1932 y\u0131l\u0131nda, \u0130talya\u2019n\u0131n Milan eteklerindeki Allesandria kasabas\u0131nda d\u00fcnyaya gelir. Babas\u0131, on \u00fc\u00e7 \u00e7ocuklu bir aileden gelir. \u0130kinci Cihan Harbi s\u0131ras\u0131nda annesiyle bir da\u011f k\u00f6y\u00fcne ta\u015f\u0131n\u0131rlar. Burada, Katolik Salezyenler Kilisesine ait bir mektebe kaydolur. Kilisenin misyonu, nizamn\u00e2mesinde \u015f\u00f6yle tarif edilir: Gen\u00e7lerin, bilhassa fakir o\u011flanlar\u0131n, rahip olmalar\u0131 cihetinde yeti\u015ftirilmeleri ve \u00fcyelerinin m\u00fckemmel Hristiyan olmalar\u0131 i\u00e7in her t\u00fcrl\u00fc maddi ve manevi hay\u0131r hizmetleri yapmak. Umberto Eco, bu okulun kendisi \u00fczerindeki tesirlerini pek \u00e7ok konu\u015fmas\u0131nda dile getirecektir.<\/p>\n
Babas\u0131 avukat olmas\u0131n\u0131 ister. Fakat gen\u00e7 Umberto, avukat olmak i\u00e7in girdi\u011fi \u00fcniversitede, hukuktan \u00e7ok Orta \u00c7a\u011f tarihini didikler. O d\u00f6nemin k\u00fclt\u00fcr ve d\u00fc\u015f\u00fcncesini irdelerken, Aziz Thomas Aquinas\u2019a husus\u00ee alaka g\u00f6sterir ve tezini de Katolik \u0130talya\u2019n\u0131n Avrupa\u2019ya arma\u011fan etti\u011fi bu ke\u015fi\u015f \u00fczerine yazar. Aristo felsefesini Hristiyan prensipler \u0131\u015f\u0131\u011f\u0131nda tetkik eden Aquinas, Avrupa d\u00fc\u015f\u00fcncesi \u00fczerinde derin izler b\u0131rakan bir teolog ve filozoftur.<\/p>\n
Umberto\u2019nun kariyeri tek \u00e7izgi \u00fczerinde ilerlemez: Gazetecilik, edebiyat ele\u015ftirmenli\u011fi, antropoloji, g\u00f6sterge bilimi (semiyotik), akademisyenlik, roman yazarl\u0131\u011f\u0131 ve bilahare Do\u011fu k\u00fclt\u00fcrleri ile Bat\u0131 aras\u0131ndaki diyalo\u011fu geli\u015ftirmek i\u00e7in giri\u015fti\u011fi i\u00e7timai faaliyetler. Romanlar\u0131 d\u0131\u015f\u0131nda, semiyotik bilimi ve Orta \u00c7a\u011f (esteti\u011fi) ile alakal\u0131 \u00e7al\u0131\u015fmalar\u0131 vard\u0131r.<\/p>\n
Yazl\u0131\u011f\u0131ndakilerle beraber ellibin cilt eserlik k\u00fct\u00fcphaneye sahip Umberto Eco; bitmez t\u00fckenmez bir merak ve i\u015ftahla yeni sahalara kement atmak ister. Plaktan \u00e7\u0131kan notalar hafif\u00e7e oday\u0131 dola\u015f\u0131rken, t\u00fct\u00fcn\u00fcn\u00fc t\u00fctt\u00fcr\u00fcp kitaplar\u0131n aras\u0131nda gark olmay\u0131 sevdi\u011fi rivayet edilir.<\/p>\n
Sanat\u00e7\u0131, ressam, yazar ve m\u00fczisyen avangardlar\u0131n topland\u0131\u011f\u0131 Gruppo 63 denilen bir grupta yer al\u0131r. Gruppo 63\u2019\u00fcn yazarl\u0131k hayat\u0131nda \u00f6nemli tesirleri olmu\u015f.<\/p>\n
Di\u011fer s\u0131k\u0131c\u0131 akademisyenlerden hi\u00e7bir fark\u0131 olmayan Umberto Eco; nas\u0131l oldu da, kitab\u0131 yirminci asr\u0131n en \u00e7ok sat\u0131lan yazarlardan biri h\u00e2line geldi? Orta \u00c7a\u011f\u0131n \u00e7\u00fcr\u00fck dehlizlerinden \u00e7\u0131k\u0131p, \u015f\u00f6hretin yald\u0131zl\u0131 d\u00fcnyas\u0131na eri\u015fmesi, hak edilmi\u015f bir ba\u015far\u0131 m\u0131d\u0131r? Yay\u0131nevinin pazarlama becerisinin eseri mi; palya\u00e7olar\u0131 m\u00fctefekkir diye yutturan \u201cpiyasa\u201d sa\u00e7mal\u0131\u011f\u0131 m\u0131; ald\u0131\u011f\u0131 komutlarla zombiler y\u0131\u011f\u0131n\u0131 gibi baz\u0131 kitaplara h\u00fccum eden \u015fuursuz okuyucular\u0131n abartmas\u0131 m\u0131? Nedir bu Umberto Eco masal\u0131?<\/p>\n
Kim ne derse desin; Umberto Eco\u2019nun d\u00fcnya sath\u0131ndaki muvaffakiyetinin arkas\u0131nda; Semiyotik sahas\u0131ndaki ihtisas\u0131 sayesinde; kelime, s\u00f6z, metin, lisan, bey\u00e2n ve simgelerin sahip oldu\u011fu g\u00fcc\u00fc ke\u015ffetmesi yat\u0131yor. Orta \u00c7a\u011f\u0131 Eco\u2019dan daha iyi bilen tarih\u00e7iler olabilir. \u0130yi bir tarih bilgisine il\u00e2ve olarak; metinler, insanlar ve hayat\u0131 nas\u0131l yo\u011furaca\u011f\u0131n\u0131 \u00e7\u00f6zd\u00fc\u011f\u00fc i\u00e7in G\u00fcl\u00fcn Ad\u0131 gibi bir eser yazabilmi\u015f. Ortaya att\u0131\u011f\u0131 teoriyi kendi \u015fahs\u0131ndaki pratikte sembolize edebilmi\u015f.<\/p>\n
Edeb\u00ee metinler<\/strong>\u00a0m\u00e2n\u00e2 \u015feridi de\u011fil; m\u00e2n\u00e2 sahas\u0131d\u0131r Eco\u2019ya g\u00f6re. Metinler; zihin, toplum ve hayatla irtibatl\u0131; ayn\u0131 zamanda dinamik ve farkl\u0131 psikolojik durumlara farkl\u0131 \u015feyler anlatabilen \u201ca\u00e7\u0131k\u201d sahalard\u0131r. Sosyolojik perspektiften kitle ileti\u015fimini ara\u015ft\u0131ran Umberto Eco; h\u00e2kim kitlesel medya k\u00fclt\u00fcr\u00fcne kar\u015f\u0131 semiyotik gerilla ileti\u015fim taktiklerinin kullan\u0131lmas\u0131n\u0131 teklif etmi\u015f. Bu da; g\u00f6sterge bilimini kullanarak, g\u00fcr\u00fclt\u00fcde sesini duyurabilme tekni\u011fi demektir. Semiyotik taktikler, bey\u00e2n ve ifadedeki k\u0131vrakl\u0131\u011f\u0131n sadece bir motif olmas\u0131n\u0131 de\u011fil, ayn\u0131 zamanda yazar taraf\u0131ndan bir silah olarak kullan\u0131lmas\u0131n\u0131 temin etmi\u015f.<\/p>\n Edebiyat, birbiriyle ba\u011flant\u0131l\u0131 olan edeb\u00ee eserlerin \u00f6rd\u00fc\u011f\u00fc bir a\u011f, bir d\u00fcnyad\u0131r. Metinler bir birinden kopuk de\u011fildir. D\u00fcnyadaki b\u00fct\u00fcn di\u011fer metinlerden habersiz biri; tek bir kitab\u0131 eline al\u0131p, o kitab\u0131; d\u00fcnyadaki di\u011fer b\u00fct\u00fcn metinlerden ba\u011f\u0131ms\u0131z olarak, anlamas\u0131 m\u00fcmk\u00fcn m\u00fc? Eco, her k\u00fclt\u00fcrel fenomenin bir \u201cileti\u015fim unsuru\u201d \u015feklinde m\u00fctalaa edilebilece\u011fini ifade ediyor.<\/p>\n Umberto Eco, G\u00fcl\u00fcn Ad\u0131 roman\u0131yla, akademyadan olmayanlara Semiyotik mefhumlar\u0131n ezoterik k\u0131vr\u0131mlar\u0131n\u0131 \u00e7arp\u0131c\u0131 bir misalle ortaya koymu\u015f.<\/p>\n Tembel okuyucuya g\u00f6re bir kitap de\u011fil G\u00fcl\u00fcn Ad\u0131: Okuru i\u00e7ine \u00e7eken, e\u011fiten, demleyen, haz\u0131rlayan, sarsan, l\u00fcgat (s\u00f6zl\u00fck) kar\u0131\u015ft\u0131rmaya ve ara\u015ft\u0131rmaya mecbur eden bir eser. \u201cGece uyumadan \u00f6nce biraz okuyay\u0131m\u201d diyenler; r\u00fcya yerine \u015fafa\u011f\u0131n s\u00f6kmesiyle kar\u015f\u0131la\u015fabilirler. Anlamak ve haz almak i\u00e7in, \u0130ncil\u2019deki ayetlerden tar\u00eeh\u00ee hadiselere, Orta \u00c7a\u011f mimarisinden bilim tarihine, neb\u00e2t\u00e2t \u00e2leminden, felsefeye, lisan felsefesinden tarihteki \u015fahsiyetlere, feodal d\u00fczenden ruhbanl\u0131\u011fa, hukuktan mant\u0131\u011fa kadar\u2026 Pek \u00e7ok sahayla alakal\u0131 bir \u015feyler biliyor olman\u0131z gerekir. Aksi halde, G\u00fcl\u00fcn Ad\u0131 isimli saray\u0131n kap\u0131s\u0131ndan k\u00fcf\u00fcrler ya\u011fd\u0131r\u0131p d\u00f6nenler z\u00fcmresine kat\u0131l\u0131rs\u0131n\u0131z. En \u00f6nemlisi, Orta \u00c7a\u011f\u2019a gidebilme ve o d\u00f6nemde ya\u015f\u0131yormu\u015f gibi d\u00fc\u015f\u00fcnebilmeniz icap eder. Semiyotik i\u015faret etme (g\u00f6ndermede bulunarak okuyucunun zihnine davet etme) takti\u011fiyle kitaptaki karnavala d\u00e2vet edilen mefhumlara v\u00e2k\u0131f olmayan bir okuyucunun bu kitaptan nasibi sadece esnemek olacakt\u0131r.<\/p>\n Umberto Eco\u2019nun G\u00fcl\u00fcn Ad\u0131 roman\u0131nda m\u00fcnderi\u00e7 simge, i\u015faret, metafor, k\u0131ssa, mit, efsane, rivayet, hikaye, sembol, ki\u015fi, kitap, hadise, inan\u00e7, fikir, felsefe ve benzeri g\u00f6ndermede bulunulan mefhumlar\u0131n b\u00fcy\u00fck ekseriyeti \u015fuurlu \u015fekilde yap\u0131lm\u0131\u015f, bir k\u0131sm\u0131 ise kriptomneziya \u015feklinde tez\u00e2h\u00fcr etmi\u015f. Mal\u00fbmatfuru\u015fluk eden \u00e7akma entellerle entelekt\u00fcel* derinli\u011fi olanlar\u0131 ay\u0131ran farklardan biri de bu olsa gerektir.<\/p>\n Pop\u00fcler k\u00fclt\u00fcr\u00fcn \u201ck\u00fclt\u00fcrs\u00fcz\u201d ikliminde yeti\u015fen c\u0131l\u0131z beyinlerin laf\u0131 doland\u0131rmadan \u201cs\u0131k\u0131c\u0131\u201d diye kestirip ataca\u011f\u0131 kadar derin. Hani, d\u00fc\u015f\u00fcnd\u00fcrmeyen, yormayan, ak\u0131p giden (\u201cak\u0131c\u0131\u201d), vakti kemirip t\u00fcketen kitaplara al\u0131\u015fm\u0131\u015flar\u0131n hi\u00e7 hazetmeyecekleri t\u00fcrden. Son zamanlarda, bilhassa sosyal medyada sesleri \u00e7ok y\u00fckselen, \u201cB\u0131rak \u015fimdi edebiyat\u0131, felsefeyi, tarihi, derinli\u011fi; k\u00e2til kim, sen bana onu s\u00f6yle ayol\u201d diyen cinsler hakk\u0131nda Umberto Eco\u2019ya kulak verelim:<\/p>\n \u201cSosyal medya; bir zamanlar meyhanede bir kadeh diktikten sonra kimseye zarar\u0131 olmayacak \u015fekilde lak\u0131rdayan ahmaklar g\u00fcr\u00fchuna, Nobel \u00d6d\u00fcl\u00fc kazanm\u0131\u015f\u00e7as\u0131na konu\u015fma hakk\u0131 veriyor. Bu da ahmaklar\u0131n istilas\u0131d\u0131r.<\/em>\u201d<\/p>\n G\u00fcl\u00fcn Ad\u0131\u2019n\u0131 bir kategoriye koyamad\u0131klar\u0131 i\u00e7in burun k\u0131v\u0131ranlar var. Polisiye ar\u0131yorsan, istemedi\u011fin kadar var. \u201cGizem\u201d kelimesi kadar ahenksiz olsun diyorsan, Dan Brown kar\u0131\u015ft\u0131r. A\u015fk okuyacaksan adresler belli. Tarih, ders kitaplar\u0131nda dolu\u2026. G\u00fcl\u00fcn Ad\u0131\u2019n\u0131 eline ald\u0131ysan, Umberto Eco d\u00fcnyas\u0131n\u0131n kanunlar\u0131na uyman icap etmez mi? Kitab\u0131 okuyanlara sordu\u011funuzda, \u201cGotik roman, \u00e7ok kasvetli\u201d diyenle kar\u015f\u0131la\u015f\u0131rsan\u0131z \u015fa\u015f\u0131rmay\u0131n.<\/p>\n Semiyotik ve lisan felsefesi sahas\u0131nda ihtisas sahibi olan postmodern bir d\u00fc\u015f\u00fcn\u00fcr olsa da; G\u00fcl\u00fcn Ad\u0131 her \u015feyiyle Hristiyanl\u0131\u011f\u0131 k\u00fcl\u00e7e gibi okuyucunun \u00f6n\u00fcne koyuyor. \u00dcniversite y\u0131llar\u0131 boyunca, tanr\u0131 inanc\u0131n\u0131 kaybedip Katolik Kilisesini terk etti\u011fini s\u00f6ylemi\u015fse de, Kilise onun entelekt\u00fcel d\u00fcnyas\u0131n\u0131 hi\u00e7 bir zaman terk etmemi\u015f.<\/p>\n Tezatlar\u0131yla; abesleriyle; g\u00fcl\u00fcn\u00e7 y\u00f6nleriyle; hat\u00e2 ve sevaplar\u0131yla bir medeniyet arz-\u0131 end\u00e2m ediyor G\u00fcl\u00fcn Ad\u0131\u2019nda. Manast\u0131r\u0131n lo\u015f ve \u00fcrpertici koridorlar\u0131nda dola\u015ft\u0131r\u0131l\u0131rs\u0131n\u0131z; g\u00fcne\u015f do\u011fmadan evvel sabah ayini i\u00e7in uyanan rahiplerin g\u00f6zlerinden akan uykusuzlu\u011fun beyninize d\u00f6k\u00fcld\u00fc\u011f\u00fcn\u00fc hissedersiniz; kilisenin mezbahas\u0131nda kesilen domuzlardan y\u00fckselen koku burnunuzun dire\u011fini s\u0131zlat\u0131r; rahiplerin koro halinde seslendirdikleri il\u00e2h\u00eeler kula\u011f\u0131n\u0131zda u\u011fuldar, Katolik fraksiyonlar aras\u0131ndaki entrikalar ve papal\u0131\u011f\u0131n ac\u0131mas\u0131zl\u0131\u011f\u0131 i\u00e7inde gerilirsiniz; (ad-hoc<\/em>) engizisyon mahkemesince kaz\u0131\u011fa oturtulup diri diri yak\u0131lanlar\u0131n deh\u015fetengiz y\u00fcz ifadesi g\u00f6zlerinizin \u00f6n\u00fcnden gitmez.<\/p>\n Umberto Eco, Katolik Hristiyanl\u0131\u011f\u0131n baz\u0131 cihetleriyle alay eder gibi g\u00f6r\u00fcnse de; ihti\u015faml\u0131 tasvirlerle, okurunu mensup oldu\u011fu medeniyetin H\u0131ristiyan m\u00e2bedine hayran b\u0131rakt\u0131rmak ister. Kitapta ge\u00e7en bolca Latince ifadeler; Katolik okuyucular\u0131n, lise d\u00f6neminde ald\u0131klar\u0131 mecb\u00fbr\u00ee Latince derslerinden kalan bilgilerini tazelemelerine yard\u0131mc\u0131 olur. Kilisenin mimarisini, servetini, k\u00fct\u00fcphanesini, ilime al\u00e2kas\u0131n\u0131, niz\u00e2m\u0131n\u0131 ve cihan\u015f\u00fcm\u00fcll\u00fc\u011f\u00fcn\u00fc g\u00f6zler \u00f6n\u00fcne serer. Nihayetinde Umberto Eco bir Avrupal\u0131 m\u00fctefekkirdir. Ait oldu\u011fu medeniyeti, b\u00fct\u00fcn renk ve motifleriyle katmer katmer \u00fcst \u00fcste bindirilmi\u015f mefhumlardan bir manast\u0131rda tafsilatl\u0131 \u015fekilde tersim etmi\u015f G\u00fcl\u00fcn Ad\u0131\u2019nda.<\/p>\n Lisan\u0131n\u0131 katleden, tarihine s\u0131rt\u0131n\u0131 d\u00f6nen, k\u00fct\u00fcphaneleriyle irtibat\u0131n\u0131 koparm\u0131\u015f bizler i\u00e7in ibret verici de\u011fil mi sizce?<\/p>\n Eli kalem tutanlar\u0131m\u0131z, ait olduklar\u0131 medeniyetin hudutlar\u0131n\u0131, sembollerini, mefhumlar\u0131n\u0131, simgelerini, k\u0131ssalar\u0131n\u0131, hikayelerini, destanlar\u0131n\u0131, \u015fehirlerini, dert ve \u0131zd\u0131raplar\u0131n\u0131 bilecekler ki; bizden de G\u00fcl\u00fcn Ad\u0131 roman\u0131ndan daha iyi eserler \u00e7\u0131kabilsin. Kitab\u0131n ve yazar\u0131n bu itibarla m\u00fctalaa edilmesi gerekir. G\u00e2ye bu olmal\u0131d\u0131r.<\/p>\n G\u00fcl\u00fcn Ad\u0131; \u0130ncilden yap\u0131lan \u015fu iktibasla ba\u015fl\u0131yor: \u201cBa\u015flang\u0131\u00e7ta S\u00f6z vard\u0131. S\u00f6z Tanr\u0131\u2019yla birlikteydi ve S\u00f6z Tanr\u0131\u2019yd\u0131.\u201d<\/p>\n G\u00fcl\u00fcn Ad\u0131\u2019n\u0131 okurken, Stephen King\u2019den gerilim mi, Agatha Christie\u2019den polisiye mi, Aziz Thomas Aquinas\u2019tan din kitab\u0131 m\u0131, Dostoyevski\u2019den psikoloji mi, Shakespeare\u2019den a\u015fk m\u0131 okudu\u011funuzu kestiremeden; bir Orta \u00c7a\u011f uzman\u0131n\u0131n rehberli\u011finde \u0131ss\u0131z, so\u011fuk ve ha\u015fin bir manast\u0131rda dola\u015ft\u0131\u011f\u0131n\u0131z hissine kap\u0131l\u0131rs\u0131n\u0131z.<\/p>\n Kitaptaki kahraman\u0131n t\u00fcmevar\u0131m ve t\u00fcmdengelim metoduyla eserden m\u00fcessire ve m\u00fcessirden esere ula\u015fmadaki mahareti sebebiyle; G\u00fcl\u00fcn Ad\u0131, bazen Sherlock Holmes ve Dr. Watson\u2019un 1300\u2019l\u00fc y\u0131llara g\u00f6nderilmi\u015f versiyonu yorumu almakta. Zaman zaman G\u00fcl\u00fcn Ad\u0131\u2019yla mukayese edilen Dan Brown\u2019un Da Vinci \u015eifresi kitab\u0131, entelekt\u00fcel derinlik ve edeb\u00ee sanat olarak Umberto\u2019nun yan\u0131na yakla\u015fmaz. G\u00fcl\u00fcn Ad\u0131, bir hikayenin anlat\u0131ld\u0131\u011f\u0131 \u0131rmak de\u011fil, bir medeniyetin resmedildi\u011fi okyanus. Somon bal\u0131\u011f\u0131 ve yunus bal\u0131\u011f\u0131; katil balina ve k\u00f6pek bal\u0131\u011f\u0131; m\u00fcren ve balon bal\u0131\u011f\u0131; dip bal\u0131\u011f\u0131 ve kaya bal\u0131\u011f\u0131; midye ve istiridye, inci ve mercan\u2026 Bu okyanus, t\u00fcrl\u00fc renklerin dola\u015ft\u0131\u011f\u0131 kat kat labirentler bar\u0131nd\u0131r\u0131yor kuca\u011f\u0131nda.<\/p>\n G\u00fcl\u00fcn Ad\u0131 bir (modern) klasik mi? Buna ancak zaman karar verir. \u0130ki as\u0131r sonra h\u00e2l\u00e2 okunuyorsa klasik, zaman\u0131n kara deli\u011finde unutulup giderse de\u011fil. \u0130leride ne olaca\u011f\u0131 me\u00e7hul, fakat halihaz\u0131rda k\u00e2hir ekseriyetin nazar-\u0131 sit\u00e2yi\u015fini celbetmi\u015f vaziyette.<\/p>\n \u0130sa aleyhisselam\u0131n g\u00fcl\u00fcp g\u00fclmedi\u011fi; Hristiyanl\u0131kta hi\u00e7 bitmeyen \u0130sa\u2019n\u0131n fakirli\u011fi tart\u0131\u015fmalar\u0131 (kilisedeki rahipler gibi d\u00fcnya mal\u0131 i\u00e7in har\u00ees\u00e2ne davran\u0131p davranmad\u0131\u011f\u0131); Papa otoritesinin mutlakl\u0131\u011f\u0131; \u0130ncili Papal\u0131ktan farkl\u0131 olarak yorumlayanlara kar\u015f\u0131 tak\u0131n\u0131lacak tav\u0131r; ruhban s\u0131n\u0131f\u0131nda cinsellik; kilise ve para, kilise ve kitap, kilise ve halk, kilise ve siyaset (imparatorluk), kilise ve toprak sahipleri \u015feklinde uzay\u0131p giden bir liste.<\/p>\n Bilgi; yasak meyveye benzetilmi\u015f. Fakat o yasak meyveye ula\u015fmak i\u00e7in de bilgiye ihtiyac\u0131n\u0131z var.<\/p>\n Cemil Meri\u00e7\u2019in de dedi\u011fi gibi; \u201cHak\u00eekat, b\u00fct\u00fcn tezatlar\u0131yla bir b\u00fct\u00fcnd\u00fcr\u201d: D\u00fcnyev\u00ee a\u015fkla uhrev\u00ee a\u015fk\u0131n vicdan ovas\u0131nda giri\u015fti\u011fi \u00e7etin harp; hislerin kaynatt\u0131\u011f\u0131 i\u015ftiyak ate\u015fiyle safla\u015fma arzusunun co\u015fturdu\u011fu i\u015ftiyak ate\u015fi; toylu\u011fun \u00e7ocuksu masumiyetiyle ihtiyarl\u0131\u011f\u0131n g\u00fcnahlardan nas\u0131r ba\u011flam\u0131\u015fl\u0131\u011f\u0131; akl\u0131n beyin kemiren \u015f\u00fcphesiyle cehaletin beyni donduran ba\u011fnazl\u0131\u011f\u0131; h\u00e2lis\u00e2ne inan\u00e7la\u00a0 habis\u00e2ne riyak\u00e2rl\u0131k; Katolik halkalar\u0131n mistisizmiyle Katolik f\u0131rkalar\u0131n ter\u00f6rizmi; g\u00f6z\u00fc d\u00f6nm\u00fc\u015f devrimcilerle nevri d\u00f6nm\u00fc\u015f tutucular; Tanr\u0131n\u0131n yer y\u00fcz\u00fcndeki iradesini temsil etti\u011fini iddia eden Papal\u0131kla, insan akl\u0131n\u0131 per\u00e7inleyen Aristo felsefesi; \u015fuh gen\u00e7likle dingin ya\u015fl\u0131l\u0131k; ruhsuz sek\u00fclerlikle mant\u0131ks\u0131z d\u00eenin beyh\u00fbdeli\u011fi; manast\u0131rda \u015fehvet ve m\u00e2bette zin\u00e2\u2026<\/p>\n Semiyotik ustas\u0131 olunca, i\u00e7i\u00e7e metinler, \u00fcst\u00fcste metinler, yanyana metinler, k\u0131vr\u0131m k\u0131vr\u0131m k\u0131vr\u0131lan metinler\u2026 Metafor, kinaye, hiciv, mec\u00e2z-i m\u00fcrsel, istihza, tasvirler, estetik, diyalektik\u2026 Bazen metinler birer i\u015faret, simge. Her i\u015faret, okuyucunun zihnindeki bir ba\u015fka d\u00fcnyaya ba\u011flanan halat. Sembol, i\u015faret, simge, mefhum, k\u0131ymet, referans ve g\u00f6ndermelerle reng\u00e2renk bir c\u00fcmb\u00fc\u015f meydana getirmi\u015f Umberto Eco.<\/p>\n G\u00fcl\u00fcn Ad\u0131\u2019ndaki bir karakterin a\u011fz\u0131ndan Eco\u2019ya kulak verelim: \u201cHer kitb\u0131n -insan\u00ee veya mukaddes- kitaplar\u0131n d\u0131\u015f\u0131ndaki \u015feylerden bahsetti\u011fini d\u00fc\u015f\u00fcn\u00fcyordum. \u015eimdi anlad\u0131m ki, kitaplar kitaplardan bahsederlermi\u015f: Kendi aralar\u0131nda muhabbet ediyormu\u015f gibiler. Bu noktadan sonra, k\u00fct\u00fcphane bana huzursuz edici gelmeye ba\u015flad\u0131. As\u0131rlar\u0131n m\u0131r\u0131ldanmas\u0131, par\u015f\u00f6men ka\u011f\u0131tlar\u0131n\u0131n mu\u011flak m\u00fck\u00e2lemesi, bir ya\u015fayan canl\u0131, insan akl\u0131n\u0131n h\u00e2kim olamad\u0131\u011f\u0131 g\u00fc\u00e7ler yuvas\u0131, zihinler y\u0131\u011f\u0131n\u0131ndan yay\u0131lan s\u0131rlar hazinesi, kendilerini \u00fcreten ve aktaranlar\u0131n \u00f6l\u00fcmlerinden ka\u00e7anlar\u2026\u201d<\/p>\n Kitaplar, ayn\u0131 hakikatin farkl\u0131 zaman ve \u015fartlarda tekrar tekrar anlat\u0131lmas\u0131ndan ibaret de\u011fil midir? Kitap, ulv\u00ee seday\u0131 aksettiren da\u011f, binbir varakl\u0131 aynadan yans\u0131yan ayn\u0131 g\u00f6r\u00fcnt\u00fc.<\/p>\n Kitaplar de\u011fil mi bize hi\u00e7 g\u00f6rmedi\u011fimiz ve belki de hi\u00e7 g\u00f6rmeyece\u011fimiz ki\u015filerin dertlerini anlat\u0131r dururlar? Kaybedilmi\u015f kavgalar\u0131n, kapanm\u0131\u015f defterlerin, \u00f6l\u00fcp gitmi\u015f ki\u015filerin kederini bize \u00e7ektiren kitaplar de\u011fil mi?\u00a0 Umurlar\u0131nda olmad\u0131\u011f\u0131m\u0131z ki\u015filerin hez\u00eemet, h\u00fcsr\u00e2n, hasret, a\u015fk ve \u0131zd\u0131raplar\u0131n\u0131 bize y\u00fckleyen kitaplar de\u011fil de kim? Umberto olsa da sorsam bunlar\u0131\u2026<\/p>\n G\u00fcl\u00fcn Ad\u0131\u2019n\u0131 okuyunca, d\u00fcnyan\u0131n, birbiriyle ba\u011flant\u0131l\u0131 kitaplar ve i\u015faretlerden (simgelerden) m\u00fcte\u015fekkil oldu\u011funu d\u00fc\u015f\u00fcn\u00fcrs\u00fcn\u00fcz.<\/p>\n \u00dcst\u00fc \u00f6rt\u00fcl\u00fcp yok farz edilmeye \u00e7al\u0131\u015f\u0131lan ve beklenmedik zamanda, al\u0131\u015f\u0131lmad\u0131k \u015fekillerde sa\u011fdan soldan f\u0131\u015fk\u0131ran\u00a0\u015fehvet<\/strong>; yasak tan\u0131mayan ve \u201cyakla\u015fma\u201d denilen her\u015feye kar\u015f\u0131 kam\u00e7\u0131lanan\u00a0merak ve tecess\u00fcs<\/strong>; ayn\u0131 anda \u00fc\u00e7 k\u0131yafeti bile olup olmad\u0131\u011f\u0131 tart\u0131\u015f\u0131lmakta olan bir peygamberin dinini korudu\u011funu iddia eden kilisenin K\u00e2run hazinesini k\u0131skand\u0131racak \u015fatafat\u0131n\u0131 i\u00e7ine sindiremeyen\u00a0vicdan<\/strong>; iktidar\u0131n\u0131 s\u00fcrd\u00fcrmek ad\u0131na hi\u00e7bir ayak oyunundan geri durmayan\u00a0ihtiras<\/strong>, a\u00e7l\u0131k ve fakirlikten bedenini satmak zorunda b\u0131rakt\u0131racak\u00a0\u00e7aresizlik<\/strong>; oburlu\u011funu, u\u00e7kurperestli\u011fini ve dalaletini dindarl\u0131k perdesi arkas\u0131nda saklayan\u00a0korkakl\u0131k ve sinsilik<\/strong>; mant\u0131k ve zek\u00e2s\u0131n\u0131n parlakl\u0131\u011f\u0131n\u0131 ispat etmek ad\u0131na herkesi \u015f\u00fcpheli ve her \u015feyi delil g\u00f6ren\u00a0gurur<\/strong>; korudu\u011funu zannetti\u011fi de\u011ferler ad\u0131na zehri iftiharla \u00e7i\u011fnemekten geri durmayan\u00a0inat\u00e7\u0131l\u0131k<\/strong>; g\u00fcnahlar\u0131 affeden, rahipleri hizaya sokan, bucaks\u0131z servete h\u00fckmeden\u00a0kibir<\/strong>; ve nihayet ate\u015f, \u00f6l\u00fcm ve \u00e7il yavrusu gibi da\u011f\u0131lan\u00a0f\u00e2n\u00eelik<\/strong>\u2026 B\u00fct\u00fcn \u00e7\u0131plakl\u0131\u011f\u0131yla insan!<\/p>\n G\u00fcl\u00fcn Ad\u0131 roman\u0131n\u0131n ge\u00e7ti\u011fi ve Avrupa\u2019n\u0131n b\u00f6l\u00fck b\u00f6l\u00fck inan\u00e7 gruplar\u0131na dilimlendi\u011fi d\u00f6nemde, d\u00fc\u015f\u00fcnen ki\u015finin ait oldu\u011fu alg\u0131 d\u00fcnyas\u0131ndan ba\u011f\u0131ms\u0131z bir bilgi yoktu. Bug\u00fcn var m\u0131? Bug\u00fcnk\u00fc fark insanlar\u0131n grup grup de\u011fil, daha \u00e7ok fert fert veya minik minik grup\u00e7uklara b\u00f6l\u00fcnm\u00fc\u015f olmas\u0131.<\/p>\n Mutlak do\u011fru nedir? Ayn\u0131 kitab\u0131 okuyan, \u00e7ocuklu\u011fundan itibaren ayn\u0131 kiliseye muntazaman giden, ayn\u0131 papaz\u0131 dinleyen ve tamam\u0131 otuz \u00fc\u00e7 ya\u015f\u0131nda y\u00fcz ki\u015filik bir Katolik grubunu al\u0131p y\u00fcz ayr\u0131 odaya yerle\u015ftirin. \u201cAl\u0131n size sonsuz miktarda ka\u011f\u0131t, hi\u00e7 t\u00fckenmeyecek kalem ve istedi\u011finiz kadar s\u00fcre. Yarat\u0131c\u0131 hakk\u0131nda bildi\u011finiz ne varsa yaz\u0131n\u201d deyin. Emin olun bu y\u00fcz ki\u015fiden ikisinin yazd\u0131klar\u0131 bile birebir ayn\u0131 olmayacakt\u0131r. Yarat\u0131c\u0131n\u0131n kudreti de buradan gelmiyor mu? Bu misal G\u00fcl\u00fcn Ad\u0131 roman\u0131nda yok. Fakat, kitapta i\u015faret edilen \u201cher insan\u0131n alg\u0131 ve idrak seviyesine g\u00f6re farkl\u0131 hakikatler oldu\u011funu\u201d isabetli \u015fekilde vuzuha kavu\u015fturmuyor mu? Kendi etraf\u0131m\u0131za bakal\u0131m: Annemizin bildikleriyle bizim bildiklerimiz y\u00fczde y\u00fcz ayn\u0131 m\u0131 mesela? Tasavvuf yolculu\u011funda ilerleyen s\u00e2likler; seyr \u00fc s\u00fcl\u00fbk merhalelerinde \u015fa\u015f\u0131lacak bilgiler, duyulmam\u0131\u015f marifetlerle \u015fereflenmiyorlar mu? Her s\u00e2lik, istidad\u0131na g\u00f6re, \u00e7e\u015fitli marifete kavu\u015fmuyor mu?<\/p>\n Hristiyan iklimde yeti\u015fen Umberto Eco\u2019nun \u201cG\u00fcl\u201d\u00fc heybesinde farkl\u0131 m\u00e2n\u00e2lar ta\u015f\u0131yor elbette. Mutlak hakikati buldu\u011funu iddia edenler, mutlak hakikate ula\u015fmaya \u00e7al\u0131\u015fanlar, mutlak hakikati temsil etti\u011fini zannedenler ve mutlak hakikati koruyup gizlemeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 vehmeden n\u00e2k\u0131s insanlar\u0131n hikayesini naklediyor. Hakikate u\u00e7maya \u00e7al\u0131\u015fanlar, hakikati cebretmeye \u00e7al\u0131\u015fanlar, hakikati umursamayanlar, hakikate sad\u0131k oldu\u011fu intiba\u0131 uyand\u0131r\u0131p riyak\u00e2rl\u0131k yapanlar\u2026\u00a0Hak\u00eekate kar\u015f\u0131 tak\u0131nd\u0131klar\u0131 tavra g\u00f6re insan portreleri.<\/p>\n G\u00fcl\u00fcn Ad\u0131 roman\u0131ndan; \u201cTek bir mutlak do\u011fru olmayabilir\u201d d\u00fc\u015f\u00fcncesine il\u00e2ve olarak; \u201cMutlak hakikat bir olsa da, ona giden yollar farkl\u0131 olabilir\u201d imas\u0131 da var. Bir postmodernist olarak Umberto Eco; meselelerin ucunu a\u00e7\u0131k b\u0131rak\u0131p karar\u0131 okuyucunun vermesini d\u00fc\u015f\u00fcnm\u00fc\u015f. H\u00e2kez\u00e2 roman\u0131n zeylinde, \u201cYazmay\u0131 bitirince, yazar \u00f6lmelidir. Metne giden yolu t\u0131kamamal\u0131d\u0131r\u201d diyen yazar\u0131m\u0131z; roman\u0131 yorum \u00fcretme makinesine benzetmi\u015f.<\/p>\n Maddi, manevi ve ruh\u00e2n\u00ee sahalarda; tek bir mutlak hakikat aramak tehlikeli olabilir. Mutlak hakikati elinde bulundurdu\u011funu d\u00fc\u015f\u00fcnenler; kat\u0131la\u015f\u0131r (giriftle\u015fir, donakal\u0131r, ilerlemez, geli\u015fmez, de\u011fi\u015fmez) ac\u0131mas\u0131zla\u015f\u0131r, totaliterle\u015ferek bu hakikatin d\u0131\u015f\u0131ndaki her k\u0131p\u0131rdanmaya hunharca ve gaddarca bast\u0131rma tem\u00e2y\u00fcl\u00fcne kap\u0131labilirler. Hayatta mutlak do\u011fru araman\u0131n abesli\u011fi fikri; varl\u0131k ve hayat\u0131 \u0130ncilin kat\u0131 \u00e7er\u00e7evesinde telakk\u00ee eden ve hakikatin g\u00fcne\u015f gibi meydanda oldu\u011funu savunan Katoliklikle taban tabana z\u0131tt\u0131r. Mutlak hakikat meselesini ka\u015f\u0131makla, H\u0131ristiyanl\u0131k tarihi boyunca kiliseyle ak\u0131l ve kiliseyle kilise aras\u0131ndaki vuru\u015fman\u0131n Avrupa tarihine vurdu\u011fu damgay\u0131 te\u015fhir etmek istemi\u015f Umberto Eco.<\/p>\n M\u00fcsl\u00fcman bilginlerin Hristiyan medeniyetine olan katk\u0131lar\u0131n\u0131 da \u201chakk\u0131 teslim\u201d denilebilecek \u015fekilde zikretmi\u015f romanda. Bu minval \u00fczere, Orta \u00c7a\u011f\u0131n hadd-i z\u00e2t\u0131nda b\u00fct\u00fcn\u00fcyle hur\u00e2fe ve cehaletin h\u00fck\u00fcmferma oldu\u011fu bir karanl\u0131k d\u00f6nem olmad\u0131\u011f\u0131n\u0131, Hristiyan d\u00fcnya karanl\u0131klar i\u00e7inde gark olmu\u015f vaziyette olsa da, d\u00fcnyada zulmetle nurun yan yana akt\u0131\u011f\u0131 hissettirilmi\u015f. Bat\u0131l\u0131 veya H\u0131ristiyan olmayan; Do\u011fulu k\u00fclt\u00fcr ve medeniyetlere \u201ck\u00e2fir\u201d denilerek \u00f6n yarg\u0131yla yakla\u015fan Kilise \u00e7evreleri tenkit edilmi\u015f. Mayas\u0131nda alayc\u0131l\u0131k ve \u015f\u00fcphe bar\u0131nd\u0131ran Postmodernizmin temsilcilerinden olan Umberto Eco; G\u00fcl\u00fcn Ad\u0131\u2019nda \u00f6n yarg\u0131lar\u0131 a\u015f\u0131nd\u0131r\u0131p mutlaklara \u015f\u00fcphe serpti\u011fi i\u00e7in, derinlemesine nihilist yak\u0131\u015ft\u0131rmas\u0131na muhatap olmakta.<\/p>\n Baz\u0131 mefhumlar\u0131n G\u00fcl\u00fcn Ad\u0131\u2019nda kendine has m\u00e2n\u00e2lar\u0131 var.\u00a0Sual<\/strong>: \u00dcst \u00fcste y\u0131\u011f\u0131lan sualler, cevaplanmam\u0131\u015f sualler veya cevab\u0131 sualinde sakl\u0131 meseleler.\u00a0Labirent<\/strong>: Metin labirenti, k\u00fct\u00fcphane labirenti, tarih labirenti, psikoloji labirenti, inan\u00e7 labirenti ve labirent labirenti.\u00a0G\u00fcl<\/strong>: Dikenli v\u00fccudu, kanl\u0131 k\u0131yafeti, perde perde s\u00eenesinde saklad\u0131\u011f\u0131 bir s\u0131r: bo\u015fluk! Bo\u015fluk mu, tohum mu?\u00a0G\u00fcnah<\/strong>: En h\u00e2lis ki\u015filer i\u00e7in bile pusuda bekler. \u015eehvet olur, kibir olur, h\u0131rs olur, riy\u00e2 olur ve sab\u0131rla izler av\u0131n\u0131.\u00a0Din<\/strong>: G\u00fcnahk\u00e2rl\u0131kla ifsat olan ki\u015filer; dini gizlenecek \u00f6rt\u00fc olarak kullan\u0131yor olmas\u0131nlar, zinhar dikkat!\u00a0Hudut<\/strong>: R\u00fcyalar, hayaletler, halis\u00fcnasyonlar ve yalanlar.\u00a0S\u0131r<\/strong>: S\u0131rra d\u0131\u015far\u0131dan bakan; s\u0131rr\u0131n b\u00fct\u00fcn\u00fcn\u00fc, s\u0131rr\u0131n i\u00e7indekinden daha iyi g\u00f6r\u00fcr.\u00a0Meslek<\/strong>: A\u015f\u00e7\u0131, kimyac\u0131, b\u00fcy\u00fcc\u00fc, simyac\u0131, demirci, k\u00fct\u00fcph\u00e2neci ve dinci.\u00a0Dilber<\/strong>: Ba\u015ftan \u00e7\u0131karan her zaman insan teni de\u011fildir: \u015f\u00f6hret, iktidar ve gurur unutulmas\u0131n. Ve\u00a0Nihayet<\/strong>: Her \u015fey sonludur: bilgi, insan, \u015fatafat, ka\u011f\u0131t ve m\u00e2bet!<\/p>\n Umberto Eco, en \u00e7ok James Joyce ve okumaktan g\u00f6zleri k\u00f6r olan Jorge Luis Borges\u2019un tesirinde kald\u0131\u011f\u0131n\u0131 ifade eder. G\u00fcl\u00fcn Ad\u0131\u2019nda yer alan ve g\u00f6zleri g\u00f6rmeyen Jorge De Burgos isimli rahibin, Arjantinli yazar Jorge Luis Borges\u2019e bir i\u015faret oldu\u011fu s\u00f6ylenir.<\/p>\n Semiyotik ilminde, g\u00f6ren, g\u00f6steren ve g\u00f6sterilen (signifier and signified<\/em>) vard\u0131r. G\u00f6ren zihin, g\u00f6steren sembol, g\u00f6sterilen ise o sembol\u00fcn i\u015faret etti\u011fi m\u00e2n\u00e2 manz\u00fbmesi. G\u00fcl de bir sembol. Ya\u015fad\u0131\u011f\u0131 devre g\u00f6re ve kuca\u011f\u0131nda yeti\u015fti\u011fi topluma g\u00f6re farkl\u0131 adlar alm\u0131\u015f \u015f\u00f6hretli dilber. Cismen renk renk g\u00fcller oldu\u011fu gibi, manen de renk renk g\u00fcller bulunmu\u015f: Bazen mukaddes, kimi zaman edepli, yerine g\u00f6re \u015f\u00fbh, g\u00e2h g\u00e2h \u00e2l\u00fcfte ve yer yer kederli.<\/p>\n Antik M\u0131s\u0131r k\u00fclt\u00fcr\u00fcnde, g\u00fcl\u00fcn Tanr\u0131 Horus\u2019u sembolize etti\u011fi rivayet olunur. \u00c7\u0131plak bir o\u011flan \u00e7ocu\u011fu, i\u015faret parma\u011f\u0131n\u0131 \u201cSessiz\u201d dercesine dudaklar\u0131 \u00fcst\u00fcne koymu\u015f. Bir \u015fey \u201csessizlik ve gizlilik<\/strong>\u201d i\u00e7inde yap\u0131lacaksa, Horus\u2019a i\u015faretle,\u00a0Sub Rosa<\/em><\/strong>\u00a0denilir. Latincede \u201cG\u00fcl Alt\u0131nda\u201d demektir. Antik Yunan mitolojisinde, a\u015fk ve G\u00fczellik Tanr\u0131\u00e7as\u0131 Afrodit, \u015eehvet Tanr\u0131s\u0131 o\u011flu Eros\u2019a bir g\u00fcl verir, Eros da o g\u00fcl\u00fc Sessizlik Tanr\u0131s\u0131 Harpocrates\u2019e verir. Eros\u2019un Harpocrates\u2019e verdi\u011fi bu g\u00fcl, asl\u0131nda annesi ve di\u011fer tanr\u0131lar\u0131n ahlaks\u0131zl\u0131klar\u0131n\u0131n \u00f6rt\u00fclmesi i\u00e7in verilmi\u015f bir r\u00fc\u015fvettir. Roma\u2019da ise, ziyafet odalar\u0131n\u0131n tavan\u0131nda g\u00fcl resmi \u00e7izilirmi\u015f, \u015farab\u0131n tesiri alt\u0131nda (Sub Vino<\/em>) s\u00f6ylenenler g\u00fcl alt\u0131nda s\u0131r kals\u0131n (Sub Rosa<\/em>) manas\u0131nda. Benzer \u015fekilde, Katoliklerin g\u00fcnah \u00e7\u0131karma odalar\u0131nda, itiraflar\u0131n s\u0131r kalaca\u011f\u0131na (Sub Rosa<\/em>) i\u015faretle be\u015f yaprakl\u0131 g\u00fcl resmi \u00e7izilir.<\/p>\n \u0130slam medeniyetinde utanacak, \u00f6rtecek, saklayacak ay\u0131plar olmad\u0131\u011f\u0131 i\u00e7in, g\u00fcle a\u015fk, muhabbet ve zer\u00e2fet atfedilmi\u015f. Fars\u00e7a, Arap\u00e7a, Hint\u00e7e (Urduca), T\u00fcrk\u00e7e\u2019nin b\u00fct\u00fcn leh\u00e7eleri ve \u0130slam \u00e2leminde konu\u015fulan di\u011fer b\u00fct\u00fcn dillerde, g\u00fcl ile b\u00fclb\u00fcl; d\u00fcnyev\u00eeden il\u00e2h\u00eeye giden a\u015fk\u0131 terenn\u00fcm edegelmi\u015flerdir. Bin d\u00f6rt y\u00fcz y\u0131ll\u0131k edebiyat\u0131m\u0131zda, g\u00fcl ve arkada\u015flar\u0131; nice m\u00e2n\u00e2 okyanuslar\u0131na i\u015faret ederler. Umberto bizim medeniyeti ara\u015ft\u0131rsayd\u0131, okuyucular\u0131 k\u00fcfl\u00fc manast\u0131r yerine, S\u00fcleymaniye K\u00fct\u00fcph\u00e2nesine d\u00e2vet etmez miydi?<\/p>\n Umberto Eco, G\u00fcl\u00fcn Ad\u0131 roman\u0131na neden \u201cg\u00fcl\u00fcn ad\u0131\u201d ismini verdi\u011fini anlat\u0131rken, elbette ki bu girizg\u00e2hta ifade edilenleri anlatm\u0131yor. Sadece Meksikal\u0131 \u015fair\u00a0Sor Juana In\u00e9s de la Cruz<\/em>\u2019un \u015fu \u015fiirinin kendisine ilham kayna\u011f\u0131 oldu\u011funu s\u00f6yl\u00fcyor.<\/p>\n \u0130spanyolca Orijinal<\/strong><\/p>\n \u201cRosa que al prado, encarnada, \u0130ngilizcesi<\/strong><\/p>\n \u201cRed rose growing in the meadow, T\u00fcrk\u00e7esi (\u0130ngilizce\u2019den Terc\u00fcme)<\/strong><\/p>\n Ey \u00e7ay\u0131rlarda ye\u015feren g\u00fcl, Semiyotik ustas\u0131 Umberto Eco\u2019nun roman\u0131 i\u00e7in isim se\u00e7erken; b\u00fct\u00fcn k\u00fclt\u00fcrlerin kesi\u015fme noktas\u0131 olabilecek, kokusunda herkesin kendinden bir par\u00e7a bulabilece\u011fi bir sembol olan \u201cg\u00fcl\u201d sembol\u00fcn\u00fc se\u00e7mesinin sebebi de\u011fil, sadece ilham kayna\u011f\u0131 bir \u015fiir olabilir.<\/p>\n \u015eahsi k\u00fct\u00fcph\u00e2nesinde elli bin cilt kitab\u0131 olan, tarih mutahass\u0131s\u0131, Esperanto lisan\u0131na alaka duymu\u015f, d\u00fcnya k\u00fclt\u00fcrleriyle irtibatl\u0131 ve \u00fcstelik \u00f6mr\u00fcn\u00fc simgelere adam\u0131\u015f bir entelekt\u00fcelin, \u201cg\u00fcl\u201d sembol\u00fcn\u00fcn her k\u00fclt\u00fcr i\u00e7in husus\u00ee bir m\u00e2n\u00e2 ta\u015f\u0131d\u0131\u011f\u0131ndan habersiz olmas\u0131 beklenemez. G\u00fcl ile alakal\u0131 hikayelerin bir k\u0131sm\u0131n\u0131 detaylar\u0131yla bildi\u011fi, bir k\u0131sm\u0131n\u0131n ise Kriptomneziya olarak zihninde bir yerlerde sakl\u0131 oldu\u011fu beklenir. Neticede, d\u00fcnyadaki b\u00fct\u00fcn lisanlar, k\u00fclt\u00fcrler, \u015fiirler, kitaplar ve sanat eserlerinde \u015fu ya da bu \u015fekilde g\u00fcl sembol\u00fcne rastlamak m\u00fcmk\u00fcn.<\/p>\n K\u00f6hne M\u0131s\u0131r, kadim Yunan, y\u0131k\u0131k Roma ve ya\u015fl\u0131 Katolik d\u00fcnyas\u0131nda \u201cg\u00fcl\u201d, s\u0131rr\u0131 temsil ediyor. Etiyle kemi\u011fiyle Romal\u0131, Katolik ve k\u00f6kenlerinde antik d\u00fcnyadan gelen damarlar bulunan bir medeniyetin mensubu olarak; d\u00fcnyaya bir s\u0131r arma\u011fan etti\u011fine inanan Umberto Eco\u2019nun \u201cG\u00fcl\u201d\u00fc bir sembol olarak kullanmamas\u0131 ay\u0131p olurdu.<\/p>\n Umberto Eco, romandaki ana kahraman\u0131n a\u011fz\u0131ndan; \u201cGer\u00e7ek ilim sahipleri, evvela lisanlar hususunda ustala\u015fmal\u0131lar\u201d diye sesleniyor.<\/p>\n Bu roman, \u201cT\u00fcrk\u00e7e\u201d isimli yaram\u0131za kezzap d\u00f6kt\u00fc, d\u00f6kmelidir. \u0130ngilizce terc\u00fcmesiyle T\u00fcrk\u00e7e terc\u00fcmesini mukayese edince, zihnen yere y\u0131\u011f\u0131l\u0131rs\u0131n\u0131z. T\u00fcrk\u00e7e, ama hangi T\u00fcrk\u00e7e? Dilde sadele\u015fme ve uyduruk\u00e7a hamlesiyle; T\u00fcrk\u00e7e, d\u00fcnya dilleri kar\u015f\u0131s\u0131nda zavall\u0131 bir h\u00e2le d\u00fc\u015f\u00fcr\u00fclm\u00fc\u015f vaziyette. \u0130yi niyetli m\u00fctercim ne yaps\u0131n; olmas\u0131 gerekti\u011fi gibi terc\u00fcme ederse, ekseriyet anlamayacak. Anlayan bulunursa, ne\u015fredecek yay\u0131nevi var m\u0131?<\/p>\n Uyduruk\u00e7a hareketindeki ham\u00e2kati idrak etmek i\u00e7in<\/strong>\u00a0sadece Umberto Eco\u2019nun G\u00fcl\u00fcn Ad\u0131 roman\u0131n\u0131 okumak k\u00e2fidir. T\u00fcrkler i\u00e7in Osmanl\u0131 neyse, \u0130talyanlar i\u00e7in Roma \u0130mparatorlu\u011fu odur. Umberto Eco ecdad\u0131n\u0131n,Vatikan\u2019\u0131n ve \u0130ncilin lisan\u0131 olan Latinceyi kulland\u0131 diye gerici mi oldu!<\/p>\n T\u00fcrk\u00e7e\u2019nin hazin h\u00e2li nokta-y\u0131 nazar\u0131ndan bak\u0131l\u0131nca, \u00e7ukurdan beter \u00fcniversitelerimizin uyduruk\u00e7as\u0131ndan \u00f6tesini g\u00f6remeyen m\u00fctercimler, lisan\u0131m\u0131za kar\u015f\u0131 c\u00fcr\u00fcm i\u015flemi\u015f olurlar. M\u00fctercim, kale muhaf\u0131z\u0131d\u0131r. Medeniyetin esteti\u011fi m\u00fctercimlere emanettir. Muhaf\u0131zlar d\u00fc\u015ferse, kalenin i\u00e7i la\u011f\u0131mla, irinle, mikropla dolar.<\/p>\n Yabanc\u0131 kaynaklar\u0131n uyduruk\u00e7a terc\u00fcmesi; kupkuru, k\u00f6ks\u00fcz, estetiksiz, s\u0131\u011f ve g\u00fcd\u00fck. Yirmi birinci as\u0131r, kelimelerin m\u00fccadele asr\u0131d\u0131r. Kelimelerine sahip \u00e7\u0131kamayan d\u00e2v\u00e2y\u0131 kaybedecektir. T\u00fcrk\u00e7e bir kabile lisan\u0131 de\u011fildir. Okyanusu kavanoza s\u0131\u011fd\u0131ramazs\u0131n\u0131z. Yedi d\u00fcvelde at ko\u015fturan, yedi iklime adaletle h\u00fck\u00fcmferma olan bir medeniyetin lisan\u0131, gitti\u011fi her bah\u00e7eden \u00e7i\u00e7ekler derlemi\u015f. Fars\u00e7a ve Arap\u00e7a gibi k\u00f6kl\u00fc lisanlardan ald\u0131\u011f\u0131m\u0131z kelimeler T\u00fcrk\u00e7enin i\u00e7inde \u00f6ylesine erimi\u015f ve \u00f6ylesine mezcedilmi\u015f ki; geldikleri yerde ta\u015f\u0131d\u0131klar\u0131 m\u00e2n\u00e2lar\u0131 tamam\u0131yla kaybetmi\u015fler. T\u00fcrk\u00e7e, bu kelimelere apayr\u0131 bir kimlik bah\u015fetmi\u015f. Safla\u015ft\u0131rma, \u201c\u00f6z\u201d T\u00fcrk\u00e7ele\u015ftirme bahanesiyle, T\u00fcrk\u00e7enin i\u00e7i pisliklerle doldurulmu\u015ftur.<\/p>\n Siz \u201c\u00d6z \u0130talyanca\u201d duydunuz mu? Osmanl\u0131ca diye ayr\u0131 bir lisan yoktur. \u00d6zbe\u00f6z T\u00fcrk\u00e7edir. Hakiki T\u00fcrk\u00e7edir. \u0130talyanlar, bug\u00fcnk\u00fc lisanlar\u0131na \u0130talyanca, y\u00fcz y\u0131l \u00f6ncekine Romaca diyorlar m\u0131?\u00a0 Sonradan uydurulan ve T\u00fcrk\u00e7eyle hi\u00e7bir alakas\u0131 olmayan kelimelere \u201c\u00d6z T\u00fcrk\u00e7e\u201d denilmesi g\u00fcl\u00fcn\u00e7t\u00fcr. Kand\u0131rmacad\u0131r. \u00d6z dedi\u011finiz, i\u015fin \u00f6z\u00fcnde, k\u00f6k\u00fcnde, mayas\u0131nda, dibinde ve benli\u011finde var olmal\u0131d\u0131r. Sonradan izafe edilen bir \u015feye \u00f6z demek, en hafif tabirle maskaral\u0131kt\u0131r, ahmakl\u0131kt\u0131r.<\/p>\n Umberto Eco; ecdad\u0131n\u0131n konu\u015ftu\u011fu kelimelerle yaz\u0131yor ve i\u00e7ini Latince ifadelerle dolduruyorsa, biz neden ecdad\u0131m\u0131z\u0131n kelimeleriyle terc\u00fcme edemeyelim. Lisan; siyaset ve ideolojilerin \u00fcst\u00fcndedir. Modernle\u015fme lisan\u0131 bozmakla olmaz. Lisan\u0131 asl\u0131ndan uzakla\u015ft\u0131rmak olsa olsa art niyettir.<\/p>\n Umberto Eco\u2019nun kulland\u0131\u011f\u0131 \u0130talyanca, \u00f6z, saf, \u00e2r\u00ee ve di\u011fer b\u00fct\u00fcn dillerden ar\u0131nd\u0131r\u0131lm\u0131\u015f bir lisan m\u0131d\u0131r? Ba\u015fka lisanlardan iktibas edilen kelimeleri lisanlar\u0131ndan s\u00f6k\u00fcp atan bir devlet biliyor musunuz? Biz lisan meselesinde; \u0131rk\u00e7\u0131, fa\u015fist, kafatas\u00e7\u0131 m\u0131y\u0131z? K\u00f6keni ba\u015fka lisanlara dayanan kelimeleri T\u00fcrk\u00e7eden silip; yerine soysuz, k\u00f6ks\u00fcz ve pi\u00e7 kelimeler yerle\u015ftirmenin hi\u00e7bir tarihi ve\/veya bilimsel temeli yoktur. Hi\u00e7bir millet b\u00f6ylesine gaddarca, sinsice ve zalimce soysuzlu\u011fa maruz b\u0131rak\u0131lmam\u0131\u015ft\u0131r.<\/p>\n T\u00fcrk\u00e7e\u2019mizin; i\u00e7i mikrop dolu, ufku dar, her \u015feyi \u201culusal\u201d c\u0131l\u0131zl\u0131\u011f\u0131na indirgemeye \u00e7al\u0131\u015fan zihniyetin tasallutundan kurtar\u0131lmas\u0131nda, m\u00fctercimlerimizin b\u00fcy\u00fck mes\u00fcliyeti vard\u0131r. N\u00e2muslu olma iddias\u0131ndaki her m\u00fctercim, uyduruk\u00e7ayla m\u00fccadele etmek mecburiyetindedir. T\u00fcrk\u00e7e \u015fah damar\u0131m\u0131zd\u0131r!<\/p>\n \u2014\u2014\u2014\u2014\u2014\u2013<\/p>\n * Umberto Eco i\u00e7in \u015fuurlu olarak \u201cm\u00fcnevver\u201d yerine \u201centellekt\u00fcel\u201d s\u0131fat\u0131 kullan\u0131ld\u0131. Zira m\u00fcnevver kelimesi \u201cnur\u201d k\u00f6k\u00fcnden gelmekte ve (gayr-i m\u00fcslimlere nasip olmayan) iman nuruna i\u015faret bulunmaktad\u0131r.<\/p>\n ——-<\/p>\n Ser\u00e2z\u00e2t.com’da; sadece Necip YILDIRIM’\u0131n \u015fiir ve makaleleri yer almaktad\u0131r. B\u00fct\u00fcn haklar\u0131 sakl\u0131d\u0131r. \u0130zinsiz kopyalanamaz ve ne\u015fredilemez.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" Umberto Eco Kimdir 1932 y\u0131l\u0131nda, \u0130talya\u2019n\u0131n Milan eteklerindeki Allesandria kasabas\u0131nda d\u00fcnyaya gelir. Babas\u0131, on \u00fc\u00e7 \u00e7ocuklu bir aileden gelir. \u0130kinci<\/p>\n","protected":false},"author":1,"featured_media":1586,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,19],"tags":[],"class_list":["post-1585","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-deneme-yazilari-ahmed-necip-yildirim-denemeler","category-kitap-elestirisi-kitap-degerlendirmesi-kitap-tanitimi"],"_links":{"self":[{"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/posts\/1585","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/comments?post=1585"}],"version-history":[{"count":0,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/posts\/1585\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/media\/1586"}],"wp:attachment":[{"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/media?parent=1585"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/categories?post=1585"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.necipyildirim.com\/tr\/wp-json\/wp\/v2\/tags?post=1585"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}<\/a>G\u00fcl\u00fcn Ad\u0131 Roman\u0131n\u0131 Kimler Okumal\u0131?<\/h1>\n
<\/a>K\u0131ssadan Hisse<\/h1>\n
<\/a>Kitab\u0131n Kurgusu<\/h1>\n
Kitaplar ve K\u00fct\u00fcphane<\/h1>\n
G\u00fcl\u00fcn Ad\u0131 ve \u0130nsan<\/h1>\n
<\/a>Umberto Eco ve Mutlak Do\u011fru<\/h1>\n
<\/a>Fikirler ve \u00dcrpertiler<\/h1>\n
Ad\u0131 Neden G\u00fcl Oldu?<\/h1>\n
\nte ostentas presuntuosa
\nde grana y carm\u00edn ba\u00f1ada:
\ncampa lozana y gustosa;
\npero no, que siendo hermosa
\ntambien ser\u00e1s desdichada.\u201d<\/p>\n
\nyou vaunt yourself bravely,
\nbathed in crimson and carmine:
\na rich and fragrant show.
\nBut no: Being fair,
\nyou will be unhappy soon.\u201d<\/p>\n
\nne ces\u00fbr\u00e2ne kendini \u00f6versin,
\nk\u0131rm\u0131z\u0131 ve k\u0131z\u0131lda y\u00fczersin
\ndolgun ve mis kokulu bir n\u00fcm\u00e2yi\u015f.
\nHeyhat: hakikat \u015fu ki,
\nyak\u0131nda \u00fcz\u00fcleceksin.<\/p>\nG\u00fcl\u00fcn Ad\u0131 Kitab\u0131n\u0131n T\u00fcrk\u00e7e Terc\u00fcmesi<\/h1>\n