{"id":10029,"date":"2020-06-01T03:00:41","date_gmt":"2020-06-01T00:00:41","guid":{"rendered":"http:\/\/kadrandergi.com.tr\/?p=10029"},"modified":"2020-06-01T03:00:41","modified_gmt":"2020-06-01T00:00:41","slug":"schopenhauer-ve-nietzsche-ile-birlikteki-hazinemizi-duslerken","status":"publish","type":"post","link":"https:\/\/www.kadrandergi.com.tr\/?p=10029","title":{"rendered":"Schopenhauer ve Nietzsche \u0130le \u201cBirlik\u201dteki Hazinemizi D\u00fc\u015flerken"},"content":{"rendered":"<p>\u0130nsan kendili\u011fini y\u00fcre\u011finde aramay\u0131 b\u0131rak\u0131p, akl\u0131n\u0131 perspektiflere ay\u0131r\u0131p, alt ve s\u00fct kurgular\/yap\u0131lar i\u00e7erisinde b\u00f6l\u00fcnd\u00fc\u011f\u00fcnden beri hazinesine uzak bir yerlerde kendili\u011fine yabanc\u0131 oldu. K\u00fclt\u00fcr\u00fcn\u00fc materyale ihale edeli, ekonominin k\u00fclt\u00fcr\u00fc sek\u00fclerle\u015ftirmesi hatta metala\u015ft\u0131rmas\u0131ndan beri bu kay\u0131p hazine aran\u0131p duruyor. \u201cTanr\u0131n\u0131n imgesinden\u201d olan kendili\u011finde kendini arayan insan i\u00e7in modern dilemmadan \u00e7\u0131k\u0131\u015f ne mazinin taklidi ne de m\u00fcstakbelin tahayy\u00fcllerinde; y\u00fcre\u011findeki ile akl\u0131ndakinin b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn\u00fc a\u015farak metala\u015fan varl\u0131\u011f\u0131n\u0131, sanat\u0131n, felsefenin ve dinin kendi elinde tasfiyesine kar\u015f\u0131 kendini ve kendili\u011fini korumak insana y\u00fcklenmi\u015f m\u00fctemadi bir mesuliyet gibi; Hat\u0131rlamak ve hareket etmek. \u201c<em>Bilmiyoruz kendimizi, biz bilenler: bunun da iyi bir sebebi var. Hi\u00e7 ara\u015ft\u0131rmad\u0131k ki,-nas\u0131l olacak da bir g\u00fcn buluverece\u011fiz kendimizi? Hakl\u0131 olarak \u015f\u00f6yle denecek: \u201cHazineniz neredeyse, y\u00fcre\u011finiz de oradad\u0131r.<\/em> (F. Nietzsche, Ahlak\u0131n Soyk\u00fct\u00fc\u011f\u00fc \u00dcst\u00fcne: Bir Kavga Yaz\u0131s\u0131, \u00c7ev. Ahmet \u0130nam, Ara Yay\u0131nlar\u0131, \u0130stanbul, 1990., s. 21). Nietzsche kendili\u011fimizi y\u00fcre\u011fimizin oldu\u011fu yerde bulur. Peki, oras\u0131 nerede? Schopenhauer \u00e7er\u00e7evesinden bakarsak zorunluluk ve \u00f6zg\u00fcrl\u00fck geriliminde var oldu\u011fumuz bu yerde y\u00fcre\u011fimizin g\u00f6r\u00fcnd\u00fc\u011f\u00fc o yeri belki sezebiliriz; \u201c<em>I\u0307dea, bizim sezgisel kavray\u0131\u015f\u0131m\u0131z\u0131n zamanda mek\u00e2n kal\u0131b\u0131 arac\u0131l\u0131\u011f\u0131 ile \u00e7oklu\u011fa yay\u0131lan bir birliktir. \u00d6te yandan, kavrama ak\u0131l yetimizin soyutlamas\u0131yla \u00e7okluktan yeniden kurulan birlik\u2019tir. Kavram unitas post rem (\u00e7okluktan sonraki birlik), idea unitas ante rem (\u00e7okluktan \u00f6nceki birlik) diye tan\u0131mlanabilir.<\/em> (A. Schopenhauer, \u0130steme ve Tasar\u0131m Olarak D\u00fcnya, \u00c7ev. Levent \u00d6z\u015far, \u0130stanbul, 2014, s.177).\u201d Bu iki filozofun i\u015faret etti\u011fi birli\u011fin oldu\u011fu yerdeki y\u00fcre\u011fimizin yol haritas\u0131 kendini bilmenin ve kendili\u011finde bulunaca\u011f\u0131 ma\u011faradan bizi \u00e7\u0131kar\u0131p, demir da\u011flar\u0131 eritip bilge kurt ile unuttuklar\u0131m\u0131z\u0131 hat\u0131rlad\u0131\u011f\u0131m\u0131z o yere g\u00f6t\u00fcrecek yahut \u00e7\u00f6lde k\u0131rk sene dola\u015fanlar\u0131 o k\u0131s\u0131r d\u00f6ng\u00fcden kurtaracakt\u0131r. Burada \u00f6nemli bir mesele hazine yan\u0131lg\u0131s\u0131yla kutsal\u0131n metala\u015fmas\u0131 durumuna kar\u015f\u0131 dikkatli olmakt\u0131r. \u0130nsan kendi akl\u0131yla sonsuzun ona emanet etti\u011fi hazineyi bulmak istidad\u0131yla yarat\u0131lmasa bundan mesul olmazd\u0131. Maruz kald\u0131klar\u0131m\u0131z\u0131n kesretinde muhatap olmam\u0131z gerekenin birli\u011fine ula\u015fmak \u00e7etin bir yol, ma\u011faradaki g\u00f6lgeler ise bir avuntu olarak zihnimizde prangalar\u0131yla al\u0131\u015fkanl\u0131klar\u0131m\u0131zla bizi mak\u00fbs bir sisifos dilemmas\u0131na saplay\u0131p duruyor.<\/p>\n<p>Kutsal\u0131n bilgisi, bizi isteklerimizin ve nedenselli\u011fin d\u0131\u015f\u0131nda kaynaklad\u0131\u011f\u0131n\u0131, muhatap olmay\u0131 istedi\u011fimiz manan\u0131n\/hakikatin d\u00fcnyas\u0131na de\u011fil de bir nevi <em>metafizik materyalizme<\/em> ta\u015f\u0131yorsa bu durumda ya kutsal da ya bilgi de yahut da bu bilgiye muhatap olan fertte bir s\u0131k\u0131nt\u0131 var demektir. A\u015fk(\u0131n) bir yere gidece\u011fimizi san\u0131rken kendi i\u00e7imizde t(a\u015fk)\u0131n alt\u0131nda kalmak trajedisi kurgulanm\u0131\u015f olana ve kendili\u011fimizi d\u00fc\u015f\u00fcnmeye ba\u015flamak i\u00e7in bir k\u00f6\u015fe ta\u015f\u0131 olabilir. Hakikatle muhatab\u0131z zann\u0131ndan <em>cennet sek\u00fclerizmine<\/em> d\u00fc\u015f\u00fcvermek insan akl\u0131n\u0131n belki ta\u015f\u0131yaca\u011f\u0131 lakin ruhunun \u00f6z\u00fc itibariyle tahamm\u00fcl edemeyece\u011fi bir travma ve \u00e7arm\u0131ht\u0131r. Burada din, felsefe ve sanat\u0131n sukut edip bezirg\u00e2nl\u0131\u011f\u0131n ba\u015flad\u0131\u011f\u0131 yerde cehalet tezg\u00e2hlar\u0131nda canlar <em>ilim kendin bilmektir<\/em>, s\u00f6z\u00fcn\u00fcn ne oldu\u011funu sorgulamaya ba\u015flar. Burada art\u0131k din, felsefe yahut sanat bir kalpazanl\u0131\u011f\u0131n arac\u0131s\u0131, perdesi, ta\u015feronu haline gelmi\u015ftir; izlenen bir filmde insanlar\u0131n ac\u0131lar\u0131ndan ideolojik kamp avmleri a\u00e7anlar, dinin en asude kavramlar\u0131yla kamplarda di\u011ferine \u00f6fke, kin sa\u00e7an tipler var edenler, hik\u00e2yelerinde, romanlar\u0131nda bu de\u011firmene su ta\u015f\u0131y\u0131p sanat\u00e7\u0131 fiyakas\u0131 atanlar ruhumuza ka\u00e7 put diker, ka\u00e7 hakikati mahvederler; \u201c<em>Ah, Zerd\u00fc\u015ft, Zalim Nemrut! Daha d\u00fcne dek avc\u0131s\u0131yd\u0131n tanr\u0131n\u0131n bile, tuza\u011f\u0131yd\u0131n her t\u00fcrl\u00fc erdemin, okuydun fenan\u0131n! \u015eimdi kendi kendinden ka\u00e7m\u0131\u015f kendi kendine av olmu\u015f Kendi kendine saplanm\u0131\u015f&#8230; \u015eimdi tek ba\u015f\u0131na kendinle, iki ba\u015f\u0131na kendini bilmenle, y\u00fczlerce aynayla \u00e7evrili kendine sahte, y\u00fczlerce an\u0131yla \u00e7evrili belirsiz, yaralardan bezgin, \u00fc\u015f\u00fcmekten so\u011fuk, kendi iplerine dola\u015fm\u0131\u015f, kendini bilen! kendini asan!<\/em> (F. Nietzsche, Dionysos Dityramboslar\u0131, \u00c7ev. Oru\u00e7 Aruoba, \u0130stanbul, 2003, s. 47-49.) \u0130\u015fte manan\u0131n bu tahribi insan\u0131n maddesi i\u00e7erisinde par\u00e7alanmas\u0131 ve y\u00fcre\u011fini bulaca\u011f\u0131 o yerden uzakla\u015fmas\u0131na yol a\u00e7ar. Duyguda\u015fl\u0131\u011f\u0131n bizi ta\u015f\u0131yaca\u011f\u0131 o zemin kendi k\u00fclt\u00fcr\u00fcm\u00fcz ve harici k\u00fclt\u00fcrler i\u00e7erisinde belirsiz ve hatta g\u00f6r\u00fcnmez olacakt\u0131r.<\/p>\n<p>Peki, insan bu karanl\u0131k istikamette neyle yolunu bulacak? Kendine samimi olmak merhamet denilen o s\u0131rr\u0131n hakikatini i\u00e7imizden d\u0131\u015far\u0131 do\u011fru bir iyilik g\u00f6kku\u015fa\u011f\u0131n\u0131 do\u011furacak, bu kaosta delirmeden malum kafesten bizi ger\u00e7e\u011fin en az\u0131ndan g\u00f6lgelerine ta\u015f\u0131yacak bir kadim yolda\u015ft\u0131r. \u201c<em>Duyguda\u015fl\u0131k iki b\u00fcy\u00fck erdemi, adalet ve \u015fefkati do\u011furur.\u2026Adil insan her insan\u0131n hakk\u0131na sayg\u0131 duyar ve onlara her t\u00fcrl\u00fc tecav\u00fczden sak\u0131n\u0131r.\u2026\u015eefkatli insan ise \u0131st\u0131rap i\u00e7indekilerin feryad\u0131n\u0131 i\u015fiten ve onlara kar\u015f\u0131l\u0131k veren insand\u0131r. \u2026Hayat\u0131n f\u0131rt\u0131na ve gerilimleri i\u00e7inde, b\u00fcy\u00fck ahlaki \u00e7at\u0131\u015fmalarda bizleri koruyan duyguda\u015fl\u0131\u011f\u0131n gizil g\u00fcc\u00fc, bizi a\u015fa\u011f\u0131lara s\u00fcr\u00fckleyense onun yoklu\u011fudur.\u201d<\/em>, \u201cEtik ve Mutluluk \u00dczerine\u201d, Nietzsche ve Schopenhauer ile K\u00fc\u00e7\u00fck Bir S\u00f6yle\u015fi, Haz. O\u011fuz \u0130nel, Ankara, 2017, s. 46). \u0130nsanl\u0131k davas\u0131nda bu \u00e7er\u00e7eveye ula\u015fanlar Yunus dilince s\u00f6ylersek <em>C\u00fcmle yarat\u0131lm\u0131\u015fa bir g\u00f6z ile bakmayan \u015eer\u2019\u00fcn evliyas\u0131ysa hak\u00eekatde \u00e2sidur. <\/em>Yarat\u0131lm\u0131\u015fa bir g\u00f6z ile bakmak kendini, kimli\u011fini, k\u00fclt\u00fcr\u00fcn\u00fc yok etmek, s\u0131rt d\u00f6nmek, yok saymak de\u011fildir; bunun oldu\u011fu yerde zaten kendilik de insanl\u0131k da iflas eder. B\u00f6yle bir dindarl\u0131k ise \u015fekiller i\u00e7inde yolunu kaybeden zihinlere uzak bir masal gelecektir. Kendi \u00f6z dili ve y\u00fcre\u011fi ile Yunus dilince konu\u015fmak manas\u0131n\u0131n s\u0131rr\u0131na vararak insanl\u0131k davas\u0131 g\u00fctmek k\u00fcreselci ve enternasyonelci sapmalara, Akif\u2019in tabiri ile <em>h\u00fcl\u00e2sa, bukalemun f\u0131trat\u0131nda z\u00fcppelerin Elinde maskara olduk&#8230; Deyin de h\u00fckm\u00fc verin<\/em>! dedi\u011fine kar\u015f\u0131 mazinin bize \u00e7ok sa\u011flam bir usul ve \u00fcslup emanetidir. Kendi dili ve y\u00fcre\u011fiyle insanl\u0131\u011f\u0131 sevemeyen Marks\u2019\u0131n, Nietzsche\u2019nin yahut Buda\u2019n\u0131n diliyle hi\u00e7 sevemez yahut sevse bile bu bir sevme taklidi olarak kalarak bir yabanc\u0131la\u015fma olgusuna d\u00f6n\u00fc\u015f\u00fcr. Hakikate asi olmadan bir isyan ahlak\u0131 ta\u015f\u0131mak manas\u0131nda Nurettin Top\u00e7u modern zamanlar k\u00fclt\u00fcr\u00fcm\u00fczde m\u00fcstesna bir zek\u00e2d\u0131r. Kendisine rehber edindi\u011fini s\u00f6yledi\u011fi Mehmet Akif\u2019in \u2018<strong><em>Al\u0131n\u0131z ilmini Garb\u2019\u0131n, al\u0131n\u0131z sanat\u0131n\u0131; Veriniz mesainize de son s\u00fcratini. \u00c7\u00fcnk\u00fc kabil de\u011fil art\u0131k ya\u015famak bunlars\u0131z; \u00c7\u00fcnk\u00fc milliyeti yok sanat\u0131n, ilmin yaln\u0131z<\/em>, m\u0131sralar\u0131ndaki \u00e7a\u011fr\u0131n\u0131n somutla\u015fm\u0131\u015f bir halidir Top\u00e7u, denilse yanl\u0131\u015f olmayacakt\u0131r. \u0130\u015fte Top\u00e7u bu manada kendi diliyle insanl\u0131k davas\u0131na duyguda\u015f nadir ve nadide bir vicdand\u0131r. Tek bir \u015fartla ona de\u011fil g\u00f6sterdi\u011fi manaya intisap ile\u2026 O da kendisinde bir varolu\u015f kayna\u011f\u0131 olarak bahsetti\u011fi Yunus Emre gibi y\u00fcre\u011findekini kendi dili ve \u00fcslubuyla insanl\u0131\u011fa \u201cT\u00fcrk\u201d\u00e7e ula\u015ft\u0131r\u0131r. Onun ahlak prensipleri olarak sundu\u011fu \u201c<em>H<\/em><\/strong><em>\u00f6rmet, ahl\u00e2k\u0131n ilk \u015fart\u0131d\u0131r. \u0130sl\u00e2m \u0130nsan\u0131n, Allah\u2019a, Kur\u2019an\u2019a, akla ve e\u015fref-i mahl\u00fbkat olan insana, t\u00fcm varl\u0131klara, hayata h\u00f6rmet etmesini ister. Merhamet , \u201cher varl\u0131\u011f\u0131n ve \u00f6zellikle her insan ruhunun nefsimizden ziyade sevilmesi\u201d demektir.<\/em>, (Nurettin Top\u00e7u, \u0130sl\u00e2m ve \u0130nsan, Mevl\u00e2n\u00e2 ve Tasavvuf, \u0130stanbul, 2017, s. 97-100, 101.)\u201d, tespitlerinde bahsedilmeye \u00e7al\u0131\u015f\u0131lan, y\u00fcre\u011fimizin o kay\u0131p hazinesi hissedilmeye ba\u015flan\u0131r gibidir. H\u00f6rmet ve merhamet o \u00e7okluk kaosundan birlik d\u00fczenine gidi\u015f i\u00e7in birer usul ve malumat yolda\u015f\u0131 olarak d\u00fc\u015f\u00fcn\u00fcl\u00fcrse keyfiyetin esas\u0131 kendisini a\u015fik\u00e2r eder. Birli\u011fin kap\u0131s\u0131nda duyguda\u015f olunan o yerde ayn\u0131 duyguyu payla\u015fanlar anla\u015fmaya ba\u015flayacakt\u0131r.<\/p>\n<p>Ahlaki davran\u0131\u015f\u0131n ba\u015flad\u0131\u011f\u0131 yer, <em>metafizik materyalizmin ve cennet sek\u00fclarizminin <\/em>bitti\u011fi yerdir. Bir t\u00fcrk\u00fcn\u00fcn sa\u011flayaca\u011f\u0131 duyguda\u015fl\u0131kla bin vaaz\u0131n kirinden \u00e7\u0131k\u0131p hakikatin bah\u00e7esine y\u00fcr\u00fcrken i\u00e7inde bencilli\u011fin yok etti\u011fi manay\u0131 sencillikle a\u015fan insan asl\u0131nda kendili\u011finin esas\u0131ndaki yaln\u0131z ama s\u00fck\u00fbnetli yere ula\u015f\u0131r. \u201c<em>\u0130nsan mutluluk i\u00e7in \u00e7aba g\u00f6stermez, g\u00fc\u00e7 i\u00e7in, g\u00fcc\u00fcn art\u0131r\u0131lmas\u0131 i\u00e7in \u00e7aba sarf edilmektedir. Keyif [mutluluk\/haz], sadece elde edilen g\u00fc\u00e7 duygusunun bir semptomudur, bir farkl\u0131l\u0131\u011f\u0131n bilincidir (keyif i\u00e7in \u00e7aba g\u00f6sterilmez; ne var ki keyif, \u00e7aba g\u00f6sterilen \u015feye ula\u015f\u0131ld\u0131\u011f\u0131nda keyif meydana gelmektedir: keyif tamamlay\u0131c\u0131d\u0131r, keyif g\u00fcd\u00fc de\u011fildir<\/em>\u201d (F. Nietzsche, G\u00fc\u00e7 \u0130stenci, \u00c7ev. N. Ep\u00e7eli, \u0130stanbul, 2014 s. 439-440). Mutluluk g\u00fc\u00e7 duygusunun bir tezah\u00fcr\u00fc olarak ortaya \u00e7\u0131k\u0131nca i\u015fte duyguda\u015fl\u0131kta al\u0131n\u0131r sat\u0131l\u0131r bir meta olarak insan\u0131n yoksunla\u015fmas\u0131n\u0131n bir olgusuna d\u00f6ner. Bilin\u00e7 hazlar\u0131n\u0131 yitirmi\u015f, i\u00e7indeki \u0131\u015f\u0131klar s\u00f6nm\u00fc\u015f ve d\u00e2hili ne\u015fesini kaybetmi\u015f bu insan\u0131n mutlulu\u011fu bir varolu\u015f ayd\u0131nl\u0131\u011f\u0131ndan markala\u015fm\u0131\u015f bir materyale d\u00f6ner. Bize milli yemek k\u00fclt\u00fcr\u00fcm\u00fcz\u00fc ve a\u011fz\u0131 tad\u0131m\u0131z\u0131 vaad eden bir yemek program\u0131n\u0131n marka ve mek\u00e2n kakalamas\u0131 i\u015fte tam da bu t\u00fcrden bir ironik mutluluk de\u011fil midir? Hi\u00e7bir \u015feyi kendisi i\u00e7in(de) sevmeyen kendili\u011fini ve varl\u0131\u011f\u0131 kar\u015f\u0131l\u0131ks\u0131z sevebilir mi? Tam burada akla John Ruskin\u2019in <em>Susam ve Zambaklar<\/em>\u2019daki \u201c<em>Hepsinden \u00f6nemlisi bir millet para kazanan bir y\u0131\u011f\u0131n olarak devam edemez; Kitaplar\u0131 hor g\u00f6rerek, ilmi hor g\u00f6rerek, sanat\u0131 hor g\u00f6rerek, tabiat\u0131 hor g\u00f6rerek, merhamet duygusunu hor g\u00f6rerek, sadece ve sadece para kazanmak i\u00e7in gayret g\u00f6stererek ve b\u00fct\u00fcn bunlar\u0131n cezas\u0131n\u0131 \u00e7ekmeksizin, varl\u0131\u011f\u0131n\u0131 devam ettiremez<\/em>(s.59).\u201d, ifadeleri hat\u0131ra geliyor. Modern kaosun esas\u0131nda yer alan bu g\u00fc\u00e7 saplant\u0131l\u0131 olarak alt yap\u0131 denilen ekonomik ger\u00e7eklerin her \u015feyi yutmas\u0131 h\u00f6rmet ve merhameti de mahvetmektedir. \u0130nsan kendili\u011fine, do\u011faya, do\u011fas\u0131na merhameti ve h\u00f6rmeti bile markalanm\u0131\u015f tekeller halinde t\u00fcketir oldu. Tek derdi k\u00e2r olan hay\u0131rseverler d\u00fcnyas\u0131! Tek k\u00e2r\u0131 hay\u0131r ve fayda olanlar Kaf da\u011f\u0131n\u0131n arkas\u0131nda Kelo\u011flan ile me\u00e7hulden g\u00fcl\u00fcms\u00fcyorlar. Bir g\u00fcn \u201chomo k\u00fclt\u00fcrus\u201d \u201chomo ekonomikus\u201d\u2019a ba\u015fkald\u0131rd\u0131\u011f\u0131nda bu isyan ma\u011faran\u0131n i\u00e7erisinde, g\u00f6lgelerin karabasan\u0131ndan hazinenin kap\u0131s\u0131na ula\u015fman\u0131n bir hareketi olacakt\u0131r. Korona vesilesi ile yapay zeka, \u00e7ip, k\u00fcreselci propagandistler de sureti haktan bir yol kazas\u0131na kar\u015f\u0131 ne kadar \u00e7aresiz oldu\u011fumuzu bize g\u00f6sterip duruyorlar. Oyunlar\u0131 i\u00e7inde oyun kuran\u0131n insanl\u0131\u011f\u0131n vicdan\u0131 oldu\u011funu anlad\u0131klar\u0131nda \u00e7okluk yeniden birli\u011fine kavu\u015fmu\u015f olacakt\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u0130nsan kendili\u011fini y\u00fcre\u011finde aramay\u0131 b\u0131rak\u0131p, akl\u0131n\u0131&#8230;<\/p>\n","protected":false},"author":218,"featured_media":10019,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53,55],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/10029"}],"collection":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/users\/218"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10029"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/10029\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/"}],"wp:attachment":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10029"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10029"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10029"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}