{"id":488,"date":"2021-08-07T11:28:16","date_gmt":"2021-08-07T08:28:16","guid":{"rendered":"https:\/\/demo.pinaruretmen.com\/?p=488"},"modified":"2021-08-07T11:28:17","modified_gmt":"2021-08-07T08:28:17","slug":"bir-kibir-meselesi","status":"publish","type":"post","link":"https:\/\/pinaruretmen.com\/?p=488","title":{"rendered":"Bir Kibir Meselesi"},"content":{"rendered":"\n
\"bir-kibir-meselesi\"<\/figure><\/div>\n\n\n\n
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Bilmek Ya Da Bilmemek, \u0130\u015fte B\u00fct\u00fcn Kibir Bu!<\/strong><\/p>\n\n\n\n

 Kibir ki yedi g\u00fcnahtan birisi belki de en beteridir, bize de ondan sak\u0131nmak d\u00fc\u015fer, diye ba\u015flayabilirdi bu yaz\u0131. Oysa bu kez bilinen ezberleri bozal\u0131m ve oyunu tersten oynayal\u0131m. G\u00fcvenli yollar\u0131, genel kabulleri bir kenara b\u0131rak\u0131p kibrin o denli k\u00f6t\u00fcc\u00fcl olmad\u0131\u011f\u0131n\u0131, g\u00fcnah ke\u00e7isi rol\u00fcn\u00fcn \u00fczerine kald\u0131\u011f\u0131n\u0131 varsayal\u0131m. \u00d6nyarg\u0131lar\u0131n \u00f6n\u00fcne ge\u00e7erek \u201c acaba? \u201d diye sormaya cesaret edebiliriz b\u00f6ylece. Olur ya, belki de insanl\u0131\u011f\u0131n geli\u015fimi i\u00e7in gerekli oldu\u011funu bile s\u00f6ylemeye vard\u0131rabiliriz i\u015fi.<\/p>\n\n\n\n

 Kibrin \u00f6z\u00fcnde iyilik i\u00e7eren bir k\u0131s\u0131m varsa e\u011fer, onu aramam\u0131z gereken yer tarihin derinlikleri olmal\u0131. Tragedyalar\u0131 rehber alarak Oidipus\u2019 a, Hamlet\u2019 e ve Lanthimos\u2019 un \u00f6ld\u00fcrd\u00fc\u011f\u00fc kutsal geyi\u011fe odaklanal\u0131m. Yani \u00fc\u00e7 farkl\u0131 \u00e7a\u011fdan \u00fc\u00e7 k\u00f6\u015fe ta\u015f\u0131 tragedyaya uzanal\u0131m ve ger\u00e7e\u011fi bulmaya \u00e7al\u0131\u015fal\u0131m \u00f6yleyse. Aynaya aksini yans\u0131tarak b\u00fct\u00fcn\u00fc tamamlayan eksik par\u00e7aya ula\u015fabiliriz b\u00f6ylelikle. ” \u00c7\u00fcnk\u00fc oyun denen \u015feyden murat, eskiden de b\u00f6yleydi, \u015fimdi de \u00f6yle, bir \u00e7e\u015fit ayna tutmakt\u0131r ger\u00e7e\u011fe; iyili\u011fe suretini, k\u00f6t\u00fcl\u00fc\u011fe surat\u0131n\u0131, her devrin heyetine de, heybetine de aksini ve aksili\u011fini g\u00f6stermektir. ” ( Hamlet- W. Shakespeare ) <\/p>\n\n\n\n

 Tragedya ve Kibir<\/strong><\/p>\n\n\n\n

 Kibir ya da nam\u0131 di\u011fer hubris, tragedyalar\u0131n olmazsa olmazlar\u0131ndand\u0131r. Tragedya dedi\u011fimiz zaman kendine has kurallar\u0131 olan bir sanat dal\u0131d\u0131r asl\u0131nda bahsetti\u011fimiz. Ad\u0131n\u0131 bilime ve psikiyatriye emanet eden Oedipus\u2019 tur, Elektra\u2019 d\u0131r, \u0130fegenia\u2019 d\u0131r.<\/p>\n\n\n\n

 Tragedyalar\u0131n belli ba\u015fl\u0131 kurallar\u0131 ve \u00f6l\u00e7\u00fctleri vard\u0131r. Bunlar Aristoteles taraf\u0131ndan yaz\u0131lan Poetika adl\u0131 eserde tan\u0131mlanm\u0131\u015ft\u0131r.
\u201c Tragedya, sahnede insanlar taraf\u0131ndan ger\u00e7ekle\u015ftirilen, belirli bir uzunlu\u011fu olan, s\u00fcsl\u00fc bir dilin kullan\u0131ld\u0131\u011f\u0131, ac\u0131ma ve korku yoluyla ar\u0131nmay\u0131 ( katarsis ) ger\u00e7ekle\u015ftiren olaylar\u0131n taklit ( mimesis ) ile yeniden sunumudur. \u201d Trajik kahraman, trajik sona do\u011fru yol al\u0131r.<\/p>\n\n\n\n

 Tarihteki izlerini 2500 y\u0131l \u00f6nceye kadar g\u00f6t\u00fcrebiliriz. Kelime anlam\u0131
\u201c ke\u00e7i \u015fark\u0131s\u0131 \u201d olan tragedyalar, Antik Yunan uygarl\u0131\u011f\u0131nda sahnelenen \u015fark\u0131l\u0131 tiyatro eserleridir. Satirler yani mitolojik ke\u00e7iler, ayinlerin ve rit\u00fcellerin \u00f6nemli fig\u00fcrlerindendir. \u00dcnl\u00fc Dionysos ayinleridir s\u00f6z konusu olan ve tiyatronun da zeminini olu\u015fturan. Koronun \u015fark\u0131 s\u00f6yleyerek e\u015flik etti\u011fi bu g\u00f6steriler zaman i\u00e7inde \u015fark\u0131l\u0131 k\u0131s\u0131mlar\u0131n azald\u0131\u011f\u0131, diyaloglar\u0131n e\u015flik etti\u011fi bir form kazanm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

 Tragedyalar\u0131n temel \u00f6zelliklerinden baz\u0131lar\u0131 kibir anlat\u0131m\u0131 a\u00e7\u0131s\u0131ndan \u00f6nemlidir. Bunlar\u0131n ba\u015f\u0131nda Hamartia gelir. Kaderin d\u00f6nd\u00fc\u011f\u00fc an anlam\u0131ndaki hamartia, kahraman\u0131 trajik sona g\u00f6t\u00fcrecek olan yolun ilk ad\u0131m\u0131d\u0131r. Her ne kadar antik d\u00f6nem tragedyalar\u0131 mitolojik anlat\u0131lar\u0131n yeniden d\u00fczenlenerek sunumu da olsa, trajik kahramanlar mitolojik tanr\u0131lar ya da yar\u0131-tanr\u0131lar de\u011fil insanlard\u0131r. Bu nedenle hata yapmaya haklar\u0131 vard\u0131r. Hatta hata yapmaya yazg\u0131l\u0131d\u0131rlar ve bu nedenle ac\u0131 \u00e7ekerler. Trajik hata yani hamartia bir t\u00fcr su\u00e7 ya da g\u00fcnah de\u011fildir. Bir yanl\u0131\u015f anlama, amac\u0131n\u0131 a\u015fan bir s\u00f6z ya da hareket, belki bir anl\u0131k gaflet, basiretsizlik denebilir. Kahraman\u0131m\u0131z yanl\u0131\u015f bir karar verir ve kaderi de\u011fi\u015fir. Ona yaz\u0131lm\u0131\u015f olan\u0131, yazg\u0131s\u0131n\u0131 de\u011fi\u015ftirmeye c\u00fcret eder. Bunu yapmas\u0131na, yazg\u0131ya kar\u015f\u0131 \u00e7\u0131kmaya cesaret ettiren \u015feyse kahraman\u0131n kibridir. \u0130\u015fte kar\u015f\u0131n\u0131zda hubris…  Kader \u00e7izgisini de\u011fi\u015ftiren u\u011fursuz ve \u015fuursuz tutum. Kahraman\u0131 trajik kahramana, anlat\u0131y\u0131 tragedyaya \u00e7eviren olmazsa olmaz davran\u0131\u015f. Kahraman\u0131n d\u00fc\u015f\u00fc\u015f\u00fcne neden olan \u00f6l\u00fcmc\u00fcl hata. Kibir, yani nam\u0131 di\u011fer trajik hata.<\/p>\n\n\n\n

 O zaman iki bin y\u0131ll\u0131k s\u00fcre\u00e7 i\u00e7inde ele ald\u0131\u011f\u0131m\u0131z bu \u00fc\u00e7 tragedyada -Kral Oedipus, Hamlet ve Kutsal Geyi\u011fin \u00d6l\u00fcm\u00fc filminde- kahraman\u0131n trajik hatas\u0131 nedir diye sorabilir miyiz? Kader \u00e7izgisinin k\u0131r\u0131ld\u0131\u011f\u0131 an onun hangi eyleminden kaynaklan\u0131r? Kibir bunun neresinde durur?<\/p>\n\n\n\n

 Kral Oedipus…<\/strong><\/p>\n\n\n\n

\"\"\/<\/figure>\n\n\n\n

 Tragedyan\u0131n kurallar\u0131 h\u00e2l\u00e2 iki bin be\u015f y\u00fcz y\u0131l \u00f6nceki tan\u0131mlamalara, Aristoleles\u2019 in Poetika anlat\u0131s\u0131na ba\u011fl\u0131 olsa da t\u00fcre ait eserler \u00e7ok \u00e7e\u015fitlilik g\u00f6sterir. Ancak tragedyan\u0131n birincilik madalyas\u0131, \u00e7a\u011flar\u0131 a\u015farak gelen Sophokles\u2019 in Oedipus anlat\u0131s\u0131na aittir. Aristoteles bile tragedya kurallar\u0131na en \u00e7ok uyan eser olarak onu i\u015faret eder. Oedipus\u2019un ad\u0131n\u0131 mitolojiden, filmlerden ya da en az\u0131ndan babay\u0131 simgesel olarak \u00f6ld\u00fcrmenin sembol\u00fc olarak kullanan Freud\u2019dan duymu\u015fuzdur mutlaka.<\/p>\n\n\n\n

 Mitolojik anlat\u0131 \u015fu \u015fekildedir: Thebai\u2019 de Kral Laios ve Krali\u00e7e \u0130okaste h\u00fck\u00fcm s\u00fcrer. Kehanete g\u00f6re asla o\u011ful sahibi olmamalar\u0131 gereklidir \u00e7\u00fcnk\u00fc o o\u011ful do\u011farsa babas\u0131n\u0131 \u00f6ld\u00fcr\u00fcp annesiyle evlenecektir. Buna ra\u011fmen bir erkek evlatlar\u0131 olunca onu ayaklar\u0131ndan ba\u011flay\u0131p kurtlar yesin diye do\u011faya b\u0131rak\u0131rlar. \u201c \u015ei\u015f ayak ( \u00f6dem pedis ) \u201d anlam\u0131ndaki ad\u0131 da buradan gelir. Ancak terk edilen hatta \u00f6l\u00fcm\u00fcn kuca\u011f\u0131na at\u0131lan bu bebek \u00f6lmez. Ba\u015fka bir \u00fclkede, ba\u015fka bir isimle b\u00fcy\u00fcr. Ama evi bildi\u011fi yerden uzakta, tan\u0131mad\u0131\u011f\u0131 bir adam olan babas\u0131n\u0131 \u00f6ld\u00fcrmektir yazg\u0131s\u0131. Sonu\u00e7ta olaylar \u00f6yle geli\u015fir ki kehanet do\u011frulan\u0131r. Babas\u0131 oldu\u011funu bilmeden Kral Laios\u2019 u \u00f6ld\u00fcren Oedipus annesiyle evlenir. Ancak tragedyan\u0131n as\u0131l anlat\u0131s\u0131 burada bitmez aksine ivme kazan\u0131r. Art\u0131k kral\u0131 oldu\u011fu Thebai\u2019 de o s\u0131rada bir veba salg\u0131n\u0131 ortaya \u00e7\u0131kar. Bu felaketin nedeni olarak eski bir cinayeti g\u00f6sterir kahinler. Halk bilge ve y\u00fcce krallar\u0131 Oedipus\u2019un bu cinayetin gizemini ve veba felaketini \u00e7\u00f6zmesini beklemektedir. Her \u015fey \u00e7\u00fcr\u00fcme halinde, kent yok olmak \u00fczeredir. \u0130nsanlar yalvararak Oedipus\u2019tan yard\u0131m dilemeye gelmi\u015ftir. Kentin kurtar\u0131c\u0131s\u0131 da zaten odur ve bir zamanlar \u00fcst\u00fcn zekas\u0131yla Sfenksten kurtarm\u0131\u015ft\u0131r onlar\u0131.<\/p>\n\n\n\n

 Oedipus bu cinayeti \u00e7\u00f6zmek ister. Her \u015fey, her ses, her f\u0131s\u0131lt\u0131 ona dur dese de, yolundan \u00e7eviremez. Tanr\u0131lara, kahinlere ba\u015fvurur. Ula\u015faca\u011f\u0131 bilgi ise ac\u0131n\u0131n bilgisidir. \u0130\u00e7 yakan, kahreden, bilinmemesi gereken bilgidir. Kendi babas\u0131n\u0131 \u00f6ld\u00fcrd\u00fc\u011f\u00fcn\u00fc \u00f6\u011frenince g\u00f6zlerini oyar ve sessizli\u011fe, yaln\u0131zl\u0131\u011fa mahkum eder kendisini.<\/p>\n\n\n\n

 Oedipus\u2019 un trajik hatas\u0131 ne babas\u0131n\u0131 \u00f6ld\u00fcrmek ne de annesiyle evlenmektir. Onun kader \u00e7izgisinin k\u0131r\u0131ld\u0131\u011f\u0131 yer \u201c bilmek \u201d istemesidir. Kader ( sizli\u011f ) i burada gizlidir. O ki ger\u00e7ek ger\u00e7e\u011fi, ac\u0131 bilgiyi bilmek ister i\u015fte orada ba\u015flar d\u00fc\u015f\u00fc\u015f\u00fc. Ona verilen bilgiyle yetinmemesinde, merak etmesinde, ara\u015ft\u0131rmas\u0131nda, bilmeye c\u00fcret etmesinde gizlidir kibri.
\u201c Burada hesap edilmeyen \u015fey Oedipus\u2019 \u00e7u etkinli\u011fin temelini, bilmenin pathosunu olu\u015fturan \u015feydir: bilmemenin daha iyi oldu\u011fu \u015feyi bilme h\u0131rs\u0131, anlamay\u0131 engelleyen \u00f6fke, hakikati sunuldu\u011fu bi\u00e7imde kabul etmeme, bilginin katlan\u0131lmazl\u0131\u011f\u0131n\u0131n yol a\u00e7t\u0131\u011f\u0131 y\u0131k\u0131m \u201d olarak tan\u0131mlar bunu Ranciere. Oedipus\u2019 u \u00e7a\u011flar boyunca ya\u015fayacak bir isme, imkans\u0131z bir trajik kahramana d\u00f6n\u00fc\u015ft\u00fcren de budur.<\/p>\n\n\n\n

 Kral Oedipus tragedyas\u0131ndaki kibir \u201c bilmeye c\u00fcret etmekte \u201d gizlidir. Kahraman\u0131n d\u00fc\u015f\u00fc\u015f\u00fcne neden olan \u00f6l\u00fcmc\u00fcl inat, nam\u0131 di\u011fer trajik hata. Aynen Adem\u2019in elmay\u0131 kopar\u0131p cennetten d\u00fc\u015fmesi gibi, onun d\u00fc\u015f\u00fc\u015f\u00fc de bilme arzusunda gizlidir. Peki, tragedyaya g\u00f6re hubris sormak, sorgulamak ve \u00f6\u011frenmek istemekse e\u011fer, kibir k\u00f6t\u00fc m\u00fcd\u00fcr?<\/p>\n\n\n\n

 \u201c \u0130yi demek k\u00f6t\u00fc demek, k\u00f6t\u00fc demek iyi demek; sisli puslu havalarda kanatlan\u0131p u\u00e7mak gerek. \u201d ( Macbeth – Shakespeare )<\/p>\n\n\n\n

 Tragedyalar\u0131n ba\u015fka bir \u00f6zelli\u011finin de ikili kar\u015f\u0131tl\u0131klar yerine \u00e7eli\u015fkilerin varl\u0131\u011f\u0131 oldu\u011fu s\u00f6ylenebilir. \u0130kili kar\u015f\u0131tl\u0131k yani iyinin kar\u015f\u0131s\u0131nda k\u00f6t\u00fcl\u00fc\u011f\u00fcn, \u0131\u015f\u0131\u011f\u0131n kar\u015f\u0131s\u0131nda karanl\u0131\u011f\u0131n, g\u00fczelli\u011fin kar\u015f\u0131s\u0131ndaysa \u00e7irkinli\u011fin yer ald\u0131\u011f\u0131 d\u00fcnya bize \u00e7ok tan\u0131d\u0131k gelecektir. Hem semavi dinler hem de ayd\u0131nlanma felsefesi bu \u015fekilde bakar d\u00fcnyaya ve bizler de kar\u015f\u0131tl\u0131klar\u0131n evrenini \u00f6\u011freniriz do\u011fdu\u011fumuz g\u00fcnden itibaren. Kulland\u0131\u011f\u0131m\u0131z dil bile bu bak\u0131\u015f a\u00e7\u0131s\u0131yla geli\u015fir, bir \u015fey s\u00f6yledi\u011fimizde dillendirmedi\u011fimiz kar\u015f\u0131t\u0131n\u0131 da ifade ederiz. Oysa tragedyalarda durum tam olarak b\u00f6yle de\u011fildir. Tragedyalar \u00f6z itibar\u0131yla paradoksald\u0131r, ikili kar\u015f\u0131tl\u0131klar\u0131n \u00e7arp\u0131\u015fmas\u0131 de\u011fil de\u011fil z\u0131t birlikteliklerin bulu\u015fma yeridir. \u0130yiyle k\u00f6t\u00fcn\u00fcn \u00e7eki\u015fmesini de\u011fil ne iyi ne de k\u00f6t\u00fc ( ya da hem iyi hem de k\u00f6t\u00fc ) olan\u0131 anlat\u0131r. Mutlak s\u0131n\u0131rlarla ayr\u0131lan\u0131n de\u011fil i\u00e7 i\u00e7e ge\u00e7mi\u015f olan\u0131n d\u00fcnyas\u0131d\u0131r. Trajik kahraman kader kurban\u0131 oldu\u011fu kadar kadere kar\u015f\u0131 \u00e7\u0131kma kibrini g\u00f6sterendir. Hem su\u00e7lu hem masum oland\u0131r. Bunu en etkin \u015fekilde Kral Oedipus\u2019 ta g\u00f6r\u00fcr\u00fcz. O bir kahin, gelece\u011fi g\u00f6ren bir bilge olmas\u0131na ra\u011fmen kendi ge\u00e7mi\u015fini bilemez. Sfenksin sordu\u011fu bilmeceyi \u00e7\u00f6zecek kadar bilge ama kendisi hakk\u0131nda hi\u00e7bir \u015fey bilmeyecek kadar saft\u0131r. O bilmeceyi bilerek Thebai halk\u0131n\u0131 Sfenksten kurtard\u0131\u011f\u0131 i\u00e7in y\u00fcce ama Kral Laios\u2019 u \u00f6ld\u00fcrd\u00fc\u011f\u00fc i\u00e7in canidir ayn\u0131 bedende. \u0130\u015fte bu \u00e7eli\u015fkilerin bar\u0131\u015f\u0131k ya\u015fad\u0131\u011f\u0131 trajik ya\u015famda kibir de ne iyi ne de k\u00f6t\u00fcd\u00fcr ya da hem iyi hem k\u00f6t\u00fcd\u00fcr diyebiliriz. \u00c7eli\u015fkilerle dolu ger\u00e7ek d\u00fcnyan\u0131n tragedyal izd\u00fc\u015f\u00fcm\u00fcd\u00fcr.<\/p>\n\n\n\n

 Hamlet\u2019 in Azab\u0131…<\/strong><\/p>\n\n\n\n

 Oedipus\u2019 a bir s\u00fcreli\u011fine veda ederek zamanda bir yolculuk daha yapal\u0131m ve g\u00fcn\u00fcm\u00fczden d\u00f6rt y\u00fcz y\u0131l \u00f6nceye, Shakespeare\u2019 e gelelim bu kez. Shakespeare\u2019 in tragedya t\u00fcr\u00fcnde verdi\u011fi eserlere bakt\u0131\u011f\u0131m\u0131zda Aristoteles\u2019 in s\u0131k\u0131 kurallar\u0131ndan bir ad\u0131m daha uzakla\u015ft\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. Hatta komedya ve tragedyalar i\u00e7 i\u00e7e ge\u00e7er bazen. Ama bize gerekli olan cevher taptaze korunmaktad\u0131r onun yap\u0131tlar\u0131nda da: trajik hata ve hamartia. Kibir konusunda en verimli oyunu Macbeth olmas\u0131na ra\u011fmen kahraman\u0131 yazar\u0131 kadar \u00fcnl\u00fc olan oyunu, Hamlet\u2019 i ele alabiliriz.<\/p>\n\n\n\n

 Hamlet, yazar\u0131n olgunluk d\u00f6nemi tragedyalar\u0131ndan en \u00fcnl\u00fcs\u00fc ve \u00e7o\u011funlukla ba\u015fyap\u0131t\u0131 olarak kabul edilir. Shakespeare\u2019 i en \u00e7ok u\u011fra\u015ft\u0131ran eseri oldu\u011fu da s\u00f6ylenir. Y\u00fczy\u0131llard\u0131r ele\u015ftirmenlerin, y\u00f6netmenlerin ve psikiyatristlerin elinden \u00e7ekmedi\u011fi kalmam\u0131\u015f, Freud, Jung ve ya Lacan\u2019 a yaslanan yakla\u015f\u0131mlar Hamlet\u2019 i oedipal d\u00f6nemi a\u015famam\u0131\u015f bir \u00e7ocuk, aile \u00e7emberini k\u0131r\u0131p ya\u015fam\u0131n\u0131 ailesinden uzakla\u015farak yeniden kuramayan toy bir delikanl\u0131, eylemsiz kalmaya tutsak bir ki\u015filik ve erke ula\u015famam\u0131\u015f saplant\u0131l\u0131 bir birey olarak tan\u0131mlayadursun, Hamlet yorum ve analizlere g\u00f6\u011f\u00fcs germeye devam etmi\u015ftir.<\/p>\n\n\n\n

 Danimarka Kral\u0131 baba Hamlet\u2019 in hayaletiyle a\u00e7\u0131l\u0131r sahne. Bu huzursuz ruh, yas\u0131n\u0131 tutan o\u011flu Hamlet\u2019 e g\u00f6r\u00fcnerek bir cinayete kurban gitti\u011fini, bu y\u00fczden huzur  bulamad\u0131\u011f\u0131n\u0131 iletir. Katilse \u00f6z karde\u015fi yani Prens Hamlet\u2019 in amcas\u0131 Claudius\u2019 tur. Taht\u0131na ve sevgili e\u015fine sahip olan amcas\u0131ndan \u00f6c\u00fcn\u00fc almas\u0131n\u0131 ister. Ve bu istekle de Hamlet\u2019 in azab\u0131 ba\u015flar.<\/p>\n\n\n\n

 Genel yorumlar Hamlet\u2019 in neden intikam almay\u0131 geciktirdi\u011fi noktas\u0131na odaklan\u0131r. Oysa beklenti Hamlet\u2019 in bu cinayeti \u00f6\u011frenir \u00f6\u011frenmez amcas\u0131ndan hesap sormas\u0131, hatta o d\u00f6nemin \u015f\u00f6valyelik kurallar\u0131 g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda onu \u00f6ld\u00fcrmesi, hakk\u0131 olan tahta \u00e7\u0131karak Ophelia ile evlenmesi ve mutlu mesut ya\u015famas\u0131 y\u00f6n\u00fcndedir. Her ne kadar kral\u0131 \u00f6ld\u00fcrerek ve tahta sahip \u00e7\u0131karak amcas\u0131n\u0131n yapt\u0131\u011f\u0131 \u015feyi tekrarlayaca\u011f\u0131 bilinse ve bu davran\u0131\u015f\u0131yla o da bir kral katili olacaksa da seyirci bunu umar, bunu bekler. Shakespeare ise bu tuza\u011fa d\u00fc\u015fmez \u00e7\u00fcnk\u00fc Hamlet\u2019 i yoz bir d\u00fczende ayn\u0131 anda o\u011ful, prens ve ayd\u0131n bir ki\u015filik olman\u0131n \u00e7eli\u015fkisi olarak yazm\u0131\u015ft\u0131r. Hamlet, ger\u00e7e\u011fin pe\u015fine d\u00fc\u015fen, bu nedenle kendisinden beklenen eylemi ger\u00e7ekle\u015ftiremeyen, \u201c olmak ya da olmamak \u201d meselesi aras\u0131nda, \u00e7eli\u015fkiler denizinde bo\u011fulan ve ac\u0131 \u00e7ekendir. O da ayn\u0131 Oedipus gibi ac\u0131 da olsa ger\u00e7e\u011fin pe\u015fine d\u00fc\u015fendir. Bilmeye, \u00f6\u011frenmeye c\u00fcret edendir. Bu nedenle uzun uzun planlar yaparak hayaletin s\u00f6zlerini test eder. Ve Hamlet\u2019 in trajik hatas\u0131 burada yatar. Ne eyleme d\u00f6k\u00fclemeyen ikilemleri, ne delirmeye kadar g\u00f6t\u00fcrd\u00fc\u011f\u00fc ve \u00f6l\u00fcm\u00fcne yol a\u00e7t\u0131\u011f\u0131 Ophelia ile ili\u015fkisi ne de neden oldu\u011fu \u00f6l\u00fcmlerdedir o hata. Ger\u00e7e\u011fi \u00f6\u011frenmeye karar verdi\u011fi anda yazg\u0131y\u0131 tersine \u00e7evirir. Oysa kader, \u00f6rd\u00fc\u011f\u00fc a\u011flarla bir intikam pe\u015fine d\u00fc\u015f\u00fcrmek ister, \u00f6fkesinin akl\u0131na bask\u0131n \u00e7\u0131kmas\u0131n\u0131 arzular. Hamlet ise kadere, yazg\u0131ya, babas\u0131n\u0131n ve izleyicilerin beklentilerine kar\u015f\u0131 \u00e7\u0131kma kibrini g\u00f6stererek ger\u00e7e\u011fi bulmaya inat eder.<\/p>\n\n\n\n

 Hamlet, eyleme ge\u00e7me zorunlulu\u011funda k\u0131st\u0131r\u0131lm\u0131\u015f bir ayd\u0131n\u0131n y\u00fczle\u015fti\u011fi a\u00e7mazlar\u0131n oyunudur. Bunun bedelini oyun s\u00fcresince oyunlar oynamak zorunda kal\u0131\u015f\u0131yla \u00f6der. Hamlet derin bir ahlak sorunu, \u00e7\u00f6z\u00fcms\u00fcz bir etik \u00e7at\u0131\u015fmad\u0131r. Olmak ya da olmamak meselesine odaklanan varolu\u015fsal bir sorgulamad\u0131r. \u0130nan\u0131vermenin, kendisine s\u00f6ylenenleri \u2013her ne kadar babas\u0131 s\u00f6ylese de- sorgusuz kabul etmenin kar\u015f\u0131s\u0131na sorgulamay\u0131, ger\u00e7e\u011fi \u00f6\u011frenmeyi koyar. Duygular\u0131yla de\u011fil akl\u0131yla hareket eder. Hamlet tragedyas\u0131ndaki kibir de \u201c bilmeye c\u00fcret etmekte \u201d gizlidir.<\/p>\n\n\n\n

 Kutsal Geyi\u011fin \u00d6l\u00fcm\u00fc…<\/strong><\/p>\n\n\n\n

\"\"\/<\/figure>\n\n\n\n

 \u00dcnl\u00fc Yunan y\u00f6netmen Yorgos Lantimos\u2019 un 2017 y\u0131l\u0131nda vizyona giren filmi Kutsal Geyi\u011fin \u00d6l\u00fcm\u00fc \u00e7ok ses getirdi, \u00e7ok tart\u0131\u015f\u0131ld\u0131. \u0130nsan\u0131 \u00e7arpt\u0131\u011f\u0131 sert duvarla ve Lantimos\u2019 un m\u00fcthi\u015f psikolojik anlat\u0131m\u0131yla fazlas\u0131yla da hak etti bu ilgiyi. Filmin ele al\u0131nabilecek pek \u00e7ok y\u00f6n\u00fc var elbette ama bu yaz\u0131 i\u00e7in oda\u011f\u0131m\u0131z trajik hata olarak kibir anlat\u0131m\u0131 ve filme ad\u0131n\u0131 veren Euripides\u2019 in \u0130fegenia Aulis\u2019 te tragedyas\u0131.<\/p>\n\n\n\n

  Anlat\u0131 gene Yunan mitolojisine yaslan\u0131r. Truva Sava\u015f\u0131 i\u00e7in haz\u0131rlanan Kral Agamemnon gerekli r\u00fczgar\u0131n bir t\u00fcrl\u00fc esmemesi \u00fczerine kahinlere dan\u0131\u015f\u0131r. Ald\u0131\u011f\u0131 yan\u0131t kan dondurucudur. R\u00fczgar\u0131n esip gemilerin Truva\u2019 ya gidebilmesi i\u00e7in k\u0131z\u0131 \u0130fegenia\u2019 y\u0131 Tanr\u0131\u00e7a Artemis\u2019 e kurban etmesi gerekir. Bir karars\u0131zl\u0131k d\u00f6nemi ya\u015fasa da \u00fclkesi ad\u0131na k\u0131z\u0131n\u0131n \u00f6l\u00fcm\u00fcne raz\u0131 olur ve onu kurban eder. Ancak Tanr\u0131\u00e7a Artemis gizlice \u0130fegenia\u2019 y\u0131 kurtararak yerine bir geyik koyacak ve kutsal geyik \u00f6lecektir. \u00dcnl\u00fc Yunan y\u00f6netmen Lanthimos Kutsal Geyi\u011fin \u00d6l\u00fcm\u00fc filmini Euripides taraf\u0131ndan yaz\u0131lan bu tragedya \u00fczerine kurgular. \u00dcnl\u00fc bir kalp cerrah\u0131 olan Steven ile bir kalp ameliyat\u0131 s\u0131ras\u0131nda \u00f6l\u00fcm\u00fcne yol a\u00e7t\u0131\u011f\u0131 adam\u0131n o\u011flu Martin aras\u0131ndaki d\u00fcellodur anlat\u0131lan. Martin \u00f6len babas\u0131na kar\u015f\u0131l\u0131k ailesinden bir kurban istemekte, hatta bunu Steven\u2019 \u0131n \u00f6zg\u00fcr se\u00e7imine b\u0131rakmaktad\u0131r. Tanr\u0131lar\u0131n ve kurbanlar\u0131n s\u00fcrekli yer de\u011fi\u015ftirdi\u011fi kaygan ve kaypak bir zemin yarat\u0131r Lanthimos. Ve bu zemin \u00fczerinde bir \u00f6l\u00fcm kal\u0131m m\u00fccadelesi verenlerin insanl\u0131ktan \u00e7\u0131k\u0131\u015f\u0131n\u0131, iki y\u00fczl\u00fcl\u00fcklerini yans\u0131t\u0131r perdeye. Steven ba\u015fl\u0131 ba\u015f\u0131na bir kibir abidesi olarak yer al\u0131r filmde. Ama Steven\u2019 \u0131n trajik hatas\u0131 ne ameliyatta \u00f6l\u00fcme sebebiyet vermesi ne de ki\u015filik yap\u0131s\u0131d\u0131r. Steven\u2019 \u0131n hamartias\u0131 Martin\u2019 e ald\u0131\u011f\u0131 pahal\u0131 saattir. Bu, ancak bir baban\u0131n egemenlik alan\u0131 olabilecek o hassas s\u0131n\u0131r\u0131 ge\u00e7mek demektir. Bu saatle trajik zaman, d\u00fc\u015f\u00fc\u015f ba\u015flar. Steven, Martin\u2019 in ac\u0131s\u0131na dokunmak istedi\u011fi, onun ac\u0131s\u0131n\u0131 \u00f6\u011frenmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 yerde kaderin k\u0131r\u0131lmas\u0131na neden olur. Onun da \u00f6l\u00fcmc\u00fcl hatas\u0131 ger\u00e7e\u011fin pe\u015fine d\u00fc\u015fmesi, durmas\u0131na neden oldu\u011fu kalbin ba\u015fka bir kalpte yaratt\u0131\u011f\u0131 f\u0131rt\u0131nalar\u0131 merak etmesidir. Modern bir anlat\u0131n\u0131n binlerce y\u0131ll\u0131k kadim trajik hatas\u0131 ve hubrisi, bilmeye c\u00fcret etmektir.   <\/p>\n\n\n\n

 \u00d6yleyse Bir Trajik Hata Olarak Kibir…<\/strong><\/p>\n\n\n\n

 T\u00fcm bu tragedyalar bize ne anlat\u0131r? Kibri aklamak ya da en az\u0131ndan cezai indirime gitmek m\u00fcmk\u00fcn m\u00fcd\u00fcr? Ve hatta savunma konu\u015fmas\u0131nda kibir olmasa ne sanat ne uygarl\u0131k olurdu ve insan s\u0131radan bir canl\u0131 olman\u0131n \u00f6tesine ge\u00e7emezdi deme hakk\u0131na sahip miyiz?  <\/p>\n\n\n\n

 Savc\u0131 iddia makam\u0131 olarak derdi ki: kibir, eski kadim tap\u0131naklar\u0131n giri\u015finde yer alan \u201c Kendini Bil \u201d s\u00f6z\u00fcn\u00fcn z\u0131t ikizidir. \u0130\u00e7sel bir yolculu\u011fa \u00e7\u0131kmak yerine bireyin kendinden uzakla\u015fmas\u0131, hatta bu yolda h\u0131z\u0131n\u0131 alamayarak en yukar\u0131lara \u00e7\u0131kma haddi de denebilir. \u00d6yle y\u00fckseklere ula\u015f\u0131r ki yol, \u00e7\u0131kt\u0131\u011f\u0131 bulut-\u00fcst\u00fc manzarada kendinden ba\u015fkas\u0131 g\u00f6r\u00fclmez olur. Ve hatta tanr\u0131sal \u00f6zelliklerle donat\u0131r, bir t\u00fcr yar\u0131-tanr\u0131 sayar kendini bazen. Kibir, varolu\u015fsal bir trajedi ve insan\u0131n trajik hatas\u0131d\u0131r. Bu \u00f6l\u00fcmc\u00fcl hataysa tragedyan\u0131n olmazsa olmaz ko\u015fuludur.<\/p>\n\n\n\n

 Belki bu s\u00f6zlere savunma makam\u0131 olarak cevap verebiliriz biz de: kibir, insan\u0131n haddini a\u015fmas\u0131 yani s\u0131n\u0131r a\u015f\u0131m\u0131d\u0131r, bu do\u011fru. Ancak ayn\u0131 zamanda kendine koyulan s\u0131n\u0131r\u0131n \u00f6tesini \u00f6\u011frenme merak\u0131, \u00e7abas\u0131d\u0131r ba\u015fka bir a\u00e7\u0131dan bak\u0131nca. Kibir, ayn\u0131 tragedyalar gibi i\u00e7inde z\u0131tl\u0131klar\u0131 ve \u00e7eli\u015fkiyi bar\u0131nd\u0131ran bir duygudur. Bir \u00e7at\u0131\u015fma, m\u00fccadele, eylem arenas\u0131d\u0131r. \u00d6z\u00fc itibar\u0131yla hem iyi hem k\u00f6t\u00fc ( ne iyi ne de k\u00f6t\u00fc ) oland\u0131r. \u0130nsan\u0131n kendini tan\u0131mas\u0131 i\u00e7in gerekli olan, haddini bilmesi i\u00e7in deneyimlemesi gereken s\u0131n\u0131r ihlalidir. Tragedyalardaki kutsal karara, kadere, edilgenli\u011fe kar\u015f\u0131 \u00e7\u0131k\u0131\u015f yani \u00f6zg\u00fcr iradeyle karar verme g\u00fcc\u00fcd\u00fcr. Ki\u015fi kibir g\u00f6stererek kar\u015f\u0131 \u00e7\u0131kar s\u0131n\u0131rlamalara. Merak eder, \u00f6\u011frenmek ister, sorgular, itiraz eder ve yeni sorular sorarak farkl\u0131 cevaplar arar. Yazg\u0131ya boyun e\u011ferek rahat ve huzur i\u00e7inde ya\u015fayaca\u011f\u0131na insan\u0131n kendi karar\u0131n\u0131 vermeye c\u00fcret etmesidir. Kadere kar\u015f\u0131 \u00e7\u0131karak yolunu \u00e7izme iste\u011fidir. Edilgenli\u011fe ve uysall\u0131\u011fa kar\u015f\u0131 \u00f6zg\u00fcr iradenin ve hata yapma hakk\u0131n\u0131n savunulmas\u0131d\u0131r. Tanr\u0131sal varl\u0131\u011f\u0131n her \u015feyi bilme yetisini istemeye c\u00fcret etmektir kibir ama i\u015fte sanat, bilim, uygarl\u0131k tam da bu sayede var olur. \u0130nsana ait s\u0131n\u0131r\u0131n \u00fcst\u00fcne \u00e7\u0131kma haddi de denebilir ki yarat\u0131c\u0131 eylemlere meyletmesi ve bununla sanat\u0131, uygarl\u0131\u011f\u0131, bilimi yaratma \u00e7abas\u0131 da buradan gelir. Kibir uyar\u0131lara ra\u011fmen trajik kahraman\u0131n yolundan d\u00f6nmedi\u011fi inat\u00e7\u0131 gururudur.<\/p>\n\n\n\n

 Kibir, varolu\u015fsal bir trajedi, insan\u0131n trajik hatas\u0131. Tragedyan\u0131n olmazsa olmaz ko\u015fulu. Ama zaten de\u011fil mi ki \u201c tanyerinden g\u00fcn\u00fcn ilk \u0131\u015f\u0131klar\u0131 da gelir, belal\u0131 kas\u0131rgalar, korkun\u00e7 g\u00f6k g\u00fcr\u00fclt\u00fcleri de… \u201d ( Macbeth – Shakespeare )<\/p>\n\n\n\n

 *Bu yaz\u0131 Psikeart Kibir say\u0131s\u0131nda yay\u0131mlanm\u0131\u015ft\u0131r.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Kibir ki yedi g\u00fcnahtan birisi belki de en beteridir, bize de ondan sak\u0131nmak d\u00fc\u015fer, diye ba\u015flayabilirdi bu yaz\u0131. Oysa bu kez bilinen ezberleri bozal\u0131m ve oyunu tersten oynayal\u0131m. G\u00fcvenli yollar\u0131, genel kabulleri bir kenara b\u0131rak\u0131p kibrin o denli k\u00f6t\u00fcc\u00fcl olmad\u0131\u011f\u0131n\u0131, g\u00fcnah ke\u00e7isi rol\u00fcn\u00fcn \u00fczerine kald\u0131\u011f\u0131n\u0131 varsayal\u0131m. \u00d6nyarg\u0131lar\u0131n \u00f6n\u00fcne ge\u00e7erek \u201c acaba? \u201d diye sormaya cesaret edebiliriz b\u00f6ylece. Olur ya, belki de insanl\u0131\u011f\u0131n geli\u015fimi i\u00e7in gerekli oldu\u011funu bile s\u00f6ylemeye vard\u0131rabiliriz i\u015fi.<\/p>\n","protected":false},"author":1,"featured_media":432,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26],"tags":[25],"class_list":["post-488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-psikeart","tag-film"],"yoast_head":"\nBir Kibir Meselesi | Dr. P\u0131nar \u00dcretmen<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pinaruretmen.com\/?p=488\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bir Kibir Meselesi | Dr. P\u0131nar \u00dcretmen\" \/>\n<meta property=\"og:description\" content=\"\u00a0Kibir ki yedi g\u00fcnahtan birisi belki de en beteridir, bize de ondan sak\u0131nmak d\u00fc\u015fer, diye ba\u015flayabilirdi bu yaz\u0131. Oysa bu kez bilinen ezberleri bozal\u0131m ve oyunu tersten oynayal\u0131m. G\u00fcvenli yollar\u0131, genel kabulleri bir kenara b\u0131rak\u0131p kibrin o denli k\u00f6t\u00fcc\u00fcl olmad\u0131\u011f\u0131n\u0131, g\u00fcnah ke\u00e7isi rol\u00fcn\u00fcn \u00fczerine kald\u0131\u011f\u0131n\u0131 varsayal\u0131m. \u00d6nyarg\u0131lar\u0131n \u00f6n\u00fcne ge\u00e7erek \u201c acaba? \u201d diye sormaya cesaret edebiliriz b\u00f6ylece. 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