{"id":52688,"date":"2026-08-11T06:00:00","date_gmt":"2026-08-11T02:00:00","guid":{"rendered":"https:\/\/edebiyyat-az.com\/?p=52688"},"modified":"2026-08-11T12:00:50","modified_gmt":"2026-08-11T08:00:50","slug":"unudulan-tarix-danisan-yaddas-yovsan-qagayilar-ilah%c9%99-seferzade","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=52688","title":{"rendered":"Unudulan tarix, dan\u0131\u015fan yadda\u015f: “Yov\u015fan qa\u011fay\u0131lar”\u00a0– \u0130lah\u0259 S\u018fF\u018fRZAD\u018f"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Ke\u00e7mi\u015find\u0259n he\u00e7 vaxt qa\u00e7a bilm\u0259y\u0259c\u0259ks\u0259n. O s\u0259ni b\u00fct\u00fcn h\u0259yat\u0131n boyu izl\u0259y\u0259c\u0259k.<\/em><\/p>\n\n\n\n

Balzak<\/em><\/strong><\/p>\n\n\n\n

\u0130nsan ke\u00e7mi\u015f\u0259 niy\u0259 qay\u0131d\u0131r? \u0130tirdiyini tapmaq, yoxsa g\u0259l\u0259c\u0259yini xilas etm\u0259k \u00fc\u00e7\u00fcn? B\u0259z\u0259n el\u0259 olur ki, ke\u00e7mi\u015f insan\u0131n daxilind\u0259 susmadan ya\u015fayan bir s\u0259s\u0259 \u00e7evrilir. O s\u0259s ill\u0259rl\u0259 cavab\u0131 tap\u0131la bilm\u0259y\u0259n suallar\u0131n, yar\u0131m\u00e7\u0131q qalm\u0131\u015f talel\u0259rin, gizl\u0259dilmi\u015f h\u0259qiq\u0259tl\u0259rin s\u0259sidir. El\u00e7in H\u00fcseynb\u0259ylinin “Yov\u015fan qa\u011fay\u0131lar” roman\u0131 da m\u0259hz bu s\u0259sin ard\u0131nca ged\u0259n \u0259s\u0259rl\u0259rd\u0259n biridir. M\u00fc\u0259llif oxucunu ke\u00e7mi\u015f\u0259 aparmaq niyy\u0259tind\u0259 deyil. Ke\u00e7mi\u015f taley\u0259 \u00e7evril\u0259r\u0259k insan\u0131n qar\u015f\u0131s\u0131na \u00e7\u0131x\u0131r. Frans\u0131z sosioloqu Moris Halbvaks\u0131n kollektiv yadda\u015f konsepsiyas\u0131na g\u00f6r\u0259 insan ke\u00e7mi\u015fini f\u0259rdi \u015f\u0259kild\u0259 deyil, c\u0259miyy\u0259t daxilind\u0259 xat\u0131rlay\u0131r. Romanda q\u0259hr\u0259man\u0131n babas\u0131n\u0131n izi il\u0259 ba\u015flad\u0131\u011f\u0131 yol da bir n\u0259slin, h\u0259tta b\u00fct\u00f6v bir xalq\u0131n \u00f6z yadda\u015f\u0131na do\u011fru yol\u00e7ulu\u011fudur. \u018fs\u0259r ilk bax\u0131\u015fdan bir ail\u0259nin, bir k\u0259ndin tarixini n\u0259ql ets\u0259 d\u0259, \u0259slind\u0259, yaz\u0131\u00e7\u0131 yadda\u015f\u0131n\u0131 itirm\u0259k t\u0259hl\u00fck\u0259si il\u0259 \u00fcz-\u00fcz\u0259 qalan xalq\u0131n taleyind\u0259n dan\u0131\u015f\u0131r.<\/p>\n\n\n\n

Roman\u0131n diqq\u0259t\u00e7\u0259k\u0259n x\u00fcsusiyy\u0259tl\u0259rind\u0259n biri yadda\u015f fenomeninin milli varl\u0131\u011f\u0131n \u0259sas daya\u011f\u0131 kimi t\u0259qdim edilm\u0259sidir. M\u00fc\u0259llif ke\u00e7mi\u015fi nostalji hissl\u0259rl\u0259 xat\u0131rlam\u0131r, onun bu g\u00fcn\u00fc anlama\u011f\u0131n v\u0259 g\u0259l\u0259c\u0259yi qoruma\u011f\u0131n yegan\u0259 yolu oldu\u011funa inan\u0131r. Romanda tez-tez rast g\u0259lin\u0259n baba, n\u0259n\u0259, k\u00f6hn\u0259 k\u0259nd, yov\u015fan, d\u0259ri kis\u0259, k\u00f6hn\u0259 \u00e7\u0259km\u0259 kimi detallar\u0131n h\u0259r biri xalq\u0131n yadda\u015f\u0131n\u0131 da\u015f\u0131yan r\u0259mzl\u0259rdir. \u018fs\u0259rin emosional y\u00fck\u00fcn\u00fc art\u0131ran c\u0259h\u0259tl\u0259rd\u0259n biri d\u0259 u\u015faq bax\u0131\u015f\u0131d\u0131r. Babas\u0131n\u0131n \u00f6l\u00fcm\u00fcn\u00fc anlama\u011fa \u00e7al\u0131\u015fan u\u015fa\u011f\u0131n sad\u0259 suallar\u0131 tarixi m\u0259qamlar \u00fcz\u0259rind\u0259 yenid\u0259n d\u00fc\u015f\u00fcnm\u0259y\u0259 vadar edir.<\/p>\n\n\n\n

Jan Assmann\u0131n m\u0259d\u0259ni yadda\u015f n\u0259z\u0259riyy\u0259sin\u0259 g\u00f6r\u0259, mill\u0259tl\u0259rin varl\u0131\u011f\u0131n\u0131 qoruyan \u0259sas amil ortaq xatir\u0259l\u0259r v\u0259 simvollard\u0131r. Roman boyunca Az\u0259rbaycan insan\u0131n\u0131n milli-m\u0259n\u0259vi d\u00fcnyas\u0131 m\u00fcxt\u0259lif \u00e7alarlarla t\u0259qdim edilir, Novruz bayram\u0131n\u0131n t\u0259sviri x\u00fcsusi diqq\u0259t \u00e7\u0259kir. Bayram\u0131n zahiri atributlar\u0131ndan \u00e7ox, onun insanlar\u0131 bir araya g\u0259tir\u0259n m\u0259n\u0259vi g\u00fcc\u00fc \u00f6n plana \u00e7\u0131x\u0131r. Tonqal \u0259traf\u0131nda yaranan birlik hissi oxucuya xalq\u0131n ya\u015famas\u0131n\u0131n ortaq yadda\u015f v\u0259 ortaq sevincl\u0259rl\u0259 m\u00fcmk\u00fcn oldu\u011funu xat\u0131rlad\u0131r. H\u0259m\u00e7inin q\u0131z qa\u00e7\u0131r\u0131lmas\u0131, qan davas\u0131, namus-qeyr\u0259t anlay\u0131\u015f\u0131 m\u00fc\u0259llif t\u0259r\u0259find\u0259n xalq\u0131n xarakterini g\u00f6st\u0259rm\u0259k \u00fc\u00e7\u00fcn i\u015fl\u0259dilir. Yaz\u0131\u00e7\u0131 bu d\u0259y\u0259rl\u0259rin insan taleyini nec\u0259 formala\u015fd\u0131rd\u0131\u011f\u0131n\u0131, b\u0259z\u0259n qoruyub, b\u0259z\u0259n d\u0259 faci\u0259y\u0259 \u00e7evirdiyini ifad\u0259 edir.<\/p>\n\n\n\n

El\u00e7in H\u00fcseynb\u0259yli folklor yadda\u015f\u0131ndan da b\u0259hr\u0259l\u0259nir. Na\u011f\u0131l motivl\u0259ri, mifoloji i\u015far\u0259l\u0259r, Simurq obraz\u0131, “N\u0259hl\u0259t da\u015f\u0131” haqq\u0131nda r\u0259vay\u0259tl\u0259r roman\u0131n b\u0259dii qat\u0131n\u0131 z\u0259nginl\u0259\u015fdirir. M\u00fc\u0259llif ke\u00e7mi\u015fi m\u00fcasir insan\u0131n d\u00fc\u015f\u00fcnc\u0259sin\u0259 uy\u011fun \u015f\u0259kild\u0259 yenid\u0259n yozur. Folklor motivl\u0259ri is\u0259 romanda hadis\u0259l\u0259rin m\u0259nas\u0131n\u0131 \u00fcz\u0259 \u00e7\u0131xaran \u0259sas a\u00e7arlardand\u0131r. \u018fs\u0259rd\u0259 diqq\u0259t \u00e7\u0259k\u0259n ba\u015fqa bir m\u0259qam is\u0259 v\u0259t\u0259n anlay\u0131\u015f\u0131n\u0131n t\u0259qdimat\u0131d\u0131r. M\u00fc\u0259llif qa\u011fay\u0131 obraz\u0131 vasit\u0259sil\u0259 maraql\u0131 m\u00fcqayis\u0259 yarad\u0131r. Ac qalsa da, do\u011fma sahild\u0259n ayr\u0131lmayan qu\u015flarla rahat h\u0259yat namin\u0259 v\u0259t\u0259nini t\u0259rk ed\u0259n insanlar aras\u0131nda gizli paralel qurulur. Bu m\u00fcqayis\u0259 oxucunu v\u0259t\u0259nin “bizi biz ed\u0259n” yadda\u015f oldu\u011funu d\u00fc\u015f\u00fcnm\u0259y\u0259 vadar edir. Romanda yer alan simvollardan biri d\u0259 atd\u0131r. T\u00fcrk m\u0259d\u0259niyy\u0259tind\u0259 at h\u0259mi\u015f\u0259 s\u0259daq\u0259tin, g\u00fcc\u00fcn v\u0259 yol yolda\u015fl\u0131\u011f\u0131n\u0131n r\u0259mzi olub. M\u00fc\u0259llif bu q\u0259dim simvola yeni m\u0259na qazand\u0131raraq onu ke\u00e7mi\u015fl\u0259 bu g\u00fcn aras\u0131nda dan\u0131\u015fan canl\u0131 \u015fahid\u0259 \u00e7evirir. Baban\u0131n at\u0131 tarixin dilidir. Onun dan\u0131\u015fd\u0131\u011f\u0131 h\u0259r c\u00fcml\u0259 unudulmu\u015f bir d\u00f6vr\u00fcn n\u0259f\u0259sini oxucuya \u00e7atd\u0131r\u0131r.<\/p>\n\n\n\n

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

\u018fs\u0259rin maraql\u0131 x\u00fcsusiyy\u0259tl\u0259rind\u0259n biri d\u0259 zaman anlay\u0131\u015f\u0131na m\u00fcnasib\u0259tdir. Romanda hadis\u0259l\u0259r klassik ard\u0131c\u0131ll\u0131qla inki\u015faf etmir. Ke\u00e7mi\u015f v\u0259 indiki zaman bir-birin\u0259 qar\u0131\u015f\u0131r, xatir\u0259 il\u0259 ger\u00e7\u0259klik eyni m\u0259kanda ya\u015fay\u0131r. Yaz\u0131\u00e7\u0131 bununla, yadda\u015f \u00fc\u00e7\u00fcn zaman anlay\u0131\u015f\u0131n\u0131n \u015f\u0259rti oldu\u011funu ifad\u0259 edir. \u0130nsan ke\u00e7mi\u015fd\u0259n he\u00e7 vaxt tam ayr\u0131lm\u0131r; ke\u00e7mi\u015f daim onun d\u00fc\u015f\u00fcnc\u0259sind\u0259, se\u00e7iml\u0259rind\u0259 v\u0259 taleyind\u0259 ya\u015fay\u0131r. Ke\u00e7mi\u015f v\u0259 indiki zaman\u0131n eyni t\u0259hkiy\u0259 m\u00fcst\u0259visind\u0259 qovu\u015fmas\u0131 qeyri-xronoloji t\u0259hkiy\u0259 prinsipini formala\u015fd\u0131r\u0131r. Bu x\u00fcsusiyy\u0259t yadda\u015f poetikas\u0131na \u0259saslanaraq, psixoloji zaman modelini \u00f6n plana \u00e7\u0131xar\u0131r v\u0259 \u0259s\u0259ri modernist roman estetikas\u0131na, x\u00fcsusil\u0259, Marsel Prust v\u0259 Uilyam Folknerin zaman konsepsiyas\u0131 il\u0259 s\u0259sl\u0259\u015fdirir. Marsel Prustun “\u0130tirilmi\u015f zaman\u0131n axtar\u0131\u015f\u0131nda” \u0259s\u0259rind\u0259 yadda\u015f\u0131n zaman \u00fcz\u0259rind\u0259 qurdu\u011fu estetikaya yax\u0131nla\u015f\u0131r. Prust \u00fc\u00e7\u00fcn ke\u00e7mi\u015f xat\u0131rlananda yenid\u0259n ya\u015fan\u0131rsa, El\u00e7in H\u00fcseynb\u0259ylid\u0259 d\u0259 yadda\u015f hadis\u0259l\u0259rini xronoloji ard\u0131c\u0131ll\u0131qdan \u00e7\u0131xararaq onlar\u0131 daim ya\u015fayan m\u0259n\u0259vi ger\u00e7\u0259kliy\u0259 \u00e7evirir.<\/p>\n\n\n\n

M\u00fc\u0259llif yadda\u015f\u0131n itirilm\u0259sini t\u0259hl\u00fck\u0259li ictimai proses kimi t\u0259qdim edir. \u0130nsan \u00f6z tarixini, k\u00f6k\u00fcn\u00fc v\u0259 milli kimliyini unutduqda onu idar\u0259 etm\u0259k, ona saxta h\u0259qiq\u0259tl\u0259r q\u0259bul etdirm\u0259k daha asan olur. Bu fikir \u0259s\u0259rin m\u00fcxt\u0259lif qatlar\u0131nda simvollar v\u0259 metaforalar vasit\u0259sil\u0259 ifad\u0259 edilir. Yadda\u015f\u0131n f\u0259rdi s\u0259viyy\u0259d\u0259 itirilm\u0259si t\u0259dric\u0259n kollektiv yadda\u015f\u0131n a\u015f\u0131nmas\u0131na \u00e7evrilir. N\u0259tic\u0259d\u0259, c\u0259miyy\u0259t \u00f6z tarixi t\u0259cr\u00fcb\u0259sind\u0259n qoparaq m\u0259n\u0259vi istiqam\u0259tini itirm\u0259k t\u0259hl\u00fck\u0259si il\u0259 \u00fcz-\u00fcz\u0259 qal\u0131r. Ke\u00e7mi\u015fin unudulmas\u0131 h\u0259m d\u0259 milli \u00f6z\u00fcn\u00fcd\u0259rkin z\u0259ifl\u0259m\u0259sin\u0259 s\u0259b\u0259b olan ictimai hadis\u0259dir. Roman\u0131n \u0259sas q\u0259hr\u0259man\u0131 da yadda\u015fd\u0131r. O, b\u0259z\u0259n n\u0259n\u0259nin yar\u0131m\u00e7\u0131q saxlad\u0131\u011f\u0131 bir c\u00fcml\u0259d\u0259, b\u0259z\u0259n k\u00f6hn\u0259 sand\u0131\u011f\u0131n dibind\u0259 qalm\u0131\u015f bir ovuc yov\u015fanda, b\u0259z\u0259n d\u0259 sahibini \u00e7oxdan itirmi\u015f d\u0259ri kis\u0259d\u0259 n\u0259f\u0259s al\u0131r. Romanda q\u0259hr\u0259man\u0131n babas\u0131n\u0131 axtarmas\u0131, \u0259slind\u0259, \u00f6z yadda\u015f\u0131n\u0131 axtarmas\u0131d\u0131r. “Yov\u015fan qa\u011fay\u0131lar”\u0131 f\u0259rql\u0259ndir\u0259n c\u0259h\u0259t d\u0259 m\u0259hz budur. Roman oxucunu hadis\u0259l\u0259rin ard\u0131nca aparm\u0131r, onu yadda\u015f\u0131n qatlar\u0131na endirir. H\u0259r yeni epizod, h\u0259r \u0259\u015fya, h\u0259r xatir\u0259 bir sual do\u011furur: insan ke\u00e7mi\u015fini unudanda do\u011frudanm\u0131 ke\u00e7mi\u015f onu unudur? El\u00e7in H\u00fcseynb\u0259yli bu suala birba\u015fa cavab vermir. O, roman boyu unudulan tarixin yox olmad\u0131\u011f\u0131n\u0131, taley\u0259 \u00e7evril\u0259r\u0259k geri qay\u0131td\u0131\u011f\u0131n\u0131 t\u0259svir edir. M\u0259hz buna g\u00f6r\u0259 “Yov\u015fan qa\u011fay\u0131lar”\u0131 yaln\u0131z tarixi hadis\u0259l\u0259rd\u0259n b\u0259hs ed\u0259n roman kimi oxumaq \u0259s\u0259rin b\u0259dii-f\u0259ls\u0259fi y\u00fck\u00fcn\u00fc ki\u00e7iltm\u0259k olard\u0131. <\/p>\n\n\n\n

M\u00fc\u0259llif roman\u0131n ilk s\u0259hif\u0259l\u0259rind\u0259n oxucunu adi xatir\u0259l\u0259r al\u0259min\u0259 aparmadan yadda\u015f\u0131n anatomiyas\u0131n\u0131 a\u00e7ma\u011fa \u00e7al\u0131\u015f\u0131r. Roman\u0131n u\u015faq q\u0259hr\u0259man\u0131n\u0131n israrla n\u0259n\u0259sind\u0259n “Babam\u0131 niy\u0259 \u00f6ld\u00fcrd\u00fcl\u0259r?” – dey\u0259 soru\u015fmas\u0131 bir ail\u0259 tarixini \u00f6yr\u0259nm\u0259k c\u0259hdind\u0259n ziyad\u0259 insan\u0131n \u00f6z ba\u015flan\u011f\u0131c\u0131n\u0131 axtarmas\u0131d\u0131r. N\u0259n\u0259nin h\u0259r d\u0259f\u0259 s\u00f6hb\u0259ti yar\u0131m\u00e7\u0131q saxlamas\u0131 is\u0259 b\u0259zi h\u0259qiq\u0259tl\u0259rin m\u0259hz dan\u0131\u015f\u0131lmad\u0131\u011f\u0131 \u00fc\u00e7\u00fcn yox olmad\u0131\u011f\u0131n\u0131 v\u0259 daha a\u011f\u0131r y\u00fck\u0259 \u00e7evrildiyini ifad\u0259 edir. Roman\u0131n m\u00fcxt\u0259lif qatlar\u0131nda u\u015faql\u0131q xatir\u0259l\u0259ri, baban\u0131n faci\u0259si, m\u00fcasir \u015f\u0259h\u0259r h\u0259yat\u0131 v\u0259 m\u0259hk\u0259m\u0259 s\u0259hn\u0259l\u0259ri bir-birin\u0259 qar\u0131\u015f\u0131r. \u0130lk bax\u0131\u015fda, bu fraqmentl\u0259r aras\u0131nda m\u0259saf\u0259 varm\u0131\u015f kimi g\u00f6r\u00fcn\u00fcr. Lakin oxucu ir\u0259lil\u0259dikc\u0259 anlay\u0131r ki, onlar\u0131 birl\u0259\u015fdir\u0259n g\u00f6r\u00fcnm\u0259z ip yadda\u015fd\u0131r.<\/p>\n\n\n\n

Roman\u0131n b\u0259dii tap\u0131nt\u0131lar\u0131ndan biri yadda\u015f\u0131n \u0259\u015fyalar vasit\u0259sil\u0259 dan\u0131\u015fd\u0131r\u0131lmas\u0131d\u0131r. K\u00f6hn\u0259 sand\u0131q, d\u0259ri kis\u0259, Qurani-K\u0259rim, qurumu\u015f yov\u015fan… M\u00fc\u0259llif t\u0259sad\u00fcf\u0259n m\u0259hz bu \u0259\u015fyalar\u0131 se\u00e7mir. Onlar roman\u0131n canl\u0131 personajlar\u0131d\u0131r. Sanki ill\u0259rl\u0259 susmu\u015f h\u0259qiq\u0259t \u0259\u015fyalar\u0131n yadda\u015f\u0131nda gizl\u0259nib. Q\u0259hr\u0259man\u0131n babas\u0131n\u0131n gen yadda\u015f\u0131na aparan yol da m\u0259hz h\u0259min \u0259\u015fyalardan ke\u00e7ir. \u018fs\u0259rin ad\u0131ndak\u0131 “yov\u015fan” v\u0259 “qa\u011fay\u0131” m\u0259fhumlar\u0131 da roman\u0131n poetik y\u00fck\u00fcn\u00fc da\u015f\u0131yan simvollardand\u0131r. Yov\u015fan t\u00fcrk yadda\u015f\u0131nda do\u011fma yurdun \u0259tri, qay\u0131d\u0131\u015f\u0131n v\u0259 kimliyin ni\u015fan\u0259sidir. Qa\u011fay\u0131 is\u0259 h\u0259mi\u015f\u0259 u\u00e7an, amma d\u00f6n\u0259c\u0259yi sahili unutmayan qu\u015fdur. M\u00fc\u0259llif bu iki f\u0259rqli m\u0259fhumu bir ad alt\u0131nda birl\u0259\u015fdir\u0259r\u0259k v\u0259t\u0259ni co\u011frafi m\u0259kan olmaqdan \u0259vv\u0259l yadda\u015f kimi t\u0259qdim edir. \u0130nsan is\u0259 onu itirdiyi g\u00fcn yurdunu da itirm\u0259y\u0259 ba\u015flay\u0131r.<\/p>\n\n\n\n

\u018fs\u0259rd\u0259 El\u00e7in H\u00fcseynb\u0259ylinin \u00f6z\u00fcn\u0259m\u0259xsus b\u0259dii dili d\u0259 diqq\u0259t\u00e7\u0259k\u0259n m\u0259qamlardand\u0131r. M\u0259tn boyunca publisistik d\u00fc\u015f\u00fcnc\u0259 il\u0259 poetik t\u0259svir \u00fczvi \u015f\u0259kild\u0259 qovu\u015fur. Bir k\u0259nd m\u0259nz\u0259r\u0259si, bir yov\u015fan iyi, bir qu\u015f u\u00e7u\u015fu b\u00fct\u00f6v bir f\u0259ls\u0259fi m\u00fclahiz\u0259y\u0259 \u00e7evrilir. M\u0259hz buna g\u00f6r\u0259 roman yaln\u0131z oxunan deyil, h\u0259m d\u0259 hiss edil\u0259n \u0259s\u0259rl\u0259r s\u0131ras\u0131ndad\u0131r. M\u00fc\u0259llif t\u0259bi\u0259t t\u0259svirl\u0259rini hadis\u0259l\u0259rin fonundan ziyad\u0259 q\u0259hr\u0259manlar\u0131n daxili al\u0259mini a\u00e7an b\u0259dii vasit\u0259 kimi t\u0259qdim edir. Yov\u015fan\u0131n \u0259tri, qu\u015flar\u0131n s\u0259si, k\u00fcl\u0259yin h\u0259r\u0259k\u0259ti, k\u0259nd m\u0259nz\u0259r\u0259l\u0259ri insan yadda\u015f\u0131n\u0131n g\u00f6r\u00fcn\u0259n formas\u0131na \u00e7evril\u0259r\u0259k roman\u0131n poetikas\u0131n\u0131 z\u0259nginl\u0259\u015fdirir.<\/p>\n\n\n\n

\u018fs\u0259rin m\u00fcasir x\u0259ttind\u0259ki m\u0259hk\u0259m\u0259 s\u0259hn\u0259si ilk bax\u0131\u015fdan el\u0259 t\u0259s\u0259vv\u00fcr yarad\u0131r ki, m\u00fchakim\u0259 olunan \u015f\u0259xs q\u0259zetd\u0259 yaz\u0131 yazm\u0131\u015f bir jurnalistdir. Halbuki m\u0259hk\u0259m\u0259 zal\u0131nda m\u00fctt\u0259him k\u00fcrs\u00fcs\u00fcnd\u0259, \u0259slind\u0259, yadda\u015f \u0259yl\u0259\u015fib. Q\u0259hr\u0259man\u0131n “yadda\u015f o\u011furlan\u0131b” fikri roman\u0131n q\u0259hr\u0259manlar\u0131 il\u0259 birg\u0259 oxucunu da narahat ed\u0259n suala \u00e7evrilir. \u018fg\u0259r bir mill\u0259tin yadda\u015f\u0131 \u0259lind\u0259n al\u0131narsa, onun g\u0259l\u0259c\u0259yini kim yazacaq? Qloballa\u015fman\u0131n s\u00fcr\u0259tl\u0259ndiyi, informasiya bollu\u011funun insan yadda\u015f\u0131n\u0131 k\u00f6lg\u0259d\u0259 qoydu\u011fu bir d\u00f6vrd\u0259 m\u00fc\u0259llif milli kimliyin nec\u0259 qorunaca\u011f\u0131 bar\u0259d\u0259 d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. \u0130nsan do\u011fma dilind\u0259n, tarixind\u0259n, ad\u0259tl\u0259rind\u0259n uzaqla\u015fd\u0131qca t\u0259kc\u0259 ke\u00e7mi\u015fini deyil, g\u0259l\u0259c\u0259yini d\u0259 itirm\u0259k t\u0259hl\u00fck\u0259si il\u0259 \u00fczl\u0259\u015fir. Roman\u0131 postkolonial yana\u015fma kontekstind\u0259 d\u0259 oxumaq m\u00fcmk\u00fcnd\u00fcr. \u00c7\u00fcnki burada yadda\u015f u\u011frunda m\u00fcbariz\u0259, \u0259slind\u0259, milli identikliyin qorunmas\u0131 u\u011frunda m\u00fcbariz\u0259dir. Tarixi yadda\u015f\u0131n silinm\u0259si kolonial siyas\u0259tin \u0259n t\u0259sirli vasit\u0259l\u0259rind\u0259n biri hesab olunur.<\/p>\n\n\n\n

“Yov\u015fan qa\u011fay\u0131lar” yadda\u015f\u0131n\u0131 itirm\u0259k t\u0259hl\u00fck\u0259si il\u0259 \u00fcz-\u00fcz\u0259 qalan h\u0259r bir insan haqq\u0131nda yaz\u0131lm\u0131\u015f \u0259s\u0259rdir. El\u0259 buna g\u00f6r\u0259 d\u0259 roman\u0131 v\u0259r\u0259ql\u0259dikc\u0259 hadis\u0259l\u0259rd\u0259n daha \u00e7ox simvollar, s\u00fcjetd\u0259n daha \u00e7ox d\u00fc\u015f\u00fcnc\u0259 yadda qal\u0131r. Roman yaln\u0131z Az\u0259rbaycan c\u0259miyy\u0259tinin tarixi yadda\u015f\u0131ndan b\u0259hs etmir. O, m\u00fcharib\u0259l\u0259r, k\u00f6\u00e7l\u0259r, m\u0259cburi miqrasiya v\u0259 qloballa\u015fma \u015f\u0259raitind\u0259 milli kimliyini qoruma\u011fa \u00e7al\u0131\u015fan b\u00fct\u00fcn xalqlar \u00fc\u00e7\u00fcn aktual olan m\u0259n\u0259vi problemi g\u00fcnd\u0259m\u0259 g\u0259tirir.<\/p>\n\n\n\n

M\u0259nb\u0259: https:\/\/edebiyyatqazeti.az\/<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ke\u00e7mi\u015find\u0259n he\u00e7 vaxt qa\u00e7a bilm\u0259y\u0259c\u0259ks\u0259n. O s\u0259ni b\u00fct\u00fcn h\u0259yat\u0131n boyu izl\u0259y\u0259c\u0259k. Balzak \u0130nsan ke\u00e7mi\u015f\u0259 niy\u0259 qay\u0131d\u0131r? \u0130tirdiyini tapmaq, yoxsa g\u0259l\u0259c\u0259yini xilas etm\u0259k \u00fc\u00e7\u00fcn? B\u0259z\u0259n el\u0259 olur ki, ke\u00e7mi\u015f insan\u0131n daxilind\u0259 susmadan ya\u015fayan bir s\u0259s\u0259 \u00e7evrilir. O s\u0259s ill\u0259rl\u0259 cavab\u0131 tap\u0131la bilm\u0259y\u0259n suallar\u0131n, yar\u0131m\u00e7\u0131q qalm\u0131\u015f talel\u0259rin, gizl\u0259dilmi\u015f h\u0259qiq\u0259tl\u0259rin s\u0259sidir. El\u00e7in H\u00fcseynb\u0259ylinin “Yov\u015fan qa\u011fay\u0131lar” roman\u0131 da m\u0259hz … <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-52688","post","type-post","status-publish","format-standard","hentry","category-pub","latest_post"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52688","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=52688"}],"version-history":[{"count":1,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52688\/revisions"}],"predecessor-version":[{"id":52706,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/52688\/revisions\/52706"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=52688"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=52688"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=52688"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}