Alinkin,это книга "Снег",качай)
Орхан Памук
скачать
Снег
Описание: В издательстве "Амфора" вышла очередная книга "турецкого Умберто Эко" Орхана Памука под названием "Снег". Во Франции этот роман получил премию "Медичи". Возможно, какую-то премию он получит и у нас, но это будет странно - слишком уж колкой для глаз может показаться в России тема этого довольно объемного романа провинциальная нищета, заигрывания политиков с националистами и коррупция госслужащих.
Мастерство Памука, в числе прочего, в том, чтобы почти до бесконечности растягивать мгновение. Пять с половиной сотен страниц посвящены событиям двух-трех дней - столичный поэт-эмигрант приезжает в приграничный городок, общается с теми, кого знал, знакомится с теми, кого не знал, ухаживает за когда-то любимой им женщиной, оказывается втянут в водоворот совершенно сюрреалистической местной революции и им же перемолот. Все остальное - его рефлексии, мысли о прошлом и будущем, бесплодные сожаления, страхи, попытки поверить в Бога и в мечту.
С каждой страницей беднягу-поэта становится все жальче и жальче, потому что умелый рассказчик Памук не впрямую, косвенными намеками, дает понять читателю, что ему, Памуку, заранее известно, что ничем хорошим для поэта история кончиться не может.
Нахваливая "Снег", критики единодушно называют его романом-нуаром (у нас жанр нуара именуется грубей и проще - "чернухой"). Действительно - куда уж чернушней: полуразрушенный старинный город Карс, заваленный снегом, населенный оборванными, разочаровавшимися в себе и жизни безработными мужчинами и несчастными женщинами, тянущими на себе дом и семью. На этой плодородной почве буйным цветом цветут всякие полулегальные националистические кружки, вооруженные формирования и чуть ли не секты.
Но Памук засыпает город пушистым, бесконечным, прекрасным снегом. Под таким белым снегом даже самая беспросветно-чернушная жизнь кажется светлее. Неважно, что именно этот снег отрезает Карс от остального мира и превращает в сцену, на которой в буквальном смысле разыгрывается пьеса-трагедия. Сошедший с ума, но не обезумевший провинциальный актеришка, когда-то сам сломавший свою столичную карьеру, этакий местный Нерон, устраивает переворот в отдельно взятом городе, пытаясь отобрать власть у набирающих силу курдских экстремистов и воинствующих исламистов. Зачем? Ну, явно не на благо человечества: для человечества отдельно взятого города Карса жизнь не становится легче.
Эти перемены, сколь бы кардинальны они ни были, сути дела не меняют и никого не спасают: снег все покроет, как покрывает заваленное трупами поле битвы, а потом стает, как будто его и не было, как будто он просто приснился. А бедный главный герой, бедный поэт, застрявший между Западом, где он чувствует себя среди единомышленников, но тем не менее одиноким и непонятым, и Востоком, от которого он отрекся, где все привычно с детства, но порой пугающе дико. У поэта нет выхода, и совсем не потому, что снег не дает ему сбежать из Карса, а лишь потому, что, как в любом канонически написанном романе, ему просто некуда бежать.
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A Song of Ice and Fire Series by George R.R. Martin ● 5. Sınıf ● 5. Yarıyıl ● 50 - TİYATRO ● 50 Classics Tom Butler-Bowdon ● 50-NEVŞEHİR KİTAPLIĞI ● 50-YILLIK ve ANTOLOJİLER ● 51. The Hyperion Cantos by Dan Simmons ● 52-ORDU KİTAPLIĞI ● 53-RİZE KİTAPLIĞI ● 55-SAMSUN KİTAPLIĞI ● 56. The Forever War by Joe Haldeman ● 57-SİNOP KİTAPLIĞI ● 58. The Chronicles Of Thomas Covenant The Unbeliever by Stephen R. Donaldson ● 5-8g ● 59-TEKİRDAĞ KİTAPLIĞI ● 6. Geçmiş Zaman - Simple Past Tense ● 6. Sınıf ● 6. Yarıyıl ● 60 - MİMARLIK - HEYKEL ● 60-MİZAH ● 60-TOKAT KİTAPLIĞI ● 61-TRABZON KİTAPLIĞI ● 62. The Sword of Truth Series by Terry Goodkind ● 63-ŞANLIURFA KİTAPLIĞI ● 64-UŞAK KİTAPLIĞI ● 66. The Riftwar Saga by Raymond E. Feist ● 67. The Sword of Shannara Trilogy by Terry Brooks ● 67-ZONGULDAK KİTAPLIĞI ● 68. The Conan the Barbarian Series by Robert E. Howard and Mark Shultz ● 68-AKSARAY KİTAPLIĞI ● 69. The Farseer Trilogy by Robin Hobb ● 69-BAYBURT KİTAPLIĞI ● 7. Gelecek Zaman - Future Tense ● 7. Sınıf ● 73. The Legend of Drizzt Series by R. A. Salvatore ● 74. Old Man's War by John Scalzi ● 74-BARTIN KİTAPLIĞI ● 77. The Kushiel's Legacy Series by Jacqueline Carey ● 78-KARABÜK KİTAPLIĞI ● 8. Sınıf ● 8. The Foundation Trilogy by Isaac Asimov ● 80. Wicked by Gregory Maguire ● 81. The Malazan Book of the Fallen by Steven Erikson ● 81-DÜZCE KİTAPLIĞI ● 83. The Culture Series by Iain Banks ● 84. The Crystal Cave by Mary Stewart ● 86. The Codex Alera Series by Jim Butcher ● 87. The Book of the New Sun by Gene Wolfe ● 88. The Thrawn Trilogy by Timothy Zahn ● 89. The Outlander Series by Diana Gabaldon ● 89.Russian in fairy tales Parallel Texts.rar ● 9. Modal Kullanımları ve Cümle Yapıları - Modals and Sentence Structures ● 9. Sınıf ● 9. Sınıf Matematik Yaprak Testler ● 90. The Elric Saga by Michael Moorcock ● 9-12g ● 95. The Mars Trilogy by Kim Stanley Robinson ● 98. Perdido Street Station by China Mieville ● 99. 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38. ICANAS
(Uluslararası Asya ve Kuzey Afrika Çalışmaları Kongresi)
(International Congress of Asian and North African Studies)
(Международный конгресс по изучению Азии и Северной Африки)
10-15.09.2007 ANKARA / TÜRKİYE
ANKARA-2008
ATATÜRK KÜLTÜR, DİL VE TARİH YÜKSEK KURUMU YAYINLARI: 5/3
5846 Sayılı Kanuna göre bu eserin bütün yayın, tercüme ve iktibas hakları
Atatürk Kültür, Dil ve Tarih Yüksek Kurumuna aittir. Bildiri ve panel metinleri
içinde geçen görüş, bilgi ve görsel malzemelerden bildiri sahipleri ve panel
konuşmacıları sorumludur.
All Rights Reserved. No part of this publication may be reproduced,
translated, stored in a retrieval system, or transmitted in any from, by any
means, electronic, mechanical, photocopying, recording, or otherwise, without
the prior permission of the Publisher, except in the case of brief quotations, in
critical articles or reviews. Papers reflect the viewpoints of individual writers
and panelists. They are legally responsible for their articles and photograps.
SANAL MİZAH
ÖZDEMİR, Nebi.......................................................................................................................... 1277
MOHAMMADZADEH, Behbood
KUZEY KIBRIS/NORTH CYPRUS/СЕВЕРНЫЙ КИПР
ABSTRACT
This paper examines the cultural and social implications which exist in
The God of Small Things written by Indian postcolonial writer Arundhati
Roy. The study analyzes Roy’s work according to the postcolonial theory and
gives importance to the premises of main theorist in this field. Postcolonial
literary texts like Roy’s are rewritings of colonial and postcolonial
images. Roy’s protagonists Rahel and Estha grow up in a village in Kerala
influenced with Elvis Presley, Broadway musicals, peppermint candies,
Love-in-Tokyo hair bands, Rhodes scholarships, Chinese Marxism, and
Syrian Christianity. Most of these cultural images are foreign, yet all of
these are their own. Thus, while in one sense these children, as Roy’s hybrid
characters, are Malayalam, in another sense they are not. This turmoil of
identification forms the basis of the plot, the children aren’t certain who or
what they are.
Key Words: Postcolonial Literature, cultural and social implications,
colonial and postcolonial images, hybrid identities.
-----
The history of colonialism began in the 15th century with the age of
discovery, led by Spanish and Portuguese explorations of Americas and
other continents, but, in the eighteens century Europe, the advent of the
Industrial Revolution led to great changes in the industrial transformation
of economies and an enormous development in the traditional trade.
European countries in order to provide themselves with raw materials
and markets for their goods colonized many non-European countries.
Europeans on behalf of colonialism making their way to non-European
countries came in contact with the non-European landscape and nation.
Identifying with Eurocentrism let them to observe themselves as superior
and the colonized and their land as inferior and uncivilized. Consequently,
1024
they tried to transform the colonized landscape into the civilized countries
similar to home country. In spite of this fact that European regarded
themselves superior to the non-European countries in all aspects, and aimed
at turning this inferior land into civilized one, the deep understanding and
close interaction always resulted in a deep fear for the colonizers.
The colonizers preoccupied by the possibility of being contaminated
on account of deep interaction with these uncivilized people were always
afraid of this interaction, thereby leaving behind their purity and superiority
over the colonized, as a result, the colonizer always regarded the interaction
with the colonized as a threat and they camouflaged their fear every time.
The deep interaction between the colonizer and the colonized despite
being a menace to the colonizer had another impact on the colonized which
resulted in losing self respect and devaluing image of themselves among
this people. Thus, the oppressed people, uprooted from their own selves,
struggled to become a member of another culture.
During the colonial period written text favored the Europeans and
their superiority over the non-Europeans. It was the system of power that
determines the representations. Terry Goldie maintains that “the indigene is
a semiotic pawn on a chess board under the control of the white signmaker”
(Goldie 1995: 232). Thus, in oriental discourse the Europeans were
portrayed as “masculine”, “democrat”, “rational”, “moral”, “dynamic”, and
“progressive”. Otherwise, since the writing was under the direct control of
the Europeans the non-Europeans were described as “voiceless”, “sensual”,
“female”, “despotic”, “irrational”, and “backward”. Colonial discourse
never depicted the anxiety and the suffering of the colonial stemmed from
the underestimated image of themselves. Throughout the colonial period
and the aftermath, the west had cultural and economic hegemony over the
non-Europeans through orientalists discourse. According to Bill Ashcroft
the colonizers who believed themselves as “a high level of civilization”,
fabricated the colonized lands in colonial discourse as “civilizations in
decay, as manifestations of degenerate societies and races in need of rescue
and rehabilitations by a civilized Europe” (Ashcraft, 1998: 158). Upon
settling down, therefore, the colonizers desired to bring the best of their
country to the colonized territory, and to change this native country to a
civilized one. Colonial discourse fabricating the native cultures as both
primitive and degenerate was because fearing of contamination amongst
the colonizers. Bill Ashcraft highlights that “expressed through a fear
amongst the colonizers of going native, namely losing their distinctiveness
1025
two children Ammu and Chacko. Ammu their daughter several years after
their arrival experience an unhappy marriage with a Hindu man, which
end in divorce. Ammu after divorce comes back to her parental house with
her twin, Estha and Rahel. Ammu and her twin begin to live in Ayemenem
with Mammachi, Chacko, and their aunt, Aunt Baby. Chacko Pappachi,
family’s son is sent to Oxford to continue his education, where he meets
his future English wife Margaret but their marriage ends in divorce in the
same year, then, Chacko leaving Margaret and his daughter Sophie Mol, in
England, comes back to Ayemenem to his father’s home.
Roy’s story revolves around the events surrounding the visit made by
Sophie Mol Chacko’s daughter and his ex-wife Margaret and the drowning
of Sophie two weeks after their arrival, leaving behind a disintegrated
family. The family’s suffering from Sophie Mole’s drowning become great
when Ammu the daughter of the family experience a love affair with Velutha
the families carpenter, a man from the “untouchable” or Paravan caste.
Ammu’s love affair with a member of an untouchable caste is considered
a forbidden love according to the caste system in India, which divides
people into classes and makes the lower class people “untouchable”.
Risking to interact with one of these untouchables, Ammu violates the
caste system, which also causes the family to fall apart and also, Ammu’s
twins, Estha and Rahel to be separated from each other. Sophie Mol’s
unfortunate drowning, though, occurs in 1969, Roy’s story begins twenty
three years later, when Rahel comes back to home in India, to Estha where
there is desire that the love of the twins for each other will heal their deep
suffering. Rahel comes back to Ayemenem as an adult to “a decimated
household, a dysfunctional twin and a decaying house” (45).
Much of Roy’s third-person narrative is told mainly from the point of
view of the two fraternal twin protagonists, Rahel and Estha. She constructs
her narration moving backwards from present-day India to the fateful
drowning that occurred twenty three years earlier, in 1969. With flashbacks
from the present to the past; Roy fabricates her plot with an increasing
suspense till the end of the novel. She structures her narration so skillfully
that the malignant tragedy is not fully illustrated until the final scenes of
the novel. Roy tells and reveals gradually the story of all characters and the
shocking series of events throughout her text.
As at the outset of the paper has been pointed out, Roy’s The God of
Small Things is the story of the visit and the drowning of Sophie Mol
resulting in the destruction of the innocent lives and their splitting up from
1027
each other when she comes to see her Indian father, Chacko, during her
Charismas holiday. Upon coming to India, Sophie Mol is not aware of the
disaster waiting for her. One they she is out with her Indian cousins, Estha
and Rahel, on the mysterious river in Ayemenem, she suddenly drowns
which makes the family, especially, Margaret grieved. The catastrophic
event occur even if English Margaret, who is “traveling to the Heart of
Darkness, has been acknowledged by her friends to “take everything” and
to “be prepared” on the grounds of the fact that “anything can happen to
anyone” in India (267).
As Sophie’s mothers friend’s have estimated, the most horrifying incident
she might experience in her life happens, and “green weed and river grime
were woven into her beautiful redbrown hair” of her daughter, and her
child’s eyelids were “nibbled at by fish” (251). Margaret never forgives
herself for not listening to her friends, and taking Sophie to India but she
understands her mistake very lately after her losing her daughter in India.
Sophie Mole’s drowning is a metaphoric sign of the hegemony of the Eastern
over the European, which has the power to swallow up the colonizers easily.
This is also the power of the wilderness and primitiveness of Eastern that
the colonial elements always fear and never resist. Postcolonial discourse
maintains that the threat of the Eastern for the European is either to devour
the European in the wilderness or to make the Europeans go wild. The
death of Sophie Mol in Roy’s story metaphorically illustrates that there is
no escape from the tragic fate waiting for the colonizer in the colonial land.
As previously mentioned, the deep interaction with the colonizer creates
not only the suffering of the colonizer but also that of the colonized that
recognized and felt upset and anxious about the inferiority of their own
culture when compare to that of the colonizer. The feeling of the inferiority
created a community that was not glad about his existence, and that had
no peace anymore. The colonized having felt their inferiority, appreciated
everything that belonged to the colonizer and forget their own history,
culture, and language.
To be precise, they transformed into a nation who had not culture of
their own, and felt second-class thereby struggling to become a member of
the superior culture of the colonized. Thus, as it is stated in novel several
times “things can changes in a day” (32), implies the day on which the
colonizer’s arrival has changed everything in the land of the colonized.
In The God of Small Things, Chacko Kochamma, the uncle of the twins,
describes the colonized people as “prisoners of war”, as a result of which
1028
their “dreams have been doctored” and they “belong nowhere”. According
to him, it is a kind of war that has occupied their minds that they “have
won and lost. The very worst sort of war. A war that captures dreams
and re-dreams them. A war that has made them adore their captures and
despise themselves” (53) Frantz Fanon in his A Dying Colonialism (1965),
argues that “the challenging of the very principle of foreign domination
brings about essential mutations in the consciousness of the colonized,
in the manner in which he perceives the colonizer, in his human states in
the world” (Gandhi, 1998: 130). Seeing themselves inferior, the colonized
people recognized that the only way to make their situation better is to
become similar to the colonizer, and thus, they try to imitate the colonizers
ideas, values and practices. They appreciate and value the colonizers way
of living and try to imitate their culture in view of not having of their own.
Roy in narrating Chacko’s thoughts reports:
Chacko told the twins though he hated to admit it, they were
all anglophile. They were a family of Anglophiles. Pointed in the
wrong direction, trapped outside their own history, and unable to
retrace their steps because their footprints had been swept away. He
explained to them that history was like an old house at night. With
all the lamps lit. And ancestors whispering inside. ‘To understand
history, ‘Chacko said, we have to go inside and listen to what they’re
saying. And look at the books and the pictures on the wall. And
smells the smells.’ (52)
Roy in her novel narrates clearly how the colonized people appreciate
the English culture and their considerable effort to become like them by
way of imitation. There are seen perfectly in different behaviors of the
natives in the novel toward the half English Chacko’s daughter Sophie
Mole and her Indian twin cousins, Rahel and Estha. When Chacko’s half
English daughter Sophie and her mother Margaret come to India, every
body in the family is impatiently awaited for their arrival. Sophie Mole’s
half English identity is important both for the members of the family
and for the people outside. The importance of an English cousin can be
obviously presented in the speech of a man from outside the family where
Roy illustrates the scene as the following:
The twins squatted on their haunches, like professional adults gossip in
the Ayemenem market.
They sat in silence for a while. Kuttappen mortified, the twins
preoccupied with boat thought.
‘Has Chacko Saar’s Mol come?’ Kuttappen asked.
1029
when they compare themselves to their half English cousin, Sophie Mol,
since they are just the imitation of English, not real ones. Roy depicts
the difference between the twins and Sophie Mol throughout the novel.
She describes Sophie Mol as one of the “little angles” who “were beach-
colored and wore bell bottoms”, while Rahel and Estha are depicted as
two evil where we are told: “Littledemons were mudbrown in Airport fairy
frocks with forehead bumps that might turn into horns with fountains in
love-in-Tokyos. And backword-reading habits. And if you cared to look,
you cold see Satan in their eyes. (179).
Baby Kochamma twin’s aunt also gives an expression on the difference
between Sophie Mol and the twins. She describes Sophie Mol as “so
beautiful that she reminded her of a wood- sprite. Of Ariel.” Ariel in
Shakespeare’s The Tempest (144). While in describing the twins she say, “
‘They’re sly. They’re uncouth. Deceitful. They are growing wild you can’t
manage them” (149). This point maintains that such a great appreciation
that they love even their children as long as they imitate the values of the
other culture, and dissemble to be a member of that culture. Roy’s another
character who suffers from being a hybrid aspect is Pappachi Kochamma,
the grandfather of the twins whom with his strong passion to be an English
man in manner and appearance.
Pappachi Ammu’s father is a man who after retiring from Government
service in Delhi having worked for many years as an Imperial Entomologist
at the Pusa Institute, and who come to live in Ayemenem with his wife,
Mammachi, his son Chacko and his daughter Ammu till he dies. Pappachi
tries always to imitate the English way of clothing and as Roy illustrates
“until the day he died, even in the stifling Ayemenem heat, even single day,
Pappachi wore a well prepared three-piece suit and his gold pocket watch”
(49).
It is his strong passion to another culture that makes him dress a suit,
not his traditional clothing, mumudu and “khaki Judhpurs though he had
never ridden a horse in his life” (51). Ammu his daughter in describing
such a great appreciation of the other culture where we are told “Ammu
said that Pappachi was an incurable British CCP, which was short for chhi
chhi poach and in Hindu meant shit-wiper” (51). Chacko also as Ammu is
aware of how his father is keen on the English culture where Roy reports:
Chacko said that the correct word for people like Pappachi was
Anglophile. He made Rahel and Estha look up Anglophile in the
1032
not belonging to either the culture of the colonized or that of the colonizer.
Roy in reporting Chacko’s suffering of hybridization states that: “our minds
have been invaded by a war. A war that we have won and lost. The very
worst sort of war. A war that captures dreams and re-dreams them. A war
that has made us adore our conquerors and despite ourselves” (53). This
point highlights that the colonized always look down upon and scorns their
own culture, thereby they are uprooted from their culture and appreciates
whatever the colonizer has; therefore, they try to imitate them without
being to be a member of it on account of not being European in blood.
Chacko educated at Oxford University, realizes that their country and
mind have been captured by the colonizer and he depicts his own people
as “anglophile” “a person well disposed to the English” (52). However,
he himself is aware of being an anglophile, when he comes to loving
something that belongs to the English culture. His anglophile identity
is approved when he gets married to an English woman. As Ammu, his
sister, regards it on as marrying “our conquerors”. Chacko like his father’s
admiration of the English way of clothing appreciates the manners and
attitudes an English woman has. Roy in portraying Chacko’s admiration
of his English wife states:
As for Chacko, Margaret Kochamma was the first female friend
he had ever had. Not just the first woman that he had slept with, but
his first real companion. What Chacko loved most about her was her
self-sufficiency. Perhaps it wasn’t remarkable in the average English
women, but it was remarkable to Chacko.
He loved the fact that Margaret Kochamma didn’t cling to him
that she was uncertain about her feeling for him. That he never know
till the last day whether or not she would marry him. He loved the
way she would sit up naked in his bed, her long white back swiveled
away from him, look at her watch and say in her practical way –
‘Oops, I must be off.’ He loved the way she wobbled to work every
morning on her bicycle. He encouraged their differences in opinion,
and inwardly rejoiced at her occasional outburst of exasperation at
his decadence. (245-246).
Roy in giving the reason why Chacko admires Margaret, which is a
kind of looking up down on Indian women, reports that, “He was grateful
to his wife for not wanting to look after him. For not offering to tidy his
room. For not being cloying mother. He grew too depend on Margaret
Kochamma for not depending on him. He adored her for not adoring him”
1034
(246). Although Chacko appreciates his English wife for not wanting to
look after him, unlike his Indian mother, the same English woman leaves
him just because he is not used to looking after himself, which is quite
clear in the following description:
That it was impossible for him to consider making the bed, or
washing clothes or dishes. That he didn’t apologize for the cigarette
burns in the new sofa. That he seemed incapable of buttoning up
his shirt, knotting his tie and tying his shoe laces before presenting
himself for a job interview (247).
The important point that arises here is that his marriage to a married
woman becomes successful to the extent that he is able to hide his real
Indian Identity and plays his role successfully as the husband of an English
woman. The reason their marriage ends in divorce results in the interaction
between his own culture as the colonized and the culture of his wife as the
colonizer and his belonging to neither of them.
Although Chacko and Pappachi do their best to look like the colonizer
both in manner and attitudes, they become the victims of the interaction
with the colonizers’ culture that is regarded as superior. Despite their
endeavor to imitate the colonizer, considering their behavior throughout
the novel it is impossible for them to escape from their own identity, being
Indian in blood, not English. Roy, as a postcolonial writer, in her novel tries
to focus on the sufferings of the colonized originated from the interaction
with the colonized.
Besides Roy’s hybrid characters which can be understood as an evidence
of the contamination arrived with the colonizer, in order to prove how
dreadful suffering the arrival of the colonizer has brought to the colonial
land, the day on which Sophie Mol come to India is used as metaphorically,
and it stands for the coming of the colonizers. Sophie Mol with her English
mother Margaret comes from England to India to see her Indian father,
Chacko. Her coming to India is important because it stands for that of
the colonizer and in what ways it has brought about the sufferings of the
people in the colonial territory. Roy explains throughout the novel the great
influence of Sophie Mol in disturbing the tranquil situation in India and the
destructive effects of her visit. The most shattering effects can be seen in
the Estha and Rahel character, both of whom “hadn’t seen each other since
Estha’s return in a train with his pointy shoes rolled into his khaki hold
all”(32). Rahel immediately after separation of Estha from Ayemenem
loses her mother Ammu, too. Rahel also loves her Ayemenem and her twin
1035
brother and wander from school to school. On the whole, Sophie Mol’s
arrival to India changed their faith and caused all these disastrous events.
The life in Ayemenem before her arrival was peaceful and tranquil. Roy in
illustrating the Ayemenem maintains that “Here, however, it was peace time
and the family in the Plymouth traveled without fear or foreboding”(35).
Sophie Mol’s arrival representing the colonizer disturbs the peaceful life in
Ayemenem. This is obviously observable when Roy portrays the situation
as, “You couldn’t see the river from the window anymore… and their has
come a time when uncles became fathers, mother’s lovers and cousins died
and had funerals. It was a time when the unthinkable became thinkable and
the impossible really happened” (31).
REFERENCES
Ashcroft, B. (2004). “England through Colonial Eyes in Twentieth-
Century Fiction”, CLIO, 34(1-2), 207-224.
Ashcroft, Bill, et al. (2002). The Empire Writes Back: Theory and
Practice in Post-Colonial Literatures. London: Routledge.
Ashcroft, Bill, et al. The Postcolonial Studies Reader. London:
Routledge, 1995.
Bhabha, Homi K. (1994). The Location of Culture. London and New
York: Routledge, 1994.
Gandhi, L. (1998). Postcolonial Theory: A Critical Introduction. St.
Leonards, N.S.W.: Allen & Unwin.
Moore-Gilbert, B. (1997). Postcolonial Theory: Contexts, Practices,
Politics. London: Verso.
Moore-Gilbert, B. et al (Eds.). (1997). Postcolonial Criticism. London:
Longman.
Needham, A. D. (2005), “The Small Voice of History in Arundhati
Roy’s”, The God of Small Things IJPS, Volume 7, N 3, 369-391.
Roy, Arundhati (1997). The God of Small Things. London,
Falmingo.
Tickell, A. (2003). “The God of Small Things: Arundhati Roy’s
Postcolonial Cosmopolitanism. The Journal of Commonwealth
Literature, 38-73.
1037
ABSTRACT
The study is in fact a collection of the proverbs used by proverbs of
the Iraqi Turkmen’s which contain the names of some of the insects . the
animals mentioned in the proverbs grouped together here seem to be the
animals that existed in the environment of the Turkmen’s, whether it be
their home, his farm or where he traveled .
Since those animals have certain characteristics such as patience,
friendship, love or treason, the Turkmens seem to have tried & express
those characteristics of animals by proverbs used by humans aiming at
applying them & humans in an in direct and mostly metaphorical way.
it is necessary & observe that some of the animals are mentioned more
than others due to the fact that those animals like the “ dog ”, “ sheep ” ,
“ donkey”, “ camel ”, “ horse ” ...etc.
Man in his travels and movements and / or they live In his environment
and they he depends on them for his living like the whale monkey,
giraffe
Some of the animals are either rarely mentioned at all turtle ... etc.
the reason is that either there animals do not have characteristics similar
& there which the humans have or because they do not exist in turkman
environment.
It is also important to pay attention & the literary value of these
proverbs since they are expressed in figurative way and sometimes
these sayings are rhymed and contain assonance or resonance, and other
figures of speech in addition & their social value as saying that contain
wise words.
Key Words : Proverbs, Turkmen, Iraqi.
The Proverbs of the Iraqi Turkmans , as is the case with the other
nations of the world , express the implications of social , economic and
psychological life of the people. These proverbs express in the best way
1038
most of the events that have taken place and continue to take place in
detail in the everyday life of the people. Mostly, these proverbs are cited
or uttered in brief and simple expressions in such a way that makes them
easy to memorize and use generation after generation. If we look at the
proverbs of Iraqi Turkmans we find that they have expressed people’s
feelings of happiness and sadness besides their life experiences. One
can see that these proverbs are expressions of human characteristics like
love, hatred, bravery, generosity, cooperation and so on in addition to
expressing the relations of the human beings with one another wherever
they be. The present paper deals with the use of various animal (and some
insect) names that existed in the environment of the Turkmans since the
early days of history, whether that be in his home, or farm or wherever
he travelled. And since humans have always been in contact with these
animals and since each kind of those animals have characteristics which
may have their counterparts in humans like patience, treason, love or
betrayal, human beings have tried to express those characteristic of
animals by proverbs that are used by humans to apply those characteristics
on humans although that has been mostly in an indirect or metaphorical
way. It is important to notice that the proverbs most frequent used in our
everyday life and which are most effective and expressive among the
Turkmen proverbs are those in which one species of animals is used.
Just for example we mention some of those proverbs which are well-known
among the Turkmans:
– Attan iner eşeğe miner (biner). Which means:
He gets down a horse and gets on a donkey.
– Aslan ağzından av alınmaz .
No prey can be taken out of the mouth of the lion.
– İki kuşu bir taştan (taşla) vurdu.
He hit two birds by one stone.
– Balık suda mamele (alış veriş) edilmez .
Bargaining over the fish cannot be done while the fish is
inside the water
– Deve öz (kendi) kanburunu görmez.
1039
Anyhow, we can notice that in any of the Turkmen proverbs the names of
most of the animals that exist in the areas (locations) in which the Turkmans
live have been used. However certain animals have been used more than
others like the dog, the wolf, the donkey, the camel, the horse, the sheep
and others. It seems that the reason behind the frequent use of these animals
more than the other ones in the proverbs is that those animals have since
the old time accompanied the humans in their travels, and have lived with
them in their environment besides being a source of living and comfort
and a means of transportation and carrier of luggage in their movement
from place to place. Some other animals have been a source of danger and
annoyance for humans and their pets and domestic animals. It is worth
mentioning that some of the animals are rarely used or mentioned in the
Iraqi Turkmen proverbs like the pig, the deer, the peacock, and the tiger;
whereas there are some other animals which have not been mentioned in
Turkmen proverbs like the monkey, the giraffe and the turtle. The reason
behind the rarity of using or not mentioning some species of animals (or
insects) in Turkmen proverbs is because they do not have characteristics
and features similar to those of the humans or because those animals do
not exist in the areas where Turkoman live. Any scrutinizing view at the
Turkmen proverbs that are fixed in the existing references mentioned at the
end of the study show that about (2000) two thousand proverbs are fixed in
the references the proverbs that include the names of animals are (523). It
1040
means that more than a quarter of the total number of the Turkmen proverbs
include the names of animals. It is seen that (64) different species of animals
and insects are used in these proverbs. Definitely, the more proverbs are
discovered by the researcher, the larger number of the species will be.
The following is an index of the species of animals used in Turkmen
proverbs arranged according to the frequency of each species we start with
the species that are used and repeated more than others and then we move
to the types/species that are used less than others with an example for each
type. It should be noticed that some species of animals’ name equals the
number of some other species. There are many proverbs in which two or
even three species of animals are mentioned in one proverb. These will be
mentioned later:
The fox cannot enter its whole and then it fixes a sweeper in its tail.
23. The pig (donguz/domuz): it is mentioned in (7) proverbs.
e.g Dongozdan (domuzdan) bir tük (tüy) kopsun gene kardı(r).
Evin if a hair is taken from the pig it is a gain.
24. The greyhound (tazı): it is mentioned in (7) proverbs.
e.g Tazısız ava çıkan tavşansız eve döner.
He who goes hunting without a greyhound, comes back home without
a rabbit.
25. The bull (sığır/öküz): it is mentioned in (6) proverbs.
e.g Sığır kasaphaneye ulaştıktan sonra bıçak hazırdı(r).
By the arrival of the bull in the slaughter house the knife is ready (to
slay).
26. The mouse (sıçan/fare): it is mentioned in (6) proverbs.
e.g Sıçan çıktığı deliği tanır.
The mouse well knows the hole from which it has come out.
27. The owl (baykuş): it is mentioned in (6) proverbs.
e.g Allah baykuşun rızkını ayağına gönderi(r).
God sends the owl its food.
28. The bee (arı): it is mentioned in (5) proverbs.
e.g Arı bal alacağ (alacak) çiçeği tanır.
The bee knows the flower from which it takes the honey.
29. The goose (kaz): it is mentioned in (5) proverbs.
e.g Tavuk kaz yumurtası doğmaz.
The hen cannot lay eggs of goose.
30. The dog (it): it is mentioned in (5) proverbs.
e.g Kervan yürür it hürür.
The convoy continues to move while the dog howls.
31. The mule (katır): it is mentioned in (4) proverbs.
e.g Deve ırağına, katır tırnağına bakar.
The camel looks far , whereas the mule looks at its nails.
32. The lamb (kuzu): it is mentioned in (4) proverbs.
e.g Koyun öz kuzusunu basmaz.
The sheep does not walk over its own lamb.
33. The sparrow (serçe): it is mentioned in (4) proverbs.
e.g Yüz serçe bir kazan doldurmaz.
A hundred sparrows do not fill a cauldron.
34. The rabbit (tavşan): it is mentioned in (4) proverbs.
e.g Her yerin tavşanını o yerin tazısı tutar.
The rabbits of each land are caught by its hunting dogs.
35. The animal (hayvan): it is mentioned in (4) proverbs.
e.g Hayvan hayvanı okşar, insan insanı.
1043
e.g. Göz açmamış kör yarasa balasına (yavrusuna) benziri (benziyor)
He looks like the close eyed baby of a bat .
61. The water buffalo ( gamış , manda): it is mentioned in(1) proverb.
e.g. Ne gamış (manda) sağmışam ne deve kırkmışam.
I have neither milked a water buffalo nor cut the hair of a camel .
62. The chick (ferig/küçük tavuk ): it is mentioned in(1)proverb.
e.g. Bizim horozdan (horozla ) siziv (sizing) feriği (küçük tavuk)
aşınadı(r). Our cock and your hen are in love.
63. The monster (canavar): it is mentioned in (1) proverb.
e.g. Üz (yüz) verilen canavar deği (l).
He is not the type of monster that can be welcome .
64 . The fiend, demon (dev): it is mentioned in (1) proverb.
e.g. Ev derdi, dev derdi.
The concerns of home equal the concerns of the fiend.
Below is a list of proverbs in which two or more types of animals are
mentioned.
REFERENCES
Al-Dakuki, İbrahim. Turkmen Public Arts (in Arabic), Baghdad, Dar
Al-Zaman Publishing House, 1962.
Benderoğlu, Abdullatıf. Turkmans in the Iraq of Revolution (in Arabic),
Baghdad: Dar Al-Hurriya, 1973.
Bendioğlu, Abdullatif Our Proverbs, 2 vols (in Turkish). Baghdad
House of General cultural Affairs, 1988.
Terzibashi, Ata. Kirkuk Proverbs Baghdad: Al-Zaman Publishing
House, 1962 .
Dakuklu, Mohammed Khourshid. The Garden of Old Sayings (in
Turkish) Baghdad: House of General Cultural Affairs, 1989.
Zabit, Shakir Sabir, The Proverbs of Iraqi Turkmans (in Turkish),
Baghdad: Dar al-Basri, 1962.
1047
ЭВОЛЮЦИЯ ТУНИССКОГО
АРАБО-ЯЗЫЧНОГО РОМАНА
NADİROVA, G. E./НАДИРОВА, Г. Е.
KAZAKİSTAN/KAZAKHSTAN/КАЗАХСТАН
ÖZET
Roman, edebî tür olarak Arap dilli Tunus edebiyatında bağımsızlık anın-
dan günümüze kadar önemli yere sahiptir, asırlarca süren teşekkül etme ve
gelişme süreci kanıtlar ki, Tunus romanı, dış etkilere açık, toplumsal ve
sanatsal şuurun oluşmasına etki gösteren canlı sanatsal varlıktır.
Roman sanatının genel akınında roman-sosyal araştırma ve entelektüel
roman, onun yaratıcı, manalı miras unsurlarını aktif şekilde çekmek, şim-
diki düşünce teşebbüsleriyle önemli role sahiptir.
Roman metinleri dil seviyesinde edebî dil mevcuttur, şive, klasik miras
dili, Fransızca, yazarlar onları yaratıcı ve manalı tek bir metine birleştir-
meye çalışmışlardır.
Tür seviyesinde sürekli arama ve yenileme süreci sonucunda, entere-
san ve beklenmedik neticelere ulaşılır, örneğin, roman-piyes türü, dram
eserinin anlatı eseriyle tamamlanmasıdır, neticede değişik edebî tarz, yeni
edebî bir tür ortaya çıkmıştır.
Romanda şahıs ve onun çevresi, şahıs ve onun varoluşu arasındaki
uyumsuzluğun genel duyusu belirtilmiştir, bu yaratıcılık yenilenme, kav-
ramsal ve kültürel aramanın sürekli teşebbüsünde ifade edilir.
Anahtar Kelimeler: Roman, sanat, miras, gelişim, modernizm.
ABSTRACT
The novel as a genre has occupied a prominent position in the Arabic-
language Tunisian literature since its independence. The century-long pro-
cess shows that the Tunisian novel is a live artistic organism open to external
influences and itself influencing the society and art. “Social research nov-
els” and “intellectual novels”, which try to assess the present while actively
using elements of artistic legacy, play an important role within the genre.
Standard Arabic, dialect, classic legacy language and French co-exist at the
1048
language level. At the form level a constant process of search and change
goes on which leads to unexpected and interesting results such as novel-
play where narrative is added drama resulting in a new original genre, new
literary form. The novel expresses the general feling og discord between the
man and his existence, the man and the environment, which is reflected in the
constant search for creative renewal.
Key Words: Novel, art, haritage, evolution, modernism.
Ключевые слова: Pоман, творчество, наследие, эволюция, модер-
низм.
-----
Тунисская литература, новая и современная, представляет собой
важную часть арабской литературы в целом, значение которой пос-
тоянно возрастает. Долгое время она оставалась под большим влия-
нием литературы арабского Машрика (Египта, Сирии, Ливана и дру-
гих стран региона к востоку от Египта), даже копировала ее. Одна-
ко постепенно, особенно в последние десятилетия ей удалось выйти
из-под этого влияния, у нее появились свои объективные причины и
художественные средства, которые дали ей возможность утвердиться
и преодолеть этап ученичества и социально-политической ангажиро-
ванности, обозначить свое видение действительности.
Арабо-язычная тунисская литература, как и вся магрибинская (Ал-
жира, Туниса, Марокко, Ливии) литература в целом, в эпоху коло-
ниализма испытывала значительные трудности, препятствовавшие ее
развитию, распространению и обогащению теми художественными
особенностями, которые сегодня отличают ее от франкоязычной ли-
тературы стран Магриба. Долгое время именно франкоязычная лите-
ратура региона пользовалась особым вниманием читателей, критиков,
как арабских, так и зарубежных (Ghazi,1970;8). Имелись многочис-
ленные исследования по ее стилистике, структуре, конструкции, идей-
ным позициям и критическим суждениям, особенно по жанру романа.
Благодаря постоянному вниманию и поощрению появилось целое по-
коление прекрасных писателей-романистов, пишущих на французс-
ком языке, которые преодолели узкую локальность, чтобы осознать
принадлежность всему миру. Это Катиб Йасин, Мулуд Фер‘аун и Му-
луд Маммери в Алжире, Альбер Мемми в Тунисе, Тахар Бенджеллун
и Дрис Шрайби в Марокко и другие. Франкоязычный магрибинский
роман активно развивался как в количественном, так и в качественном
1049
ABSTRACT
The present report deals with genesis of the genre of Arabic literature
known as biography of the Prophet and development of the most prominent
biography - Sirat Rasul Allah (Biography of the Messenger of Allah)
compiled by Ibn Ishaq and edited by Ibn Hisham. The author traces back
how the collection and transmission of the hadith (Tradition on the deeds
and sayings of the Prophet) has developed first into compilations devoted
to separate subjects, for instance, maghazi (military expeditions), and later
into full biographies of the Prophet which covered all the events of his
life from birth to death. The second part of the article is dedicated to the
authors of the biography in question: the famous authority on maghazi
Muhammad ibn Ishaq who compiled the original biography which hasn’t
been preserved intact till nowadays and philologist ‘Abd al-Malik ibn
Hisham who edited and supplemented the work of the predecessor.
Key Words: Middle Age, Arabic literature, Sirat Rasul Allah (Biography
of the Messenger of Allah).
Резюме
Ас-Сира ан-набавиййа (араб. «Жизнеописание Пророка») – жанр
арабской литературы, который в Средние века занимал довольно вы-
сокое место в номенклатуре жанров арабской литературы. По мнению
многих ученых, жизнеописание Пророка является третьим по значи-
мости источником для изучения ислама после Корана и сунны.
Произведения жанра сира традиционно рассматривали как источ-
ники по истории ислама и биографии Мухаммада, а как памятники
литературы они довольно мало изучены.
1066
775), когда тот находился в Хире, и сочинил для него «Магази», а за-
тем окончательно поселился в Багдаде (Ибн Халликан, б.г.; 4, 277).
Ранние мусульманские критики относились к Ибн Исхаку по-раз-
ному: некоторые ученые считали его одним из главных знатоков пре-
дания, (напр., Абу Зур‘а, ал-Мадини, Ибн Ма‘ин и Ибн Са‘д), другие
не считали достоверными хадисы, которые он передавал (напр., ан-
Ниса‘и, ал-Асрам, Сулайман ат-Тайми и Вухайб ибн Халид). Законовед
и знаток предания, основатель ханбалитского мазхаба мусульманс-
кого права «имам Багдада» Ахмад ибн Ханбал (164/780-241/855 гг.)
признавал авторитет Ибн Исхака в области магази, но не принимал
хадисы в его передаче, поскольку возражал против использования
коллективного иснада (такой вид иснада, когда в начале перечисляют-
ся все передатчики, а потом приводится текст хадиса, но слова одного
передатчика никак не отделяются от слов других), к которому часто
прибегал Ибн Исхак. Однако по свидетельству Ибн Халликана, Ахмад
ибн Ханбал считал хадисы в передаче Ибн Исхака верными, но не при-
знавал его авторитетом в юридических вопросах, хотя последний и
называл себя знатоком фикха (мусульманского права). Ибрахим ибн
Са‘д передавал со ссылкой на Ибн Исхака около 17 тысяч хадисов,
посвященных юридическим вопросам, не считая сообщений о магази.
В своде аз-Захаби есть следующее сообщение об этом: «сказал мне
Ибрахим ибн Хамза: Ибрахим ибн Са‘ад передавал от Ибн Исхака 17
тысяч хадисов, содержащих заповеди, помимо тех, что посвящены ма-
гази. Я сказал: это из-за повтора способов передачи хадисов. А что
касается заповедей, то их количество не превышает и десятой части
этого» (аз-Захаби, 1992; 7, 39). Что касается коллективного иснада,
то, как считают некоторые современные исследователи, например,
Дж.М.Б. Джоунс, это обвинение не совсем справедливо, так как такой
вид иснада активно использовался всеми ранними авторами произве-
дений магази и сира (Джоунс, 2003).
Помимо посвященной Пророку «Китаб ал-магази ва ас-сийар»
(«Книги завоевательных походов и жизнеописаний») Ибн Исхак со-
ставил «Китаб ал-хулафа’» («Книга халифов») и книгу «Сунан»
(«Предания»). «Книга завоевательных походов и жизнеописаний»
Ибн Исхака состояла из трех частей: «ал-Мубтада’» («Начало»), «ал-
Маб‘ас» («Пророческая миссия») и «ал-Магази» («Завоевательные
походы»). Значительная часть «Китаб ал-магази» сохранилась в ре-
дакции Йунуса ибн Букайра ибн Васила аш-Шайбани (Сезгин, 1967;
1074
10- Мьюр - Muir W., (1988), Life of Mahomet (reprint of the edition
London 1861). Osnnabrück.
11- Пиотровский М.Б., (1994), Введение и примечания. – Раздел
1. Мухаммад и начало Ислама / Хрестоматия по Исламу. Москва:
Наука.
12- Сезгин - Sezgin F., (1967), Geschichte des arabischen Schrifttums.
Leiden.
13- «Сира» - Das Leben Muhammeds nach Muhammed Ibn Ishak bear-
beitet von Abd el-Malik Ibn Hischam. Herausgegeben von F. Wüstenfeld,
(1858-1860), Göttingen: Dietrich.
14- Уотт, 1962 - Watt W.M., (1962), “The materials used by Ibn Ishaq”,
B. Lewis and P.M. Holt (ed.) Historians of the Middle East. London.
15- Уотт, 2003 - Watt W.M., (2003), “Ibn Hisham”, Encyclopaedia of
Islam. Cd-rom ed. Brill academic publishers.
16- Хайндс - Hinds M., (2003), “al-Maghazi”, Encyclopaedia of Islam.
Cd-rom ed. Brill academic publishers.
17- Шидфар Б.Я., (1980), «Генезис и вопросы арабского народ-
ного романа (сиры)», Генезис романа в литературах Азии и Африки.
Москва.
1079
NEBİYEV, Bekir
AZERBAYCAN/AZERBAIJAN/АЗЕРБАЙДЖАН
ÖZET
Azərbaycanlı mühacirlərin çox zəngin, ədəbi, elmi, publisist irsi var. Bu
xəzinədə Əlibəy Hüseynzadə, Əhməd Ağaoğlu, Mehmet Əmin Rəsulzadə,
Səməd Ağa oğlu, Mirzə Bala Mehmetzadə, Əlimərdan bəy Topçubaşov,
Ceyhun Hacıbəyli, Əhməd Cəfəroğlu, Əbdülvahab Yurdsevər, Almas
İldırım, Banin (Ümmülbanu), Mehmet Sadiq Aran və digər önəmli simaların
əsərləri bulunur. Onların hələ indi-indi, imkan düşdükcə İstanbuldan və
Ankaradan, Tehrandan və Təbrizdən, Parisdən və Berlindən tapılıb bizə
ulaşan kitabları, jurnal və qəzet kəsikləri, məktubları, nadir əlyazmalarından
parçalar, şəxsi arşivlərindən bəzi yarpaqlar mühacirətdəki alimlərimizin
yaradıcılığının mövzu və problem vüsətindən xəbər verməkdədir.
Mühacir alimlərin Azərbaycan dili, ədəbiyyatı, kültürü, folklor və etnoq
rafiyası ilə bağlı çoxsaylı araşdırmaları milli ədəbiyyatşünaslıq elminin
gəlişməsində özəl bir mərhələ təşkil edir və hazırda Azərbaycan mühacirət
ədəbiyyatşünaslığı adı altında öyrənilir.
Konqrenin Ədəbiyyat elmlərinin problemləri bölməsində söylənməsi
nəzərdə tutulan tebliğimizdə Ə.Hüseynzadə və Ə. Ağaoğlunun dəyərli
elmi irsi, özəlliklə Ə. Cəfəroğlunun Azərbaycan folkloruna həsr edilmiş
sanballı məqalələri, eləcə də C. Hacıbəylinin «Qarabağ dialekti və
folkloru» monoqrafiyası, M. Ə. Rəsulzadənin «Azərbaycan şairi Nizami»
kitabı geniş təhlil olunur.
Anahtar Kelimeler: Azərbaycan, əlm, ədəbiyyat, mühacirat, tankid.
ABSTRACT
Azerbaijani Literature in Emigration
Azerbaijani emigrants left behind rich cultural, scientific and literary
heritage. There are works of Ali-bey Husein-zadeh, Ahmed Agha-oghlu,
1080
nümunələr əsasında belə düzgün bir nəticəyə gəlmişdi ki, hər cür senzor
maneələrinə və partiya orqanlarının çox sərt nəzarətinə baxmayaraq
«qırmızı istilanın kommunizm ölkəsində milli hissi öldürdüyünə dair
söylənən bədbin hökmlər mübaliğəlidir. Bu hiss yaşayır, çarpışır və millətin
ruhunu əks etdirən aynada – onun ədəbiyyatında öz əksini tapır».
M. Ə. Rəsulzadənin ədəbiyyatşünaslıq sahəsində ən sanballı əsəri
«Azərbaycan şairi Nizami» monoqrafiyasıdır. Bu kitab şairin əsərlərini
və onun ətrafında aparılmış tədqiqatları orijinalında, yəni farsca oxuyan,
yüksək elmi səviyyəyə və incə bədii zövqə malik olan bir alimin çoxillik
araşdırmalarının məhsuludur. Dörd fəsildən ibarət kitab Nizami Gəncəvinin
dövrü, mühiti, həyatı, yaradıcılığı, ədəbi sələflərinə münasibəti, sənətdə
xələflərinin şairə münasibəti, «Xəmsə»nin bədii xüsusiyyətləri, Nizami
ədəbi məktəbi və s. haqqında sanballı monoqrafiyadır.
Müqəddimədə müəllif Nizaminin irsi və onun yaradıcılıq taleyi ilə bu və
ya digər dərəcədə bağlı olan bir sıra çox vacib problemləri işıqlandırmışdır.
Bunlardan biri Şərq mədəniyyətinə türklərin, Azərbaycan xalqının verdiyi
qiymətli töhfə məsələsidir. O, belə bir fikri əsaslandırır ki, Şərq aləmində
bəzi hallarda islam mədəniyyəti adı altında birləşdirilən elm, ədəbiyyat,
incəsənət, xüsusən poeziya əsərlərinin yaranmasında ərəblərlə bərabər,
onlar qədər, bəzi sahələrdə hətta onlardan da artıq türklərin və farsların
xidmətləri vardır. Bu sahədə adları bir qayda olaraq həmişə birinci çəkilən
görkəmli sənət korifeyləri arasında fars Ə.Firdovsi, özbək Ə.Nəvai ilə
yanaşı azərbaycanlı N. Gəncəvinin də şərəfli adı xüsusi əzəmətlə səslənir.
Şairin əsərlərindən aldığı çoxsaylı faktlar və onların elmi təhlili əsasında
müəllif dönə-dönə təkrar edir ki, Nizami qəlbi türk sevgisi, Qafqaz şəraiti
ilə bağlı olan, yurdunun tarixi müqəddəratından və ölkəsinin özünəməxsus
gözəlliklərindən nəşət edən bir Azərbaycan şairidir.
Nizaminin şəxsiyyəti məsələsi bütün əsər boyu müəllifin diqqət
mərkəzindədir. Lakin kitabın birinci fəslində Nizaminin tərcümeyi-halına
dair müxtəlif mənbələrdən toplanmış faktları, eləcə də şairin Azərbaycan
hökmdarları ilə münasibətlərinə dair onun özünün «Xəmsə»də yazdıqları
əsasında tədqiqatçı bu böyük söz ustadının şəxsiyyətini bugünün oxucusu
üçün daha da doğmalaşdırır, vüqarı, əyilməzliyi, mənəvi ucalığı barədə
təsəvvürləri zənginləşdirir. Bu zəmində Nizaminin dünya ədəbiyaytında
mövqeyi məsələsinin qoyuluşu bizə daha inandırıcı görünür. Azərbaycan,
İran və Hindistanın görkəmli söz ustalarından gətirilən etiraflar bir daha
təsdiq edir ki, «aşiqanə məsnəvilər yazmaqda… heç kim şeyx həzrətlərinin
(Nizaminin) səviyyəsinə yüksələ bilməmişdir. Nizaminin izilə getmək
və onun xırmanından qalan başaqları toplamaq məqsədilə Əmir Xosrov
1086
KAYNAKÇA
1. Cabbarlı, N., (2003), Mühacirət və klassik ədəbi irs. Bakı: Elm, 23.
2. Cəfəroğlu, Ə., (1954), «Modern Azərbaycan ədəbiyyatına toplu bir
baxış», Azərbaycan yurd bilgisi. İstanbul, sayı 37, 40.
3. Yurdsevər, Ə., (1950), Azərbaycan dram ədəbiyyatı. Ankara, 27.
1091
ÖZET
Orhan Veli, Türk şiir tarihinde önemli bir kırılma ve değişme evresi olan
Garip şiirinin öncüsü ve en tanınmış şairidir. Şiire Ahmet Haşim, Yahya
Kemal Beyatlı, Ahmet Hamdi Tanpınar, Ahmet Muhip Dranas ve Necip
Fazıl Kısakürek gibi şairlerin etkisinde kaldığı örneklerle başlamış, ancak
daha sonra geleneğin temsilcisi saydığı isimlerini zikrettiğimiz şairlerden
farklı bir sanat anlayışı doğrultusunda yepyeni, “garip” addedilecek eserler
kaleme almıştır. Söz konusu eserlerini yazarken de kanaatimizce bütün ge-
lenekle hesaplaşmakla birlikte en çok Ahmet Haşim’in şiir anlayışını göz
önünde bulundurmuştur. Bir bakıma onun şiirine Ahmet Haşim’in şiiriyle
hesaplaşmanın ürünü olarak da bakılabilir. Bu bağlamda “The Influence of
Anxiety” adlı kitabında Harold Bloom’un da kullandığı terimlerden yola
çıkarak söyleyecek olursak, öncü şair-selefi Ahmet Haşim’in etkisinde şi-
ire başlamış, ancak kendi kimliğini ispat edebilmek adına onu reddetmiş,
yepyeni bir şiir örneği vermiştir. Bununla birlikte halef şair olarak selefinin
izlerinin zaman zaman ortaya çıkmasına engel olamamıştır.
Anahtar Kelimeler: Selef Şair, Halef Şair, gelenek, ret, kimlik.
ABSTARCT
Orhan Veli Against Ahmet Haşim
Orhan Veli Kanık is the Pioneer and the most important poet of the new
era called First Modern or Bizzare Poetry (Garip Şiiri) reflecting an im-
portant refracting and changing in the history of Turkish poetry. He started
writing his early poems under the influence of the modern poets such as
Yahya Kemal Beyatlı, Ahmet Haşim, Ahmet Muhip Dranas, Ahmet Hamdi
Tanpınar and Necip Fazıl Kısakürek, but later he changed his idea and
understanding of art and poetry of those poets whom he considered as
the representative of the tardition (classical poetry). The pomes written
by Kanık was called “garip” (bizzare) during that time by other poets. In
* Dr. Özlem Nemutlu, Celal Bayar Üniversitesi, Fen-Edebiyat Fakültesi, Türk Dili ve Edebiyatı Bölümü, Yeni
Türk Edebiyatı Ana Bilim Dal
1092
our opinion, while he was writing his new peoms rejecting the old or clas-
sic poems of Yahya Kemal and others, he took into consideration Ahmet
Haşim’s understanding of poetry. In a way, we can consider Orhan Veli’s
poems as the result or product of the reckoning with Ahmet Haşim’s poems.
In this context, Harold Blooms’ concepts taking place in “The Influence of
Anxiety” can be used for the explanation of the Orhan Veli’s place against
Haşim. When we apply Blooms’s terminology into Orhan Veli’s poems,
we can see that Orhan Veli started writing poetry under the influnece of
his Pioneer/ initiator poet Ahmet Haşim, but later in order for him to proof
his identity and personality in Turkish poetry, he has rejected his initiator,
Haşim and his understandingi of poetry, and brought about a new and ori-
ginal poetry samples. Together with this rejectoin, he as a follower poet
was not be able to escape from the emanation of influence of his Pioneer/
initiator poet Haşim from time to time, too.
Key Words: Precursor Poet, Later Poet, tradition, rejection, identity.
-----
Orhan Veli, Türk şiir tarihinde büyük bir kırılmanın ve köklü bir deği-
şikliğin ifadesi olan Garip akımının Oktay Rifat ve Melih Cevdet’le birlik-
te üç temsilcisinden biri ve en ateşli savunucusudur. Bundan dolayıdır ki,
akımın poetikası niteliğinde olan Garip önsözünü yazan Orhan Veli olur.
Sanatçı, gerek söz konusu önsözü yazarken gerekse benimsedikleri şiir
görüşüne uygun “garip” tarzdaki şiirleri kaleme alırken, eser verdikleri dö-
neme hâkim olan ve bir nevi aşılmaz kurallarla âdeta statükolaşan edebiyat
geleneğini yıkmak istiyordu. Orhan Veli ve arkadaşlarının ilk edebî ürün-
lerini vermeye başladıkları sıralarda Türk şiirinde başta hececiler olmak
üzere, Fransız sembolistleri ve parnesyenlerin izinde aruz vezniyle imajist
şiirler yazan Ahmet Haşim, Yahya Kemal Beyatlı, Ahmet Hamdi Tanpınar,
Ahmet Muhip Dranas, Necip Fazıl Kısakürek gibi isimlerin oldukça etkili
olduğunu görmekteyiz. Bu isimlerin yanı sıra kendine özgü bir tarzda aruz
vezniyle yazan Âkif’i, eski şöhretlerini yitirmekle birlikte hâla yazmaya
devam eden Cenap’ı ve Hâmit’i de sayabiliriz. Burada putları kırmak üze-
re yola çıkan Nazım Hikmet ve Ercümend Behzad’ın farklı yollarla ede-
biyat tarihimizde vezinsiz şiir yazma geleneğini başlatmak suretiyle Garip
akımının doğuşunu hazırladıklarını da hatırlatmalıyız1. Ancak bütün bu
isimler ve onların temsil ettikleri eğilimler içerisinde devrin edebiyat dün-
yasında belirleyici olan Hececiler ile Ahmet Haşim ve Yahya Kemal’dir.
1
Bu konuda bkz. İnci Enginün, Cumhuriyet Dönemi Edebiyatı, Dergâh Yayınları, İstanbul 2001, (Enginün,
Garip hareketinden önce şiirimizde hüküm süren şahsiyetleri ve anlayışları “Eskiler”, “Memleket Edebiyatı” ve
“Öz Şiir” başlıkları altında ele alır. ss. 24-76) Hakan Sazyek, Cumhuriyet Döneminde Türk Şiirinde Garip Hare-
keti, İş Bankası Yayınları, Ankara 1999, 430 s, Asım Bezirci, Orhan Kanık, Eti Yayınevi, İstanbul 1967, 79 s.
1093
şiirini, kendinden önce hiç yazılmamış orijinal şiiri yazmaya mahkûm olan
denemesinde tecessüm ettirmekten yine de kendini alıkoyamaz7. Bir başka
ifadeyle Terry Eagleton’un da belirttiği gibi, bir şair, kendisini kısırlaştıran
öncü güçlü şairin şiiriyle mücadeleye girer ve onu yeniden yazmaya ve
yorumlamaya çalışmak suretiyle kendini ispatlamaya çalışır8. Bloom, “ge-
ciken şair”in, “öncü veya selef” şairin şiirini altı şekilde bozup değiştire-
bileceğini belirttikten ve bu “bozup değiştirme” süreçlerinin söz sanatları
ve Freud’un savunma mekanizmaları arasındaki ilişkiye değindikten son-
ra söz konusu mekanizmalarla Kabalistlerin İbrani İncili’nin yorumunda
kullandıkları araçlar arasında bir benzerlik bulmuştur. Bloom, “Clinamen,
Tessera, Kenosis, Demonisierung, Askesis, Apophrades”9 terimleriyle ad-
landırdığı altı çeşit tahriften bahseder. Adı geçen savunma ve tahrif meka-
nizmaları, bir nevi kendinden önceki Hececilerle ve konumuzla ilgi olması
açısından en yoğun olarak Ahmet Haşim’in şiiriyle hesaplaşmaya giren
Orhan Veli’nin şiirinde de –bütün aşamaları ve türleriyle olmasa da– karşı-
mıza çıkmaktadır. Orhan Veli, bilhassa Ahmet Haşim karşısında kendisini
“gecikmiş” bir şair olarak görmektedir. Haşim, Ahmet Hamdi Tanpınar,
Ahmet Muhip Dranas, Necip Fazıl Kısakürek gibi önde gelen şairlerin,
Atatürk devrinin eleştiri otoritesi olarak kabul edilen Nurullah Ataç’ın da
büyük beğeni ve hayranlığını toplayan bir şairdir. Orhan Veli, devrin bir-
çok şairini etkileyen Haşim’le hem düz yazılarında –bunlara Garip önsö-
zünü de ilave edebiliriz- hem de şiirlerinde zaman zaman tavrını gizlemek-
le birlikte bir hesaplaşmaya girer. Bu bağlamda Orhan Veli’nin Haşim’in
şiirini aşma sürecini:
I. Şiirlerinde,
II. Düz yazılarında olmak üzere iki temel başlık altında ele alabiliriz.
Söz konusu sürecin nasıl tezahür ettiğini görmek için öncelikle şiirleri-
ne bakalım. Hakan Sazyek, Garip şairlerinin bilinen edebî mekteplerin ve
toplulukların aksine önce poetika ile değil de eserle, şiirle rakiplerinin kar-
şısına çıkmalarını, oldukça anlamlı bulur ve bu tavrı, mevcut şiir anlayışını
7
Harold Bloom, 1973’te yayımlanan ‘The Influence of Anxiety’ adlı kitabıyla söz konusu bakış açısının ede-
biyat tarihlerinin yazımında da etkili olacağını iddia etmektedir. Bkz. Terry Eagleton, Edebiyat Kuramı, Çev.:
Esen Tarım, Ayrıntı Yay., İstanbul 1990, s. 204.
8
Bkz. ag.e., s. 204.
9
Bunlar sırasıyla, “Clinamen, temel aykırılık, öncü, selef şairin şiirini kötü okuma, onun yönelmediği noktaya
yönelme, hedef değiştirme; Tessera, önceki şiiri tamamlama ya da onu farklı tez oluşturacak şekilde kullanmak;
Kenosis, öncü şairin şiirini değersizleştirmek için onunla bütün bağlantıları kesiyor gözükme; Demonisierung,
öncü şairin şahsında, bütün edebiyat tarihini de içine alan bir anti melek kurgusu, şeytanîleştirme, böylece
ondaki üstün olarak kabul edilen nitelikleri bütün edebiyat tarihine mal ederek öncü şairin değerini düşürme;
Askesis, geleneksel vecde gelme tekniklerini sınırlandırma, öncü şairin şiirinde eksiklikler bulma; Apophrades
de ne yapılırsa yapılsın eserde öncü şairin etkisinin tamamen yok edilemeyeceği, tıpkı eski Atina inanışlarında
rastladığımız ölülerin ruhlarının belli günlerde evlerine dönmesi gibi öncü şairin halefin şiirinde varlığını bir
şekilde göstereceği anlamlarına gelmektedir. Bu son süreçte geciken şair, kendi kimliğini de bir bakıma bulmuş
olur. Çıraklık bitmiştir. Söz konusu tahrif mekanizmaları için bkz. (Almanca) www. Wikipedia.org.
1095
yıkmak için somut bir eserle çıkarak daha etkili olma, geleneksel tutumu
benimseyenlerce eleştirilmekten kaçınma ve bir edebî hareket, bir okul
olarak başlama amacını taşımama gibi sebeplere bağlar10. Gerçi durağan-
lığa ve kuralcılığa dayanan mektep anlayışını ve kendilerinin bir mektep
olarak görülmesini, sosyal hayatta olduğu gibi şiirde de sürekli gelişmeyi
ve değişmeyi benimseyen Garipçiler kabul etmeyeceklerdir. Ancak onla-
Kırgız Edebiyatı’nın kurucusu, büyük devlet adamı Kasım Tınıstanov 9 Eylül 1901 tarihinde dünyaya geldi. 1912-1914 yıllarında değişik Özbek mekteplerine devam etti. 1914-1916 yılları arasında Karakol şehrindeki Rus Tüzem Mektebi’nde okudu. Taşkent’te yayımlanan Cas Kayrat, Canga Öris, Sana, Ak Col adlı Kazak gazetelerinde çeşitli görevlerde çalıştı. Kasım Tınıstanov sosyal içerikli, pedagojik hikayeleriyle, şiirleriyle, eğitimciliğiyle, dilciliğiyle, gazeteciliğiyle, aydın kimliğiyle tanınmış bir insandır. Kasım Tınıstanov, Kırgız Türklerinin medeniyet tarihinde çok önemli bir yere sahiptir. Kırgız Türkçesinin önemli gramer âlimi, Kırgız Türkçesi Morfolojisi, Kırgız Türkçesi Sentaksı, Kırgız Türkçesi Grameri kitaplarının müellifidir. Kasım Tınıstanov, yirminci yüzyılda Manas destanını derleme çalışmalarını da Kırgızistan’da başlatan halk bilimcilerdendir. 1926 yılında Azerbaycan’ın başkenti Bakü’de gerçekleştirilen Türkoloji kongresine Kırgız Türkleri adına katılmış ve alfabe değişikliğiyle ilgili Bakü’de ilmî bir konuşma yapmıştır. Kırgız Türkolog Kasım Tınıstanov’un Bakü Türkoloji Kongresi’nde Latin alfabesine geçişle ilgili görüşleri ve Latin alfabesine geçişte bugünkü durum makalede incelenecektir.
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