[28]<\/a> W. Benjamin, Kafka \u00dczerine<\/em>, \u00e7ev. D. Kurt,\u00a0 Alt\u0131k\u0131rkbe\u015f Yay\u0131n, 2015, s. 49. Orijinal metindeki \u2018hetaeric\u2019, T\u00fcrk\u00e7e \u00e7eviride \u2018dizginsiz \u015fehvet\u2019 ile kar\u015f\u0131lanm\u0131\u015f. Hetaera aslen Antik Yunan\u2019daki belli bir elit fahi\u015fe s\u0131n\u0131f\u0131n\u0131n ad\u0131. Ayn\u0131 d\u00f6nemde fazla m\u00fc\u015fteri kabul etmeyen, m\u00fc\u015fterileriyle uzun s\u00fcreli ve entelekt\u00fcel bir ileti\u015fim de kuran bir grup.<\/p>\r\n

[29]<\/a> Handw\u00f6rterbuch des deutschen Aberglaubens<\/em>, Vol. IV, Col. 196. B. v. Regensburg\u2019un \u00f6zg\u00fcn metni \u015f\u00f6yle: \u201cdie hell ist enmitten d\u00e2 daz ertr\u00eeche aller sumpfigest ist\u201d.<\/p>\r\n

[30]<\/a> \u015eato<\/em>, a.g.e., s. 61.<\/p>\r\n

[31]<\/a> A.g.e.<\/em>, s. 61.<\/p>\r\n

[32]<\/a> Burada \u2018human religion\u2019 olarak ge\u00e7en ifadenin Auguste Comte\u2019un ortaya koydu\u011fu \u2018Religion of Humanity\u2019 oldu\u011funu san\u0131yorum. Sebald burada \u00e7evresindekilerin K.\u2019dan beklediklerini d\u00fcnyevi beklentiler olarak ifade ediyor olabilir.<\/p>\r\n

[33]<\/a> A.g.e.<\/em>, s. 275.<\/p>\r\n

[34]<\/a> A.g.e.<\/em>, s. 251.<\/p>\r\n

[35]<\/a> A.g.e.<\/em>, s. 235.<\/p>\r\n

[36]<\/a> A.g.e.<\/em>, s. 336-7.<\/p>\r\n

[37]<\/a> A.g.e.<\/em>, s. 195.<\/p>\r\n

[38]<\/a> F. Kafka, Hochzeitstvorbereitungen auf dem Lande [Ta\u015frada D\u00fc\u011f\u00fcn Haz\u0131rl\u0131klar\u0131]<\/em>, Frankfurt am Main, 1950, s. 228.<\/p>\r\n

[39]<\/a> \u015eato, a.g.e.<\/em>, s. 200.<\/p>\r\n

[40]<\/a> A.g.e.<\/em>, s. 201.<\/p>\r\n

[41]<\/a> Die Zimtl\u00e4den, M\u00fcnchen, 1968, p. 78.<\/p>\r\n

[42]<\/a> \u015eato, a.g.e.<\/em>, s. 315.<\/p>\r\n

[43]<\/a> A.g.e.<\/em>, s. 313.<\/p>\r\n

[44]<\/a> A.g.e.<\/em>, s. 317..<\/p>\r\n

[45]<\/a> A.g.e.<\/em>, s. 316-7.<\/p>\r\n

[46]<\/a> F. Kafka, G\u00fcnl\u00fckler<\/em>, \u00e7ev. K. \u015eipal, \u00a0Cem Yay\u0131nevi, 2013, s. 206.<\/p>\r\n

[47]<\/a> F. Kafka, Sevgili Milena: Milena\u2019ya Mektuplar<\/em>, \u00e7ev. A. Cimcoz, Say Yay\u0131nlar\u0131, 2019.<\/p>\r\n

[48]<\/a> Handw\u00f6rterbuch des deutschen Aberglaubens<\/em>, Vol. IX, Col. 987.<\/p>\r\n

[49]<\/a> \u015eato, a.g.e.<\/em>, s. 290.<\/p>\r\n

[50]<\/a> M. Proust, Kay\u0131p Zaman\u0131n \u0130zinde: Guermantes Taraf\u0131<\/em>, \u00e7ev. R. Hakmen, 2019, Yap\u0131 Kredi Yay\u0131nlar\u0131, s. 127. Telefonun icad\u0131yla ortaya \u00e7\u0131kan mucizevi olas\u0131l\u0131klar\u0131 uzunca anlatt\u0131ktan sonra Proust devam eder: \u201cMucizenin ger\u00e7ekle\u015fmesi i\u00e7in tek yapaca\u011f\u0131m\u0131z \u015fey, sihirli levhac\u0131\u011fa dudaklar\u0131m\u0131z\u0131 yakla\u015ft\u0131rmak ve seslenmektir \u2026 kabul ediyorum her g\u00fcn seslerini i\u015fitip y\u00fczlerini hi\u00e7 g\u00f6rmedi\u011fimiz, kap\u0131lar\u0131n\u0131 k\u0131skan\u00e7l\u0131kla kollad\u0131klar\u0131 ba\u015f d\u00f6nd\u00fcr\u00fcc\u00fc karanl\u0131klardaki koruyucu meleklerimiz olan Esirgeyici Madonna’lara; yan\u0131m\u0131zda olmayanlar\u0131n, g\u00f6r\u00fclmelerine izin verilmeden hemen yak\u0131n\u0131m\u0131zda belirmelerini sa\u011flayan Kadiri Mutlaklara; hi\u00e7 durmadan ses k\u00fcplerini dolduran, bo\u015faltan, birbirine aktaran, g\u00f6r\u00fcnmez \u00e2lemin Danaos k\u0131zlar\u0131na; kimsenin bizi i\u015fitmedi\u011fini umarak bir arkada\u015f\u0131m\u0131za bir s\u0131rr\u0131m\u0131z\u0131 f\u0131s\u0131ldad\u0131\u011f\u0131m\u0131z anda, merhametsizce, “Dinliyorum!” diye ba\u011f\u0131ran alayc\u0131 Furia’lara; Esrar’\u0131n daima \u00f6fkeli hizmetk\u00e2rlar\u0131, G\u00f6r\u00fcnmeyen’in \u015f\u00fcpheci rahibeleri Telefon K\u0131zlar\u0131’na!\u201d Son derece benzer bir pasajsa W. Benjamin\u2019in Bin Dokuz Y\u00fczlerin Ba\u015f\u0131nda Berlin\u2019de \u00c7ocukluk<\/em>, \u00e7ev. T. Turan, Yap\u0131 Kredi Yay\u0131nlar\u0131, 2018, s. 22-3.<\/p>\r\n

[51]<\/a> \u015eato, a.g.e.<\/em>, s. 312: \u201cE tabii, bizim ko\u015fullar\u0131m\u0131za a\u015fina de\u011filsiniz\u201d, der B\u00fcrgel K.\u2019ya s\u00f6yle\u015fileri s\u0131ras\u0131nda, \u201cama resm\u00ee \u00f6rg\u00fctlenmenin hi\u00e7 bo\u015fluk b\u0131rakmad\u0131\u011f\u0131na siz de dikkat etmi\u015f olmal\u0131s\u0131n\u0131z. Hi\u00e7bir bo\u015fluk olmay\u0131nca, herhangi bir davas\u0131 olan veya ba\u015fka sebeplerden \u00f6t\u00fcr\u00fc bir konuda ifadesine ba\u015fvurulmas\u0131 gereken herkesin, derhal, s\u00fcr\u00fcncemeye kalmadan, hatta bazen kendisi meselesine vak\u0131f de\u011filken, daha kendi bilmezken olay\u0131, mahkeme celbi eline ge\u00e7mi\u015f olur.\u201d<\/p>\r\n

[52]<\/a> Handw\u00f6rterbuch des deutschen Aberglaubens<\/em>, Vol. IV, Col. 194.<\/p>\r\n

[53]<\/a> R. Gray, Kafka\u2019s Castle<\/em>, Cambridge, 1956, s. 131.<\/p>\r\n

[54]<\/a> R.M. Rilke, Se\u00e7ilmi\u015f \u015eiirler & Duino A\u011f\u0131tlar\u0131<\/em>, \u00e7ev. A.T. Oflazo\u011flu, \u0130z Yay\u0131nc\u0131l\u0131k, 2010, s. 179.<\/p>\r\n

[55]<\/a> Gray, a.g.e.<\/em>, s. 132.<\/p>\r\n

[56]<\/a> \u015eato, a.g.e.<\/em>, s. 187.<\/p>\r\n

[57]<\/a> Jean-Paul, Ueber das Leben nach dem Tode, oder der Geburtstag<\/em>; Ausgew\u00e4hlte Werke<\/em> i\u00e7inde, Berlin, 1848, Bd. XV, p. 251.<\/p>\r\n","protected":false},"excerpt":{"rendered":"

W. G. Sebald’\u0131n 1972’de Kafka’n\u0131n \u015eato roman\u0131 \u00fczerine yazd\u0131\u011f\u0131 bir makaleyi \u00e7evirdim. Journal of European Studies’de yay\u0131mlanm\u0131\u015f. Vertigo’dan 18 y\u0131l \u00f6nce. Kafka’n\u0131n edebiyat\u0131na genel bir bak\u0131\u015f\u0131n ard\u0131ndan temelde romandaki \u00f6l\u00fcm imgeleri ve Yahudi mesiyanizmi \u00fczerinden ilerliyor. Verdi\u011fi referanslar\u0131n eri\u015febildi\u011fim T\u00fcrk\u00e7e \u00e7evirilerini bulup onlar\u0131 kulland\u0131m. Birka\u00e7\u0131n\u0131 \u00fcst \u00fcste dizerek hat\u0131ra foto\u011fraf\u0131 \u00e7ektim. Sebald’\u0131n o zamanlarda makale … Continue reading Sebald, Bilinmeyen \u00dclke: Kafka\u2019n\u0131n \u015eato\u2019sunda \u00d6l\u00fcm Motifi (\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":[248,406,8],"tags":[285,647,648,646,254],"class_list":["post-3502","post","type-post","status-publish","format-standard","hentry","category-ceviri","category-elestiri-2","category-roman","tag-franz-kafka","tag-mesiyanizm","tag-olum","tag-sato","tag-w-g-sebald"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-Uu","jetpack-related-posts":[{"id":2207,"url":"https:\/\/yalpertem.com\/blog\/2018\/10\/30\/vila-matas-montano-hastaliginda-sebald-referanslari\/","url_meta":{"origin":3502,"position":0},"title":"Vila-Matas, Montano Hastal\u0131\u011f\u0131’nda Sebald Referanslar\u0131","author":"yalpertem","date":"30 October 2018","format":false,"excerpt":"Montano Hastal\u0131\u011f\u0131, oda\u011f\u0131nda Sebald metinleri olan bir roman de\u011fil. 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Elbette ne\u015fe,\u00a0\u03cb\u03b2\u03c1\u03b9\u03b6\u00a0gibi, her an tersine d\u00f6n\u00fcp en ac\u0131 yan\u0131lsama haline gelebilir; i\u015fte tam o anda trajik araya girer ve sefalet ihtimalini bertaraf etmek i\u00e7in kahramanca m\u00fcdahale eder. 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