Hedda Gabler \u00fczerine metinler ve imajlar istifleyece\u011fim.<\/p>\n
”<\/p>\n
Hedda Gabler’in ger\u00e7ek ya\u015fam\u0131.<\/em> \u2013 On dokuzuncu y\u00fczy\u0131l\u0131n estetizmi, d\u00fc\u015f\u00fcnce tarihinin i\u00e7sel bir konusu olarak de\u011fil, toplumsal \u00e7at\u0131\u015fmalar i\u00e7indeki ger\u00e7ek temeline bakarak kavranabilir ancak. Ahlak d\u0131\u015f\u0131l\u0131\u011f\u0131n temelinde rahats\u0131z bir vicdan yat\u0131yordu. Ele\u015ftirmenler, burjuva toplumuna sadece ekonomi alan\u0131nda de\u011fil, ahlak alan\u0131nda da o toplumun kendi kurallar\u0131yla kar\u015f\u0131 \u00e7\u0131km\u0131\u015flard\u0131. Bu da y\u00f6netici tabakan\u0131n savunma se\u00e7eneklerini k\u0131s\u0131tlad\u0131: E\u011fer saray \u015fairleri ve devlet romanc\u0131lar\u0131 gibi iktidars\u0131z bir yalanc\u0131l\u0131\u011fa raz\u0131 olmayacaklarsa, toplumun yarg\u0131lanmas\u0131n\u0131 sa\u011flayan ilkenin kendisini, demek kendi ahlak\u0131n\u0131 reddetmekten ba\u015fka \u00e7are yoktu. Ne var ki, radikal burjuva d\u00fc\u015f\u00fcncesinin ona sald\u0131rmak i\u00e7in benimsedi\u011fi yeni konum, ideolojik yan\u0131lsaman\u0131n yerine kendi kendini tahrip eden ve sonunda teslim olan \u00f6fkeli bir isyan\u0131n benimsenmesinin de \u00f6tesine ge\u00e7mi\u015fti. G\u00fczelli\u011fin burjuva “iyi” kavram\u0131na kar\u015f\u0131 ayaklan\u0131\u015f\u0131, iyili\u011fe kar\u015f\u0131 da bir ayaklanmayd\u0131. \u0130yilik, iyinin \u00e7arp\u0131t\u0131lmas\u0131d\u0131r: Ahlaki ilkeyi toplumsaldan ay\u0131rmak ve ki\u015fisel vicdan alan\u0131na kayd\u0131rmakla onu iki bak\u0131mdan k\u0131s\u0131tlam\u0131\u015f olur. Ahlak ilkesinin \u00f6ng\u00f6rd\u00fc\u011f\u00fc bi\u00e7imde insanlara yak\u0131\u015f\u0131r bir d\u00fczeni ger\u00e7ekle\u015ftirme y\u00fck\u00fcml\u00fcl\u00fc\u011f\u00fcnden b\u00f6ylece s\u0131yr\u0131l\u0131r. \u0130yili\u011fin b\u00fct\u00fcn eylemlerinde belli bir kabulleni\u015f ve acunma vard\u0131r: Hastal\u0131\u011f\u0131n tedavisini de\u011fil de hafifletilmesini ama\u00e7l\u0131yordur ve tedavinin imk\u00e2ns\u0131zl\u0131\u011f\u0131n\u0131n bilinci de sonunda imk\u00e2ns\u0131zl\u0131\u011f\u0131n saf\u0131na ge\u00e7irir onu. B\u00f6ylece iyilik kendi i\u00e7inde de k\u0131s\u0131tlanm\u0131\u015f olur. Su\u00e7u, mahremiyettir. \u0130nsanlar aras\u0131nda dolays\u0131z ili\u015fkiler kurulabilece\u011fi san\u0131s\u0131n\u0131 yarat\u0131r ve evrenselin tecav\u00fczlerine kar\u015f\u0131 bireyin tek savunmas\u0131 olan mesafeyi yok sayar. Birey, giderilmemi\u015f farkl\u0131l\u0131\u011f\u0131n en ac\u0131l\u0131 bilincini tam da en yak\u0131n ili\u015fkiler i\u00e7indeyken duyar. Yabanc\u0131la\u015fman\u0131n tek panzehiri, yabanc\u0131l\u0131\u011f\u0131n korunmas\u0131d\u0131r. \u0130yili\u011fin rehavetle benimsedi\u011fi o pek k\u0131sa \u00f6m\u00fcrl\u00fc uyum imgesi, budalaca yads\u0131d\u0131\u011f\u0131 uzla\u015fmazl\u0131\u011f\u0131n ac\u0131s\u0131n\u0131 daha da \u015fiddetlendirir. \u0130nce zevke ve hak g\u00f6zeten d\u00fc\u015f\u00fcncelili\u011fe sayg\u0131s\u0131zl\u0131k etmeyecek hi\u00e7bir iyilik edimi yoktur; ve bu sayg\u0131s\u0131zl\u0131k da o g\u00fc\u00e7s\u00fcz g\u00fczellik \u00fctopyas\u0131n\u0131n kar\u015f\u0131 durmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 d\u00fczle\u015fmeyi tamamlar. B\u00f6ylece, k\u00f6t\u00fcl\u00fck \u00f6\u011fretisi, sanayile\u015fmi\u015f toplumun ba\u015flar\u0131ndan beri, sadece barbarizmin habercisi de\u011fil, iyinin de maskesidir. \u0130yide de\u011ferli olan ne varsa k\u00f6t\u00fcye aktar\u0131lm\u0131\u015ft\u0131r \u2013 o k\u00f6t\u00fc ki, k\u00f6t\u00fcl\u00fc\u011f\u00fcn\u00fc tam vir g\u00f6n\u00fcl rahatl\u0131\u011f\u0131yla yapabilmek i\u00e7in iyiyi de kendi saflar\u0131na katm\u0131\u015f bir d\u00fczenin b\u00fct\u00fcn nefretini kendi \u00fcst\u00fcne \u00e7ekiyordur \u015fimdi. Hedda Gabler, Julle Teyze’nin generalin k\u0131z\u0131 onuruna sat\u0131n ald\u0131\u011f\u0131 g\u00fcl\u00fcn\u00e7 \u015fapkan\u0131n al\u0131nda hizmet\u00e7iye ait oldu\u011funu kas\u0131tl\u0131 bi\u00e7imde iddia ederek o \u00e7ok iyi niyetli teyzenin kalbinde onulmaz bir yara a\u00e7ar; ama tatminsiz kad\u0131n\u0131n b\u00f6ylece yapt\u0131\u011f\u0131, ac\u0131nas\u0131 evlili\u011finin ac\u0131s\u0131n\u0131 savunmas\u0131z bir kurbandan \u00e7\u0131karma sadistli\u011fi de\u011fildir sadece: Kendi ya\u015fam\u0131ndaki en iyi \u015feylere kar\u015f\u0131 da s\u0131\u00e7 i\u015flemekte, \u00e7\u00fcnk\u00fc en iyiyi iyinin al\u00e7alt\u0131lmas\u0131 olarak g\u00f6rmektedir. Beceriksiz ye\u011fenini taparcas\u0131na seven ya\u015fl\u0131 kad\u0131na kar\u015f\u0131, bilin\u00e7sizce ve sa\u00e7ma bir bi\u00e7imde, mutlak\u0131 temsil ediyordur. Hedda’d\u0131r kurban, Julle de\u011fil. Hedda’n\u0131n sabit fikri olan g\u00fczelli\u011fin ahlaka kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131, onu alaya al\u0131\u015f\u0131ndan bile \u00f6ncedir. \u00c7\u00fcnk\u00fc genel olan her \u015feyden uzak durur ve yaln\u0131zca varolu\u015fun belirledi\u011fi b\u00fct\u00fcn farklar\u0131 \u2013\u015funu de\u011fil de bunu kay\u0131rm\u0131\u015f olan rastlant\u0131y\u0131\u2013 bir mutlak olarak g\u00f6r\u00fcr. G\u00fczellikte, inat\u00e7\u0131 ve n\u00fcfuz edilmez tikellik, norm olarak \u00f6ne s\u00fcrer kendini: Sadece o geneldir, \u00e7\u00fcnk\u00fc normal genellik fazla saydam hale gelmi\u015ftir. B\u00f6ylece meydan okur o normal genelli\u011fe, \u00f6zg\u00fcr olmayan her \u015feyin e\u015fitli\u011fine. Ama bunu yaparken kendisi de su\u00e7lu durumuna d\u00fc\u015fer: Genelle ili\u015fkisini kopar\u0131rken, o olumsal varolu\u015fu a\u015fma imk\u00e2nlar\u0131n\u0131 da t\u00fcm\u00fcyle bir yana atm\u0131\u015ft\u0131r \u2013 oysa tikel varolu\u015fun n\u00fcfuz edilmezli\u011finden yans\u0131yan da asl\u0131nda sadece k\u00f6t\u00fc genelli\u011fin hakikatsizli\u011fidir. B\u00f6ylece do\u011fruya kar\u015f\u0131 yanl\u0131\u015f\u0131n yan\u0131nda bulur kendini g\u00fczellik: Do\u011fruya kar\u015f\u0131 hakl\u0131yken bile. G\u00fczellikte, narin gelecek, \u015fimdinin Molok’una kendi kurban\u0131n\u0131 veriyordur: \u015eimdinin evreninde iyi diye bir \u015fey olamayaca\u011f\u0131 i\u00e7in, kendini k\u00f6t\u00fc k\u0131lar; b\u00f6ylece kendi yenilgisiyle yarg\u0131c\u0131 da mahk\u00fbm etmi\u015f olur. G\u00fczelli\u011fin iyiye kar\u015f\u0131 isyan\u0131, trafik kahramanlar\u0131n aldan\u0131\u015flar\u0131n\u0131n laik burjuva bi\u00e7imidir. Toplumun her t\u00fcrl\u00fc al\u0131\u015fkanl\u0131\u011f\u0131n berisinde kalan bug\u00fcnk\u00fc hali, kendi olumsuzlu\u011funun bilincini de engelledi\u011fi i\u00e7in, ancak soyut olumsuzlama hakikatin yerini tutabilir. Anti-ahlak, ahlakta ahlaks\u0131z olan \u015feyi, bask\u0131y\u0131, reddederken, ahlak\u0131n en derin tasas\u0131n\u0131 da devralm\u0131\u015ft\u0131r: Her t\u00fcrl\u00fc s\u0131n\u0131rlanmayla birlikte b\u00fct\u00fcn \u015fiddet ve tecav\u00fcz\u00fcn de ortadan kald\u0131r\u0131lmas\u0131. \u00d6d\u00fcns\u00fcz burjuva \u00f6z-ele\u015ftirisinin itici g\u00fc\u00e7lerinin materyalizminkilerle \u00f6rt\u00fc\u015fmesinin nedeni budur \u2013 birincisi kendi bilincine ancak ikincisine ge\u00e7erek ula\u015fabilir.<\/p>\n ” (s. 98-9)<\/p>\n Theodor Adorno, Minima Moralia: Sakatlanm\u0131\u015f Ya\u015famdan Yans\u0131malar, 2009 [1951], Metis.<\/p>\n","protected":false},"excerpt":{"rendered":"