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Bu makalede Kant’ın ödev ahlakı ile Nietzsche’nin efendi/köle ahlakı anlayışı, felsefenin mutluluk, kötülük sorunsalı bağlamında tartışılarak Nuri Bilge Ceylan’ın 2014 Cannes Film Festivali’nde Altın Palmiye ödülüne layık görülen Kış Uykusu filminin ahlak felsefesi açısından analizi yapılmaya çalışılmıştır. Sinema felsefenin yürüttüğü entelektüel tartışmaların görsel sunumuyla izleyicisini düşündürür. Sinemada estetik olarak sunulanlar etik sorgulamanın önünü açar. Bu makalenin amacı felsefi altyapı ile film analizi yaparak sinema ile etik ilişkisini göstermektir. Sinema içinden ahlaki sorular sorularak estetik rejimin içinden ahlaki rejim okunmaya çalışılmıştır. Metinde ödev ahlakı sorunsalının Kantçı teorik çerçevesi çizilmiştir. Kış Uykusu’nda öne çıkan figürlerin ‘iyi’ ve ‘yardımsever’ davranışları Kantçı ödev ahlakı kriterlerine göre analiz edilerek bu davranışların evrensel ahlak düzenine uygunluğu çözümlenmiştir. Kış Uykusu’ndaki felsefi tartışmalar ve sorular üzerinden diyalogların yan anlamları ile düz anlamlarına bakılarak söylem analizi yapılmıştır. Sonuç olarak bu soruların cevapları, Kantçı ödev ahlakı teorisinde, Nietzsche’nin efendi/ köle ahlakı ayrımında, Adorno’nun Kant ile Nietzsche’ye getirdiği bu alandaki eleştirilerde ve Heidegger’in düşünme üzerine yürüttüğü felsefede bulunmuştur. Kantçı ideal ahlak ilkelerine aykırı durumlar, Nietzsche’nin kuramıyla açıklanabilmektedir. Nietzsche Kant’taki değişmez etik ilkelerin normatif temelini geçersizleştirir. Dolayısıyla ‘güç istenci’ne uygun bencilce davranışlar açıklanmış olur. Nietzsche’nin efendi/ köle ahlakı teorisiyle açıklanabilen eğilimler Kantçı doğal hukukun ‘iyi’ kavramını da tartışmaya açmıştır. Bu makalede Kant ile Nietzsche’nin karşılaştırmalı değerlendirilmesiyle, Kış Uykusu filmi felsefi çözümleme yöntemiyle analiz edilmiştir.
In this article, we discuss Kant’s task morality and Nietzsche’s master/slave morality understanding, the philosophy’s happiness, evil problem context, and we try to analyze the moral philosophy of Nuri Bilge Ceylan’s Winter Sleep film, which was awarded the Golden Palm Prize at the 2014 Cannes Film Festival. The film reflects the audience with the visual presentation of the intellectual discussions conducted by the philosophy. Aesthetically presented in the cinema opens the front of ethical question. The purpose of this article is to show the ethical relationship with the cinema by making film analysis with the philosophical infrastructure. In the cinema, ethical questions were asked and the ethical regime was tried to be read from the esthetic regime. The theoretical framework of the task ethics is drawn up in the text. The "good" and "help-friendly" behaviors of the figures outlined in the Winter Sleep have been analyzed according to the criteria of the Kantzi task ethics and the conformity of these behaviors to the universal moral order. Through the philosophical discussions and questions in the Winter Sleep, the dialogues have been analysed with a view to the side meanings and the straight meanings of dialogues. As a result, the answers to these questions were found in the Kantist task moral theory, Nietzsche’s master/slave moral distinction, Adorno’s criticism of Kant and Nietzsche in this field, and Heidegger’s philosophy of thinking. The circumstances that are contrary to the Kantist ideal moral principles can be explained by Nietzsche's theory. Nietzsche in Kant dissolves the normative foundation of immutable ethical principles. Therefore, self-sufficient behaviors according to the "power demand" are explained. The tendencies that can be explained by Nietzsche's master/slave theory of morality have also opened the concept of "good" of the Kantist natural law to the debate. In this article, with the comparative assessment of Kant and Nietzsche, the Winter Sleep film was analyzed by the method of philosophical analysis.
In this article, Kant's ethics of duty and Nietzsche's understanding of master/slave morality was analyzed in the context of the philosophy of happiness and evil problematic from the viewpoint of moral philosophy of the Winter Sleep film, directed by Nuri Bilge Ceylan and won the Golden Palm Award in the 2014 Cannes Film Festival. Cinema give audience pause for thought by showing the visual presentation of the intellectual debates of philosophy. The aesthetics offered in cinema paves the way for ethical inquiry. The aim of this article is to analyze the relationship between cinema and philosophy by conducting film analysis with philosophical background. Through moral questions from cinema, the moral regime was tried to be read through the aesthetic regime. Kantian theoretical framework of duty ethics problem is drawn in the text. ‘Good’ and ‘helpful’ behaviors of the figures in the Winter Sleep have been analyzed according to Kantian duty ethics criteria and the suitability of these behaviors to the universal moral order have been analyzed. Discourse analysis was conducted based on the philosophical debates and questions in the Winter Sleep through the connotation and denotation of the dialogues. Then, discourse analysis was conducted on philosophical debates in Winter Sleep. As a result, the answers to these questions were found in Kantian homework moral theory, Nietzsche's master / slave morality distinction, Adorno’s criticisms at Kant and Nietzsche’s thoughts in this field and Heidegger's philosophy on thinking. The cases contrary to Kantian ideal moral principles can be explained by Nietzsche's theory. Nietzsche overrides the normative basis of invariant ethical principles in Kant. Therefore, selfish behaviors that are suitable for ‘power demand’ are explained. The tendencies that can be explained by Nietzsche's theory of master / slave morality have also begun to discuss the ‘good’ concept of Kantian natural law. In this article, the Winter Sleep film is analyzed by philosophical analysis via the comparative evaluation of Kant and Nietzsche.
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