{"id":25823,"date":"2017-10-03T10:00:04","date_gmt":"2017-10-03T06:00:04","guid":{"rendered":"http:\/\/edebiyyat-az.com\/?p=25823"},"modified":"2017-11-08T11:43:21","modified_gmt":"2017-11-08T07:43:21","slug":"talat-ulker-turk-siir-gelenegini-kuran-inanc-ve-fikir-akimlari","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=25823","title":{"rendered":"Talat \u00dclker.”T\u00dcRK \u015e\u0130\u0130R GELENE\u011e\u0130N\u0130 KURAN \u0130NAN\u00c7 VE F\u0130K\u0130R AKIMLARI”"},"content":{"rendered":"

\"\"<\/a><\/p>\n

\u015eiirsiz topluluk d\u00fc\u015f\u00fcn\u00fclemez. Her milletin, k\u00fclt\u00fcr\u00fcn\u00fc olu\u015fturdu\u011fu tarihi s\u00fcre\u00e7le m\u00fctenasip, bir \u015fiir gelene\u011fi var. S\u00f6z\u00fc \u015fiire d\u00f6n\u00fc\u015ft\u00fcrerek derinle\u015ftirmek, yo\u011funla\u015ft\u0131rmak ve dilin \u00f6tesine ta\u015f\u0131rmak insan\u0131n ayr\u0131cal\u0131\u011f\u0131. Binlerce y\u0131ll\u0131k muhte\u015fem bir maziye sahip olan T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn de kendine \u00f6zg\u00fc bir \u015fiir gelene\u011fi var \u015f\u00fcphesiz. Turfan harabelerinden \u00e7\u0131kar\u0131lm\u0131\u015f iki \u015fiiriyle ad\u0131n\u0131 g\u00fcn\u00fcm\u00fcze ta\u015f\u0131m\u0131\u015f ilk \u015fairimiz olan Apr\u0131n\u00e7ur Ti\u011fin\u2019den g\u00fcn\u00fcm\u00fcz \u015fairlerine kadar uzayan \u00e7izgide \u015fiiri etkileyen, \u015faire ufuk a\u00e7an fikir ak\u0131mlar\u0131 T\u00fcrk \u015fiirinin tad\u0131n\u0131 ve lezzetini kuran \u00f6\u011feler aras\u0131nda yer ald\u0131lar \u015f\u00fcphesiz. \u015eiir umman\u0131na su ta\u015f\u0131yan fikir ve d\u00fcnya g\u00f6r\u00fc\u015flerini, ba\u015fl\u0131klar alt\u0131nda derleyip genel ifadelerle tan\u0131mak, T\u00fcrk \u015fiir gelene\u011fini do\u011fru zemine ta\u015f\u0131mak ve anlamak a\u00e7\u0131s\u0131ndan olduk\u00e7a \u00f6nemlidir. T\u00fcrk \u015fiirini etkileyen fikir, inan\u00e7, gelenek ve d\u00fcnya g\u00f6r\u00fc\u015flerini ayr\u0131nt\u0131lar\u0131 daha geni\u015f bir ara\u015ft\u0131rmaya erteleyerek \u015fu ba\u015fl\u0131klarda ifade edebiliriz:
\nKopuzun T\u0131n\u0131s\u0131:
\nB\u00fct\u00fcn kadim k\u00fclt\u00fcrlerde \u015fiir ile musiki birlikte ba\u015flar. Hangisi daha evveldir sorusu anlams\u0131z ve gereksiz. Musiki ile \u015fiir bu g\u00fcn bile birbiriyle \u00e7ok yak\u0131n iki vadi olarak su ta\u015f\u0131rlar sanat\u0131n umman\u0131na. T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn, \u0130slam medeniyetinin edebiyat iklimine girmeden evvel de bir \u015fiiri vard\u0131 \u015f\u00fcphesiz. Elimize ula\u015fan k\u0131r\u0131k d\u00f6k\u00fck malzemenin yorumundan anlad\u0131\u011f\u0131m\u0131z \u015fudur: Eski T\u00fcrklerde \u015fiir \u201ckopuz\u201d adl\u0131 \u00e7alg\u0131 e\u015fli\u011finde s\u00f6ylenen \u201cy\u0131r\u201dlarla bir gelenek olu\u015fturmu\u015ftur. Bu gelenekte ozan, halk\u0131n bilicisi, yol g\u00f6stericisi, gaipten haber getiricisi ve ayin d\u00fczenleyicisidir. Yani \u015fiir mistik devinimlerin arac\u0131s\u0131d\u0131r. Bu gelene\u011fin \u00fcr\u00fcnlerinin \u00e7o\u011fu yaz\u0131ya ge\u00e7irilemedi\u011fi i\u00e7in maalesef g\u00fcn\u00fcm\u00fcze ta\u015f\u0131namam\u0131\u015ft\u0131r.
\nKlasik \u015eiir:
\nHer din h\u00e2kim oldu\u011fu co\u011frafyada bir medeniyetin olu\u015fumuna imza atar. \u0130slam dini de h\u00e2kim oldu\u011fu co\u011frafyalarda kendi ad\u0131n\u0131 ta\u015f\u0131yan medeniyete v\u00fccut vermi\u015ftir. Bu medeniyet \u00fc\u00e7 k\u00fclt\u00fcr\u00fcn \u0130slam iman\u0131yla harman edilmesinin eseridir. Bunlar Arap, Fars ve T\u00fcrk k\u00fclt\u00fcrleridirler. Her medeniyetin kendine \u00f6zg\u00fc sanat\u0131, her sanat gelene\u011finin de kendine \u00f6zg\u00fc bir edebiyat\u0131 vard\u0131r. Klasik \u0130slam edebiyat\u0131, Arap \u015fiir gelene\u011fine Fars mitolojisinin eklenmesiyle v\u00fccut buldu. Bu bi\u00e7imsel yap\u0131n\u0131n muhtevas\u0131 \u0130slam inan\u00e7lar\u0131 ve tasavvufla dolduruldu. \u00dc\u00e7 farkl\u0131 dilin, Arap\u00e7a, Fars\u00e7a ve T\u00fcrk\u00e7enin sesleriyle terenn\u00fcm edilen bu gelenek kalabal\u0131klara de\u011fil de se\u00e7kin \u201cidrak\u201dlere sundu \u00fcr\u00fcnlerini. Bu \u00f6zelli\u011fiyle ve ula\u015ft\u0131\u011f\u0131 estetik seviyeyle Klasik \u0130slam edebiyat\u0131n\u0131n d\u00fcnyan\u0131n ula\u015fabildi\u011fi en b\u00fcy\u00fck saf \u015fiir k\u00fclliyat\u0131 olarak alk\u0131\u015flamak \u015fiir sevdal\u0131s\u0131 b\u00fct\u00fcn y\u00fcreklerin g\u00f6revi. Ke\u015fke o gelene\u011fin seslerini yeterince ta\u015f\u0131yabilseydik modern zamanlara.
\nDeyi\u015f K\u00fclt\u00fcr\u00fc:
\n\u0130slam \u00f6ncesi d\u00f6nemin ozanlar\u0131 \u201ckopuz\u201d e\u015fli\u011finde \u015fiirler s\u00f6ylerlerdi. Bu \u015fiirin mistik \u00e2lemden sesler ta\u015f\u0131d\u0131\u011f\u0131na, b\u00fcy\u00fck hakikatleri seslendirdi\u011fine, ozanlar\u0131n kutsal ki\u015filer oldu\u011funa inan\u0131l\u0131rd\u0131. Bu inan\u00e7 \u0130slam medeniyeti dairesi i\u00e7erisinde yeni bir k\u0131vam ve \u00fcslup geli\u015ftirdi. Anadolu\u2019da Alevilik ad\u0131n\u0131 alan ve Eski T\u00fcrk k\u00fclt\u00fcr ve inan\u00e7lar\u0131yla \u0130slam mistizminin kayna\u015fmas\u0131ndan olu\u015fan gelenek, ozanlara yeni bir i\u015flev tan\u0131mlad\u0131. Anadolu\u2019da v\u00fccut bulan T\u00fcrk \u015fiirinin \u00f6nemli bir halkas\u0131 olarak hala s\u00fcren bu gelenek, inanc\u0131 yorumlamak ve kitlelere ta\u015f\u0131makla g\u00f6revli didaktik ama lirik hazlarla y\u00fckl\u00fc bir \u015fiir t\u00fcr\u00fc olu\u015fturdu.
\nBat\u0131dan Do\u011fan G\u00fcne\u015f:
\n\u0130bni Haldun, k\u00fclt\u00fcr ve devletlerin insanlar gibi gen\u00e7lik, olgunluk ve ihtiyarl\u0131k \u00e7a\u011flar\u0131 ya\u015fad\u0131klar\u0131n\u0131 s\u00f6yler. Genelde Do\u011fu, \u00f6zelde \u0130slam medeniyeti i\u00e7in 16. as\u0131rdan itibaren zeval ba\u015flar. Bu Do\u011fu\u2019nun ihtiyarl\u0131\u011f\u0131ndan m\u0131d\u0131r, yoksa oyunu kural\u0131na g\u00f6re oynayamad\u0131\u011f\u0131ndan m\u0131 bilinmez. Bilinen \u015fudur ki 18. as\u0131rdan itibaren Bat\u0131\u2019n\u0131n de\u011ferleri ve hayat motifleri Do\u011fu\u2019yu istilaya ba\u015flad\u0131. Askeri, teknolojik ve ekonomik \u00fcst\u00fcnl\u00fc\u011f\u00fcn pe\u015fi s\u0131ra fikir ve sanat alanlar\u0131nda da Bat\u0131, Do\u011fu\u2019ya galip ilan edildi. T\u00fcrk \u015fiiri Tanzimat\u2019la birlikte bat\u0131n\u0131n de\u011ferlerine ve ya\u015fam bi\u00e7imine a\u00e7t\u0131 dizelerini. \u0130\u015fte bu devre \u015fiirin \u201cfikrin hamal\u0131\u201d yap\u0131lmas\u0131 t\u00fcr\u00fcnden bir yanl\u0131\u015f\u0131 da ta\u015f\u0131d\u0131 \u015fiir gelene\u011fimize. \u015eair fikir adam\u0131d\u0131r art\u0131k. Toplumu de\u011fi\u015ftirmek ve d\u00f6n\u00fc\u015ft\u00fcrmekle vazifelidir. \u015eiir ile d\u00fczyaz\u0131n\u0131n yollar\u0131 kesi\u015fmeye ba\u015flar bu d\u00f6nemle birlikte. Bu ikilem, \u015fiirin dili ve bi\u00e7imi tart\u0131\u015fmalar\u0131n\u0131 ba\u015flat\u0131r. Ve bu tart\u0131\u015fma \u015fiirin var oldu\u011fu b\u00fct\u00fcn zeminlerin de\u011fi\u015fmez tart\u0131\u015fma mevzuu olur \u00e7\u0131kar.
\n\u015eiirin Milad\u0131:
\nModern T\u00fcrk \u015fiirinin ilk izleri Tanzimat\u2019ta aran\u0131r hep. Ama modern \u015fiir bizde me\u015frutiyetle ba\u015flat\u0131lmal\u0131d\u0131r. Tanzimat\u00e7\u0131lar\u0131n muhtevaya soktuklar\u0131 birka\u00e7 Bat\u0131l\u0131 kavram \u015fiiri farkl\u0131la\u015ft\u0131rm\u0131\u015ft\u0131r ama yeni bir \u015fiir olgusundan bahsetmek i\u00e7in Servet-i F\u00fcnun\u2019u beklemek laz\u0131md\u0131r. Fikret, gelene\u011fin bi\u00e7im kal\u0131plar\u0131n\u0131 zorlayarak \u015fiiri yeni boyutlara ta\u015f\u0131maya ba\u015flar. Onun ve d\u00f6nem arkada\u015flar\u0131n\u0131n elinde \u015fiirin m\u0131sralar\u0131 ressam\u0131n f\u0131r\u00e7alar\u0131na d\u00f6nerler. \u015eiir kelimelerle \u00e7izilen bir resim olup \u00e7\u0131kar.
\nSaf \u015eiir:
\nT\u00fcrk \u015fiirinde gelenekle yeniyi harmanlay\u0131p yeni bir ses olu\u015fturanlar Ahmet Ha\u015fim ile Yahya Kemal\u2019dir. Ger\u00e7ek \u015fiir, saf \u015fiirdir. \u201cFikrin adresi d\u00fcz yaz\u0131, duygu ve co\u015fkunun mek\u00e2n\u0131 \u015fiir\u201d diyerek T\u00fcrk \u015fiirine yeni ve ger\u00e7ek bir ivme kazand\u0131ran iki b\u00fcy\u00fck sanatk\u00e2r Yahya Kemal Beyatl\u0131 ve Ahmet Ha\u015fim. \u0130ki \u015fair de e\u011filimleri, s\u00fcrd\u00fcrd\u00fckleri tarz ve getirdikleri yenilikler ile \u00e7a\u011fda\u015f T\u00fcrk \u015fiirinin ana istikametini \u00e7izerler. Yahya Kemal, gelene\u011fi Bat\u0131 \u015fiiri ile birle\u015ftirir; Ahmet Ha\u015fim, gelene\u011fin mazmunlar\u0131n\u0131 da yads\u0131madan dil ve anlat\u0131mda imgeyi \u00f6ne \u00e7\u0131kar\u0131r ve saf \u015fiirin en s\u0131cak \u00fcr\u00fcnlerini sunar. Sonraki y\u0131llarda \u00c7a\u011fda\u015f T\u00fcrk \u015fiirinin onlarla ba\u015flayan, giderek de a\u00e7\u0131mlanan bu kanalda geli\u015fti\u011fini g\u00f6zleriz. \u0130ki \u015fairin a\u00e7t\u0131\u011f\u0131 yoldan Ahmet Hamdi Tanp\u0131nar ve Asaf Halet \u00c7elebi yol al\u0131rlar.
\nS\u00f6z\u00fcn Hecesi:
\nCumhuriyet’in kurulu\u015fu arifesinde millilik ve milli romantik duyu\u015f tarzlar\u0131 \u015fiirde yeni olu\u015fumlar\u0131n \u00f6n\u00fcn\u00fc a\u00e7ar. Hecenin Be\u015f \u015eairi, halk \u015fiiri gelene\u011fini Bat\u0131 tarz\u0131 \u015fiirle birle\u015ftirir. \u015eiire milli bir vazife y\u00fckleyen bu anlay\u0131\u015f saf \u015fiir gelene\u011finden fazla uzakla\u015fmaz. “Konu\u015fulan g\u00fczel T\u00fcrk\u00e7eyi yaz\u0131 dili seviyesine y\u00fckselten” Hececiler; Ziya G\u00f6kalp ve \u00d6mer Seyfettin’lerin ba\u015flatt\u0131klar\u0131 “Yeni Lisan” anlay\u0131\u015f\u0131n\u0131n etkisiyle, Osmanl\u0131 T\u00fcrk\u00e7esini ar\u0131nd\u0131rarak yeni bir \u015fiir dili kurmaya y\u00f6nelirler. Hececilerin a\u00e7t\u0131\u011f\u0131 yol as\u0131l ivmesini 1920’li y\u0131llarda al\u0131r. Ahmet Hamdi, Kemalettin Kamu, Ahmet Kutsi, Necip Faz\u0131l hi\u00e7bir ak\u0131ma ba\u011fl\u0131 olmaks\u0131z\u0131n, ilk \u00fcr\u00fcnlerini bu s\u00fcre\u00e7te verirler.
\nK\u00fcrs\u00fcye \u00c7\u0131kan \u015eiir:
\nModern T\u00fcrk \u015fiir anlay\u0131\u015flar\u0131ndan en etkilisi hi\u00e7 ku\u015fkusuz \u00f6nc\u00fcl\u00fc\u011f\u00fcn\u00fc Naz\u0131m Hikmet\u2019in yapt\u0131\u011f\u0131 toplumcu ger\u00e7ek\u00e7iliktir. Naz\u0131m Hikmet\u2019le birlikte ideolojinin silah\u0131n\u0131 ku\u015fanan militan bir \u015fiir arz-\u0131 endam eder edebiyat\u0131m\u0131z\u0131n sokaklar\u0131nda. Sosyalist ak\u0131m toplumu d\u00f6n\u00fc\u015ft\u00fcrmek ve s\u0131n\u0131flar aras\u0131 \u00e7at\u0131\u015fman\u0131n malzemesi yapmak \u00fczere \u015fiire yeni bir muhteva ekler. N\u00e2z\u0131m Hikmet’in tutuklanmas\u0131, Tek Parti iktidar\u0131n\u0131n bask\u0131c\u0131 y\u00f6netimi ve d\u00fcnyay\u0131 saran Sosyalizm r\u00fczg\u00e2rlar\u0131n\u0131n etkisiyle toplumcu \u015fiir g\u00fc\u00e7lenir.
\nGarib\u2019in Garabeti:
\nOrhan Veli, Oktay Rifat ve Melih Cevdet, 1937-38’den sonra yazd\u0131klar\u0131 \u015fiirleri Garip (1941) adl\u0131 ortak kitapta toplarlar. Orhan Veli’nin kitab\u0131n \u00f6ns\u00f6z\u00fcndeki yaz\u0131s\u0131 T\u00fcrk \u015fiirinde naz\u0131m-nesir tart\u0131\u015fmalar\u0131n\u0131 alevlendirir. \u015eiirle d\u00fczyaz\u0131 birbirine girer. \u015eiiri gelene\u011finden koparan bu ak\u0131ma i\u00e7erdi\u011fi yenilikten m\u00fclhem olarak I. Yeni Hareketi ad\u0131 verilir. \u015eiiri \u00f6l\u00e7\u00fc ve kafiyenin esaretinden kurtarmay\u0131 ama\u00e7layan bu hareket, \u015fiiri kitlelere ta\u015f\u0131r ve her okuyan\u0131n anlayabilece\u011fi k\u0131vama getirir. Bu durum kimilerine g\u00f6re bir terfi, kimilerine g\u00f6re tenzil-i r\u00fctbedir.
\n\u015eairin Vaaz\u0131:
\nToplumcular, \u015fiiri sosyalist ideolojinin arac\u0131s\u0131 yapt\u0131lar. \u015eiirin ideolojisinin olmas\u0131 tart\u0131\u015f\u0131labilir bir durumdur ama Naz\u0131m\u2019la bir seviye yakalayan toplumcu gelenek, onun ard\u0131ndan sadece fikri say\u0131klamalar i\u00e7eren kuru ve kof bir \u015fiire a\u00e7t\u0131 kap\u0131lar\u0131n\u0131. \u015eiir s\u0131k\u0131lan yumruklar\u0131n ard\u0131nca at\u0131lan nutuklar\u0131n s\u00fcs\u00fcyd\u00fc art\u0131k. Kitleleri b\u00fcy\u00fcleyen bir etkileme arac\u0131na d\u00f6nen \u015fiiri kendi ideolojileri i\u00e7in de kullanmak gerekti\u011fini hisseden \u201c\u0130slamc\u0131\u201d ak\u0131m Necip Faz\u0131l \u00f6nderli\u011finde yeni bir \u015fiir tasar\u0131m\u0131 sundu idraklere. \u015eair k\u00fcrs\u00fcde cemaate seslenen bir vaiz, \u015fiir etkili bir vaazd\u0131r art\u0131k. Tek Parti d\u00f6neminde devletten d\u0131\u015flanan, yasaklar\u0131n g\u00f6lgesinde kal\u0131p sindirilen \u201cM\u00fcsl\u00fcman\u201d kitle dini terminoloji ve mecazlarla \u00f6r\u00fcl\u00fc yeni bir \u015fiir iklimi kurdu. Necip Faz\u0131l\u2019la ba\u015flayan bu gelenek Sezai Karako\u00e7\u2019la tezi olan ama esteti\u011fi ihmal etmeyen, gelene\u011fin d\u00fcnyas\u0131n\u0131 \u00e7a\u011fda\u015f zamanlara ta\u015f\u0131may\u0131 ama\u00e7layan bir ak\u0131ma d\u00f6n\u00fc\u015f\u00fcverdi.
\nYeninin Yenisi:
\n1950\u2019den ba\u015flayarak gen\u00e7 ku\u015fak \u015fairleri yeni bir \u015fiir dili olu\u015fturdular. Garip ak\u0131m\u0131n\u0131n \u015feklen devamc\u0131s\u0131 gibi duran bu yeni ak\u0131m imgeleri ve s\u0131ra d\u0131\u015f\u0131 diliyle yeni bir sestir. ‘\u0130kinci Yeni’ ilkeleri, kurallar\u0131 ve ortak bir d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ile bi\u00e7imlendirilmi\u015f bir ak\u0131m de\u011fildir. \u0130kinci Yeni, Garip ak\u0131m\u0131yla olu\u015fturulan yeni \u015fiirin \u00fczerine gelen, imgeleri ve \u015fiir diliyle yava\u015f yava\u015f farkl\u0131la\u015fan \u015fairleri adland\u0131rmak i\u00e7in kullan\u0131lan bir kavramd\u0131r. Oktay Rifat, \u0130lhan Berk, Turgut Uyar, Edip Cansever, Ece Ayhan, Cemal S\u00fcreya, Sezai Karako\u00e7, \u00dclk\u00fc Tamer gibi isimleri bir ak\u0131m\u0131n \u00fcyeleri gibi g\u00f6rmek yanl\u0131\u015ft\u0131r. \u015eiir dilleri benzese de d\u00fcnya g\u00f6r\u00fc\u015fleri aras\u0131nda bir birlik yoktur. B\u00fcy\u00fck fikirleri de\u011fil de anl\u0131k yo\u011funluklar\u0131 anlatan bir \u015fiir kurgusudur ak\u0131m\u0131n ana rengi.
\nGelene\u011fin Hamaseti:
\nGelene\u011fi h\u0131rpalayan ve d\u0131\u015flayan \u015fiir anlay\u0131\u015f\u0131 gelene\u011fi savunan ve y\u00fccelten bir tepkiyi olu\u015fturmakta gecikmedi. Yedig\u00fcn, \u0130stanbul, \u00c7\u0131naralt\u0131, T\u00fcrk Edebiyat\u0131 gibi dergiler ger\u00e7ek \u015fiirin gelenekten beslenmesi gerekti\u011fini d\u00fc\u015f\u00fcnen \u015fairlere a\u00e7t\u0131 sayfalar\u0131n\u0131. Gelenek\u00e7i \u015fiiri bir ak\u0131ma d\u00f6n\u00fc\u015ft\u00fcren ve ciddiye al\u0131nacak bir \u015fiir vadisi in\u015fa eden dergi Hisar\u2019d\u0131r. Sanat\u00e7\u0131n\u0131n ideolojilerden ba\u011f\u0131ms\u0131z ama milli kimli\u011fi temsille vazifeli oldu\u011funu d\u00fc\u015f\u00fcnen \u015fairlerden olu\u015ftu Hisar\u2019\u0131n gelenek\u00e7i ak\u0131m\u0131.
\n68 Ku\u015fa\u011f\u0131
\nAmerika\u2019dan ba\u015flay\u0131p b\u00fct\u00fcn Avrupa\u2019y\u0131 saran 1968 \u00f6\u011frenci ayaklanmalar\u0131, i\u015f\u00e7i hareketleriyle birle\u015ferek b\u00fct\u00fcn d\u00fcnyada etkin bir g\u00fcce d\u00f6n\u00fc\u015f\u00fcr. T\u00fcrkiye\u2019de de kendilerini gen\u00e7lik hareketleri i\u00e7inde bulan, giderek de dergiler \u00e7evresinde k\u00fcmelenen \u015fairler yeni bir ku\u015fak olarak \u00e7\u0131karlar kar\u015f\u0131m\u0131za. De\u011fi\u015fim, D\u00f6nem, Evrim, Alan 67, Yeni Ger\u00e7ek, Ata\u00e7, \u015eiir Saati, Yordam, Devinim, Yelken, Ant, Y\u00f6n, Halk\u0131n Dostlar\u0131, T\u00fcrk Solu\u2026 Onlar\u0131n bulu\u015ftuklar\u0131, \u015fiirlerini yay\u0131mlay\u0131p, d\u00fc\u015f\u00fcncelerini ilettikleri dergilerdir.
\n\u015eiirin Popu
\n1970’lerde ba\u015flayan 80 ihtilaliyle h\u0131zlanan ve g\u00fcn\u00fcm\u00fczde de ak\u0131p giden s\u00fcre\u00e7 T\u00fcrk \u015fiirinin olu\u015fum \u00e7izgisinde kal\u0131c\u0131 olamayan farkl\u0131 e\u011filimlerin, farkl\u0131 y\u00f6nelimlerin kavga g\u00fcr\u00fclt\u00fcleri aras\u0131nda kaybolmas\u0131yla ge\u00e7ti. Bu s\u00fcre\u00e7te yeni bir \u015fiir ku\u015fa\u011f\u0131n\u0131n olu\u015fumundan s\u00f6z etmek m\u00fcmk\u00fcn de\u011fil. Pop\u00fcler k\u00fclt\u00fcr\u00fcn etkisi, 12 Eyl\u00fcl’le ya\u015fan\u0131lan \u00e7\u00f6z\u00fclme, yozla\u015fma, \u015fiirin geli\u015fme kanallar\u0131n\u0131 t\u0131kad\u0131. E\u015fyaya mahk\u00fbm hayatlar\u0131n esiri olan \u00e7a\u011fda\u015f insan \u015fiirden uzakla\u015ft\u0131. Seksenden sonra \u015fiir dergilerinin, yay\u0131nlanan \u015fiirlerin ve \u015fiir kitaplar\u0131n\u0131n say\u0131s\u0131nda bir d\u00fc\u015f\u00fc\u015f ya\u015fanmad\u0131. Deyim yerindeyse ‘\u015fiir enflasyonu’ ya\u015fan\u0131lan bir s\u00fcre\u00e7. Bu s\u00fcreci bir aray\u0131\u015f d\u00f6nemi olarak nitelendirmek gerekiyor.
\nSon S\u00f6z Niyetine:
\nPop\u00fcler k\u00fclt\u00fcr\u00fcn \u00f6rg\u00fctledi\u011fi t\u00fcketim toplumunda sanat \u00fcr\u00fcn\u00fc de piyasa mal\u0131 olup kald\u0131. \u015eiir gelene\u011fini ve yeni seslerini ar\u0131yor art\u0131k. Belki yeni bir medeniyet \u00f6nermesiyle birlikte yeni bir \u015fiir ak\u0131m\u0131n\u0131n da sanc\u0131s\u0131n\u0131 \u00e7ekiyor toplum. Yar\u0131n\u0131n ufuklar\u0131nda yeni \u015fiir sesleri duymaktan yana \u00fcmidimizi yitirdik mi? Bu soruya menfi ya da m\u00fcspet bir cevap vermek i\u00e7in hen\u00fcz erken. S\u0131\u011fla\u015fan hayatlar\u0131m\u0131z yeniden derinle\u015firse, k\u00fclt\u00fcrs\u00fcz beton y\u0131\u011f\u0131nlar\u0131na d\u00f6nen \u015fehirlerimiz, kimlik aray\u0131\u015f\u0131n\u0131 olumlu bir neticeye ba\u011flarsa yeni ve g\u00fc\u00e7l\u00fc bir \u015fiir i\u00e7in \u00fcmit besleyebiliriz.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u015eiirsiz topluluk d\u00fc\u015f\u00fcn\u00fclemez. Her milletin, k\u00fclt\u00fcr\u00fcn\u00fc olu\u015fturdu\u011fu tarihi s\u00fcre\u00e7le m\u00fctenasip, bir \u015fiir gelene\u011fi var. S\u00f6z\u00fc \u015fiire d\u00f6n\u00fc\u015ft\u00fcrerek derinle\u015ftirmek, yo\u011funla\u015ft\u0131rmak ve dilin \u00f6tesine ta\u015f\u0131rmak insan\u0131n ayr\u0131cal\u0131\u011f\u0131. Binlerce y\u0131ll\u0131k muhte\u015fem bir maziye sahip olan T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fcn de kendine \u00f6zg\u00fc bir \u015fiir gelene\u011fi var \u015f\u00fcphesiz. Turfan harabelerinden \u00e7\u0131kar\u0131lm\u0131\u015f iki \u015fiiriyle ad\u0131n\u0131 g\u00fcn\u00fcm\u00fcze ta\u015f\u0131m\u0131\u015f ilk \u015fairimiz olan Apr\u0131n\u00e7ur Ti\u011fin\u2019den […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[],"class_list":["post-25823","post","type-post","status-publish","format-standard","hentry","category-kumbet"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/25823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=25823"}],"version-history":[{"count":4,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/25823\/revisions"}],"predecessor-version":[{"id":25960,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/25823\/revisions\/25960"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=25823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=25823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=25823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}