{"id":7987,"date":"2016-10-01T19:16:53","date_gmt":"2016-10-01T16:16:53","guid":{"rendered":"http:\/\/kadrandergi.com.tr\/?p=7987"},"modified":"2016-10-01T19:16:53","modified_gmt":"2016-10-01T16:16:53","slug":"bir-ruya-ikliminin-insani-sabahattin-ali","status":"publish","type":"post","link":"https:\/\/www.kadrandergi.com.tr\/?p=7987","title":{"rendered":"Bir R\u00fcya \u0130kliminin \u0130nsan\u0131: Sabahattin Ali"},"content":{"rendered":"

\u201cSabahattin Ali, bir r\u00fcya ikliminin insan\u0131d\u0131r. Onun ger\u00e7ek d\u00fcnya ile ba\u011flant\u0131s\u0131, k\u0131sa \u00f6mr\u00fcn\u00fc noktalayan talihsiz bir cinayetle sona ererken; o, r\u00fcya iklimine ait varl\u0131\u011f\u0131yla hala aram\u0131zda ya\u015famakta ve g\u00f6rd\u00fc\u011f\u00fc r\u00fcyalar\u0131 birlikte yorumlamam\u0131z i\u00e7in g\u00f6n\u00fcl kap\u0131lar\u0131m\u0131z \u00f6n\u00fcnde beklemektedir\u201d<\/em><\/p>\n

Prof. Dr. Ramazan Korkmaz,\u00a0 doktora tezi\u00a0 olan\u00a0\u201cSabahattin Ali \u0130nsan ve Eser\u201d\u00a0<\/em>in \u00f6ns\u00f6z\u00fcnde Sabahattin Ali i\u00e7in yukar\u0131daki tan\u0131m\u0131 yapm\u0131\u015ft\u0131r. Onun daha \u00e7ok siyasi g\u00f6r\u00fc\u015flerinin, \u00f6l\u00fcm \u015feklinin\u00a0 esas al\u0131nd\u0131\u011f\u0131n\u0131, sanat\u0131n\u0131n ikinci planda tutuldu\u011funu ifade etmi\u015ftir. \u00a0Biz de bu yaz\u0131m\u0131zda\u00a0 Sabahattin Ali\u2019nin \u00f6l\u00fcml\u00fc yanlar\u0131n\u0131; siyasi ki\u015fili\u011fini, kavgalar\u0131n\u0131 bir kenara b\u0131rak\u0131p\u00a0 onun sanatkar ki\u015fili\u011fini \u00f6n\u00a0 planda tutan bir yaz\u0131 kaleme alaca\u011f\u0131z.<\/p>\n

Sabahattin Ali \u00f6zellikle \u00f6yk\u00fcleriyle Cumhuriyet d\u00f6nemi T\u00fcrk edebiyat\u0131n\u0131n toplumcu ger\u00e7ek\u00e7i yazarlar\u0131ndan biridir. Ona g\u00f6re sanat \u00f6zellikle de edebiyat i\u00e7inde ya\u015fanan toplumun bilin\u00e7li ya da bilin\u00e7siz bir ifadesidir. Ancak bu ifadenin kuru bir yans\u0131tma olarak kalmas\u0131na kar\u015f\u0131 \u00e7\u0131kar. Sanat\u0131n bir amac\u0131n\u0131n olmas\u0131 gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcr bu y\u00fczden de onu daha \u00e7ok fonksiyonel olarak alg\u0131lar. Bu durumu Muzaffer Re\u015fit\u2019le yapt\u0131\u011f\u0131 bir konu\u015fmada \u015f\u00f6yle ifade etmi\u015ftir: \u201dEdebiyat hatta genellikle sanat, bence sanatkar\u0131n d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc ve duydu\u011fu bir fikrin ve hissin ortaya at\u0131lmas\u0131, tamim edilmesi demektir; yani bir nevi propagandad\u0131r. Ben hi\u00e7bir zaman sanat\u0131n maksats\u0131z oldu\u011funa inanmad\u0131m. Sanat\u0131n bir tek ve ger\u00e7ek maksad\u0131 vard\u0131r; insanlar\u0131 daha iyiye, daha g\u00fczele y\u00fckseltmek, insanlarda bu y\u00fckselme arzusunu uyand\u0131rmakt\u0131r.\u201d Sabahattin Ali\u2019ye g\u00f6re sanat, halktan kopuk de\u011fil halkla i\u00e7 i\u00e7e olmal\u0131d\u0131r.<\/p>\n

\"\"<\/p>\n

1938 y\u0131l\u0131nda\u00a0 sanat \u00fczerine yapt\u0131\u011f\u0131 bir s\u00f6yle\u015fide \u015fiir hakk\u0131nda \u015fu s\u00f6zleri s\u00f6yler. \u201c Bence \u015fiirin eskisi yenisi yoktur. \u0130yi \u015fiir, muhakkak ki,\u00a0 insana bir \u015fey ilave eder, bu \u015fey bazen tez olur; bazen bizim manen daha geni\u015flememizi temin eden\u00a0 bir heyecan olur\u201d. Bu s\u00f6zleriyle \u015fiiri t\u00fcr\u00fcn\u00fcn gere\u011fi olarak bir propaganda arac\u0131 olmaktan \u00f6te daha geni\u015f bir anlamda de\u011ferlendirmi\u015ftir.<\/p>\n

Hikaye ve roman t\u00fcrlerinde kal\u0131c\u0131l\u0131\u011f\u0131n sa\u011flanmas\u0131 isteniyorsa, yarat\u0131lan ki\u015filerin canl\u0131 olmas\u0131 konunun g\u00fcncelli\u011fini yitirmeyecek tarzda se\u00e7ilmesi ve i\u015flenmesi gerekir. T\u00fcrkiye\u2019de bu kriterleri a\u015fm\u0131\u015f \u201ciyi roman\u201d say\u0131labilecek eser say\u0131s\u0131 ona g\u00f6re olduk\u00e7a azd\u0131r.<\/p>\n

Sanatta eski-yeni tart\u0131\u015fmas\u0131n\u0131 gereksiz g\u00f6r\u00fcr bunun yerine iyi-k\u00f6t\u00fc de\u011ferlendirmesinin \u00f6l\u00e7\u00fct al\u0131nmas\u0131 gerekti\u011fini s\u00f6yler. K\u00f6t\u00fc ve kalitesiz bir yeni yerine, as\u0131rlar \u00f6nce yaz\u0131lm\u0131\u015f kaliteli eserlerin her zaman tercih edilece\u011fini \u00f6rnek olarak da\u00a0 kendisinin hala Fuzuli ve Galip Dede\u2019yi severek okudu\u011funu\u00a0 belirtir.<\/p>\n

Edebiyat\u0131m\u0131z\u0131n ge\u00e7mi\u015f d\u00f6nemlerinden yararlanma konusunda da olduk\u00e7a a\u00e7\u0131k g\u00f6r\u00fc\u015fl\u00fcd\u00fcr .Bu d\u00fc\u015f\u00fcncesini\u00a0 de \u201c Sanat olmu\u015f ve olacak her \u015feyden faydalan\u0131r\u201d c\u00fcmlesiyle ifade eder.<\/p>\n

Sabahattin Ali eserlerini olu\u015fturdu\u011fu dile \u00e7ok \u00f6nem verir. M\u00fcmk\u00fcn oldu\u011funca sadele\u015fmeden yana bir tav\u0131r g\u00f6stermi\u015ftir. Onun d\u00fc\u015f\u00fcncesine g\u00f6re madem ki dil, kitle ile anla\u015fma bir ileti\u015fim arac\u0131d\u0131r; \u00f6yleyse anla\u015f\u0131l\u0131r olmal\u0131d\u0131r; yal\u0131n, sade ve s\u00fcss\u00fcz. Bu d\u00fc\u015f\u00fcncelerine uygun olarak da ilk yazd\u0131\u011f\u0131 hikayeleri De\u011firmen adl\u0131 kitab\u0131nda toplarken, yaz\u0131ld\u0131klar\u0131 gibi almam\u0131\u015f dillerinde sadele\u015fmeye gitmi\u015ftir. Ancak her \u015feyde oldu\u011fu dilde sadele\u015fmede de a\u015f\u0131r\u0131l\u0131ktan ka\u00e7\u0131nm\u0131\u015f \u00e7evresindekilere de bu d\u00fc\u015f\u00fcncesini telkin etmi\u015ftir.<\/p>\n

Sanat\u00e7\u0131 \u00e7ok y\u00f6nl\u00fc bir sanatsal ki\u015fili\u011fe sahiptir. Hikaye, roman, \u015fiir, tiyatro, mizah gibi bir \u00e7ok edebi t\u00fcrde eser vermi\u015ftir.Edebiyat\u0131m\u0131z da ise onun hikaye y\u00f6n\u00fc a\u011f\u0131r basar. Sanat\u0131n\u0131 en iyi, hikayelerinde yans\u0131tm\u0131\u015ft\u0131r. Onun hikayelerinde klasik bir olay \u00f6rg\u00fcs\u00fc i\u015flenir. Hikayenin belli bir konusu vard\u0131r. Her konu bir olaya dayan\u0131r, bu olay zaman-mekan \u00e7er\u00e7evesi i\u00e7erisinde i\u015flenir. Bi\u00e7im olarak \u00d6mer Seyfettin gelene\u011fini s\u00fcrd\u00fcrm\u00fc\u015f ve geli\u015ftirmi\u015ftir. Almanya\u2019da dil \u00f6\u011frenip bat\u0131l\u0131 yazarlar\u0131 tan\u0131d\u0131ktan sonra romantik \u00f6geler hikayelerindeki a\u011f\u0131rl\u0131\u011f\u0131n\u0131 kaybetmi\u015f daha ger\u00e7ek\u00e7i toplumsal konular a\u011f\u0131r basm\u0131\u015ft\u0131r.Yazar\u0131n 1930\u2019dan sonra yazd\u0131\u011f\u0131n 52 hikayede hakim unsur\u00a0 ger\u00e7ek\u00e7ilik duygusudur. Bu duyguda zamanla \u201cg\u00f6zlemci ger\u00e7ek\u00e7ilik\u201dten toplumsal ele\u015ftirel ger\u00e7ek\u00e7ili\u011fe d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr<\/p>\n

\"\"Sabahattin Ali\u2019nin hikayelerinin temelinde bir \u00e7at\u0131\u015fma yatar. Bu \u00e7at\u0131\u015fman\u0131n taraflar\u0131 \u201dolmas\u0131 gereken\u201d ve \u201colan\u201d d\u0131r. Olmas\u0131 gereken; insan sevgisi, dostluk, ac\u0131ma duygusu, haks\u0131zl\u0131\u011fa kar\u015f\u0131 \u00e7\u0131kma gibi insan\u0131 y\u00fccelten de\u011ferlerken;\u00a0 olan, istismar, s\u00f6m\u00fcr\u00fc, aldatma gibi kar\u015f\u0131 de\u011ferlerdir. \u201cOlan\u201d ile kar\u015f\u0131la\u015fan hikayenin kahramanlar\u0131 ise daima girdikleri b\u00fct\u00fcn m\u00fccadelelerde kaybeden taraf olurlar ve \u00e7areyi ka\u00e7makta bulurlar. Bu ka\u00e7\u0131\u015f olay\u0131 ise; kendiyle bar\u0131\u015f\u0131k olmayan bir insan\u0131n kendinden ka\u00e7mas\u0131, ger\u00e7ekten hayale ka\u00e7\u0131\u015f, toplumdan ka\u00e7\u0131\u015f, i\u00e7inde bulundu\u011fu durumdan daha k\u00f6t\u00fc bir duruma ya da \u00f6l\u00fcme ka\u00e7\u0131\u015f olarak gruplanabilir<\/p>\n

Hikaye ve romanlar\u0131ndaki mekan\u0131 ele al\u0131\u015f \u015fekli Bat\u0131l\u0131 ressamlara has bir dikkat ve \u00f6zenle yap\u0131ld\u0131\u011f\u0131 i\u00e7in bu yerlerin bir resmini \u00e7\u0131karmak m\u00fcmk\u00fcn oldu\u011fu gibi mekan tasvirlerinden hareketle o mekanda ya\u015fayan insanlar\u0131n sosyo k\u00fclt\u00fcrel yap\u0131lar\u0131n\u0131 ve psikolojik durumlar\u0131n\u0131 \u00f6\u011frenmek m\u00fcmk\u00fcnd\u00fcr.Sabahattin Ali insan\u0131 tek ba\u015f\u0131na anlatmaz. Onu \u00e7evreleyen maddi ve manevi imkanlar\u0131yla birlikte verir ve bu imkanlar\u0131n insan \u00fczerindeki etkilerini yans\u0131tmaya \u00e7al\u0131\u015f\u0131r. Kad\u0131nlar\u0131n varl\u0131\u011f\u0131n\u0131 inkar edilemeyecek kadar ger\u00e7ek olarak ifade etse de\u00a0 hikayelerinde ve romanlar\u0131nda erkek karakterler a\u011f\u0131r basar.<\/p>\n

Yazar\u0131n \u00f6yk\u00fcleri;\u00a0De\u011firmen<\/em>\u00a0(1935) ,\u00a0Ka\u011fn\u0131<\/em>\u00a0(1936) ,\u00a0Ses<\/em>\u00a0(1937),\u00a0Yeni D\u00fcnya<\/em>\u00a0(1943),\u00a0S\u0131r\u00e7a K\u00f6\u015fk<\/em>\u00a0(1947) adl\u0131 5 kitapta toplanm\u0131\u015ft\u0131r. Romanlalar\u0131 ise s\u0131ras\u0131yla; Kuyucakl\u0131 Yusuf (1937), \u0130\u00e7imizdeki\u00a0 \u015eeytan (1940) ve K\u00fcrk Mantolu Madonna (1943)\u2019 d\u0131r. \u00a0\u0130\u00e7imizdeki \u015eeytan\u00a0 adl\u0131 eseri otobiyografik\u00a0 nitelik ta\u015f\u0131maktad\u0131r.Esirler (1936) ad\u0131nda bir tiyatro oyunu bulunan yazar\u0131n \u015fiirleri de 3 kitapta toplanm\u0131\u015ft\u0131r:\u00a0Da\u011flar ve R\u00fczg\u00e2r<\/em>\u00a0(1934),\u00a0Kurba\u011fan\u0131n Serenad\u0131<\/em>\u00a0(1937),\u00a0\u00d6teki \u015eiirler<\/em>\u00a0(1937).<\/p>\n

Yazar\u0131n bir \u00e7ok \u015fiiri de bestelenip \u015fark\u0131 halini alm\u0131\u015ft\u0131r. Ald\u0131rma g\u00f6n\u00fcl, E\u015fk\u0131ya d\u00fcnyaya h\u00fck\u00fcmdar olmaz, Ge\u00e7miyor g\u00fcnler, Leylim ley, \u00c7ocuklar gibi, K\u0131z ka\u00e7\u0131ran, Melankoli, Kara yaz\u0131, Ben sana vurgunum, G\u00f6klerde kartal gibiyim, Da\u011flar bunlardan baz\u0131lar\u0131d\u0131r.bursa escort<\/a><\/p>\n

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goal in life.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cSabahattin Ali, bir r\u00fcya ikliminin insan\u0131d\u0131r….<\/p>\n","protected":false},"author":68,"featured_media":8671,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[53,62],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/7987"}],"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\/68"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7987"}],"version-history":[{"count":0,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=\/wp\/v2\/posts\/7987\/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=7987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kadrandergi.com.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}