{"id":6441,"date":"2019-03-20T19:30:00","date_gmt":"2019-03-20T16:30:00","guid":{"rendered":"https:\/\/millidusunce.com\/misak\/?p=6441&#038;preview=true&#038;preview_id=6441"},"modified":"2019-03-20T17:08:43","modified_gmt":"2019-03-20T14:08:43","slug":"angaje-sanat-ile-pur-sanat-arasinda-kalmislik-meselesi","status":"publish","type":"post","link":"https:\/\/millidusunce.com\/misak\/angaje-sanat-ile-pur-sanat-arasinda-kalmislik-meselesi\/","title":{"rendered":"Angaje sanat ile p\u00fcr sanat aras\u0131nda kalm\u0131\u015fl\u0131k meselesi"},"content":{"rendered":"<p><a href=\"https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/03\/edebiyat-insan.jpg\"><img loading=\"lazy\" class=\"size-full wp-image-6450 aligncenter\" src=\"https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/03\/edebiyat-insan.jpg\" alt=\"\" width=\"609\" height=\"438\" srcset=\"https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/03\/edebiyat-insan.jpg 609w, https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/03\/edebiyat-insan-150x108.jpg 150w, https:\/\/millidusunce.com\/misak\/wp-content\/uploads\/2019\/03\/edebiyat-insan-300x216.jpg 300w\" sizes=\"(max-width: 609px) 100vw, 609px\" \/><\/a>Edebiyat tarihimizin yak\u0131n d\u00f6nemlerine ait me\u015fhur ve hararetli bir fikir d\u00f6v\u00fc\u015f\u00fc vard\u0131r. Ad\u0131 herkes\u00e7e malum: Sanat ne i\u00e7in? Bu sorunun zuhur etme vaktini, neden zuhur etti\u011fini, hangi cevab\u0131n daha makbul oldu\u011funu net bir \u015fekilde ortaya koymak elbette \u00e7ok zor. \u00c7\u00fcnk\u00fc bu meselelerde sosyal bilimlerin tipik \u00f6zelli\u011fi olan \u201csubjektiflik hamili\u011fi ve kesinlik d\u00fc\u015fmanl\u0131\u011f\u0131\u201d bizlere hem geni\u015f bir tefekk\u00fcr alan\u0131 vermekte hem de b\u00fcy\u00fck bir karma\u015fa yuma\u011f\u0131 sa\u011flamaktad\u0131r. Gelelim angaje sanat ve p\u00fcr sanat kavramlar\u0131na. Angaje kelimesi bir konuya, amaca yahut ideolojiye adapte olmu\u015f, onun etraf\u0131nda \u015fekillenmi\u015f olma durumunu ifade etmektedir. En az\u0131ndan sanat i\u00e7in bu \u00e7er\u00e7evede tahlil etmeliyiz. P\u00fcr sanat ise tamamen esteti\u011fe ve bireyselli\u011fe, yani bireyselli\u011fin getirdi\u011fi romantizme teslim olmakt\u0131r. Bu kavramlar \u0131\u015f\u0131\u011f\u0131nda edebiyat tarihimize bakt\u0131\u011f\u0131m\u0131zda meselenin asl\u0131nda \u00e7ok eski oldu\u011funu ancak ortaya \u00e7\u0131kan kavgan\u0131n yeni oldu\u011funu g\u00f6rmekteyiz. Evvela klasik T\u00fcrk edebiyat\u0131 ile halk edebiyat\u0131 metinlerini mukayese etti\u011fimizde bu durumu rahatl\u0131kla g\u00f6rmekteyiz. Bunlar\u0131n aras\u0131na bir de Kutadgu Bilig, Divan-\u0131 Hikmet gibi eserleri de ekledi\u011fimizde ortaya garip bir durum \u00e7\u0131kmakta. Kutadgu Bilig\u2019in kaleme al\u0131nma sebebini sanatsal bir kayg\u0131ya yorabilir miyiz? Muhtevaya bakt\u0131\u011f\u0131m\u0131zda bu pek m\u00fcmk\u00fcn g\u00f6r\u00fcnmemekte. \u015eunu diyebiliriz ki Kutadgu Bilig Tanzimat devrinde kaleme al\u0131nm\u0131\u015f olsayd\u0131 devrin atmosferinde yine \u00e7ok b\u00fcy\u00fck bir etki yaratacakt\u0131. \u0130\u00e7erik bunu bizlere g\u00f6stermekte. Di\u011fer bir husus da klasik edebiyat ile halk edebiyat\u0131 aras\u0131nda. Halk edebiyat\u0131 imaj olarak her daim klasik edebiyata g\u00f6re daha \u00e7ok sanat toplum i\u00e7indir \u00e7ehresine b\u00fcr\u00fcnm\u00fc\u015ft\u00fcr. Bu haks\u0131z bir teori de\u011fildir. Ancak klasik edebiyat i\u00e7in de topyek\u00fbn bir sanat sanat i\u00e7indir kan\u0131s\u0131na varmak kan\u0131mca yanl\u0131\u015f olacakt\u0131r. Buna en g\u00fczel delil N\u00e2b\u00ee\u2019nin ba\u015f\u0131n\u0131 \u00e7ekti\u011fi hikem\u00ee ak\u0131m\u0131d\u0131r. Hikmetli s\u00f6zler s\u00f6ylemek ve \u00f6\u011f\u00fctler vermek topluma d\u00f6n\u00fck olmay\u0131 gerektirdi\u011fi i\u00e7in klasik edebiyat\u0131n bu y\u00f6n\u00fcn\u00fc de ortaya koymak gerekti\u011fini d\u00fc\u015f\u00fcnmekteyim. \u015eu an i\u00e7in gelinen noktada:<\/p>\n<p>1. Edebiyat\u0131m\u0131zda 11. y\u00fczy\u0131lda dahi topluma d\u00f6n\u00fck bir kayg\u0131 vard\u0131r.<\/p>\n<p>2. Klasik edebiyat tamamiyle bireyselli\u011fe saplanmam\u0131\u015ft\u0131r.<\/p>\n<p>Bu iki madde kafam\u0131zda olu\u015fan bir \u00e7ok yarg\u0131y\u0131 de\u011fi\u015ftirecektir. Nas\u0131l yani? Klasik edebiyatta sadece saray \u00e7evresi ve bireysel konular ele al\u0131nmam\u0131\u015f m\u0131? \u015eairler sadece padi\u015fahlara yaranmaya \u00e7al\u0131\u015fmam\u0131\u015f m\u0131? Bu sorular\u0131 sormak edeb\u00ee anlamda beyninizin bir r\u00f6nesans\u0131 olabilir. \u00c7\u00fcnk\u00fc edebiyatta hi\u00e7bir devir tamamen bir torbaya doldurulamaz. Hatta hi\u00e7bir \u015fey tek bir kal\u0131b\u0131n i\u00e7ine s\u0131\u011fmaz. Ne klasik edebiyat sadece saray \u00e7evresindedir ne de halk edebiyat\u0131 sadece ta\u015frada. Meselenin \u00f6z\u00fcne d\u00f6necek olursak. Bu tart\u0131\u015fman\u0131n hararetlenmesine sebep olan d\u00f6nem elbette Tanzimat d\u00f6nemidir. \u00c7\u00fcnk\u00fc hayat\u0131n her alan\u0131nda m\u00fcnazaraya tutu\u015fan bir devlet ve toplum yap\u0131s\u0131nda edebiyat\u0131n da bundan nasiplenmemesi imkans\u0131zd\u0131. Siyasette, ekonomide, askeriyede konu\u015fulan meseleler kendi sahas\u0131nda edebiyata da yans\u0131m\u0131\u015ft\u0131. Ancak edebiyat\u0131n bireysellik ve estetik kolu da bu d\u00f6nemde do\u011fal olarak varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. \u00c7\u00fcnk\u00fc bir devir ne kadar buhranl\u0131, ne kadar ac\u0131 dolu da olsa sanat o devrin \u00e7ocuklar\u0131na her zaman estetik kayg\u0131ya ve bireyselli\u011fe y\u00f6nelme imkan\u0131n\u0131 tan\u0131maktad\u0131r. Bir yanda \u0130ntibah ile topluma ibretlik bir ders anlatan Nam\u0131k Kemal, di\u011fer yanda a\u015fk ve ihtiras \u00fczerine kalem oynatan Abd\u00fclhak Hamit. Bir yanda sanat\u0131 toplumun sorunlar\u0131na ve devletin meselelerine adapte eden ve sanat\u0131 topluma e\u011fitim vermede bir ara\u00e7 olarak g\u00f6ren Ahmet Mithat Efendi, di\u011fer yanda \u015fiirin en derin kuyular\u0131na dalan Cenap \u015eehabettin. Bu mukayese levhas\u0131 uzay\u0131p gider. Dikkat edilmesi gereken nokta ise edebiyat sahas\u0131nda topluma y\u00f6nelme kayg\u0131s\u0131n\u0131n epeyce artmas\u0131. Bunun ba\u015fl\u0131ca sebebi de devrin getirdi\u011fi s\u0131k\u0131nt\u0131lar ve ortaya koydu\u011fu siyasi atmosferdir. Edebiyat\u0131n kendisini toplumdan ve devletin i\u00e7inde bulundu\u011fu siyasi ve askeri atmosferden soyutlayamayaca\u011f\u0131n\u0131 net bir \u015fekilde g\u00f6rmekteyiz. Bu konu i\u00e7in en afaki sonu\u00e7 \u015fu olacakt\u0131r: Net bir yarg\u0131 ile sanat toplum i\u00e7indir yahut sanat sanat i\u00e7indir demek. \u00d6rnek verecek olursak Halit Ziya U\u015fakl\u0131gil i\u00e7in eserlerini belirli bir mekanda i\u015flemi\u015ftir ve toplumsal kayg\u0131dan uzakt\u0131r, denmekte ancak hikayelerinde bu durumun de\u011fi\u015fti\u011fini g\u00f6rmekteyiz. Yahut Ahmet Ha\u015fim\u2019in yaz\u0131lar\u0131nda toplumsal konulara de\u011findi\u011fine rastlamaktay\u0131z.<\/p>\n<h2><strong>Sonu\u00e7<\/strong><\/h2>\n<p>Unutulmamas\u0131 gereken nokta \u015fudur ki edebiyat sahas\u0131nda her zaman arada kalmak makbul ve makul oland\u0131r. \u00c7\u00fcnk\u00fc netlik edebiyat\u0131n belki de en son ba\u015fvuraca\u011f\u0131 \u015feydir. Misal bu y\u00f6ntem, konusu ve bizde b\u0131rakt\u0131\u011f\u0131 etki neticesinde Akif\u2019in \u00c7anakkale Destan\u0131\u2019n\u0131 kaleme al\u0131rken ortaya koydu\u011fu kafiyeyi ve s\u00f6z sanatlar\u0131n\u0131 g\u00f6rmezden gelmemize mi sebep olmal\u0131? Asla! \u00c7\u00fcnk\u00fc eserler ve onlar\u0131 kaleme alan ki\u015filer \u00f6zellikle Tanzimat devri T\u00fcrk edebiyat\u0131 ile birlikte \u00e7o\u011funlukla tek bir a\u00e7\u0131dan ele al\u0131namamaktad\u0131r. Bu sebeple edebiyatta arada kalm\u0131\u015fl\u0131k \u015fahsen en faydal\u0131 durumdur. Sanat\u0131 sadece topluma veya esteti\u011fe hapsetmemeliyiz. Kesinlik pe\u015finde ko\u015fmak doktorlar\u0131n, m\u00fchendislerin i\u015fidir. Edebiyat hendese de\u011fildir. Hem topluma hem de sanata y\u00f6nelebilecek kadar esnek ve yetenekli olabilen kalemgirlerin elinde y\u00fckselmi\u015f olan bir edebiyat\u0131m\u0131z vard\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Edebiyatta arada kalm\u0131\u015fl\u0131k en faydal\u0131 durum olsa gerek. Sanat bir \u015feyleri kan\u0131tlamak zorunda de\u011fildir. Kesinlik pe\u015finde ko\u015fmak bilimin i\u015fidir. Hem topluma hem de sanata hitap edebilen esnek ve yetenekli sanat\u00e7\u0131lar\u0131m\u0131z var bizim.<\/p>\n","protected":false},"author":105,"featured_media":6452,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[62,2],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v16.0.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Angaje sanat ile p\u00fcr sanat aras\u0131nda kalm\u0131\u015fl\u0131k meselesi - M\u0130SAK- Mill\u00ee Strateji Ara\u015ft\u0131rma Kurulu<\/title>\n<link rel=\"canonical\" href=\"https:\/\/millidusunce.com\/misak\/angaje-sanat-ile-pur-sanat-arasinda-kalmislik-meselesi\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Angaje sanat ile p\u00fcr sanat aras\u0131nda kalm\u0131\u015fl\u0131k meselesi - M\u0130SAK- Mill\u00ee Strateji Ara\u015ft\u0131rma Kurulu\" \/>\n<meta property=\"og:description\" content=\"Edebiyatta arada kalm\u0131\u015fl\u0131k en faydal\u0131 durum olsa gerek. 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