{"id":1351,"date":"2024-08-19T23:51:05","date_gmt":"2024-08-19T20:51:05","guid":{"rendered":"https:\/\/erenyesilyurt.com\/?p=1351"},"modified":"2026-03-29T21:28:05","modified_gmt":"2026-03-29T18:28:05","slug":"ernst-ve-friedrich-georg-jungerin-eserlerinde-isci-kavrami","status":"publish","type":"post","link":"https:\/\/erenyesilyurt.com\/index.php\/2024\/08\/19\/ernst-ve-friedrich-georg-jungerin-eserlerinde-isci-kavrami\/","title":{"rendered":"Ernst ve Friedrich Georg J\u00fcnger’in Eserlerinde \u0130\u015f\u00e7i Kavram\u0131- Abdalbarr Brown"},"content":{"rendered":"\n

\u0628\u0633\u0645 \u0627\u0644\u0644\u0647 \u0627\u0644\u0631\u062d\u0645\u0646 \u0627\u0644\u0631\u062d\u064a\u0645 \u0648\u0635\u0644\u0649 \u0627\u0644\u0644\u0647 \u0639\u0644\u0649 \u0633\u064a\u062f\u0646\u0627 \u0645\u062d\u0645\u062f \u0648\u0639\u0644\u0649 \u0621\u0627\u0644\u0647 \u0648\u0635\u062d\u0628\u0647 \u0623\u062c\u0645\u0639\u064a\u0646 \u0648\u0633\u0644


\u201c...Eski dillere, Yunan mitoslar\u0131na, Roma hukukuna, \u0130ncil’e ve H\u0131ristiyan eti\u011fine, Frans\u0131z ahlak\u00e7\u0131lar\u0131na, Alman metafizi\u011fine, d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndaki \u015fiire yabanc\u0131. Ger\u00e7ek hayat\u0131n c\u00fcceleri, teknik goliathlar – bu nedenle ele\u015ftiride, y\u0131k\u0131mda canavarca, g\u00f6revleri burada gizli. Mekanik olan her \u015feyde ola\u011fan\u00fcst\u00fc bir netlik ve kesinlik: g\u00fczellik ve a\u015fkla ilgili olan her \u015feyde \u015fekilsiz, k\u00f6relmi\u015f ve bulan\u0131k. Tek g\u00f6zl\u00fc devler, karanl\u0131\u011f\u0131n ruhlar\u0131. T\u00fcm yarat\u0131c\u0131 enerjilerin ink\u00e2rc\u0131lar\u0131 ve d\u00fc\u015fmanlar\u0131 – milyonlarca y\u0131ll\u0131k \u00e7abalar\u0131n\u0131 geride bir ot, bir bu\u011fday tanesi, bir sivrisinek kanad\u0131 kadar bile eser b\u0131rakmadan \u00f6zetleyebilirler. \u015eiirden, \u015faraptan, hayalden, oyunlardan uzak ve kibirli okul ustalar\u0131n\u0131n sahte doktrinlerine \u00e7aresizce kap\u0131lm\u0131\u015flard\u0131r. Ama onlar\u0131n bir g\u00f6revi var<\/em>. \u201c1

<\/sup><\/a>\u201cLeviathan’\u0131n etraf\u0131nda bir\u00e7ok bak\u0131\u015f a\u00e7\u0131s\u0131 vard\u0131r. Onu belirlemezler; yerini tespit ederler. Ki\u015finin kendi (konumunu) \u00e7ok ciddiye almas\u0131na izin verilmez. \u201c2

<\/sup><\/a>Efsanevi ve elemental canavarlar\u0131n d\u00fcnyas\u0131nda ya\u015f\u0131yoruz…

G\u00fcne\u015fli bir g\u00fcnde, herhangi bir \u015fehrin herhangi bir soka\u011f\u0131nda, aniden y\u00fcksek bir k\u00fckreme sesi duydu\u011funuzu hayal edin. Bu modern d\u00fcnya de\u011fil mi? Daha \u00f6nce bir yerlerde duymad\u0131\u011f\u0131n\u0131z bir \u015fey de\u011fil. Tek fark, bu k\u00fckremenin biraz daha y\u00fcksek, biraz daha rahats\u0131z edici olmas\u0131. G\u00fcr\u00fclt\u00fcn\u00fcn geldi\u011fi y\u00f6ne bakt\u0131\u011f\u0131n\u0131zda ufukta yava\u015f\u00e7a y\u00fckselen siyah bir \u015fekil g\u00f6r\u00fcyorsunuz. Herhangi bir standarda g\u00f6re devasa, modern bir harpy, sadece durup d\u00fc\u015f\u00fcnseniz bile deh\u015fet verici, ama devam ediyorsunuz. Neden, \u00e7\u00fcnk\u00fc bu bir askeri nakliye \u00fcss\u00fcn\u00fcn d\u0131\u015f\u0131ndaki s\u0131radan bir g\u00fcn.

Ernst J\u00fcnger ve karde\u015fi Friedrich Georg J\u00fcnger’in eserlerindeki \u0130\u015f\u00e7i<\/em> kavram\u0131 hakk\u0131ndaki bu makaleye neden bu \u015fekilde ba\u015flad\u0131\u011f\u0131m\u0131 sorabilirsiniz. Bu betimlemenin, modern d\u00fcnyaya insanl\u0131\u011f\u0131n \u00e7o\u011funun g\u00f6z\u00fcnden ka\u00e7an bir bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 tasvir etti\u011fine inan\u0131yorum. Teknolojimiz ve buna ba\u011fl\u0131 olarak etraf\u0131m\u0131zda olup biten di\u011fer t\u00fcm i\u015fler hakk\u0131nda uzaklara bakma ve d\u00fc\u015f\u00fcnmeme e\u011filimindeyiz. Ancak bu askeri nakliye u\u00e7a\u011f\u0131n\u0131n ezici ve imkans\u0131z u\u00e7u\u015fu, teknolojimizin y\u00fcz ya da daha fazla y\u0131l i\u00e7inde ne hale geldi\u011finin \u00f6z\u00fcn\u00fc de beraberinde getiriyor. Ernst J\u00fcnger \u00fczerine yaz\u0131lm\u0131\u015f en iyi giri\u015f eserlerinden birinin yazar\u0131 olan Martin Meyer, J\u00fcnger’in konusu hakk\u0131nda \u015funlar\u0131 s\u00f6yler

\u201c\u0130nsan \u00f6nce g\u00f6rmeyi \u00f6\u011frenmesi gereken bir durumda ya\u015far.\u201d<\/em>

Bu yaz\u0131 boyunca, \u0130ngilizce kullan\u0131mda yeterince yayg\u0131n olmas\u0131na ra\u011fmen anlam\u0131 a\u00e7\u0131s\u0131ndan g\u00f6zden ge\u00e7irilmesi gereken Almanca bir kelime kullanaca\u011f\u0131m. Almanca’da gestalt<\/em> ile e\u015fanlaml\u0131 olan bu s\u00f6zc\u00fck, bir malzemenin g\u00f6r\u00fcn\u00fcr bi\u00e7imidir. G\u00f6zle g\u00f6r\u00fclebilene i\u015faret eder, ancak bir \u015feyin b\u00fct\u00fcn\u00fcn\u00fc ya da \u00f6z\u00fcn\u00fc ima eder. Goethe’nin ur-bitki<\/em> kavram\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrseniz, gestalt<\/em> kelimesinin do\u011fas\u0131na benzer bir fikre sahip olursunuz. Ki\u015fi d\u00fcnyadaki herhangi bir bitkide t\u00fcm bitkilerin b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc ya da gestalt\u0131n\u0131<\/em> g\u00f6zlemler. J\u00fcnger varl\u0131klar\u0131 \u00fc\u00e7 kategoriden olu\u015fmu\u015f olarak g\u00f6r\u00fcr. \u015e\u00f6yle der:

\u201cTip, isim ve gestalt bir kez daha meselenin \u00f6z\u00fcne geri d\u00f6ner. Bir gestalt ‘\u0131 ya da Goethe’nin deyimiyle deneyimi alg\u0131lamak i\u00e7in m\u00fckemmel bir mercek sisteminden daha kapsaml\u0131 bir donan\u0131m gerekir, \u00e7\u00fcnk\u00fc g\u00f6rmek ve tan\u0131mlamak, hatta resmetmek her zaman gestalt’\u0131n sadece bir i\u015faretidir, \u00f6z\u00fc de\u011fil. G\u00f6z, i\u015fareti muazzam zenginli\u011fi i\u00e7inde alg\u0131lad\u0131 m\u0131, bu y\u00fczden sadece yakla\u015f\u0131k olarak kalabilecek bir b\u00fct\u00fcnl\u00fck hakk\u0131nda bir fikir edinmek i\u00e7in olduk\u00e7a yakla\u015fmal\u0131d\u0131r: sonsuzca d\u00f6nen d\u00fcnyaya kar\u015f\u0131 gizli ve dinlendirici bir kar\u015f\u0131tl\u0131k. Goethe’nin g\u00f6zl\u00fcklerden, mikroskoplardan ve teleskoplardan ho\u015flanmamas\u0131 bunun bir sonucudur. <\/em>\u201c3

<\/sup><\/a> J\u00fcnger de bu g\u00f6rme eylemini ola\u011fan\u00fcst\u00fc bir \u015fey olarak tan\u0131mlar:

\u201cGestalt’\u0131n alg\u0131lanmas\u0131 devrimci bir eylemdir, \u00e7\u00fcnk\u00fc bir varl\u0131\u011f\u0131 ya\u015fam\u0131n\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fc ve tekli\u011fi i\u00e7inde tan\u0131r. \u201c<\/em>4
<\/sup><\/em>
<\/sup><\/a> Bir \u015feyi b\u00f6yle g\u00f6rmenin, onun \u00f6z\u00fcn\u00fc g\u00f6rmek ve i\u015fleyi\u015fini bilmek oldu\u011funu s\u00f6yleyebiliriz. J\u00fcnger’in i\u015f\u00e7i \u00fczerine yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalarda ve d\u00fc\u015f\u00fcnmelerindeki amac\u0131 da buydu; onun do\u011fas\u0131n\u0131 daha derinlemesine anlamak. Tip karakteristiktir, ad\u0131 i\u015f\u00e7idir, ama i\u015f\u00e7inin Gestalt<\/em> ‘\u0131 nedir? J\u00fcnger, i\u015f\u00e7i alg\u0131s\u0131n\u0131 derin bi\u00e7imiyle ifade etmeye, anlam\u0131n\u0131 m\u00fcmk\u00fcn oldu\u011funca derinlemesine deneyimlemeye \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. Dolay\u0131s\u0131yla, i\u015f\u00e7inin gestalt\u0131ndan<\/em> bahsetti\u011fimizde, Marx ve Hegel’in onu tan\u0131mlamak i\u00e7in kulland\u0131\u011f\u0131 di\u011fer t\u00fcm g\u00f6stergelerle birlikte onun proleter olarak d\u0131\u015fsal alg\u0131s\u0131ndan, yani tarihsel k\u00f6keninden, i\u015f\u00e7inin kim oldu\u011fu ve neden bu \u00e7a\u011f\u0131m\u0131zda oldu\u011fu gibi ortaya \u00e7\u0131kt\u0131\u011f\u0131na dair daha derin ve daha anlaml\u0131 bir anlay\u0131\u015fa do\u011fru ilerlemektir. Bu, i\u015f\u00e7iyi Marksist yakla\u015f\u0131mda ortaya \u00e7\u0131kt\u0131\u011f\u0131 \u015fekliyle efsanesinden ay\u0131rmakt\u0131r. J\u00fcnger \u015f\u00f6yle diyor:

\u201cGeriye, i\u015f\u00e7inin temel niteli\u011finin ekonomik bir nitelik oldu\u011fu efsanesini yok etmek kal\u0131yor. \u201c<\/em>5
<\/sup><\/em>
<\/sup><\/a> J\u00fcnger’e g\u00f6re bu Gestalt<\/em> ‘\u0131n \u00e7ok daha b\u00fcy\u00fck etkileri vard\u0131r. A\u00e7\u0131l\u0131\u015f paragraf\u0131ndaki s\u00f6zleri yazd\u0131\u011f\u0131nda, zaten siperlerden sa\u011f \u00e7\u0131km\u0131\u015ft\u0131 ve \u015fimdi de Nazilerin iktidara y\u00fckseli\u015fini, d\u00fc\u015f\u00fc\u015f\u00fcn\u00fc, feci bir sava\u015fa s\u00fcr\u00fckleni\u015fini ve nihayet Almanya’y\u0131 yerle bir edi\u015fini ya\u015f\u0131yordu. Modern teknolojik sava\u015f\u0131n deh\u015fetini benim kelimelerimin anlatmaya cesaret edemeyece\u011fi kadar yak\u0131ndan g\u00f6rm\u00fc\u015f ve hissetmi\u015fti. Hangisi daha k\u00f6t\u00fcyd\u00fc bilmiyorum, siperlerde do\u011frudan bir isabet korkusuyla b\u00fcz\u00fclm\u00fc\u015f toplar\u0131n bitmek bilmeyen yayl\u0131m ate\u015fi mi, yoksa \u0130kinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda belirsiz bir kaderin korkusuyla ayn\u0131 \u015fekilde b\u00fcz\u00fclm\u00fc\u015f sivil halk\u0131n bombalanmas\u0131 ve ate\u015f alt\u0131na al\u0131nmas\u0131 m\u0131? Belki bu kar\u015f\u0131la\u015ft\u0131rma sessizdir, belki de kar\u015f\u0131la\u015ft\u0131rma yap\u0131lamaz. Bu sadece basit bir korku.

Ernst J\u00fcnger’in bu olaylar\u0131 nas\u0131l g\u00f6rd\u00fc\u011f\u00fcn\u00fc ke\u015ffetmek istiyorum. Umar\u0131m bu giri\u015f \u015fiiriyle, J\u00fcnger’in bu olaylar\u0131 betimlemek i\u00e7in nas\u0131l imgeler kulland\u0131\u011f\u0131na dair bir fikir edinmi\u015fsinizdir. J\u00fcnger yazarken neredeyse Ezra Pound’un ‘ideogramik’ y\u00f6ntem olarak tan\u0131mlad\u0131\u011f\u0131 bir \u00fcslup kullan\u0131r. Soyut kavramlar\u0131 somut imgelerle alg\u0131lamakt\u0131r. Ancak J\u00fcnger’in bak\u0131\u015f a\u00e7\u0131s\u0131 maddi bir d\u00fcnyadan t\u00fcretilmemi\u015ftir. Ona ve bize en yak\u0131n olan, tanr\u0131lar\u0131n ve titanlar\u0131n metaforlar\u0131n\u0131n h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc Yunan mit d\u00fcnyas\u0131na girece\u011fiz. Bu \u00e7a\u011fda uzun zamand\u0131r bizi \u00e7evreleyen enerjileri ve hareketleri yeni ve farkl\u0131 bir g\u00f6zle g\u00f6rmeye ba\u015flayaca\u011f\u0131z. Yarat\u0131l\u0131\u015fa bir g\u00f6z atmak i\u00e7in etraf\u0131m\u0131zdaki d\u00fcnyam\u0131zda olup bitenlerden bahsetti\u011fimizi de unutmamak gerekir. \u0130bn Arabi’nin bir s\u00f6z\u00fcn\u00fc de hepimize hat\u0131rlatmak istiyorum. Allah’\u0131 anlaman\u0131n kolay oldu\u011funu, yarat\u0131l\u0131\u015f\u0131 anlaman\u0131n ise \u00e7ok zor oldu\u011funu ifade eden bir s\u00f6z.

Ernst J\u00fcnger’in G\u00fcnl\u00fc\u011f\u00fc’nde ba\u015flad\u0131\u011f\u0131m\u0131z ilgin\u00e7 kay\u0131t 27 Eyl\u00fcl 1947 tarihlidir. Sava\u015f\u0131n bitiminden iki y\u0131l sonra, J\u00fcnger sadece Hitler ve yanda\u015flar\u0131n\u0131n d\u00fc\u015f\u00fc\u015f\u00fcn\u00fc birinci elden g\u00f6rmekle kalmam\u0131\u015f, ayn\u0131 zamanda m\u00fcltecilerin ve i\u015fgalcilerin hareketlerine de tan\u0131k olmu\u015ftur. M\u00fcttefik tanklar\u0131n\u0131n ve ara\u00e7lar\u0131n\u0131n Kirchhorst k\u00f6y\u00fcnden birden fazla kez ge\u00e7ti\u011fini g\u00f6rm\u00fc\u015ft\u00fcr, ezici bir mobilize demir g\u00fcc\u00fc. Buna hayat\u0131nda \u00fc\u00e7\u00fcnc\u00fc kez tan\u0131k oluyor. Gen\u00e7 bir adamken bir seferberlik g\u00f6rm\u00fc\u015f ve bundan b\u00fcy\u00fck keyif alm\u0131\u015ft\u0131. Birinci D\u00fcnya Sava\u015f\u0131’n\u0131n ba\u015flamas\u0131ndan k\u0131sa bir s\u00fcre sonra, di\u011fer t\u00fcm erkekler gibi o da hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015ft\u0131. O andan itibaren bu bir hayatta kalma oyunu olacakt\u0131. Bundan sonra, Almanya’n\u0131n ruhu i\u00e7in verilen ve nihayetinde \u201cdemirlerin\u201d bir sonraki seferberli\u011fine yol a\u00e7acak olan sava\u015f\u0131n nas\u0131l ger\u00e7ekle\u015fti\u011fini izledi. Bu kez \u00fclkesinin sokaklar\u0131nda demirden ge\u00e7it t\u00f6renleri bir sonraki felaketin habercisiydi. Onun ya\u015fam\u0131nda \u00fc\u00e7 felaket olay\u0131, bunlar\u0131 nas\u0131l anlamal\u0131?

Maxima-Minima, \u0130\u015f\u00e7iye Notlar<\/em> adl\u0131 eserinde \u015f\u00f6yle yazar:

\u201cYaln\u0131zca toplumun ve devletlerin de\u011fil, canl\u0131 ve cans\u0131z do\u011fan\u0131n da de\u011fi\u015fti\u011fi h\u0131zl\u0131 ivme, ne tarihsel ne de insani geli\u015fim taraf\u0131ndan tatmin edici bir \u015fekilde a\u00e7\u0131klanamayan nedenler varsayar. Sadece ili\u015fkileri de\u011fil, ayn\u0131 zamanda ili\u015fkilerin geli\u015fti\u011fi ortak zemini de de\u011fi\u015ftirir. Ke\u015ffedilmemi\u015f b\u00f6lgeler ortaya \u00e7\u0131kar. Temel g\u00fc\u00e7ler tarih kisvesi alt\u0131na girer. \u0130nsan sadece tarihsel de\u011fil, ayn\u0131 zamanda do\u011fal bir varl\u0131k olarak anla\u015f\u0131l\u0131r ve onunla birlikte bitkiler ve hayvanlar, yery\u00fcz\u00fcn\u00fcn y\u00fczeyi ve derinlikleri ve denizler atmosferik olarak g\u00f6m\u00fcl\u00fcr. Zaman\u0131n kendisi de\u011fi\u015fmeye ba\u015flar: k\u00fclt\u00fcrleriyle tarihi d\u00fcnya, L\u00fcbnan ile Anti-L\u00fcbnan aras\u0131nda oldu\u011fu gibi, efsanevi bir alacakaranl\u0131k ile tanr\u0131s\u0131z d\u00fcnyan\u0131n \u015fiddeti aras\u0131nda uzanan bir vadiyi doldurur. <\/em>\u201c6

<\/sup><\/a>D\u0131\u015far\u0131dan bak\u0131ld\u0131\u011f\u0131nda tarih meydana gelmektedir ancak bu, b\u00f6ylesine b\u00fcy\u00fck hareketlerin tatmin edici bir a\u00e7\u0131klamas\u0131 de\u011fildir. D\u0131\u015ftan bak\u0131ld\u0131\u011f\u0131nda insan taraf\u0131ndan y\u00f6nlendirilen ama i\u00e7ten i\u00e7e kendi bilimi ve motivasyonu olan bir g\u00fcc\u00fcn ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 kabul eder. Geleneksel olarak tarihsel ve insani olan her \u015feyden kopuk g\u00f6r\u00fcn\u00fcr. Mant\u0131\u011f\u0131 kar\u015f\u0131 konulmaz, esteti\u011fi simetriktir. Tekerlekler ve raylar \u00fczerinde yuvarlan\u0131r ve bir attan daha h\u0131zl\u0131 hareket eder. A\u011f\u0131rl\u0131\u011f\u0131yla a\u00e7\u0131k bir \u00e7eli\u015fki i\u00e7inde havada u\u00e7ar. Deniz \u00fczerinde y\u00fczer. Demir veya di\u011fer metallerden yap\u0131lm\u0131\u015ft\u0131r ve toprak yak\u0131tlardan elde edilen ate\u015fle \u00e7al\u0131\u015f\u0131r, tek kelimeyle: cehennem. Sadece sava\u015f alan\u0131nda de\u011fil, ayn\u0131 zamanda \u015fehirde de ayn\u0131 temel g\u00fc\u00e7ler taraf\u0131ndan \u00e7al\u0131\u015ft\u0131r\u0131lan enerji santrallerinde, salonlar\u0131nda ve fabrikalar\u0131nda bulunur.

Bu, i\u00e7inde ya\u015famaya ba\u015flad\u0131\u011f\u0131m\u0131z \u015fiddetli ve tanr\u0131s\u0131z bir d\u00fcnyad\u0131r. Elemental g\u00fc\u00e7lerin hakim oldu\u011fu bir d\u00fcnya; g\u00fc\u00e7leri o kadar tekil ki elementler \u00fczerinde hakimiyetleri var, ama bu elementleri i\u015fgal eden ya\u015fam \u00fczerinde de\u011fil. B\u00f6ylece Ernst J\u00fcnger ve karde\u015fi Friedrich Georg J\u00fcnger \u00e7evrelerindeki formlar\u0131 farkl\u0131 bir \u0131\u015f\u0131k alt\u0131nda g\u00f6rmeye ba\u015flad\u0131lar. Friedrich eserinde titanlar hakk\u0131nda \u015f\u00f6yle der:

\u201cTitanlar tanr\u0131lar\u0131 do\u011furmalar\u0131na ve Zeus’un diyar\u0131nda ilahi tap\u0131nman\u0131n tad\u0131n\u0131 \u00e7\u0131karmalar\u0131na ra\u011fmen tanr\u0131 de\u011fildirler. Y\u00f6nettikleri tanr\u0131s\u0131z bir d\u00fcnya oldu\u011fu i\u00e7in, kesin bilimlerin tarif etti\u011fi gibi olmayan bir kozmos atheos (tanr\u0131s\u0131z bir kozmos) hayal etmek isteyen ki\u015fi onu burada bulacakt\u0131r. Titanlar ve tanr\u0131lar birbirlerinden farkl\u0131d\u0131r ve bu farkl\u0131l\u0131k onlar\u0131n insanlarla olan davran\u0131\u015flar\u0131nda g\u00f6r\u00fcn\u00fcr hale gelir \u00e7\u00fcnk\u00fc insan onlar\u0131n nas\u0131l h\u00fckmettiklerini do\u011frudan tecr\u00fcbe eder; tecr\u00fcbesi sayesinde onlar\u0131 ay\u0131rt edebilir. Onlar\u0131 deneyiminin eseri olarak de\u011fil, daha ziyade deneyimin ilk olarak kuruldu\u011fu bir emirle tan\u0131yabilir. \u201c<\/em>7
<\/sup><\/em>
<\/sup><\/a>Dolay\u0131s\u0131yla, tekni\u011fin amans\u0131z buyru\u011fuyla devler insan taraf\u0131ndan deneyimlenir. Kim bir makineye bak\u0131p da onun hareketlerinde ya\u015famdan bir \u015feyler g\u00f6rmemi\u015ftir ki? Ruhsuz olabilir ama hareket eder, ses \u00e7\u0131kar\u0131r ve g\u00fc\u00e7 vas\u0131tas\u0131yla canl\u0131lar\u0131n di\u011fer t\u00fcm \u00f6zelliklerini sergiler. Makine, elementlerin g\u00fcc\u00fcyle canl\u0131d\u0131r ve nihayetinde ona e\u015flik eden \u00f6zellik y\u0131k\u0131md\u0131r. C.P. Snow \u015f\u00f6yle demi\u015ftir:

\u201cTeknoloji tuhaf bir \u015feydir. Bir eliyle size hediyeler verirken di\u011fer eliyle sizi s\u0131rt\u0131n\u0131zdan b\u0131\u00e7aklar.\u201d

<\/em>Teknoloji, devlerin d\u00fcnyada hareket etmesini sa\u011flayan ara\u00e7t\u0131r. Cans\u0131zl\u0131\u011f\u0131n ve ya\u015fam\u0131n kendisinin \u00e7eli\u015fkisidir. J\u00fcnger, karde\u015finin paragraf\u0131n\u0131n bu son k\u0131sm\u0131na \u015f\u00f6yle a\u00e7\u0131kl\u0131k getirir:

\u201cTitanlar\u0131n duaya ihtiyac\u0131 yoktur; onlara \u00e7al\u0131\u015farak tap\u0131n\u0131l\u0131r. Adlar\u0131 eylemlerinin ard\u0131nda sakl\u0131 olsa da \u00e7ok sayg\u0131nd\u0131rlar. Yani bug\u00fcn Uran\u00fcs denmiyor, Uranyum deniyor. D\u00fcnya taraf\u0131ndan g\u00fc\u00e7lendirilmi\u015f olmas\u0131na ra\u011fmen Pl\u00fcton bile Olimpos’a ait de\u011fildir. <\/em>\u201c8

<\/sup><\/a> Devlere i\u015f taraf\u0131ndan hizmet edildi\u011fi, muhtemelen modern \u00e7a\u011f\u0131n en derin ifadelerinden biridir. Burada i\u015fin ritminin, tanr\u0131s\u0131z ya da unutkanl\u0131\u011fa d\u00fc\u015fm\u00fc\u015f olanlar\u0131n tap\u0131nmas\u0131 oldu\u011fu anlay\u0131\u015f\u0131 yatmaktad\u0131r. \u00c7al\u0131\u015fma, end\u00fcstriyel s\u0131cak evlerin, modern devletlerin mantras\u0131d\u0131r ve bir zamanlar edilen dualar\u0131n yerini alm\u0131\u015ft\u0131r. \u0130\u015f, insan\u0131n nas\u0131l tan\u0131mlanaca\u011f\u0131, nas\u0131l istihdam edilece\u011fi ya da i\u015fsiz kalaca\u011f\u0131d\u0131r. Nihayetinde \u00e7al\u0131\u015fmak \u00f6zg\u00fcrl\u00fc\u011f\u00fcn kendisi haline geldi, deyim yerindeyse \u00e7al\u0131\u015fmakta \u00f6zg\u00fcrs\u00fcn\u00fcz.

Kanada’da bir katran kumu sahas\u0131n\u0131 ziyaret ettikten sonra Neil Young’\u0131n s\u00f6ylediklerinden baz\u0131lar\u0131 \u015funlard\u0131

\u201cYak\u0131t her yerde – dumanlar her yerde – \u015fehre vard\u0131\u011f\u0131n\u0131zda kokusunu alabiliyorsunuz\u201d<\/em> diye hat\u0131rl\u0131yor Young. \u201cFort McMurray’e en yak\u0131n katranl\u0131 kum i\u015fi yapan yer kasaban\u0131n 25 ya da 30 mil d\u0131\u015f\u0131nda ve Fort McMurray’e vard\u0131\u011f\u0131n\u0131zda tad\u0131n\u0131 alabiliyorsunuz. \u0130nsanlar hasta. \u0130nsanlar bu y\u00fczden kanserden \u00f6l\u00fcyor. Oradaki t\u00fcm Kanada K\u0131z\u0131lderilileri bu y\u00fczden tehdit alt\u0131nda<\/em>.\u201d

Young, kaz\u0131lan katranl\u0131 kumlar\u0131 Teksas ve Louisiana’daki ihracat terminallerine ta\u015f\u0131mas\u0131 planlanan Keystone XL boru hatt\u0131 i\u00e7in \u201cEvet, pek \u00e7ok insana i\u015f sa\u011flayacak\u201d<\/em> dedi. \u201cBunu duydum ve i\u00e7inden \u00e7\u0131kamayacaklar\u0131 kadar derin bir \u00e7ukur kazacak pek \u00e7ok insan g\u00f6rd\u00fcm ve bu da bir i\u015f ve bence Keystone boru hatt\u0131 ile bahsetti\u011fimiz i\u015fler bunlar\u201d <\/em>dedi.

Bu konuda ilgin\u00e7 olan \u015fey, t\u00fcm sahnenin elle tutulurlu\u011fu, kokular, vizyon ve nihayet t\u00fcm bunlar\u0131n \u00e7aresizli\u011fi. \u0130nsan\u0131n a\u011fz\u0131nda k\u00f6t\u00fc bir tat b\u0131rak\u0131yor. Teknisyenlerin a\u00e7g\u00f6zl\u00fcl\u00fc\u011f\u00fc bir titan\u0131 daha serbest b\u0131rakt\u0131 ve onu \u015fi\u015feye \u00f6yle kolayca geri koyamayacaks\u0131n\u0131z. Young i\u015f unsurunu da buna ba\u011flad\u0131\u011f\u0131nda, J\u00fcnger’in \u00e7a\u011f alg\u0131s\u0131n\u0131n m\u00fckemmel bir \u00f6rne\u011fine sahip olursunuz. Burada s\u00f6z konusu olan iki unsurun, elementler bi\u00e7imindeki titanlar ve i\u015f\u00e7inin gestalt’<\/em> \u0131 oldu\u011fu s\u00f6ylenebilir. Bu titan\u0131 serbest b\u0131rakma arg\u00fcman\u0131 \u00e7al\u0131\u015fmad\u0131r ve titanlara daha fazla hizmet eder. Young’\u0131n bahsetti\u011fi delik elbette atas\u00f6z\u00fcd\u00fcr, ancak bu pisli\u011fin temizlenmesi ka\u00e7\u0131lmas\u0131 \u00e7ok zor olacak bir deliktir. Friedrich J\u00fcnger \u015f\u00f6yle yaz\u0131yor:

\u201cBug\u00fcn etraf\u0131m\u0131za bakt\u0131\u011f\u0131m\u0131zda, gece g\u00fcnd\u00fcz hummal\u0131 bir \u015fekilde \u00e7al\u0131\u015fan dev bir de\u011firmende ya\u015fad\u0131\u011f\u0131m\u0131z\u0131 hissediyoruz. Y\u00fcksek f\u0131r\u0131nlarda ve konvert\u00f6rlerde ate\u015fler alev alev yan\u0131yor ve k\u00fckr\u00fcyor; her yerden erimi\u015f metal ak\u0131yor ve devasa k\u00fcl\u00e7eler kiraz k\u0131rm\u0131z\u0131s\u0131 parl\u0131yor. Buras\u0131 devlerin at\u00f6lyesi. End\u00fcstriyel manzara volkanik karakterlidir ve bu nedenle \u00f6zellikle a\u011f\u0131r sanayi b\u00f6lgelerinde volkanik patlamalar\u0131n t\u00fcm e\u015flik eden i\u015faretleri bulunur: lav k\u00fclleri fumaroller, duman, gazlar alevlerle k\u0131zarm\u0131\u015f gece bulutlar\u0131 – ve uzaklara yay\u0131lan y\u0131k\u0131m. Muhte\u015fem motorlarda yakalanan titanik temel g\u00fc\u00e7ler, krank milleri hareket ederken pistonlar\u0131 ve silindir duvarlar\u0131n\u0131 zorluyor ve e\u015fit bir g\u00fc\u00e7 ak\u0131\u015f\u0131 sa\u011fl\u0131yor<\/em>. \u201c9

<\/sup><\/a>Hem Titanik’in do\u011fas\u0131n\u0131 hem de i\u015f\u00e7inin gestalt\u0131yla <\/em>olan ili\u015fkisini bundan daha iyi anlatan bir a\u00e7\u0131klama olamaz. O halde bu, anti-kahraman\u0131m\u0131z i\u015f\u00e7inin girdi\u011fi bir sonraki a\u015famaya ge\u00e7i\u015f i\u00e7in iyi bir noktad\u0131r. Ernst J\u00fcnger onu \u015f\u00f6yle tan\u0131mlar:

\u201cAntaios gibi i\u015f\u00e7i de do\u011frudan yery\u00fcz\u00fcn\u00fcn o\u011fludur; g\u00f6r\u00fcn\u00fc\u015f\u00fcne tektonik olarak alg\u0131lanan sars\u0131nt\u0131lar e\u015flik eder. Gece, \u015fafaktan \u00f6nce demircinin ate\u015finin par\u0131lt\u0131s\u0131yla dolar. V\u00fccudu k\u0131s\u0131tlayan yapay bir giysi gibi b\u00f6l\u00fcnm\u00fc\u015f topraktan nefret eder<\/em>. \u201c10

<\/sup><\/a>Antaios, d\u00fcnyan\u0131n anas\u0131 Gaia titan ile Poseidon’un o\u011fludur. Libya \u00e7\u00f6llerinde ya\u015fam\u0131\u015f bir devdir. B\u00fcy\u00fck g\u00fcc\u00fcyle tan\u0131n\u0131r, kar\u015f\u0131s\u0131na \u00e7\u0131kan herkesi g\u00fcre\u015fmeye davet eder, kafataslar\u0131ndan babas\u0131n\u0131n \u015fan\u0131na bir tap\u0131nak in\u015fa edece\u011fini s\u00f6yleyerek onlar\u0131 tek tek \u00f6ld\u00fcr\u00fcrd\u00fc. Herk\u00fcl’de e\u015fiyle kar\u015f\u0131la\u015fana kadar her \u015fey yolundayd\u0131. Herk\u00fcl’e Athena taraf\u0131ndan, Antaios’un \u00fcst\u00fcn g\u00fcc\u00fcn\u00fc toprakla, annesiyle olan temas\u0131ndan ald\u0131\u011f\u0131 s\u00f6ylenmi\u015fti. Onu yenmek i\u00e7in bu ba\u011f\u0131 koparmas\u0131 gerekecekti. B\u00f6ylece Herk\u00fcl devi yerden kald\u0131rd\u0131 ve kaburgalar\u0131n\u0131 k\u0131rarak onu \u00f6ld\u00fcrd\u00fc.

\u0130\u015fte Antaios gibi i\u015f\u00e7i de g\u00fcc\u00fcn\u00fc her \u015feyden \u00f6nce toprakla olan temas\u0131ndan al\u0131r. O, g\u00fcc\u00fcn\u00fc elementlerin manip\u00fclasyonundan alan bir teknokratt\u0131r. Bilimseldir ve materyalisttir. Teknolojisinin temelini olu\u015fturan unsurlar\u0131 elinden ald\u0131\u011f\u0131n\u0131zda g\u00fc\u00e7s\u00fczle\u015fir. A\u00e7\u0131l\u0131\u015f paragraf\u0131 onu tan\u0131mlamak i\u00e7in kullan\u0131labilir. Tek g\u00f6zl\u00fc bir titan olarak tamamen g\u00f6remez. Tepeg\u00f6z, g\u00f6rme bozuklu\u011fu i\u00e7in bir metafordur. K\u00fcstah okul m\u00fcd\u00fcr\u00fc gibi, \u00f6nyarg\u0131lar\u0131yla \u00f6\u011fretir ve bilimsel olarak de\u011ferli g\u00f6rd\u00fc\u011f\u00fc \u015feylerden ba\u015fka hi\u00e7bir \u015feye a\u00e7\u0131k de\u011fildir. J\u00fcnger \u015f\u00f6yle der:

\u201cTanr\u0131lar\u0131n oldu\u011fu yere ak\u0131l girmelidir.\u201d
<\/em>
Ya da bir zamanlar Tanr\u0131sal olan\u0131n oldu\u011fu yere de diyebilirsiniz. Ak\u0131l, i\u015f\u00e7inin dini oldu\u011fu gibi okul m\u00fcd\u00fcr\u00fcn\u00fcn de dinidir. \u0130lahi olan\u0131n b\u0131rakt\u0131\u011f\u0131 bo\u015flu\u011fu ak\u0131l ve bilimin doldurmas\u0131 \u015fa\u015f\u0131rt\u0131c\u0131 de\u011fildir.

Onu bir anti-kahraman olarak adland\u0131rmak biraz abart\u0131l\u0131 g\u00f6r\u00fcnebilir, ancak g\u00f6rece\u011fimiz ve \u00e7o\u011fumuzun zaten bildi\u011fi gibi, i\u015f\u00e7i gestalt\u0131nda<\/em> \u00e7ok az kurtar\u0131c\u0131 nitelik vard\u0131r. Do\u011fu Almanya ve Sovyetler Birli\u011fi’nde \u201cHelden der Arbeit\u201d, yani \u00e7al\u0131\u015fma kahramanlar\u0131 olmas\u0131 \u015fa\u015f\u0131rt\u0131c\u0131 olmamal\u0131d\u0131r. Daha \u00f6nce i\u015f\u00e7inin titanlara hizmet etti\u011finden ve Friedrich J\u00fcnger’in de belirtti\u011fi gibi titanlar\u0131n h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc yerde onlar\u0131nkinin tanr\u0131s\u0131z bir alem oldu\u011fundan bahsetmi\u015ftik. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda i\u015f\u00e7inin ethosu ateist ve dolay\u0131s\u0131yla nihilisttir. Tanr\u0131sal olandan ve onun t\u00fcm yarat\u0131klara bah\u015fetti\u011fi merhametten yoksundur.

Ne Ernst J\u00fcnger’in ne de karde\u015fi Friedrich’in ger\u00e7ek anlamda tanr\u0131lar ve titanlar oldu\u011funa inanmad\u0131klar\u0131n\u0131 belirtmek \u00f6nemlidir. Onlar pagan de\u011fillerdi, ancak Yunan mitoslar\u0131nda, \u00e7a\u011flar\u0131nda olup bitenleri derinden anlamalar\u0131na yard\u0131mc\u0131 olan bir dil buldular. Burada a\u00e7\u0131kl\u0131\u011fa kavu\u015fturulmas\u0131 gereken bir di\u011fer nokta da, Ernst J\u00fcnger’in eserlerinde Leon Bloy’un \u201cDieu se retire\u201d (Tanr\u0131 emekli oldu) s\u00f6z\u00fcn\u00fc ya da Nietzsche’nin \u00fcnl\u00fc \u201cTanr\u0131 \u00f6ld\u00fc\u201d s\u00f6z\u00fcn\u00fc al\u0131nt\u0131lad\u0131\u011f\u0131nda, bildi\u011fimiz yarat\u0131l\u0131\u015ftan bahsetmedikleri, daha ziyade yine metafor dilinde konu\u015ftuklar\u0131 ve Tanr\u0131’n\u0131n ya da daha do\u011frusu \u0130lahi Olan’\u0131n insanlar\u0131n kalplerini terk etti\u011fidir. Unutulmamal\u0131d\u0131r ki Nietzsche en k\u00f6t\u00fc \u015f\u00f6hretli s\u00f6zlerini yazarken, ayn\u0131 \u015feyin ebediyen tekrarlanmas\u0131n\u0131n \u00e7eli\u015fkisiyle damgalanm\u0131\u015ft\u0131r. J\u00fcnger, Prognosen<\/em> adl\u0131 eserinde bundan bahseder:

\u201cNietzsche’nin ‘Tanr\u0131 \u00f6ld\u00fc’ s\u00f6z\u00fc yaln\u0131zca \u00e7a\u011f\u0131n anlay\u0131\u015f durumunun yeterli olmad\u0131\u011f\u0131 anlam\u0131na gelebilir. Dahas\u0131 yazar ‘ebedi tekerr\u00fcr’ ile kendisiyle \u00e7eli\u015fmektedir.<\/em>\u201d

Nietzsche’nin standartlar\u0131na g\u00f6re bile ilahi olan geri d\u00f6necektir. O halde bu bak\u0131\u015f a\u00e7\u0131s\u0131na g\u00f6re i\u015f\u00e7inin derin formunda (Gestalt<\/em>) ilahi olana yer yoktur, t\u0131pk\u0131 insanlar\u0131n hayatlar\u0131nda ilahi olana \u00e7ok az zaman ay\u0131rd\u0131\u011f\u0131 ama hepimizin \u00e7al\u0131\u015fmak i\u00e7in zaman\u0131n\u0131n oldu\u011fu \u00e7a\u011f\u0131m\u0131z gibi.

Bu i\u015f\u00e7i \u00e7a\u011f\u0131n\u0131n \u00f6zellikleri nelerdir? Ernst J\u00fcnger \u015f\u00f6yle diyor:

\u201c\u015eunu bilmek gerekir ki, i\u015f\u00e7i \u00e7a\u011f\u0131nda, e\u011fer ger\u00e7ekten bu ad\u0131 ta\u015f\u0131yorsa ve bug\u00fcn kendilerini i\u015f\u00e7i partisi ilan eden t\u00fcm [siyasi] partiler gibi de\u011filse. \u00c7al\u0131\u015fma olarak anla\u015f\u0131lmayan hi\u00e7bir \u015fey olamaz. \u0130\u015f yumru\u011fun, d\u00fc\u015f\u00fcncenin, kalbin, gece g\u00fcnd\u00fcz ya\u015fam\u0131n, bilimin, a\u015fk\u0131n, sanat\u0131n, inanc\u0131n, e\u011fitimin, sava\u015f\u0131n temposudur; i\u015f atomun titre\u015fimidir ve y\u0131ld\u0131zlar\u0131n ve g\u00fcne\u015f sisteminin hareket ettirdi\u011fi g\u00fc\u00e7t\u00fcr.\u201c11

<\/sup><\/a>Meyer taraf\u0131ndan yap\u0131lan bu a\u00e7\u0131klama meselenin \u00f6z\u00fcne inmektedir:

\u201cBir atomun \u00e7al\u0131\u015fmamas\u0131n\u0131n d\u00fc\u015f\u00fcn\u00fclemez oldu\u011funu, J\u00fcnger \u00fc\u00e7 y\u0131l \u00f6nce Berlin’de gece yapt\u0131\u011f\u0131 bir y\u00fcr\u00fcy\u00fc\u015f s\u0131ras\u0131nda devasa bir volan kar\u015f\u0131s\u0131nda b\u00fcy\u00fclendi\u011fini kaydetmi\u015fti.\u201d<\/em> <\/em>12

<\/sup><\/a> \u0130\u015f\u00e7inin ve onun aleminin \u00f6zelli\u011fi, her \u015feyin i\u015fe ko\u015fulmas\u0131d\u0131r; onun ethosu, n\u00fckleer bilimi kullanarak atomu i\u015fe ba\u011flad\u0131\u011f\u0131 i\u00e7in atom seviyesine bile n\u00fcfuz eder. Ernst J\u00fcnger’in dedi\u011fi gibi, hi\u00e7bir \u015fey bu bi\u00e7imden ka\u00e7amaz:

\u201c\u0130\u015f\u00e7i teknik ayg\u0131tta sava\u015f\u0131r ve \u00f6l\u00fcr, sadece daha y\u00fcksek idealler olmadan de\u011fil, ayn\u0131 zamanda onlar\u0131 bilin\u00e7li olarak reddederek. Onun ahlak\u0131 makinenin temiz \u00e7al\u0131\u015fmas\u0131nda yatar. Endi\u015felenmesine gerek yoktur; plan\u0131 anlamaz. Bazen ulusal kimli\u011fe ba\u015fvurulur, ama bu sadece tutkulara verilen bir \u00f6d\u00fcn, bir askerlik olarak kal\u0131r.<\/em> \u201c13

<\/sup><\/a>Art\u0131k hi\u00e7bir \u015fey i\u015f\u00e7inin alan\u0131n\u0131n d\u0131\u015f\u0131nda de\u011fildir ve t\u00fcm unsurlar bir araya getirildi\u011finde ve her \u015fey i\u015f\u00e7inin \u201cherrschaft \u201d\u0131 ya da egemenli\u011fi alt\u0131na al\u0131nd\u0131\u011f\u0131nda, bu d\u00fcnya devletinin tamamlanmas\u0131d\u0131r:

\u201cAskeri, ekonomik ve entelekt\u00fcel anlamda, d\u00fcnya sava\u015f\u0131 olgusunda ve d\u00fcnya devrimi fikrinde ko\u015fulsuz d\u00fcnya iktidar\u0131na y\u00f6nelik korkun\u00e7 iradenin bitmek bilmeyen mesafesinden, ama\u00e7l\u0131l\u0131kta ve faust\u00e7u teknoloji ve icat ara\u00e7lar\u0131yla insanl\u0131\u011f\u0131n bir araya gelen kitleleri bir b\u00fct\u00fcne kayna\u015ft\u0131r\u0131l\u0131r. \u201c<\/em>14

<\/sup><\/em><\/a> Kitlelerin bu kayna\u015fmas\u0131 Ernst J\u00fcnger’in \u015fu ifadesiyle a\u00e7\u0131kl\u0131\u011fa kavu\u015fturulmaktad\u0131r:

\u201cD\u00fcnya devleti, i\u015f\u00e7i gestalt\u0131n\u0131n gezegensel bir g\u00fc\u00e7ten gezegensel bir d\u00fczene ge\u00e7i\u015fi sorunuyla ilgilenir; bu, kesin olarak \u00f6ng\u00f6r\u00fclebilecek bir birle\u015fmedir. Bu, sava\u015fan devletler \u00e7a\u011f\u0131n\u0131 sona erdirecektir. \u201c<\/em>15

<\/sup><\/a>Arap Bahar\u0131 ile birlikte Kuzey Afrika’da eski d\u00fcnyan\u0131n son sanc\u0131lar\u0131n\u0131 g\u00f6r\u00fcyoruz. Libya’n\u0131n Antaios’un eski oyun alan\u0131 olmas\u0131 ironik de\u011fil mi? Yak\u0131nda bankalar d\u00fcnyan\u0131n her yerinde yayg\u0131n olan ‘tekni\u011fi’ yerle\u015ftirmek i\u00e7in son hamlelerini yapacak, mikro krediler dola\u015f\u0131ma girecek, kredi kartlar\u0131 da\u011f\u0131t\u0131lacak ve devlerin zincirleri tamamlanacak. \u0130\u015f\u00e7inin ethosunun zaten entelekt\u00fcel olarak evinde oldu\u011fu a\u00e7\u0131kt\u0131r, ancak \u015fimdiye kadar ger\u00e7ekle\u015fmemi\u015f olan \u015fey, bu toplumun nihai atomizasyonuydu. Bu \u015fimdiye kadar diktat\u00f6rler ve despotlar taraf\u0131ndan engellenmi\u015fti. Bu bireyler borcun genel halka serbest\u00e7e akmas\u0131n\u0131 engellemi\u015fti. Bu nedenle ‘Arap Bahar\u0131’ ile ortadan kald\u0131r\u0131lmalar\u0131 gerekiyordu.

Titanlar\u0131n \u00e7al\u0131\u015fma gerektirdi\u011fini ve onlar\u0131n aleminin tanr\u0131s\u0131z bir alem oldu\u011funu s\u00f6ylemi\u015ftik. Onlar\u0131n eserleri \u0130lahi olandan yoksundur. Bir tutam ot, bir bu\u011fday tanesi, bir sivrisinek kanad\u0131 bile etmezler. Martin Heidegger, Nietzsche<\/em> adl\u0131 eserinde nihilizmi yorumlarken \u015f\u00f6yle der:

\u201c’Nihilizmi’ d\u00fc\u015f\u00fcnmek, ki\u015finin kafas\u0131nda onun hakk\u0131nda ‘salt d\u00fc\u015f\u00fcnceler’ \u00fcretmesi ve salt bir izleyici olarak ger\u00e7eklikten geri \u00e7ekilmesi anlam\u0131na gelmez. Daha ziyade ‘nihilizmi’ d\u00fc\u015f\u00fcnmek, Bat\u0131 tarihindeki bu \u00e7a\u011f\u0131n her eyleminin ve her ger\u00e7ekli\u011finin zaman\u0131n\u0131 ve mek\u00e2n\u0131n\u0131, zeminini ve arka plan\u0131n\u0131, ara\u00e7lar\u0131n\u0131 ve ama\u00e7lar\u0131n\u0131, d\u00fczenini ve gerek\u00e7esini, kesinli\u011fini ve g\u00fcvensizli\u011fini – tek kelimeyle hakikatini ald\u0131\u011f\u0131 yerde durmak anlam\u0131na gelir. \u201c16

<\/sup><\/a>Heidegger nihilizmi ortaya \u00e7\u0131karma y\u00f6ntemini ortaya koyarken, Ernst J\u00fcnger’in \u00e7al\u0131\u015fmas\u0131ndaki ana unsurlardan birini tan\u0131mlar. Bu, Heidegger’in J\u00fcnger’in \u0130\u015f\u00e7i kavram\u0131na ili\u015fkin anahtar\u0131d\u0131r: \u201cT\u00fcm ge\u00e7mi\u015f de\u011ferlerin yeniden de\u011ferlendirilmesiyle birlikte, insanlara s\u0131n\u0131rs\u0131z bir meydan okuma yap\u0131lm\u0131\u015ft\u0131r: kendilerinden, kendileri arac\u0131l\u0131\u011f\u0131yla ve kendileri \u00fczerinde ko\u015fulsuz olarak, varl\u0131\u011f\u0131n bir b\u00fct\u00fcn olarak yeni bir d\u00fczene uyumunun ger\u00e7ekle\u015ftirilmesi gereken \u2018yeni standartlar\u2019 y\u00fckseltirler. \u00c7\u00fcnk\u00fc \u201ca\u015fk\u0131n olan\u201d, \u201c\u00f6te\u201d ve \u201ccennet\u201d ortadan kald\u0131r\u0131lm\u0131\u015ft\u0131r, geriye sadece \u201cd\u00fcnya\u201d kalm\u0131\u015ft\u0131r<\/em>.\u201d Bu nihilizmdir.

Yery\u00fcz\u00fc i\u015f\u00e7inin alan\u0131d\u0131r. O, elementleri manip\u00fcle ederek ve ruhu k\u00f6lele\u015ftirerek ona h\u00fckmeder, fiziksel zincirlerle de\u011fil ama daha sinsi bir \u015feyle, ki\u015finin d\u00fc\u015f\u00fcnme yetene\u011fini s\u0131n\u0131rlayan zincirlerle:

\u201c\u00d4Nihilizm’, varolu\u015fun \u00f6nceki t\u00fcm ama\u00e7lar\u0131n\u0131n gereksiz hale geldi\u011fine dair giderek daha bask\u0131n hale gelen ger\u00e7ektir. \u201c17

<\/sup><\/a> Heidegger \u201cgiderek bask\u0131n hale gelen hakikat\u201d terimini kullan\u0131yor, bence \u015fu anda bu hakikatin hegemonyas\u0131na, nihilizmin y\u00fckseli\u015fine tan\u0131k oluyoruz. Heidegger bu s\u00f6zleri yazd\u0131\u011f\u0131nda bu s\u00fcrecin tamamlanmam\u0131\u015f oldu\u011funu hat\u0131rlay\u0131n. \u015e\u00fcphesiz, s\u00fcre\u00e7 uzun bir yol kat etmi\u015fti, ancak bu en zararl\u0131 d\u00fc\u015f\u00fcnce taraf\u0131ndan kirletilmemi\u015f yerler de vard\u0131. Yine de seksen y\u0131ldan fazla bir s\u00fcre sonra, insanlar\u0131n zihinlerinin bu s\u00f6m\u00fcrgele\u015ftirilmesinden masum kalan herhangi bir \u015feyi veya herhangi birini hayal etmekte zorlan\u0131yoruz. Ernst J\u00fcnger, \u00dcber die Linie<\/em> adl\u0131 denemesinde bu durumu ba\u015fka bir perspektiften anlatmaktad\u0131r :

<\/em> \u201cDe\u011ferlerdeki d\u00fc\u015f\u00fc\u015f esas olarak H\u0131ristiyan de\u011ferlerindeki d\u00fc\u015f\u00fc\u015ft\u00fcr. Bu, daha y\u00fcksek d\u00fc\u015f\u00fcnceleri ortaya koyma ya da hatta onlar\u0131 tasavvur etme konusundaki yetersizli\u011fe tekab\u00fcl eder. Bu da nihilizme d\u00f6n\u00fc\u015fen bir k\u00f6t\u00fcmserli\u011fe yol a\u00e7ar…\u201d

Burada ilgi \u00e7ekici olan, Bat\u0131 ve H\u0131ristiyan d\u00fc\u015f\u00fcnce sistemlerinin bizzat g\u00f6\u00e7men M\u00fcsl\u00fcman n\u00fcfus taraf\u0131ndan savunulmas\u0131d\u0131r. G\u00f6\u00e7men M\u00fcsl\u00fcmanlar\u0131n benimsedikleri sistemleri ele\u015ftirmeden savunmalar\u0131 ve b\u00f6ylece bir anlamda Ernst J\u00fcnger’in Avrupa nihilizmi tan\u0131m\u0131na boyun e\u011fmeleri al\u0131\u015f\u0131lmad\u0131k bir durum de\u011fildir. Ba\u015flang\u0131\u00e7ta bir bat\u0131 fenomeni olmas\u0131na ra\u011fmen nihilizm d\u00fcnyan\u0131n t\u00fcm k\u00fclt\u00fcrlerine yay\u0131lm\u0131\u015ft\u0131r.

Burada birka\u00e7 noktay\u0131 g\u00f6zden ge\u00e7irelim. Nihilizmin tan\u0131m\u0131, de\u011ferlerin tersine \u00e7evrilmesidir. Bir zamanlar erdemin \u00f6z\u00fc oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen de\u011ferler, bir zamanlar \u00e7irkin ve de\u011fersiz oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen de\u011ferlerin yerine indirilir veya tam tersi olur. Bu durum g\u00fcn\u00fcm\u00fczde neredeyse t\u00fcm sanat dallar\u0131nda en iyi \u015fekilde g\u00f6r\u00fclebilmektedir. Bug\u00fcn filmlerde ve edebiyatta g\u00fczelli\u011fi, iyili\u011fi ya da kahramanl\u0131\u011f\u0131 temsil etmek neredeyse imkans\u0131z hale gelmi\u015ftir. Bunlar\u0131n yerini insan ruhunun \u00e7\u0131plakl\u0131\u011f\u0131, zay\u0131fl\u0131\u011f\u0131 ve yetersizli\u011fi ile ilgili hikayeler alm\u0131\u015ft\u0131r. Bug\u00fcn kahramanlar\u0131m\u0131z h\u0131rs\u0131zlar, katiller, zina yapanlar ve fahi\u015felerdir. Bu durumun nihilizmin Dostoyevski, Turgenyev ve Nietzsche gibi b\u00fcy\u00fck yazarlar\u0131nda da ya\u015fand\u0131\u011f\u0131 iddia edilebilirse de, onlar\u0131n eserleri bir \u00f6ng\u00f6r\u00fc, bir durum muhasebesi niteli\u011findeydi. Bu karakterleri g\u00fcn\u00fcm\u00fczde \u00e7ok yayg\u0131n olan nihilist kahramanlar panteonuna y\u00fckseltmek de\u011fil, daha ziyade nihilizmin kayna\u011f\u0131n\u0131 ara\u015ft\u0131rmakt\u0131.

Bir anlamda en y\u00fcksek de\u011ferler asla de\u011fersizle\u015fmez. De\u011ferlerin yerini yaln\u0131zca kendilerinden daha y\u00fcksek bir \u015feyi g\u00f6zden ka\u00e7\u0131rm\u0131\u015f olanlar al\u0131r. Bir kez daha \u00dcber die Linie’<\/em>den:

\u201cBu (nihilizm), d\u00fcnyan\u0131n ve varolu\u015fun de\u011fil ama \u00f6teki d\u00fcnyan\u0131n yarars\u0131zl\u0131\u011f\u0131n\u0131n bir ifadesidir.\u201d<\/em>

Nihilizmin bu tan\u0131m\u0131na g\u00f6re, insano\u011flu ilahi olana eri\u015fimini kaybetmi\u015ftir. \u015eu anda \u00f6zellikle Bat\u0131’da, ama a\u015fa\u011f\u0131 yukar\u0131 t\u00fcm d\u00fcnyada bizi rahats\u0131z eden \u015fey, i\u00e7imizdeki ve etraf\u0131m\u0131zdaki ilahi olan\u0131 tan\u0131yamamakt\u0131r. Bu yetene\u011fin kayb\u0131n\u0131n bir eksiklikle ya da genel bir yetersizlikle ilgisi yoktur; daha ziyade insanlar\u0131n kalpleri zay\u0131flam\u0131\u015f ve k\u00f6relmi\u015ftir. Bize kalan, ya\u015fananlar\u0131n burada olman\u0131n tarihinde bir a\u015fama oldu\u011funu bilmektir. J\u00fcnger \u015f\u00f6yle diyor:

\u201cBug\u00fcn nihilizm terimi sadece belirsiz ve tart\u0131\u015fmal\u0131 olmakla kalm\u0131yor; ayn\u0131 zamanda polemik olarak da kullan\u0131l\u0131yor. Ancak nihilizmden b\u00fcy\u00fck bir kader, etkisinden kimsenin ka\u00e7amayaca\u011f\u0131 temel bir g\u00fc\u00e7 olarak \u015f\u00fcphelenmek gerekir.\u201d
<\/em>
Nihilizm ayr\u0131lmaz bir \u015fekilde \u015fimdi ve burada ile ba\u011flant\u0131l\u0131d\u0131r. Hem bilin\u00e7li hem de bilin\u00e7alt\u0131 yollarla i\u00e7imizdedir ve burada bahsedilen bu b\u00fcy\u00fck d\u00fc\u015f\u00fcn\u00fcrlerin eserlerinin \u00f6nemi de budur. Nietzsche kendisini G\u00fc\u00e7 \u0130stenci<\/em>‘nde tan\u0131mlad\u0131\u011f\u0131 gibi tan\u0131mlad\u0131\u011f\u0131nda:

\u201cAvrupa’n\u0131n ilk mutlak nihilisti, nihilizmi kendi i\u00e7inde sonuna kadar ya\u015fam\u0131\u015f olan ki\u015fi. Benli\u011finin arkas\u0131nda, alt\u0131nda ve d\u0131\u015f\u0131ndad\u0131r.\u201d
<\/em>
Her birimiz i\u00e7in bir g\u00f6rev belirliyor – ayn\u0131s\u0131n\u0131 yapmal\u0131y\u0131z. B\u00f6ylece, insan\u0131n ilahi olana dair bilgisiyle titanlar nihayetinde ma\u011flup edilecek ve t\u0131pk\u0131 Herk\u00fcl’\u00fcn Athena’n\u0131n ilahi bilgisiyle birlikte Antaios’u ma\u011flup etti\u011fi gibi, i\u015f\u00e7i gestalt\u0131n\u0131n<\/em> nihilizmi ge\u00e7mi\u015fe g\u00f6m\u00fclecektir:

\u201cTitanlar\u0131n sava\u015f\u0131 ve tanr\u0131lar\u0131n alacakaranl\u0131\u011f\u0131 meta-tarihseldir – do\u011fadan ve kozmostan tarihe uzan\u0131rlar. Zamansal olarak bak\u0131ld\u0131\u011f\u0131nda, titanlar\u0131n tanr\u0131lardan \u00f6nce geldi\u011fi ve Kaos’u kontrol etti\u011fi varsay\u0131lmal\u0131d\u0131r. Bu miti takip eder – titanlar\u0131n tanr\u0131lar\u0131 do\u011furdu\u011fu ve \u00f6\u011fretti\u011fi s\u00f6ylenir. \u0130syanlar\u0131 Olimpos’un sars\u0131lmas\u0131na neden olur – Zeus taraf\u0131ndan bast\u0131r\u0131l\u0131r ve yeralt\u0131 d\u00fcnyas\u0131na s\u00fcr\u00fcl\u00fcrler. Ama geri d\u00f6nerler – t\u0131pk\u0131 i\u015f\u00e7inin gestalt\u0131ndaki zincirsiz Prometheus gibi. Tanr\u0131lar zamans\u0131zl\u0131ktan yarat\u0131rlar; titanlar ise zaman i\u00e7inde hareket eder ve icat ederler. Sanattan ziyade teknolojiyle daha yak\u0131ndan ili\u015fkilidirler. Bu y\u00fczden H\u00f6lderlin \u015faire, demirler h\u00fck\u00fcm s\u00fcrerken hayal kurmas\u0131n\u0131 ve Dionysos’ta teselli bulmas\u0131n\u0131 tavsiye eder – ama tanr\u0131lar\u0131n geri d\u00f6nece\u011fini bilir. <\/em>\u201c18

<\/sup><\/a> \u0130\u015fte bu y\u00fczden kendimizi demir \u00e7a\u011f\u0131nda buluyoruz, bize d\u00fc\u015fen umutsuzlu\u011fa kap\u0131lmak de\u011fil, H\u00f6lderlin’in \u00f6\u011f\u00fcd\u00fcnde oldu\u011fu gibi teselli bulmakt\u0131r. O bize \u015farap ve dans tanr\u0131s\u0131n\u0131 hat\u0131rlat\u0131r, biz de \u015farab\u0131n bizi ne sarho\u015f eden ne de sersemleten derin bilgeli\u011fini kabul ederiz. Bunda sadece rahatl\u0131k de\u011fil, ayn\u0131 zamanda g\u00fcvenlik de vard\u0131r. Bu, Sufilerin \u015fiirlerini ve Kur’an pasajlar\u0131n\u0131 hat\u0131rlat\u0131r. Sonu\u00e7ta, ge\u00e7en y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck Sufilerinden biri ve \u015eeyh Abd\u00fclkadir Es-Sufi’nin (Ian Dallas)  saki olarak bilinirdi.

J\u00fcnger, H\u00f6lderlin’i yorumlayarak bize ilahi olan\u0131n yeniden insanlar\u0131n kalplerine d\u00f6nece\u011fini hat\u0131rlat\u0131r. Nas\u0131l ya da ne zaman olaca\u011f\u0131n\u0131 bilmek bize d\u00fc\u015fmez, ama bunun olaca\u011f\u0131ndan emin olmak gerekir. Bu, \u00e7a\u011f\u0131m\u0131z\u0131n t\u00fcm nihilist retori\u011fine bir cevapt\u0131r. Bu b\u00fcy\u00fck adamlar\u0131n mesaj\u0131 hem umut hem de kesinlik i\u00e7ermektedir. S\u0131k s\u0131k tekrarlanan bir deyi\u015fte oldu\u011fu gibi, \u015fafaktan \u00f6nce her zaman en karanl\u0131kt\u0131r. Nietzsche’nin soldurucu ateizmi bile bu b\u00fcy\u00fck \u015fair ve filozoflar\u0131n d\u00fc\u015f\u00fcnceleriyle yeni bir \u0131\u015f\u0131k alt\u0131nda g\u00f6r\u00fclebilir. Nietzsche gibi bu nihilizmden ge\u00e7tikten sonra, di\u011fer tarafta yeni bir nomos<\/em> bekleyebiliriz.

Kimin s\u00f6yledi\u011fini ya da Heidegger’in eserlerinde nerede ge\u00e7ti\u011fini hat\u0131rlayamasam da, insanl\u0131\u011f\u0131n kurtulu\u015funun nihilizmin en derin ucundan do\u011fmas\u0131 gerekti\u011fine ve nihilizmin Bat\u0131’dan daha derine n\u00fcfuz etti\u011fi bir yer olmad\u0131\u011f\u0131na inand\u0131\u011f\u0131 s\u00f6ylenir. H\u00f6lderlin bunu \u015fu \u015fekilde ifade etmi\u015ftir: \u201cWo aber Gefahr ist, w\u00e4chst Das Rettende auch.\u201d – <\/em>Tehlike neredeyse, kurtulu\u015f da oradad\u0131r. Bu d\u00fc\u015f\u00fcnceyle kurtar\u0131\u015f\u0131m\u0131z kendi kalplerimizden kaynaklanmal\u0131d\u0131r. O zaman, Nietzsche gibi, tehlikeyi atlatt\u0131\u011f\u0131m\u0131z\u0131 ve tehlikenin ger\u00e7ekten d\u0131\u015f\u0131m\u0131zda ve arkam\u0131zda oldu\u011funu s\u00f6yleyebiliriz.  \u00d6l\u00fcm\u00fcnden sonra Der Spiegel taraf\u0131ndan yay\u0131nlanan son r\u00f6portaj\u0131nda Heidegger, kendisinin tam olarak anlayamad\u0131\u011f\u0131 ama bizim anlayabilece\u011fimize inand\u0131\u011f\u0131m bir \u015fey s\u00f6yl\u00fcyor. \u201cArt\u0131k bizi sadece bir tanr\u0131 kurtarabilir\u201d<\/em> demi\u015f. O b\u00fcy\u00fck d\u00fc\u015f\u00fcn\u00fcr\u00fcn neye dair sadece bir p\u0131r\u0131lt\u0131ya sahip oldu\u011funu biliyoruz<\/em>. O tanr\u0131, e\u015fi benzeri olmayan, tamamen a\u015fk\u0131n, ortaks\u0131z ve \u015feriksiz olan Allah’t\u0131r.

Peki sonu\u00e7 nedir? Son iki y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck \u015fair ve filozoflar\u0131ndan baz\u0131lar\u0131n\u0131n d\u00fc\u015f\u00fcncelerinin yaln\u0131zca k\u00fc\u00e7\u00fck bir tasla\u011f\u0131n\u0131 sundum. Onlar\u0131n d\u00fc\u015f\u00fcnceleri ve yaz\u0131lar\u0131, \u00f6zellikle de J\u00fcnger karde\u015fler, kendilerinin ve bizim i\u00e7inde bulundu\u011fumuz \u00e7a\u011f\u0131 a\u00e7\u0131kl\u0131\u011fa kavu\u015fturmaya \u00e7al\u0131\u015ft\u0131lar. Goethe ve Schopenhauer’dan Nietzsche ve J\u00fcnger karde\u015flere kadar, birbirlerini tamaml\u0131yor ve b\u00fct\u00fcnl\u00fcyorlar. Ya\u015fad\u0131klar\u0131 \u00e7a\u011f ve i\u00e7inde bulundu\u011fumuz sonu\u00e7lar hakk\u0131nda ne d\u00fc\u015f\u00fcnd\u00fckleri hakk\u0131nda bir fikir vermek umar\u0131m yeterlidir.
<\/p>\n\n\n\n

Abdalbarr Brown
<\/p>\n\n\n\n

Referanslar<\/strong><\/p>\n\n\n\n

1<\/sup> Ernst J\u00fcnger, Strahlungen III Kirchhorster Bl\u00e4tter, Jahre der Okkupation. DTV edition 1966 p. 259<\/p>\n\n\n\n

2<\/sup> Ernst J\u00fcnger, Maxima \u2013 Minima. Klett-Cotta<\/p>\n\n\n\n

3 <\/sup>Ernst J\u00fcnger, Maxima-Minima p. 17, Kottas Bibliothek der Moderne<\/p>\n\n\n\n

4 <\/sup>Ernst J\u00fcnger, Der Arbeiter, p. 42 Kottas Bibliothek der Moderne<\/p>\n\n\n\n

5 <\/sup>Der Arbeiter, p. 28 <\/p>\n\n\n\n

6<\/sup> op. cit. p. 15<\/p>\n\n\n\n

7<\/sup> Friedrich Georg J\u00fcnger, Die Titanen, Vittorio Klostermann, 1944<\/p>\n\n\n\n

8<\/sup> Ernst J\u00fcnger, Prognosen p. 37<\/p>\n\n\n\n

9 <\/sup>Friedrich Georg J\u00fcnger, The Failure of Technology, p. 112<\/p>\n\n\n\n

10<\/sup> Maxima-Minima, p. 17 <\/p>\n\n\n\n

11<\/sup> Der Arbeiter, p. 65<\/p>\n\n\n\n

12<\/sup> Martin Meyer Ernst J\u00fcnger, p. 170<\/p>\n\n\n\n

13<\/sup> Maxima-Minima, p. 12<\/p>\n\n\n\n

14 <\/sup>Autoren und Autorschaft, p. 24<\/p>\n\n\n\n

15 <\/sup>Maxima-Minima, p. 16<\/p>\n\n\n\n

16<\/sup> Martin Heidegger Nietzsche, Vol. 4 p. 10<\/p>\n\n\n\n

17<\/sup> ibid. p. 5<\/p>\n\n\n\n

18 <\/sup>Prognosen, pp. 14-15<\/p>\n\n\n\n

Kaynak: <\/strong>https:\/\/themuslimfaculty.org\/8-concept-worker-works-ernst-and-friedrich-georg-j%C3%BCnger<\/em><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u0628\u0633\u0645 \u0627\u0644\u0644\u0647 \u0627\u0644\u0631\u062d\u0645\u0646 \u0627\u0644\u0631\u062d\u064a\u0645 \u0648\u0635\u0644\u0649 \u0627\u0644\u0644\u0647 \u0639\u0644\u0649 \u0633\u064a\u062f\u0646\u0627 \u0645\u062d\u0645\u062f \u0648\u0639\u0644\u0649 \u0621\u0627\u0644\u0647 \u0648\u0635\u062d\u0628\u0647 \u0623\u062c\u0645\u0639\u064a\u0646 \u0648\u0633\u0644 \u201c…Eski dillere, Yunan mitoslar\u0131na, Roma hukukuna, \u0130ncil’e ve H\u0131ristiyan eti\u011fine, Frans\u0131z ahlak\u00e7\u0131lar\u0131na, Alman metafizi\u011fine, d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndaki \u015fiire yabanc\u0131. Ger\u00e7ek hayat\u0131n c\u00fcceleri, teknik goliathlar – bu nedenle ele\u015ftiride, y\u0131k\u0131mda canavarca, g\u00f6revleri burada gizli. Mekanik olan her \u015feyde ola\u011fan\u00fcst\u00fc bir netlik… Continue reading →<\/span><\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":1372,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[64,61],"tags":[],"class_list":["post-1351","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ceviri","category-yazilar"],"yoast_head":"\nErnst ve Friedrich Georg J\u00fcnger'in Eserlerinde \u0130\u015f\u00e7i Kavram\u0131- Abdalbarr Brown - Eren Ye\u015filyurt<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/erenyesilyurt.com\/index.php\/2024\/08\/19\/ernst-ve-friedrich-georg-jungerin-eserlerinde-isci-kavrami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ernst ve Friedrich Georg J\u00fcnger'in Eserlerinde \u0130\u015f\u00e7i Kavram\u0131- Abdalbarr Brown - Eren Ye\u015filyurt\" \/>\n<meta property=\"og:description\" content=\"\u0628\u0633\u0645 \u0627\u0644\u0644\u0647 \u0627\u0644\u0631\u062d\u0645\u0646 \u0627\u0644\u0631\u062d\u064a\u0645 \u0648\u0635\u0644\u0649 \u0627\u0644\u0644\u0647 \u0639\u0644\u0649 \u0633\u064a\u062f\u0646\u0627 \u0645\u062d\u0645\u062f \u0648\u0639\u0644\u0649 \u0621\u0627\u0644\u0647 \u0648\u0635\u062d\u0628\u0647 \u0623\u062c\u0645\u0639\u064a\u0646 \u0648\u0633\u0644 \u201c...Eski dillere, Yunan mitoslar\u0131na, Roma hukukuna, \u0130ncil’e ve H\u0131ristiyan eti\u011fine, Frans\u0131z ahlak\u00e7\u0131lar\u0131na, Alman metafizi\u011fine, d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndaki \u015fiire yabanc\u0131. 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Ger\u00e7ek hayat\u0131n c\u00fcceleri, teknik goliathlar – bu nedenle ele\u015ftiride, y\u0131k\u0131mda canavarca, g\u00f6revleri burada gizli. Mekanik olan her \u015feyde ola\u011fan\u00fcst\u00fc bir netlik... 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