{"id":122,"date":"2014-08-09T08:11:00","date_gmt":"2014-08-09T08:11:00","guid":{"rendered":"https:\/\/selahattingezer.com.tr\/?p=122"},"modified":"2025-06-08T15:17:52","modified_gmt":"2025-06-08T15:17:52","slug":"nietzsche-tiamat-ve-orta-sinifin-post-kurdistani","status":"publish","type":"post","link":"https:\/\/selaheddinbiyani.com.tr\/index.php\/2014\/08\/09\/nietzsche-tiamat-ve-orta-sinifin-post-kurdistani\/","title":{"rendered":"NIETZSCHE TIAMAT VE ORTA SINIFIN POST-K\u00dcRD\u0130STAN’I"},"content":{"rendered":"\n

Halil Cibran’\u0131n sert bir kabu\u011fun i\u00e7ine hapsolmu\u015f ve d\u0131\u015far\u0131ya \u00e7\u0131kmak i\u00e7in t\u00fcrl\u00fc planlar yapan nar taneleri birbiriyle konu\u015furken bir nar tanesi \u015f\u00f6yle der: ‘O kadar \u00e7ok g\u00fcr\u00fclt\u00fc yapt\u0131n\u0131z ki as\u0131l ba\u011f\u0131rmas\u0131 gereken sustu..’<\/em><\/p>\n\n\n\n

Nietzsche\u2019nin Ekrana Yans\u0131yamayan\u00a0Tan K\u0131z\u0131ll\u0131\u011f\u0131\u2026<\/strong><\/h3>\n\n\n\n

Sesi duyulmad\u0131\u011f\u0131 i\u00e7in ba\u011f\u0131ran insanlar ile g\u00fcr\u00fclt\u00fc yapmay\u0131 sava\u015fmaktan sayan insanlar\u0131n sesleri birbirine her kar\u0131\u015ft\u0131\u011f\u0131nda s\u00f6z \u00f6nce yorulur sonra yava\u015f yava\u015f \u00f6lmeye ba\u015flar\u2026 Kimsenin kimseyi hatta kendini bile duymad\u0131\u011f\u0131 o heng\u00e2mede s\u00f6ze eylem ta\u015f\u0131yan ve s\u00f6z\u00fc eylemle g\u00fc\u00e7l\u00fc k\u0131lan sava\u015f\u00e7\u0131 zamanla susmaya ba\u015flar; \u00f6fkeden yorgun d\u00fc\u015fm\u00fc\u015f ince bir ironi ile\u2026 Yerin y\u00fcz\u00fcn\u00fc de\u011fi\u015ftirmeye \u00e7al\u0131\u015fan devrimin y\u00fcz\u00fc yerin b\u00fct\u00fcn y\u00fczeylerinde pervas\u0131zken devrimcinin y\u00fcz\u00fc cesur ama utanga\u00e7t\u0131r. Sesi duyulmayan\u0131n ba\u011f\u0131rmas\u0131 hakt\u0131r\u2019 diyen Nietzsche “D\u00fcnya, b\u00fcy\u00fck g\u00fcr\u00fclt\u00fcler koparanlar\u0131n de\u011fil b\u00fcy\u00fck de\u011ferler yaratanlar\u0131n etraf\u0131nda sessizce d\u00f6nmektedir” diye ekler. \u00c7\u00fcnk\u00fc ba\u011f\u0131ran\u0131 ve g\u00fcr\u00fclt\u00fc yapan\u0131 birbirinden ay\u0131rabilmek ancak eme\u011fin ve devrimin yaratt\u0131\u011f\u0131 ruhsal bir zerafet ile m\u00fcmk\u00fcnd\u00fcr. Ayr\u0131ca i\u015fine geleni ay\u0131klay\u0131p s\u00f6ylemek \u00e7ok ba\u015fka bir \u015feydir!Ve dijital ekranlar! Yasa koyucunun ‘soyk\u0131r\u0131m hikayeleri\u2019 anlatt\u0131\u011f\u0131 ekranlarda muhalifin kendine bir yer a\u00e7maya \u00e7al\u0131\u015fmas\u0131n\u0131n gayreti elbette anla\u015f\u0131l\u0131r bir durumdur. Fakat sadece ekran\u0131n ayd\u0131nl\u0131k b\u00fcy\u00fcs\u00fcne kendini kapt\u0131rm\u0131\u015f muhalif, sokaklarda elinde palalarla gezen kara g\u00f6mlekli katillerin ekme\u011fine uzun bir zamand\u0131r kan s\u00fcrmektedir. Ya\u015fam\u0131n kapkara ger\u00e7ekli\u011fine s\u0131rt\u0131n\u0131 \u00e7evirip ekran\u0131n b\u00fcy\u00fcs\u00fcne ko\u015fanlara da bir \u00e7ift laf eder Nietzshce: “Bir\u00e7ok insan \u0131\u015f\u0131\u011fa ko\u015far ama ayd\u0131nlanmak i\u00e7in de\u011fil; daha \u00e7ok par\u0131ldamak i\u00e7in\u2026”<\/p>\n\n\n\n

Sosyal medya militanl\u0131\u011f\u0131n\u0131n kulaklar\u0131 sa\u011f\u0131r eden sesi, a\u011f\u0131t yakan bir annenin ya da g\u00f6\u011fs\u00fcne kur\u015fun yemi\u015f bir \u00e7ocu\u011fun \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 bast\u0131rabilecek kadar \u00f6l\u00e7\u00fcs\u00fcz ve hudutsudur bazen. Camlar\u0131n ard\u0131nda \u00fclkeyi ve d\u00fcnyay\u0131 izleyip ‘neden t\u00fcm bunlara ra\u011fmen sava\u015fm\u0131yorsunuz\u2019 diye g\u00fcrleyen deri koltuklu, s\u00fcet terlikli ve pijamal\u0131 muhalifi tarih, yazg\u0131 ve ya\u015fam da en sinsi kahkahas\u0131yla uzaktan izler. \u0130nsan\u0131n bazen kan\u0131n\u0131 donduran bir g\u00fcr\u00fclt\u00fcyle ba\u011f\u0131ran cam ve ekran arkas\u0131 muhalif, Amed Sokaklar\u0131nda vurulmu\u015f \u00e7ocu\u011funun buru\u015fmu\u015f posteriyle bir ba\u015f\u0131na duran Medeni Y\u0131ld\u0131r\u0131m\u2019\u0131n annesinin g\u00f6zlerine bir kez olsun bakmal\u0131d\u0131r! O annenin bir ba\u015f\u0131na durdu\u011fu yerin hemen \u00f6tesinde bir duvar yaz\u0131s\u0131 vard\u0131r; ilahi bir rastlant\u0131 gibi: “K\u0131yameti yaln\u0131zl\u0131k getirecektir\u2026”B\u00fct\u00fcn iktidarlar de\u011fi\u015fim ve irade gibi bir talebimiz olmad\u0131\u011f\u0131 s\u00fcrece nefes alabilece\u011fimiz birka\u00e7 kanal\u0131 a\u00e7\u0131k b\u0131rak\u0131r. Modern teknik iktidar\u0131n bize tahsis etti\u011fi, can\u0131 istedi\u011finde tek bir tu\u015fla devre d\u0131\u015f\u0131 b\u0131rakabildi\u011fi ve bir\u00e7o\u011fumuz i\u00e7in dijital kale i\u015flevi g\u00f6ren sosyal medya, kabin bas\u0131nc\u0131 d\u00fc\u015fen bir u\u00e7a\u011f\u0131n \u00fcst b\u00f6lmelerinden a\u00e7\u0131lan oksijen maskeleri gibidir: ‘U\u00e7ak par\u00e7alan\u0131p d\u00fc\u015febilir ama en az\u0131ndan \u00f6l\u00fcrken nefessiz kalmay\u0131n!\u2019 \u00c7\u00fcnk\u00fc \u00e7\u0131plak bir vah\u015fetin \u00f6ld\u00fcrd\u00fc\u011f\u00fc veya susturdu\u011fu insanlar\u0131n gazab\u0131n\u0131 ve onlar\u0131n izini s\u00fcrenlerin \u00e7\u0131plak \u00f6fkesini, tarih zalimlere fazlas\u0131yla ezberletmi\u015ftir. Bu \u00fclkede sosyal medyan\u0131n \u00e7\u0131r\u0131l\u00e7\u0131plak devrimci \u00f6fkeyi ehlile\u015ftiren ve yumu\u015fatan karakteri yava\u015f yava\u015f muhalifin \u00f6fkesini k\u00f6t\u00fcr\u00fcmle\u015ftirip soka\u011f\u0131 bo\u015f b\u0131rakan bir i\u00e7 protestonun koltuk de\u011fne\u011fine d\u00f6n\u00fc\u015fmektedir.\u00a0<\/p>\n\n\n\n

Sosyal medyay\u0131 devrimci bir a\u011fa ve politik bir ileti\u015fimin silah\u0131na d\u00f6n\u00fc\u015ft\u00fcrmekten \u00e7ok, o a\u011f\u0131 bir politik rahatlama ve terapi alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrmek ya da oraya \u00f6fke dolu 140 karakterlik bir ‘Kahrolsun\u2019lu\u2019 mesaj ili\u015ftirmek sokakta asla bir barikata d\u00f6n\u00fc\u015fmemektedir. Fenomenin bir malumat ve \u00e7\u00f6z\u00fcmleme makinesi gibi \u00e7al\u0131\u015fan klavyesinden ekrana d\u00f6k\u00fclenler sanal bir mitraly\u00f6z gibi \u00e7al\u0131\u015fsa da bu g\u00fcne kadar o mitraly\u00f6z\u00fcn sokaktaki bir \u00e7ocu\u011fun sapan\u0131ndaki bilye kadar uzak bir menzile eri\u015fti\u011fine rastlanmam\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Diaspora\u2019n\u0131n radikalizmi ve metropol\u00fcn yoksunlu\u011fu\u2026\u00a0<\/strong><\/h3>\n\n\n\n

Yerk\u00fcrenin b\u00fct\u00fcn diasporalar\u0131nda a\u011f\u0131r ve d\u00fczensiz bir sanc\u0131 ve bu sanc\u0131n\u0131n \u015fekil verdi\u011fi bir radikalizm zamanla hayat\u0131n her yerine yay\u0131l\u0131r. S\u00fcrg\u00fcndekinin \u00fclkesine olan uzakl\u0131\u011f\u0131 veya \u015fairin deyimiyle uzaktaki yak\u0131nl\u0131\u011f\u0131, d\u00fc\u015f ve ger\u00e7ekli\u011fin bile\u015fkesi olan yeni yeni bir \u00fclke kurdurur ona. K\u00fcrdistan, Stockholm\u2019de \u015fanl\u0131 direni\u015flerin g\u00fcl\u00fcmseten \u00fclkesi iken Nusaybin\u2019de bin bir k\u0131r\u0131lman\u0131n e\u015flik etti\u011fi sert bir surat ifadesinin \u00fclkesine d\u00f6n\u00fc\u015f\u00fcr. \u0130yimserlik ile karamsarl\u0131\u011f\u0131n s\u00fcrekli \u00e7at\u0131\u015ft\u0131\u011f\u0131 iki ayr\u0131 \u00fclke kurgusunda proleterin sesi nicedir pazarlamac\u0131n\u0131n sesine \u00e7arp\u0131p da\u011f\u0131lmaktad\u0131r. Bu g\u00fcn Unkapan\u0131 st\u00fcdyolar\u0131ndan y\u00fckselen bir\u00e7ok ses, uyuyan b\u00fct\u00fcn dengb\u00eajleri neredeyse mezarlar\u0131ndan \u00e7\u0131kart\u0131p k\u00fcf\u00fcr ettirecek kadar yapay ve samimiyetsiz bir piyasac\u0131 t\u0131n\u0131 ile yedi g\u00fcn sonra unutulacak harikulade besteleri K\u00fcrd\u00fcn k\u0131sa s\u00fcreli belle\u011fine hediye etmektedir. Kurd\u00ee bir oryantalizmin tuza\u011f\u0131na d\u00fc\u015fen Kurd\u00ee bir sanat\u00e7\u0131n\u0131n her y\u0131l K\u00fcrdistan\u2019dan say\u0131s\u0131z film karesi ve \u00f6yk\u00fc dev\u015firip Bat\u0131l\u0131 Beyazlara K\u00fcrtleri ‘otantizmin sempatik temsilleri\u2019 olarak sunuyor olmas\u0131, Mersin\u2019de yoksulluktan ve yoksunluktan beli b\u00fck\u00fclm\u00fc\u015f bir \u015e\u0131rnakl\u0131n\u0131n ‘\u00e7\u0131r\u0131l\u00e7\u0131plak \u00e7aresizli\u011fine\u2019 tesir etti\u011fi g\u00f6r\u00fclmemi\u015ftir. Bir daha asla o topraklara d\u00f6nemeyecek olan\u0131n ba\u015flatt\u0131\u011f\u0131 \u00fclkeye d\u00f6n\u00fc\u015f hikayesi genellikle ya hi\u00e7 ba\u015flamam\u0131\u015f ya da tam ortas\u0131ndayken vazge\u00e7ilmi\u015f bir yolculuk gibidir. O y\u00fczden sahici ve geri d\u00f6n\u00fc\u015f\u00fc olmayan b\u00fct\u00fcn \u00fclkeye d\u00f6n\u00fc\u015f yolculuklar\u0131 K\u00fcrdistan\u2019a de\u011fil K\u00fcrdistan da\u011flar\u0131na yap\u0131lm\u0131\u015f olanlard\u0131r. \u00c7\u00fcnk\u00fc K\u00fcrdistan\u2019\u0131n ova k\u0131sm\u0131, hem s\u00fcrg\u00fcndekinin hem de i\u00e7indekinin zihninde ‘ger\u00e7eklik ile yan\u0131lsaman\u0131n\u2019 \u00e7\u00f6l\u00fcne d\u00f6n\u00fc\u015f\u00fcrken da\u011f, hala devrimcinin \u00e7\u00f6l\u00fcn ortas\u0131ndaki yeg\u00e2ne vahas\u0131d\u0131r…\u2019<\/p>\n\n\n\n

Tiamat\u2019\u0131n Par\u00e7alanm\u0131\u015f Evreni: K\u00fcrdistan<\/strong><\/h3>\n\n\n\n

Marduk\u2019un annesi Tiamat\u2019\u0131n kendi bedenini par\u00e7alayarak yaratt\u0131\u011f\u0131 evren, \u015fairin imgesinde K\u00fcrdistan \u00fclkesine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr zamanla. Mitolojinin ger\u00e7eklik \u00fczerindeki g\u00f6lgesi da\u011f\u0131ld\u0131k\u00e7a F\u0131rat ve Dicle\u2019den akan suyun Tiamat\u2019\u0131n g\u00f6zya\u015flar\u0131 de\u011fil y\u00fczy\u0131llard\u0131r K\u00fcrd\u00fcn durmadan akan kapkara kan\u0131 oldu\u011fu tarihin sosyolojisine binlerce kez not d\u00fc\u015f\u00fcr\u00fclm\u00fc\u015ft\u00fcr. B\u00fct\u00fcn anneler gibi Tiamat\u2019\u0131n da hala direngen; inat\u00e7\u0131 ve hesab\u0131 kitab\u0131 olmayan \u00e7ocuklar\u0131 vard\u0131r; bir de Mazlum Do\u011fan\u2019\u0131n g\u00f6zlerimizin i\u00e7ine bakan foto\u011fraf\u0131n\u0131n alt\u0131nda Tiamat\u2019a olan sevgisini resmi ko\u015fullara ba\u011flayan k\u00f6t\u00fcn\u00fcn en k\u00f6t\u00fcs\u00fc \u00e7ocuklar\u0131 vard\u0131r! Bu annenin en sevdi\u011fi \u00e7ocuklar\u0131ndan biri olan ve kahvehanenin en g\u00f6r\u00fcnmeyen k\u00f6\u015fesinde sessizce duran vakur Siyas\u00ee Ab\u00ea\u2019si postun, postun i\u00e7indekinden daha \u00e7ok de\u011fer kazand\u0131\u011f\u0131 bir post-K\u00fcrdistan zaman\u0131nda yerini Sanat Soka\u011f\u0131ndaki cafede oturan sevimsiz ve kibirli entelekt\u00fcele b\u0131rakm\u0131\u015ft\u0131r.\u00a0‘Grup\u00e7uluk ve b\u00f6lgecilik kar\u015f\u0131 devrimci bir bozgunculuktur\u2019 diyen k\u0131s\u0131k seslerin tam kar\u015f\u0131s\u0131nda K\u00fcrtl\u00fck \u00fczerinden kendine me\u015fruluk kazand\u0131ran do\u011frultusu ve tek do\u011frusu kendisi olan sek\u00fcler cemaatlerin fazlas\u0131yla g\u00fcr \u00e7\u0131kan sesi yank\u0131lanmaktad\u0131r \u015fimdilerde. Parkan\u0131n ye\u015fili ve mekab\u0131n sar\u0131 rengi aras\u0131ndaki devrimci uyum, bir ba\u015fka yerde kravat ile ceketin her taraf\u0131ndan bir dram d\u00f6k\u00fclen resmi uyumuna ikame edilmi\u015ftir. Devrimin tedrisat\u0131nda ya\u015fam\u0131 g\u00fczel k\u0131lman\u0131n bir yolunun da iktidar\u0131n reddi oldu\u011funu uzun uzun anlatan dersin ustalar\u0131 da\u011flar\u0131 ve zindanlar\u0131 mesken tutmu\u015fken o ders beyaz yakal\u0131 devrim memurlar\u0131 taraf\u0131ndan ovan\u0131n m\u00fcfredat\u0131ndan neredeyse tamam\u0131yla ay\u0131klanm\u0131\u015ft\u0131r. Mutki\u2019de bir heyelan\u0131n tesad\u00fcfen ortaya \u00e7\u0131kard\u0131\u011f\u0131 ve hangi sava\u015f\u00e7\u0131lara ait oldu\u011fu bile bilinmeyen o toplu mezar\u0131n \u00fcst\u00fcnde hangi toplu konut projesi y\u00fckseltilebilir hesab\u0131 yapan muktedirler ve onlar\u0131n yerel giri\u015fimci ortaklar\u0131, ahlaksal ve politik bir \u00e7\u00fcr\u00fcmenin \u00e7ukurunda ortakla\u015fmaya devam ederken ba\u011f\u0131rma ve itiraz hakk\u0131n\u0131 sakl\u0131 tutan yoksullar\u0131n dipten dibe kabaran \u00f6fkesini hesaba katmal\u0131d\u0131rlar! Xa\u00e7ort\u2019un c\u0131l\u0131z eti yoksulluk canavar\u0131n\u0131n midesinde \u00f6\u011f\u00fct\u00fcl\u00fcrken Van Kalesinin dibinde on binlerin ayn\u0131 anda ball\u0131 kaymakl\u0131 Van Kahvalt\u0131lar\u0131na ba\u011fda\u015f kurdu\u011fu sofralar, Guinness Rekorlar\u0131na son h\u0131z ko\u015fan bir orta s\u0131n\u0131f g\u00f6rg\u00fcs\u00fczl\u00fc\u011f\u00fcn\u00fcn s\u00f6m\u00fcrge kompleksine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr\u2026<\/p>\n\n\n\n

Tiamat\u2019\u0131n kederli \u00fclkesinde \u015fehirlerin bir taraf\u0131 nicedir kravatl\u0131d\u0131r; deri koltukludur; toplu konutludur; esmerli\u011fi gittik\u00e7e kaybolan bir Michael Jackson beyazl\u0131\u011f\u0131d\u0131r. Yirmi y\u0131l \u00f6nce defalarca kontra mermileri ya\u011fd\u0131r\u0131lm\u0131\u015f ve bir devrim okulu i\u015flevi g\u00f6ren mahalledeki kahvehanenin yerine apartman bloklar\u0131 y\u00fckselmi\u015f, yoksullu\u011fun ipince devrimci g\u00f6vdesi s\u0131n\u0131f intihar\u0131n\u0131 tersinden i\u015fletmi\u015f giri\u015fimcinin armut g\u00f6be\u011fine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Ya\u015fam\u0131n bu kadar politize oldu\u011fu topraklarda mekan da bo\u015f durmam\u0131\u015f, geni\u015f da\u011f ve ova uzam\u0131na serpi\u015fmi\u015f bol miktarda \u015fantiyenin ve rantiyenin kuruldu\u011fu bir Hewsel ve K\u0131rklar Da\u011f\u0131 kederi Tiamat\u2019\u0131n g\u0131rtla\u011f\u0131na d\u00fc\u011f\u00fcm gibi oturtulmu\u015ftur! Deq, ten\u00fbr, govend, kesrewan, berb\u00fbk \u00fb bay\u00ea zozana Tiamat\u2019\u0131n as\u0131l \u00f6yk\u00fcs\u00fcnden s\u00f6k\u00fcl\u00fcp al\u0131nm\u0131\u015f pornografik \u015fiirlerin a\u011flamakl\u0131 nostaljisinde ‘metaforik\u2019 bir zerafete d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Oysa devrim tarihinin kadim k\u00fclliyat\u0131nda iktidarlar\u0131n ruhlara enjekte etti\u011fi zehre kar\u015f\u0131 yeni iktidarlar yaratmak zulm\u00fcn panzehiri de\u011fil bizzat mazlumlar i\u00e7in yeni zalimler yaratmak ile e\u015fanlaml\u0131d\u0131r! Bu de\u011fi\u015fmez kural\u0131 Nietzsche, \u00fcstad\u0131 olan Zerd\u00fc\u015ft\u2019\u00fcn torunlar\u0131n\u0131n kula\u011f\u0131na tam da bug\u00fcn f\u0131s\u0131ldamaktad\u0131r: “De\u011fi\u015ftirmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z \u015feyin \u015feklini almak; heyhat\u2026”Devrimci duyguyu ba\u015flatan \u015fey d\u00fcnyaya kar\u015f\u0131 bir karamsarl\u0131k olsa da sadece karamsarl\u0131\u011f\u0131n h\u00fckmetti\u011fi bir ya\u015fam, ya\u015fayanlar\u0131n da \u00f6l\u00fclerin de cehennemine d\u00f6ner. Karamsarl\u0131k \u00e2leminde bol miktarda ac\u0131 yar\u0131\u015ft\u0131r\u0131l\u0131r; hem de ac\u0131n\u0131n tanr\u0131lar\u0131na kar\u015f\u0131 b\u00fcy\u00fck bir kay\u0131ts\u0131zl\u0131kla\u2026 Kendi hakl\u0131l\u0131\u011f\u0131n\u0131n bile \u00fcst\u00fcn\u00fc kapatacak kadar ba\u011f\u0131r\u0131p duran bir ma\u011fduriyet ilan\u0131 ve o ilan\u0131n sahibi olan ‘biz \u00e7ok ac\u0131 \u00e7ektik\u00e7iler\u2019 ac\u0131n\u0131n yerle\u015fik ve onlara ait bir \u015fey olmad\u0131\u011f\u0131n\u0131 anlad\u0131k\u00e7a daha \u00e7ok ba\u011f\u0131rmaya ba\u015flarlar; ac\u0131n\u0131n ger\u00e7ek sahibinin yas\u0131n\u0131 tutmas\u0131na bile izin vermeyecek kadar\u2026 Sosyal medya, sahici ac\u0131n\u0131n dijital ve ikinci el bir ac\u0131ya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc bir ar\u0131nma mekan\u0131na ve sosyal sorumlulu\u011fu \u00fcst\u00fcnden atman\u0131n vaftiz odas\u0131na d\u00f6n\u00fc\u015fmektedir bu g\u00fcn. Baudrillard “Korkmay\u0131n; modern \u00e7a\u011fda kimse zehirlenmez \u00e7\u00fcnk\u00fc \u00e7ok fazla panzehir var” derken panzehir sand\u0131\u011f\u0131m\u0131z \u015feylerin bizzat bizi as\u0131l zehirleyen \u015fey oldu\u011funu sal\u0131k vermi\u015fti belki de\u2026\u00a0<\/p>\n\n\n\n

D\u00fcnyan\u0131n bir\u00e7ok yerinde gencecik bedenlerin g\u00f6m\u00fcld\u00fc\u011f\u00fc mezarl\u0131klardan s\u00fcrekli bir u\u011fultu geldi\u011fi rivayet edilir. Nietzsche\u2019nin y\u00fczlerce y\u0131l \u00f6nce Zerd\u00fc\u015ft\u2019\u00fcn kula\u011f\u0131na f\u0131s\u0131ldad\u0131\u011f\u0131 o kadim kelam\u0131, bu g\u00fcn yerin dibinden gelen u\u011fultuya kar\u0131\u015fmaktad\u0131r: ‘Haf\u0131zas\u0131 olmayanlar\u0131n vicdan\u0131 da olmaz\u2026’ Orada sessizce yatan Tiamat\u2019\u0131n gen\u00e7 o\u011fullar\u0131 ve k\u0131zlar\u0131 onlar\u0131n izini s\u00fcrenlerle gecenin karanl\u0131\u011f\u0131nda s\u00fcrekli konu\u015furlar. \u00c7\u00fcnk\u00fc Benjamin\u2019in deyimiyle: “E\u011fer yenilecek olursak \u00f6l\u00fcler bile pay\u0131n\u0131 alacak bundan.” K\u00fcrdistan da\u011flar\u0131n\u0131n ve derin vadilerinin gecenin karanl\u0131\u011f\u0131nda hala u\u011fulduyor olmas\u0131 belki de bundand\u0131r\u2026\u00a0<\/p>\n\n\n\n

W\u00eane: \u00c7iyay\u00ea Bagok\u00ea (M\u00eard\u00een) & Selahedd\u00een Biyan\u00ee<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Halil Cibran’\u0131n sert bir kabu\u011fun i\u00e7ine hapsolmu\u015f ve d\u0131\u015far\u0131ya \u00e7\u0131kmak i\u00e7in t\u00fcrl\u00fc planlar yapan nar taneleri birbiriyle konu\u015furken bir nar tanesi \u015f\u00f6yle der: ‘O kadar \u00e7ok g\u00fcr\u00fclt\u00fc yapt\u0131n\u0131z ki as\u0131l ba\u011f\u0131rmas\u0131 gereken sustu..’ Nietzsche\u2019nin Ekrana Yans\u0131yamayan\u00a0Tan K\u0131z\u0131ll\u0131\u011f\u0131\u2026 Sesi duyulmad\u0131\u011f\u0131 i\u00e7in ba\u011f\u0131ran insanlar ile g\u00fcr\u00fclt\u00fc yapmay\u0131 sava\u015fmaktan sayan insanlar\u0131n sesleri birbirine her kar\u0131\u015ft\u0131\u011f\u0131nda s\u00f6z \u00f6nce yorulur sonra yava\u015f yava\u015f \u00f6lmeye ba\u015flar\u2026 Kimsenin kimseyi hatta kendini bile duymad\u0131\u011f\u0131 o heng\u00e2mede s\u00f6ze eylem ta\u015f\u0131yan ve s\u00f6z\u00fc eylemle g\u00fc\u00e7l\u00fc k\u0131lan sava\u015f\u00e7\u0131 zamanla susmaya ba\u015flar; \u00f6fkeden yorgun d\u00fc\u015fm\u00fc\u015f ince bir ironi ile\u2026 Yerin y\u00fcz\u00fcn\u00fc de\u011fi\u015ftirmeye \u00e7al\u0131\u015fan devrimin y\u00fcz\u00fc yerin b\u00fct\u00fcn y\u00fczeylerinde pervas\u0131zken devrimcinin y\u00fcz\u00fc cesur ama utanga\u00e7t\u0131r. Sesi duyulmayan\u0131n ba\u011f\u0131rmas\u0131 hakt\u0131r\u2019 diyen Nietzsche “D\u00fcnya, b\u00fcy\u00fck g\u00fcr\u00fclt\u00fcler koparanlar\u0131n de\u011fil b\u00fcy\u00fck de\u011ferler yaratanlar\u0131n etraf\u0131nda sessizce d\u00f6nmektedir” diye ekler. \u00c7\u00fcnk\u00fc ba\u011f\u0131ran\u0131 ve g\u00fcr\u00fclt\u00fc yapan\u0131 birbirinden ay\u0131rabilmek ancak eme\u011fin ve devrimin yaratt\u0131\u011f\u0131 ruhsal bir zerafet ile m\u00fcmk\u00fcnd\u00fcr. Ayr\u0131ca i\u015fine geleni ay\u0131klay\u0131p s\u00f6ylemek \u00e7ok ba\u015fka bir \u015feydir!Ve dijital ekranlar! Yasa koyucunun ‘soyk\u0131r\u0131m hikayeleri\u2019 anlatt\u0131\u011f\u0131 ekranlarda muhalifin kendine bir yer a\u00e7maya \u00e7al\u0131\u015fmas\u0131n\u0131n gayreti elbette anla\u015f\u0131l\u0131r bir durumdur. Fakat sadece ekran\u0131n ayd\u0131nl\u0131k b\u00fcy\u00fcs\u00fcne kendini kapt\u0131rm\u0131\u015f muhalif, sokaklarda elinde palalarla gezen kara g\u00f6mlekli katillerin ekme\u011fine uzun bir zamand\u0131r kan s\u00fcrmektedir. Ya\u015fam\u0131n kapkara ger\u00e7ekli\u011fine s\u0131rt\u0131n\u0131 \u00e7evirip ekran\u0131n b\u00fcy\u00fcs\u00fcne ko\u015fanlara da bir \u00e7ift laf eder Nietzshce: “Bir\u00e7ok insan \u0131\u015f\u0131\u011fa ko\u015far ama ayd\u0131nlanmak i\u00e7in de\u011fil; daha \u00e7ok par\u0131ldamak i\u00e7in\u2026” Sosyal medya militanl\u0131\u011f\u0131n\u0131n kulaklar\u0131 sa\u011f\u0131r eden sesi, a\u011f\u0131t yakan bir annenin ya da g\u00f6\u011fs\u00fcne kur\u015fun yemi\u015f bir \u00e7ocu\u011fun \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 bast\u0131rabilecek kadar \u00f6l\u00e7\u00fcs\u00fcz ve hudutsudur bazen. Camlar\u0131n ard\u0131nda \u00fclkeyi ve d\u00fcnyay\u0131 izleyip ‘neden t\u00fcm bunlara ra\u011fmen sava\u015fm\u0131yorsunuz\u2019 diye g\u00fcrleyen deri koltuklu, s\u00fcet terlikli ve pijamal\u0131 muhalifi tarih, yazg\u0131 ve ya\u015fam da en sinsi kahkahas\u0131yla uzaktan izler. \u0130nsan\u0131n bazen kan\u0131n\u0131 donduran bir g\u00fcr\u00fclt\u00fcyle ba\u011f\u0131ran cam ve ekran arkas\u0131 muhalif, Amed Sokaklar\u0131nda vurulmu\u015f \u00e7ocu\u011funun buru\u015fmu\u015f posteriyle bir ba\u015f\u0131na duran Medeni Y\u0131ld\u0131r\u0131m\u2019\u0131n annesinin g\u00f6zlerine bir kez olsun bakmal\u0131d\u0131r! O annenin bir ba\u015f\u0131na durdu\u011fu yerin hemen \u00f6tesinde bir duvar yaz\u0131s\u0131 vard\u0131r; ilahi bir rastlant\u0131 gibi: “K\u0131yameti yaln\u0131zl\u0131k getirecektir\u2026”B\u00fct\u00fcn iktidarlar de\u011fi\u015fim ve irade gibi bir talebimiz olmad\u0131\u011f\u0131 s\u00fcrece nefes alabilece\u011fimiz birka\u00e7 kanal\u0131 a\u00e7\u0131k b\u0131rak\u0131r. Modern teknik iktidar\u0131n bize tahsis etti\u011fi, can\u0131 istedi\u011finde tek bir tu\u015fla devre d\u0131\u015f\u0131 b\u0131rakabildi\u011fi ve bir\u00e7o\u011fumuz i\u00e7in dijital kale i\u015flevi g\u00f6ren sosyal medya, kabin bas\u0131nc\u0131 d\u00fc\u015fen bir u\u00e7a\u011f\u0131n \u00fcst b\u00f6lmelerinden a\u00e7\u0131lan oksijen maskeleri gibidir: ‘U\u00e7ak par\u00e7alan\u0131p d\u00fc\u015febilir ama en az\u0131ndan \u00f6l\u00fcrken nefessiz kalmay\u0131n!\u2019 \u00c7\u00fcnk\u00fc \u00e7\u0131plak bir vah\u015fetin \u00f6ld\u00fcrd\u00fc\u011f\u00fc veya susturdu\u011fu insanlar\u0131n gazab\u0131n\u0131 ve onlar\u0131n izini s\u00fcrenlerin \u00e7\u0131plak \u00f6fkesini, tarih zalimlere fazlas\u0131yla ezberletmi\u015ftir. Bu \u00fclkede sosyal medyan\u0131n \u00e7\u0131r\u0131l\u00e7\u0131plak devrimci \u00f6fkeyi ehlile\u015ftiren ve yumu\u015fatan karakteri yava\u015f yava\u015f muhalifin \u00f6fkesini k\u00f6t\u00fcr\u00fcmle\u015ftirip soka\u011f\u0131 bo\u015f b\u0131rakan bir i\u00e7 protestonun koltuk de\u011fne\u011fine d\u00f6n\u00fc\u015fmektedir.\u00a0 Sosyal medyay\u0131 devrimci bir a\u011fa ve politik bir ileti\u015fimin silah\u0131na d\u00f6n\u00fc\u015ft\u00fcrmekten \u00e7ok, o a\u011f\u0131 bir politik rahatlama ve terapi alan\u0131na d\u00f6n\u00fc\u015ft\u00fcrmek ya da oraya \u00f6fke dolu 140 karakterlik bir ‘Kahrolsun\u2019lu\u2019 mesaj ili\u015ftirmek sokakta asla bir barikata d\u00f6n\u00fc\u015fmemektedir. Fenomenin bir malumat ve \u00e7\u00f6z\u00fcmleme makinesi gibi \u00e7al\u0131\u015fan klavyesinden ekrana d\u00f6k\u00fclenler sanal bir mitraly\u00f6z gibi \u00e7al\u0131\u015fsa da bu g\u00fcne kadar o mitraly\u00f6z\u00fcn sokaktaki bir \u00e7ocu\u011fun sapan\u0131ndaki bilye kadar uzak bir menzile eri\u015fti\u011fine rastlanmam\u0131\u015ft\u0131r. Diaspora\u2019n\u0131n radikalizmi ve metropol\u00fcn yoksunlu\u011fu\u2026\u00a0 Yerk\u00fcrenin b\u00fct\u00fcn diasporalar\u0131nda a\u011f\u0131r ve d\u00fczensiz bir sanc\u0131 ve bu sanc\u0131n\u0131n \u015fekil verdi\u011fi bir radikalizm zamanla hayat\u0131n her yerine yay\u0131l\u0131r. S\u00fcrg\u00fcndekinin \u00fclkesine olan uzakl\u0131\u011f\u0131 veya \u015fairin deyimiyle uzaktaki yak\u0131nl\u0131\u011f\u0131, d\u00fc\u015f ve ger\u00e7ekli\u011fin bile\u015fkesi olan yeni yeni bir \u00fclke kurdurur ona. K\u00fcrdistan, Stockholm\u2019de \u015fanl\u0131 direni\u015flerin g\u00fcl\u00fcmseten \u00fclkesi iken Nusaybin\u2019de bin bir k\u0131r\u0131lman\u0131n e\u015flik etti\u011fi sert bir surat ifadesinin \u00fclkesine d\u00f6n\u00fc\u015f\u00fcr. \u0130yimserlik ile karamsarl\u0131\u011f\u0131n s\u00fcrekli \u00e7at\u0131\u015ft\u0131\u011f\u0131 iki ayr\u0131 \u00fclke kurgusunda proleterin sesi nicedir pazarlamac\u0131n\u0131n sesine \u00e7arp\u0131p da\u011f\u0131lmaktad\u0131r. Bu g\u00fcn Unkapan\u0131 st\u00fcdyolar\u0131ndan y\u00fckselen bir\u00e7ok ses, uyuyan b\u00fct\u00fcn dengb\u00eajleri neredeyse mezarlar\u0131ndan \u00e7\u0131kart\u0131p k\u00fcf\u00fcr ettirecek kadar yapay ve samimiyetsiz bir piyasac\u0131 t\u0131n\u0131 ile yedi g\u00fcn sonra unutulacak harikulade besteleri K\u00fcrd\u00fcn k\u0131sa s\u00fcreli belle\u011fine hediye etmektedir. Kurd\u00ee bir oryantalizmin tuza\u011f\u0131na d\u00fc\u015fen Kurd\u00ee bir sanat\u00e7\u0131n\u0131n her y\u0131l K\u00fcrdistan\u2019dan say\u0131s\u0131z film karesi ve \u00f6yk\u00fc dev\u015firip Bat\u0131l\u0131 Beyazlara K\u00fcrtleri ‘otantizmin sempatik temsilleri\u2019 olarak sunuyor olmas\u0131, Mersin\u2019de yoksulluktan ve yoksunluktan beli b\u00fck\u00fclm\u00fc\u015f bir \u015e\u0131rnakl\u0131n\u0131n ‘\u00e7\u0131r\u0131l\u00e7\u0131plak \u00e7aresizli\u011fine\u2019 tesir etti\u011fi g\u00f6r\u00fclmemi\u015ftir. Bir daha asla o topraklara d\u00f6nemeyecek olan\u0131n ba\u015flatt\u0131\u011f\u0131 \u00fclkeye d\u00f6n\u00fc\u015f hikayesi genellikle ya hi\u00e7 ba\u015flamam\u0131\u015f ya da tam ortas\u0131ndayken vazge\u00e7ilmi\u015f bir yolculuk gibidir. O y\u00fczden sahici ve geri d\u00f6n\u00fc\u015f\u00fc olmayan b\u00fct\u00fcn \u00fclkeye d\u00f6n\u00fc\u015f yolculuklar\u0131 K\u00fcrdistan\u2019a de\u011fil K\u00fcrdistan da\u011flar\u0131na yap\u0131lm\u0131\u015f olanlard\u0131r. \u00c7\u00fcnk\u00fc K\u00fcrdistan\u2019\u0131n ova k\u0131sm\u0131, hem s\u00fcrg\u00fcndekinin hem de i\u00e7indekinin zihninde ‘ger\u00e7eklik ile yan\u0131lsaman\u0131n\u2019 \u00e7\u00f6l\u00fcne d\u00f6n\u00fc\u015f\u00fcrken da\u011f, hala devrimcinin \u00e7\u00f6l\u00fcn ortas\u0131ndaki yeg\u00e2ne vahas\u0131d\u0131r…\u2019 Tiamat\u2019\u0131n Par\u00e7alanm\u0131\u015f Evreni: K\u00fcrdistan Marduk\u2019un annesi Tiamat\u2019\u0131n kendi bedenini par\u00e7alayarak yaratt\u0131\u011f\u0131 evren, \u015fairin imgesinde K\u00fcrdistan \u00fclkesine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr zamanla. Mitolojinin ger\u00e7eklik \u00fczerindeki g\u00f6lgesi da\u011f\u0131ld\u0131k\u00e7a F\u0131rat ve Dicle\u2019den akan suyun Tiamat\u2019\u0131n g\u00f6zya\u015flar\u0131 de\u011fil y\u00fczy\u0131llard\u0131r K\u00fcrd\u00fcn durmadan akan kapkara kan\u0131 oldu\u011fu tarihin sosyolojisine binlerce kez not d\u00fc\u015f\u00fcr\u00fclm\u00fc\u015ft\u00fcr. B\u00fct\u00fcn anneler gibi Tiamat\u2019\u0131n da hala direngen; inat\u00e7\u0131 ve hesab\u0131 kitab\u0131 olmayan \u00e7ocuklar\u0131 vard\u0131r; bir de Mazlum Do\u011fan\u2019\u0131n g\u00f6zlerimizin i\u00e7ine bakan foto\u011fraf\u0131n\u0131n alt\u0131nda Tiamat\u2019a olan sevgisini resmi ko\u015fullara ba\u011flayan k\u00f6t\u00fcn\u00fcn en k\u00f6t\u00fcs\u00fc \u00e7ocuklar\u0131 vard\u0131r! Bu annenin en sevdi\u011fi \u00e7ocuklar\u0131ndan biri olan ve kahvehanenin en g\u00f6r\u00fcnmeyen k\u00f6\u015fesinde sessizce duran vakur Siyas\u00ee Ab\u00ea\u2019si postun, postun i\u00e7indekinden daha \u00e7ok de\u011fer kazand\u0131\u011f\u0131 bir post-K\u00fcrdistan zaman\u0131nda yerini Sanat Soka\u011f\u0131ndaki cafede oturan sevimsiz ve kibirli entelekt\u00fcele b\u0131rakm\u0131\u015ft\u0131r.\u00a0‘Grup\u00e7uluk ve b\u00f6lgecilik kar\u015f\u0131 devrimci bir bozgunculuktur\u2019 diyen k\u0131s\u0131k seslerin tam kar\u015f\u0131s\u0131nda K\u00fcrtl\u00fck \u00fczerinden kendine me\u015fruluk kazand\u0131ran do\u011frultusu ve tek do\u011frusu kendisi olan sek\u00fcler cemaatlerin fazlas\u0131yla g\u00fcr \u00e7\u0131kan sesi yank\u0131lanmaktad\u0131r \u015fimdilerde. Parkan\u0131n ye\u015fili ve mekab\u0131n sar\u0131 rengi aras\u0131ndaki devrimci uyum, bir ba\u015fka yerde kravat ile ceketin her taraf\u0131ndan bir dram d\u00f6k\u00fclen resmi uyumuna ikame edilmi\u015ftir. Devrimin tedrisat\u0131nda ya\u015fam\u0131 g\u00fczel k\u0131lman\u0131n bir yolunun da iktidar\u0131n reddi oldu\u011funu uzun uzun anlatan dersin ustalar\u0131 da\u011flar\u0131 ve zindanlar\u0131 mesken tutmu\u015fken o ders beyaz yakal\u0131 devrim memurlar\u0131 taraf\u0131ndan ovan\u0131n m\u00fcfredat\u0131ndan neredeyse tamam\u0131yla ay\u0131klanm\u0131\u015ft\u0131r. Mutki\u2019de bir heyelan\u0131n tesad\u00fcfen ortaya \u00e7\u0131kard\u0131\u011f\u0131 ve hangi sava\u015f\u00e7\u0131lara ait oldu\u011fu bile bilinmeyen o toplu mezar\u0131n \u00fcst\u00fcnde hangi toplu konut projesi y\u00fckseltilebilir hesab\u0131 yapan muktedirler ve onlar\u0131n yerel giri\u015fimci ortaklar\u0131, ahlaksal ve politik bir \u00e7\u00fcr\u00fcmenin \u00e7ukurunda ortakla\u015fmaya devam ederken ba\u011f\u0131rma ve itiraz hakk\u0131n\u0131 sakl\u0131 tutan yoksullar\u0131n dipten dibe kabaran \u00f6fkesini hesaba katmal\u0131d\u0131rlar! Xa\u00e7ort\u2019un c\u0131l\u0131z eti yoksulluk canavar\u0131n\u0131n midesinde \u00f6\u011f\u00fct\u00fcl\u00fcrken Van Kalesinin dibinde on binlerin ayn\u0131 anda ball\u0131 kaymakl\u0131 Van Kahvalt\u0131lar\u0131na ba\u011fda\u015f kurdu\u011fu sofralar, Guinness Rekorlar\u0131na son h\u0131z ko\u015fan bir orta s\u0131n\u0131f g\u00f6rg\u00fcs\u00fczl\u00fc\u011f\u00fcn\u00fcn s\u00f6m\u00fcrge kompleksine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr\u2026 Tiamat\u2019\u0131n kederli \u00fclkesinde \u015fehirlerin bir taraf\u0131 nicedir kravatl\u0131d\u0131r; deri koltukludur; toplu konutludur; esmerli\u011fi gittik\u00e7e kaybolan bir Michael Jackson beyazl\u0131\u011f\u0131d\u0131r. Yirmi y\u0131l \u00f6nce defalarca kontra mermileri ya\u011fd\u0131r\u0131lm\u0131\u015f ve bir devrim okulu i\u015flevi g\u00f6ren mahalledeki kahvehanenin yerine apartman bloklar\u0131 y\u00fckselmi\u015f, yoksullu\u011fun ipince devrimci g\u00f6vdesi s\u0131n\u0131f intihar\u0131n\u0131 tersinden i\u015fletmi\u015f giri\u015fimcinin armut g\u00f6be\u011fine d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Ya\u015fam\u0131n bu kadar politize oldu\u011fu topraklarda mekan da bo\u015f durmam\u0131\u015f, geni\u015f da\u011f ve ova uzam\u0131na serpi\u015fmi\u015f bol miktarda \u015fantiyenin ve rantiyenin kuruldu\u011fu bir Hewsel ve K\u0131rklar Da\u011f\u0131 kederi Tiamat\u2019\u0131n g\u0131rtla\u011f\u0131na d\u00fc\u011f\u00fcm gibi oturtulmu\u015ftur! Deq, ten\u00fbr, govend, kesrewan, berb\u00fbk \u00fb bay\u00ea zozana Tiamat\u2019\u0131n as\u0131l \u00f6yk\u00fcs\u00fcnden s\u00f6k\u00fcl\u00fcp al\u0131nm\u0131\u015f pornografik \u015fiirlerin a\u011flamakl\u0131 nostaljisinde ‘metaforik\u2019 bir zerafete d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Oysa devrim tarihinin kadim k\u00fclliyat\u0131nda iktidarlar\u0131n ruhlara enjekte etti\u011fi zehre kar\u015f\u0131 yeni iktidarlar yaratmak zulm\u00fcn panzehiri de\u011fil bizzat mazlumlar i\u00e7in yeni zalimler yaratmak ile e\u015fanlaml\u0131d\u0131r! Bu de\u011fi\u015fmez kural\u0131 Nietzsche, \u00fcstad\u0131 olan Zerd\u00fc\u015ft\u2019\u00fcn torunlar\u0131n\u0131n kula\u011f\u0131na tam da bug\u00fcn f\u0131s\u0131ldamaktad\u0131r: “De\u011fi\u015ftirmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z \u015feyin \u015feklini almak; heyhat\u2026”Devrimci duyguyu ba\u015flatan \u015fey d\u00fcnyaya kar\u015f\u0131 bir karamsarl\u0131k olsa da sadece karamsarl\u0131\u011f\u0131n h\u00fckmetti\u011fi bir ya\u015fam, ya\u015fayanlar\u0131n da \u00f6l\u00fclerin de cehennemine d\u00f6ner. Karamsarl\u0131k \u00e2leminde bol miktarda ac\u0131 yar\u0131\u015ft\u0131r\u0131l\u0131r; hem de ac\u0131n\u0131n tanr\u0131lar\u0131na kar\u015f\u0131 b\u00fcy\u00fck bir kay\u0131ts\u0131zl\u0131kla\u2026 Kendi hakl\u0131l\u0131\u011f\u0131n\u0131n bile \u00fcst\u00fcn\u00fc kapatacak kadar ba\u011f\u0131r\u0131p duran bir ma\u011fduriyet ilan\u0131 ve o ilan\u0131n sahibi olan ‘biz \u00e7ok ac\u0131 \u00e7ektik\u00e7iler\u2019 ac\u0131n\u0131n yerle\u015fik ve onlara ait bir \u015fey olmad\u0131\u011f\u0131n\u0131 anlad\u0131k\u00e7a daha \u00e7ok ba\u011f\u0131rmaya ba\u015flarlar; ac\u0131n\u0131n ger\u00e7ek sahibinin yas\u0131n\u0131 tutmas\u0131na bile izin vermeyecek kadar\u2026 Sosyal medya, sahici ac\u0131n\u0131n dijital ve ikinci el bir ac\u0131ya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc bir ar\u0131nma mekan\u0131na ve sosyal sorumlulu\u011fu \u00fcst\u00fcnden atman\u0131n vaftiz odas\u0131na d\u00f6n\u00fc\u015fmektedir bu g\u00fcn. Baudrillard “Korkmay\u0131n; modern \u00e7a\u011fda kimse zehirlenmez \u00e7\u00fcnk\u00fc \u00e7ok fazla panzehir var” derken panzehir sand\u0131\u011f\u0131m\u0131z \u015feylerin bizzat bizi as\u0131l zehirleyen \u015fey oldu\u011funu sal\u0131k vermi\u015fti belki de\u2026\u00a0 D\u00fcnyan\u0131n bir\u00e7ok yerinde gencecik bedenlerin g\u00f6m\u00fcld\u00fc\u011f\u00fc mezarl\u0131klardan s\u00fcrekli bir u\u011fultu geldi\u011fi rivayet edilir. Nietzsche\u2019nin y\u00fczlerce y\u0131l \u00f6nce Zerd\u00fc\u015ft\u2019\u00fcn kula\u011f\u0131na f\u0131s\u0131ldad\u0131\u011f\u0131 o kadim kelam\u0131, bu g\u00fcn yerin dibinden gelen u\u011fultuya kar\u0131\u015fmaktad\u0131r: ‘Haf\u0131zas\u0131 olmayanlar\u0131n vicdan\u0131 da olmaz\u2026’ Orada sessizce yatan Tiamat\u2019\u0131n gen\u00e7 o\u011fullar\u0131 ve k\u0131zlar\u0131 onlar\u0131n izini s\u00fcrenlerle gecenin karanl\u0131\u011f\u0131nda s\u00fcrekli konu\u015furlar. \u00c7\u00fcnk\u00fc Benjamin\u2019in deyimiyle: “E\u011fer yenilecek olursak \u00f6l\u00fcler bile pay\u0131n\u0131 alacak bundan.” K\u00fcrdistan da\u011flar\u0131n\u0131n ve derin vadilerinin gecenin karanl\u0131\u011f\u0131nda hala u\u011fulduyor olmas\u0131 belki de bundand\u0131r\u2026\u00a0 W\u00eane: \u00c7iyay\u00ea Bagok\u00ea (M\u00eard\u00een) & Selahedd\u00een Biyan\u00ee<\/p>\n","protected":false},"author":1,"featured_media":123,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":5,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-122","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=122"}],"version-history":[{"count":5,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/122\/revisions"}],"predecessor-version":[{"id":314,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/122\/revisions\/314"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media\/123"}],"wp:attachment":[{"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/selaheddinbiyani.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}