{"id":11286,"date":"2022-01-01T03:35:31","date_gmt":"2022-01-01T00:35:31","guid":{"rendered":"http:\/\/kadrandergi.com.tr\/?p=11286"},"modified":"2022-01-01T03:35:31","modified_gmt":"2022-01-01T00:35:31","slug":"alain-corbin-sessizligin-tarihi-ronesanstan-gunumuze","status":"publish","type":"post","link":"https:\/\/www.kadrandergi.com.tr\/?p=11286","title":{"rendered":"Alain Corbin: Sessizli\u011fin Tarihi\/ R\u00f6nesans\u2019tan G\u00fcn\u00fcm\u00fcze"},"content":{"rendered":"

“Duy bu ince g\u00fcr\u00fclt\u00fcy\u00fc, ak\u0131yor; sessizlik bu. Dinle, hi\u00e7bir \u015fey duyulmazken ne duydu\u011funu dinle.”<\/em>
\n<\/em>
\nPaul Val\u00e9ry<\/strong><\/strong><\/p>\n


\n<\/strong><\/strong>Alain Corbin Annales Okulu’nda yeti\u015fmi\u015f, ya\u015fayan en \u00f6nemli Frans\u0131z tarih\u00e7ilerden. XIX. Yy. mikro tarih \u00e7al\u0131\u015fmalar\u0131n\u0131n yan\u0131nda; duyular, temsiller ve beden konusundaki \u00e7al\u0131\u015fmalar\u0131yla da d\u00fcnyaca \u00fcnl\u00fc bir otorite kabul edilen emeritus profes\u00f6r. Yani \u201cUnumu eledim, ele\u011fimi duvara ast\u0131m.\u201d demeyip, emekli olduktan sonra da \u00e7al\u0131\u015fmalar\u0131na devam edip, onursal olarak da titrini s\u00fcrd\u00fcrenlerden.<\/p>\n

Annales Okulunun tarih anlay\u0131\u015f\u0131na g\u00f6re tarih, ancak betimleyici olmaktan \u00e7\u0131k\u0131p a\u00e7\u0131klay\u0131c\u0131 oldu\u011fu \u00f6l\u00e7\u00fcde bir bilim haline gelir. Corbin’in d\u00fc\u015f\u00fcncesinin de bu ba\u011flama hizmet etti\u011fini, okulun kurucular\u0131ndan Lucian Febvre’in tarih\u00e7ilik anlay\u0131\u015f\u0131na paralel \u00f6rnekler vermesinden anl\u0131yoruz.<\/p>\n

Koklama ve duyma deneyimleri, toplumsal imgelem, cehalet, eril arzu gibi mikro konular \u00fczerine geni\u015f sorular sordu\u011fu \u00e7al\u0131\u015fmalar\u0131n\u0131n yan\u0131nda; sessizli\u011fin tarihi \u00fczerine bir ilk \u00e7al\u0131\u015fma olarak g\u00f6rd\u00fc\u011f\u00fc bu kitab\u0131nda, insan\u0131n sessizlikle ili\u015fkisinin ya\u015fam i\u00e7in ne denli kurucu oldu\u011funa dair m\u00fchim ipu\u00e7lar\u0131 sunuyor. Sessizli\u011fi deneyimleme bi\u00e7imleri, sessizlik aray\u0131\u015flar\u0131n\u0131n \u00e7e\u015fitlili\u011fi ve ge\u00e7irdikleri d\u00f6n\u00fc\u015f\u00fcm; edebiyat ve d\u00fc\u015f\u00fcnce metinleri, resim ve sinemaya at\u0131flar \u00fczerinden irdeleniyor. Farkl\u0131 disiplinlerden metinleri devreye sokarak konuyu derinle\u015ftirmeye \u00e7al\u0131\u015fmas\u0131; okuyucunun sadece sessizli\u011fin tarihsel seyrini de\u011fil, bug\u00fcn bize ne ifade etti\u011fini de sorgulamas\u0131n\u0131 sa\u011fl\u0131yor.<\/p>\n

\u201cSadece sessizlikle, sessizli\u011fin elle tutulmaz k\u0131r\u0131lganl\u0131\u011f\u0131yla sonu olmayan bir diyalog kurulursa, hesap kitap yapan mant\u0131\u011f\u0131n g\u00f6zleriyle asla g\u00f6r\u00fclemeyecek olan ruhun dile getirilemez yaralar\u0131 kavranabilir ve iz b\u0131rakmadan iyile\u015ftirilebilir.\u201d<\/em>
\n<\/em>                                                                                            E. Borgna <\/strong>
\n<\/strong>
\nAlain Corbin’in \u201cSessizli\u011fin Tarihi\u201d \u00e7al\u0131\u015fmas\u0131na dair bas\u0131na yans\u0131yan yorumlar:<\/p>\n

\u201cDuyular \u00fczerine harikulade \u00e7al\u0131\u015fmalar\u0131ndan biri olan (\u2026) sessizli\u011fi, onun seslerini ve anlamlar\u0131n\u0131 ara\u015ft\u0131rd\u0131\u011f\u0131 bu kitab\u0131 m\u00fcthi\u015f bir cevher.\u201d<\/p>\n

John Merriman \/ Yale \u00dcniversitesi \u2013  Tarih B\u00f6l\u00fcm\u00fc<\/strong><\/p>\n

\u201cAlain Corbin tarih yaz\u0131m\u0131n\u0131 yeni alanlara geni\u015fletmekte d\u00fcnyaca \u00fcnl\u00fc. Sessizli\u011fin Tarihi’nde bunu daha da ileri g\u00f6t\u00fcr\u00fcyor: Tarif edilmesi g\u00fc\u00e7, \u00e7ok y\u00f6nl\u00fc bir kavram\u0131n tarihini anlatmakla kalm\u0131yor, onun felsefesi, teolojisi ve edebiyat\u0131na da giriyor.\u201d<\/p>\n

Robert Tombs \/ Cambridge \u00dcniversitesi<\/strong><\/p>\n

\u201cBu kitap fikirlerle dolu: resmi \u2018sessiz s\u00f6z\u2019 olarak ele al\u0131yor, yaz\u0131y\u0131 sessizli\u011fin kesintiye u\u011framas\u0131 olarak. Tanr\u0131\u2019n\u0131n sessizli\u011findeki ac\u0131mas\u0131zl\u0131\u011f\u0131; ormanlar\u0131n, s\u00fctliman denizlerin ve kar\u0131n sessizli\u011findeki derinli\u011fi anlat\u0131yor.\u201d<\/p>\n

Times Higher Education<\/em><\/strong><\/p>\n

\u201cDuyular \u00fczerine \u00e7al\u0131\u015fan Alain Corbin tarih\u00e7ilerin g\u00f6rmezden geldi\u011fi bir konuyu, sessizli\u011fi ele almaya c\u00fcret ediyor. \u2018G\u00fcr\u00fclt\u00fcn\u00fcn yoklu\u011fu\u2019ndan fazlas\u0131 olan bu kitap y\u00fczy\u0131llar boyunca yazar ve \u015fairleri b\u00fcy\u00fclemi\u015f sessizli\u011fin binbir \u00f6zelli\u011fini g\u00f6zler \u00f6n\u00fcne seriyor.\u201d<\/p>\n

Le Point<\/em><\/strong><\/p>\n

\u201cDuyulur olan\u0131n \u2013duyular\u0131n ve duyarl\u0131\u011f\u0131n\u2013 tarihi konusunda otorite kabul edilen yazar\u0131n ele ald\u0131\u011f\u0131 konular listesine art\u0131k sessizli\u011fi de ekleyebiliriz.\u201d<\/p>\n

David E. Cooper in Los Angeles Review of Books<\/em> <\/strong><\/p>\n

\u201cSessizli\u011fin Tarihi bir girdab\u0131n ortas\u0131ndaki sessiz vaha gibi ba\u015ftan \u00e7\u0131kar\u0131c\u0131.\u201d<\/p>\n

The Independent<\/em><\/strong><\/p>\n

Alain Corbin, \u201cSessizli\u011fin Tarihi: R\u00f6nesanstan G\u00fcn\u00fcm\u00fcze\u201d adl\u0131 kitab\u0131nda, sessizli\u011fe tarihsel bir anlam kazand\u0131r\u0131yor. \u201cDur!\u201d diyor: \u201cSessizli\u011fe g\u00fcr\u00fclt\u00fc yoklu\u011fu deyip ge\u00e7emeyiz.\u201d <\/em>Tefekk\u00fcr\u00fcn, kendini dinlemenin, meditasyonun, duan\u0131n, d\u00fc\u015flerin, yaratman\u0131n \u00f6nko\u015fulu oldu\u011funa; hatta s\u00f6z\u00fcn do\u011fdu\u011fu bir i\u00e7sel mekan oldu\u011funa ikna ediyor. \u201cResim sessizli\u011fin s\u00f6z\u00fcyd\u00fc\u201d<\/em> diyerek Rembrandt’\u0131n \u201cMeditasyondaki Filozof\u201d tablosuna at\u0131fla \u201cAsla Tanr\u0131 hakk\u0131nda konu\u015fma ve yazma… Onun sessizli\u011fine sessizlikle yan\u0131t ver.\u201d<\/em> g\u00f6ndermesini b\u00fct\u00fcnl\u00fcyor.<\/p>\n

\u201cVe bu b\u00f6yledir, dua etmek kendi s\u00f6yledi\u011fine kulak vermek de\u011fil, susma raddesine gelmek ve suskun kalmakt\u0131r, sab\u0131rla beklemektir, dua eden ki\u015fi Tanr\u0131ya kulak verene dek.\u201d
\n<\/em>
\n                                                                                     Kierkegaard \/ K\u0131rdaki Zambak ve G\u00f6kteki Ku\u015f
\n<\/strong>
\n\u0130nsan bazen Tanr\u0131\u2019n\u0131n sessizli\u011fini onun yoklu\u011funa delil kabul eder. D\u00fcnyada onca ac\u0131 ya\u015fan\u0131rken Tanr\u0131\u2019n\u0131n sessizli\u011fi kabul edilebilir gelmez, insan i\u00e7in bu sessizlik trajik bir h\u00e2l al\u0131r. \u0130lgin\u00e7tir ki pek \u00e7ok toplulu\u011fun b\u00fcnyesinde sessizlik bir iktidar arac\u0131d\u0131r. Belki Tanr\u0131 i\u00e7in de \u00f6yle. Corbin’in tabiriyle \u201c\u00d6tekini g\u00f6rmeyi, duymay\u0131 reddetmek, iz b\u0131rakmas\u0131n\u0131 engellemek; ki\u015fiyi bir t\u00fcr yok olma haline mahk\u00fbm etmek…\u201d <\/em>\u0130nsan\u0131n insana kurdu\u011fu iktidar, Tanr\u0131’n\u0131n insana ge\u00e7icili\u011fini hat\u0131rlatarak varl\u0131\u011f\u0131n\u0131 konumland\u0131rd\u0131\u011f\u0131 zirve. Aziz Juan de la Cruz’un Tanr\u0131’n\u0131n sessiz kalmas\u0131n\u0131n insana, inanma ya da inanmama \u00f6zg\u00fcrl\u00fc\u011f\u00fc tan\u0131yan bir alan sundu\u011fu tezini savunmas\u0131 ise kafa yorulas\u0131 bir d\u00fc\u015f\u00fcncedir.<\/p>\n

\u201cSadece sessizlik \u00f6tekini tema\u015faya izin verir.\u201d<\/em><\/p>\n


\n<\/em><\/em>                                                                                      Pascal Quignard<\/strong><\/strong><\/p>\n


\n<\/strong><\/strong>XXI. yy.\u0131n ad\u0131ndan s\u00f6z ettiren k\u00fclt\u00fcr kuramc\u0131s\u0131 Byung-Chul Han “Yery\u00fcz\u00fcne \u00d6vg\u00fc” isimli kitab\u0131nda, yery\u00fcz\u00fcn\u00fcn en yal\u0131n ifadesi olan bah\u00e7eye konumlan\u0131yor; ba\u015fkalar\u0131n\u0131n zaman\u0131ndan, dijitalle\u015fmenin y\u00fckseltti\u011fi ileti\u015fim g\u00fcr\u00fclt\u00fcs\u00fcne odaklan\u0131yor. Topra\u011f\u0131n insan\u0131 mutlu eden rezonans alan oldu\u011funu s\u00f6ylerken, bir de form\u00fcl sunuyor: Human[insan]\u0131n, humusa[toprak] geri d\u00f6nmesi.<\/p>\n

\u201cBug\u00fcn bizim s\u00f6yleyecek \u00e7ok \u015feyimiz var, ileti\u015fim kuraca\u011f\u0131m\u0131z \u00e7ok \u015fey var, \u00e7\u00fcnk\u00fc biz birileriyiz. Biz hem sessizli\u011fi hem de susmay\u0131 unuttuk. Benim bah\u00e7em sessizli\u011fin mek\u00e2n\u0131d\u0131r. Bah\u00e7ede sessizlik yap\u0131yorum. Hyperion gibi sessizce dinliyorum.\u201d <\/em><\/p>\n

Byung-Chul Han\/ Yery\u00fcz\u00fcne \u00d6vg\u00fc<\/strong><\/strong><\/p>\n


\n<\/strong><\/strong>Tefekk\u00fcr\u00fcn yahut meditasyonun zemini sessizlikle \u00f6r\u00fcl\u00fc oldu\u011fu nispette odaklanmaya imk\u00e2n tan\u0131r ve Cizvit rahibi Baltasar \u00c1lvarez’in \u201cSessiz Dua Risalesi\u201dnde dedi\u011fi gibi: \u201cO zaman y\u00fcrekte her \u015fey susar ve hi\u00e7bir \u015fey insan\u0131n g\u00f6nl\u00fcn\u00fc buland\u0131rmaz; sadece Tanr\u0131’n\u0131n ir\u015fad eden ve vahyeden sesinin duyuldu\u011fu sessizliktir bu…\u201d <\/em>Bu hali ise yine sessizlik ve s\u00fck\u00fbnetle a\u011f\u0131rlamak gerekir. Bu makam sessizli\u011fin sadakatle korundu\u011fu ve tutkular\u0131n alt edildi\u011fi bir ileri ad\u0131md\u0131r Bossuet’a g\u00f6re. Bu mistik deneyimler vas\u0131tas\u0131yla sessizli\u011fin karanl\u0131klar\u0131na dalan insan\u0131n \u00f6n\u00fcnde bir yol a\u00e7\u0131l\u0131r. \u00d6nce kendi ruhuna intikal eden insan\u0131n as\u0131l var\u0131\u015f\u0131 Tanr\u0131’ya yani b\u00fct\u00fcne intikaldir…<\/p>\n

\u201cKalbimi canl\u0131 tutan, rengarenk bir sessizliktir.\u201d <\/em><\/p>\n

Claude Monet<\/strong><\/strong><\/p>\n


\n<\/strong><\/strong>\u201cHer s\u00f6zc\u00fck, sessizlik ve hi\u00e7lik \u00fczerinde gereksiz bir leke gibi\u201d <\/em>diyen Samuel Beckett’a nispetle Antonin Artaud ise \u015f\u00f6yle der: \u201c\u015eeylerin ruhu kelimelerde de\u011fildir.\u201d<\/em> Ionesco ise \u201cG\u00fcnl\u00fck\u201d adl\u0131 eserinde noktay\u0131 \u201cs\u00f6z sessizli\u011fin konu\u015fmas\u0131na engel olur\u201d<\/em> diyerek koyar. Bilinir ki ruhun dili sessizliktir. Pascal Quignard’\u0131n son m\u00fczik dersi sonras\u0131 \u00fcstad\u0131na verdi\u011fi s\u00f6z \u00fczerine s\u00f6yledikleri m\u00fchimdir: \u201cKulaklar\u0131m\u0131 sessizlikle y\u0131kayaca\u011f\u0131m.\u201d<\/em> M\u00fczi\u011fin yarat\u0131m\u0131 i\u00e7in fonda mutlaka p\u00fcr\u00fczs\u00fcz bir sessizlik olmal\u0131. Notalar\u0131n aktar\u0131ld\u0131\u011f\u0131 k\u00e2\u011f\u0131d\u0131n beyaz\u0131 kadar saf bir sessizlik. Sessizli\u011fin o safl\u0131\u011f\u0131n\u0131, p\u00fcr\u00fczs\u00fczl\u00fc\u011f\u00fcn\u00fc en bariz hissetti\u011fimiz zaman dilimi \u0130sve\u00e7’in Dalarna b\u00f6lgesinde, Elf soyundan gelen kuzeyli kad\u0131nlar\u0131n [vallpiga] bahar ve yaz aylar\u0131nda y\u00fcksek tepelerde koyun, ke\u00e7i ve inek s\u00fcr\u00fclerini \u00e7a\u011f\u0131rmak i\u00e7in s\u00f6yledi\u011fi kulning’in Alp Da\u011flar\u0131’n\u0131n meralar\u0131nda yank\u0131land\u0131\u011f\u0131 and\u0131r. Orta\u00e7a\u011f’dan II. D\u00fcnya Sava\u015f\u0131’na kadar \u0130skandinav co\u011frafyas\u0131n\u0131n sessizlik zeminini dokuyan b\u00fcy\u00fcl\u00fc nak\u0131\u015ft\u0131r kulning. Jonna Jinto ise kulningin bu y\u00fczy\u0131lda unutulmamas\u0131 ad\u0131na puslu sesiyle bayra\u011f\u0131 devir alan isim…<\/p>\n

\u201cDinle o\u011flum sessizli\u011fi.
\nDalgal\u0131 bir sessizlik bu,
\nYank\u0131lar\u0131n ve vadilerin \u00fczerinden kay\u0131p giden
\nVe ba\u015flar\u0131 yere e\u011fen
\nBir sessizlik.\u201d
\n<\/em>
\nGarc\u00eda Lorca \/ Le Silence<\/strong>
\n<\/strong>
\nHer \u015feyin sustu\u011fu g\u00fcn, atmosfere sessizlik hakim olana kadar; bir kad\u0131n\u0131n bu\u011fulu sesinden kulningi, Dali’nin \u201cDeniz Kenar\u0131nda\u201d tablosundaki \u0131ss\u0131z enginli\u011fi, hastane duvar\u0131nda i\u015faret parma\u011f\u0131 dudaklar\u0131na de\u011fen hem\u015fireyi, Victor Hugo’nun Les Voix int\u00e9rieures’inde hayal etti\u011fi harap olmu\u015f Paris’i, k\u00e2\u015fif John Muir’in Shasta Da\u011f\u0131’na kuru havada ya\u011fan lapa lapa kar\u0131n alt\u0131nda t\u0131rmanma maceras\u0131n\u0131, Madam Rimbaud’un mezarl\u0131k sessizli\u011fi tasvirini, \u00e7\u00f6l azizlerinin Tanr\u0131’y\u0131 aray\u0131\u015flar\u0131n\u0131 d\u00fc\u015flerken, kitab\u0131n sat\u0131rlar\u0131nda \u201cgizden yoksun bir y\u00fcrek, a\u00e7\u0131k bir mektuba benzer\u201d c\u00fcmlesinde mola al\u0131yorum. Publilius Syrus’un \u201csusmal\u0131s\u0131n\u0131z ya da s\u00f6zleriniz, sessizli\u011finizden daha de\u011ferli olmal\u0131\u201d <\/em>ikaz\u0131yla toparlan\u0131yor; Henry David Thoreau’nun \u201cinsan ruhu Tanr\u0131’n\u0131n orkestras\u0131nda \u00e7alan sessiz bir arpt\u0131r\u201d <\/em>s\u00f6z\u00fcn\u00fcn derin mesaj\u0131n\u0131 kendimce selaml\u0131yorum.<\/p>\n

\u201cSessizlik, kelime olmayan bir kelimedir; nefes de nesne olmayan bir nesne.\u201d
\n<\/em>
\nBataille<\/strong><\/p>\n

\u015eimdi s\u0131n\u0131rlar\u0131 bana ait olan o \u0131ss\u0131zl\u0131\u011f\u0131n kenarlar\u0131n\u0131 yumu\u015fak ve yald\u0131zl\u0131 bir t\u0131n\u0131yla belirginle\u015ftiriyorum. Yasmeen Amina Olya’n\u0131n sesi Strasbourg sokaklar\u0131ndan menzilinin d\u0131\u015f\u0131na ta\u015f\u0131p sessizli\u011fimin \u00fczerine bir ku\u011fu gibi s\u00fcz\u00fcld\u00fc\u011f\u00fcnde en \u00fccradaki onulmaz gibi g\u00f6r\u00fcnen yaralar\u0131 bile sa\u011falt\u0131yor. Sessizli\u011fi \u015fifa nam\u0131na m\u00fch\u00fcrl\u00fcyor. Bir \u00e7ift anahtar dresuar\u0131n \u00fczerindeki \u00e7ana\u011f\u0131n i\u00e7ine f\u0131rlat\u0131l\u0131yor, sessizlik orada bitiyor…<\/p>\n","protected":false},"excerpt":{"rendered":"

“Duy bu ince g\u00fcr\u00fclt\u00fcy\u00fc, ak\u0131yor; sessizlik…<\/p>\n","protected":false},"author":288,"featured_media":11356,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[55,56],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/11286"}],"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\/288"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11286"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/11286\/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=11286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}