Hayat\u0131n ko\u015fturmacas\u0131 ve g\u00fcnl\u00fck ritmin daraltt\u0131\u011f\u0131 anlarda, insan\u0131 i\u00e7ine \u00e7ekip yepyeni d\u00fcnyalar arma\u011fan eden en g\u00fcvenli s\u0131\u011f\u0131nak kitaplard\u0131r. Sayfalar\u0131 her aralad\u0131\u011f\u0131m\u0131zda arad\u0131\u011f\u0131m\u0131z bir cevab\u0131, bir hissi ya da kendimizi bulman\u0131n sevinci, okuma eylemini s\u0131radan bir aktivite olmaktan \u00e7\u0131kar\u0131p i\u00e7sel bir in\u015fa s\u00fcrecine d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n\n\n\n
Kitap, yaln\u0131zca k\u00e2\u011f\u0131t ve m\u00fcrekkepten ibaret bir nesne de\u011fil; insan bilincini besleyen k\u00f6kl\u00fc bir k\u00fclt\u00fcr varl\u0131\u011f\u0131d\u0131r. Kimi zaman somut ger\u00e7ekli\u011fin ta kendisini, kimi zaman ise d\u00fc\u015fsel olan\u0131n s\u0131n\u0131r tan\u0131mazl\u0131\u011f\u0131n\u0131 zihnimize ta\u015f\u0131r. Kurgusal eserler, g\u00fc\u00e7l\u00fc anlat\u0131lar\u0131yla bizlere yeni imgeler yaratma ve derin betimlemeler aras\u0131nda gezinme imk\u00e2n\u0131 sunar.<\/p>\n\n\n\n
Temeli sa\u011flam at\u0131lm\u0131\u015f yap\u0131tlar, okuyucunun alg\u0131 kapasitesine ba\u011fl\u0131 olarak s\u0131n\u0131rs\u0131z bir ke\u015fif alan\u0131 sa\u011flar. B\u00fcy\u00fck usta Vincent van Gogh\u2019un ifade etti\u011fi gibi: “Sanat, Tanr\u0131\u2019n\u0131n eksik b\u0131rakt\u0131\u011f\u0131n\u0131 tamamlar.” Sanat\u0131n as\u0131l varolu\u015f amac\u0131 da hayattaki o “eksik” kalan duygular\u0131, d\u00fc\u015f\u00fcnceleri ve bo\u015fluklar\u0131 estetik g\u00f6r\u00fcnt\u00fclerle b\u00fct\u00fcnlemek de\u011fil midir?<\/p>\n\n\n\n
Kitaplar, zihnimizde \u00e7a\u011fr\u0131\u015f\u0131mlar yaratman\u0131n en \u00f6zg\u00fcr alan\u0131d\u0131r. \u0130yi bir metin, duyular\u0131m\u0131za benzersiz bir devinim alan\u0131 a\u00e7ar:<\/p>\n\n\n\n
Bu y\u00f6n\u00fcyle her kitab\u0131n kendine has, ayr\u0131cal\u0131kl\u0131 bir d\u00fcnyas\u0131 vard\u0131r. \u0130nsan, okurken asl\u0131nda kendini o duygu ve d\u00fc\u015f\u00fcnce atlas\u0131n\u0131n tam merkezine yerle\u015ftirir. Dolay\u0131s\u0131yla okuma eylemi, okurun kendi eme\u011fiyle var etti\u011fi \u00e7ok boyutlu bir s\u00fcre\u00e7tir.<\/p>\n\n\n\n
Tam da bu y\u00fczden “okuruna g\u00f6re kitap, kitab\u0131na g\u00f6re okur” vard\u0131r. Okurlar\u0131 da bu ba\u011flamda kategorilere ay\u0131rmak m\u00fcmk\u00fcnd\u00fcr:<\/p>\n\n\n\n
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- Dura\u011fan Okurlar:<\/strong> S\u00fcrekli ayn\u0131 tarz ve t\u00fcrde kitaplar\u0131 okumaktan vazge\u00e7meyenler.<\/li>\n\n\n\n
- Y\u00fczeysel Okurlar:<\/strong> Kitaptan kitaba, sayfadan sayfaya atlayan, metni derinlemesine sindirmeyenler.<\/li>\n\n\n\n
- Bi\u00e7imsel Okurlar:<\/strong> Kitab\u0131n yaln\u0131zca d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fcne, pop\u00fclaritesine veya kapa\u011f\u0131na kap\u0131lanlar.<\/li>\n\n\n\n
- Ger\u00e7ek Okurlar:<\/strong> \u00c7o\u011funlu\u011fu olu\u015fturan, kitab\u0131 b\u00fct\u00fcn\u00fcyle okuduktan sonra sindiren ve ancak o zaman bir yarg\u0131ya varanlar.<\/li>\n<\/ul>\n<\/blockquote>\n\n\n\n
Zaman\u0131 A\u015fan Se\u00e7kin Yap\u0131tlar<\/h3>\n\n\n\n
Mimari de\u011feri y\u00fcksek, ihti\u015faml\u0131 bir yap\u0131n\u0131n b\u00fcy\u00fcleyicili\u011fi ancak i\u00e7ine girilip koridorlar\u0131nda y\u00fcr\u00fcnd\u00fc\u011f\u00fcnde anla\u015f\u0131l\u0131r. Kitaplar da t\u0131pk\u0131 bu yap\u0131lar gibidir; de\u011ferleri, kelimelerin tam yerini bulmas\u0131 ve c\u00fcmlelerin mimarisiyle kendini belli eder.<\/p>\n\n\n\n
\u015eiirin, roman\u0131n, \u00f6yk\u00fcn\u00fcn ya da denemenin duygu dolamba\u00e7lar\u0131na cesurca dalmadan yazar\u0131n gizli d\u00fcnyas\u0131n\u0131 ke\u015ffetmek imk\u00e2ns\u0131zd\u0131r. Okumay\u0131 bir ya\u015fam bi\u00e7imi ve varolu\u015f nedeni olarak g\u00f6rmeyen hi\u00e7bir okur, bir metnin anlam derinliklerine tam anlam\u0131yla inemez.<\/p>\n\n\n\n
\u00c7a\u011flara damgas\u0131n\u0131 vurmu\u015f baz\u0131 ba\u015fyap\u0131tlar vard\u0131r ki onlar\u0131n anlam katmanlar\u0131n\u0131 tamamen kavramaya bir insan \u00f6mr\u00fc yetmez. Bu y\u00fczden y\u00fczy\u0131llard\u0131r eskimeyen ve her okunu\u015fta yeni bir pencere a\u00e7an \u015fu klasik yap\u0131tlara bir kez bakmak asla k\u00e2fi gelmez:<\/p>\n\n\n\n
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- Homeros \u2013 \u0130lyada ve Odysseia<\/em><\/li>\n\n\n\n
- Binbir Gece Masallar\u0131<\/em><\/li>\n\n\n\n
- Cervantes \u2013 Don Ki\u015fot<\/em><\/li>\n\n\n\n
- Shakespeare \u2013 Hamlet<\/em><\/li>\n\n\n\n
- Stendhal \u2013 K\u0131z\u0131l ile Kara<\/em><\/li>\n\n\n\n
- Dostoyevski \u2013 Su\u00e7 ve Ceza<\/em><\/li>\n<\/ul>\n\n\n\n
G\u00fczellik, G\u00f6rmeyi Bilen G\u00f6ze G\u00f6r\u00fcn\u00fcr<\/h3>\n\n\n\n
Edebi eserler sadece anlatt\u0131klar\u0131 y\u00fczeysel olaylarla de\u011fil, o olaylar\u0131n \u00f6z\u00fcnde bar\u0131nd\u0131rd\u0131klar\u0131 derin d\u00fc\u015f\u00fcnce ve felsefeyle de\u011fer kazan\u0131rlar. \u0130talyan yazar Giorgio Manganelli bu durumu \u015fu \u00e7arp\u0131c\u0131 s\u00f6zlerle \u00f6zetler:<\/p>\n\n\n\n
\n“Kitaplar ger\u00e7ekten iyi iseler olay \u00f6rg\u00fcs\u00fcnden ar\u0131nd\u0131r\u0131ld\u0131klar\u0131nda, gizli bir imge, i\u00e7inde ger\u00e7ekten bir kitab\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fcn yatt\u0131\u011f\u0131 bir yeralt\u0131 katman\u0131 sunarlar.”<\/p>\n<\/blockquote>\n\n\n\n
Benzer \u015fekilde Baudelaire de insan\u0131n i\u00e7 d\u00fcnyas\u0131nda yeni bir \u00fcrperme, yeni bir heyecan yaratmayan hi\u00e7bir \u015fiiri \u015fiirden saymaz. Bu keskin ama hakl\u0131 yarg\u0131; roman, \u00f6yk\u00fc, deneme gibi edebi t\u00fcrlerin yan\u0131 s\u0131ra resim, yontu ve m\u00fczik i\u00e7in de tamamen ge\u00e7erlidir.<\/p>\n\n\n\n
D\u00fcnyan\u0131n en prestijli konser salonlar\u0131nda her an Beethoven, Bach, Mozart veya \u00c7aykovski\u2019nin eserlerinin yank\u0131lanmas\u0131; en b\u00fcy\u00fck sanat galerilerinin ellerindeki Rembrandt, Goya, Vincent van Gogh veya Picasso tablolar\u0131yla gurur duymas\u0131 bu zamans\u0131z aray\u0131\u015f\u0131n bir sonucudur.<\/p>\n\n\n\n
\u00d6rne\u011fin, orijinali tam 4 bin sayfa olan Binbir Gece Masallar\u0131<\/em>, ba\u015ftan sona bar\u0131nd\u0131rd\u0131\u011f\u0131 ola\u011fan\u00fcst\u00fc olaylar\u0131n \u00f6tesinde, s\u0131rf i\u00e7inde ge\u00e7en \u015fu iki c\u00fcmle i\u00e7in bile okunmaya de\u011ferdir:<\/p>\n\n\n\n
\n“Sen ki g\u00fcne\u015fe bakmaktas\u0131n, g\u00f6rmez misin ki, onun yeri insan g\u00f6z\u00fcn\u00fcn \u00f6l\u00e7emeyece\u011fi y\u00fckseklerdedir! Kanat tak\u0131nmadan ona ula\u015fabilece\u011fini mi san\u0131yorsun ey saf ki\u015fi yoksa sana kadar inece\u011fini mi, g\u00fcne\u015fin?”<\/p>\n<\/blockquote>\n\n\n\n
B\u00fcy\u00fck edebiyat\u00e7\u0131 Shakespeare de kendi zamans\u0131zl\u0131\u011f\u0131n\u0131 ve sanat\u0131n de\u011fi\u015fmeyen do\u011fas\u0131n\u0131 76\u2019nc\u0131 Sone<\/em>\u2019sinde \u015fu dizelerle kayda ge\u00e7irmi\u015ftir:<\/p>\n\n\n\n
\n“Eskileri s\u00f6yler benim \u015fiirim, nas\u0131l ki g\u00fcne\u015f de her g\u00fcn hem g\u00f6r\u00fcn\u00fcr hem solar”<\/p>\n<\/blockquote>\n\n\n\n