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Amerikalı yazar ve eleştirmen Harold Bloom’un, kitleleri etkileyen şiir kuramını kaleme aldığı kitabı Etkilenme Endişesi, bir şairin (ya da sanatkârın) selefleri ile arasında var olan veya var olması muhtemel olan Ödipal ilişkiyi anlatır. Etkilenme Endişesi’ne göre bir şiirin başka bir şiiri yaratması olası hatta çoğu zaman gerekli bir durumdur. Ancak bu birbirinden yaratılma durumuna gelebilmek için şiirler, daha doğrusu şairler hangi aşamalardan geçmek zorundadır? Bu soruya Bloom’un verdiği cevap karmaşık ve bir o kadar da çileli bir yolun tasviridir. Bloom’a göre etkilenmenin endişesini yaşayan şair, Clinamen (Şiirin Yanlış Okunması), Tessera (Tamamlama ve Antitez), Kenosis (Tekrar ve Süreksizlik), Daimonikleşme (Karşı-Yüce), Askesis (Arınma ve Tekbencilik), Apophrades (Ölülerin Dönüşü) aşamalarına maruz kalarak kendi şiirini (ya da sanat eserini) revize etmeye çabalar. Türk Edebiyatı’nda da birçok şair ve yazar arasında tespit edilebileceğini düşündüğümüz Etkilenme Endişesi’nin bir izdüşümü de, Nobel Ödüllü yazar Orhan Pamuk’un Benim Adım Kırmızı romanındaki bazı karakterlerin arasında görülmektedir. Benim Adım Kırmızı’nın kalabalık karakter kadrosunun içinde adları Kelebek, Leylek, Zeytin ve Zarif olan dört hattat, nakkaş ve sanatkârın arasındaki gelenek ve üslup yorumları, Bloom’un yarattığı etkilenme kuramına belli bir açıdan uygun düşmektedir. Ancak buradaki temel sorun, bizce bu karakterlerin yorumları Bloom’un kuramını şeklen takip etse de, manen çürütmekte olmasıdır. Zira Osmanlı’nın en önemli iki sanat dalı olan hattatlık ve nakkaşlıkta geleneğe bağlı kalmak, ustaya benzemek, şahsi üslup sahibi olmadan geleneğin üslubuyla yazılar yazıp, çizimler yapmak evlâ sayılmıştır. Yani Osmanlı’nın hattatlık ve nakkaşlık sanatlarındaki halef-selef ilişkisi, Bloom’un kuramına yansıttığı şekliyle ilerlememektedir. Bu durum da Etkilenme Endişesi kuramına ters düşen, hatta yer yer onu geçersiz kılan bir durumdur. Biz de bu yazımızda Benim Adım Kırmızı romanı ile Etkilenme Endişesi şiir kuramı arasında mevcut bulunan uygunluk ve farklılıkları mümkün olduğunca ortaya koymaya çalışacağız.
The American writer and critic Harold Bloom’s book, influencing the theory of poetry that affects the crowds, tells us the relationship between a poet (or artist) and his ancestors, which exists or is likely to exist. According to the concern of influence, the possibility that a poem creates another poem is even often a necessary situation. But what phases do poets, rather poets, have to go through in order to come to a state of creation? Bloom’s answer to this question is an illustration of a complex and so thin way. According to Bloom, the poet, who is concerned about being affected, tries to revise his own poetry (or artwork) by exposing to the stages of Clinamen (False Reading of Poetry), Tessera (Completion and Antithesis), Kenosis (Recurrence and Incontinuity), Daimonization (Contra-High), Askesis (Clean and Revelation), Apophrades (The Return of the Dead). In Turkish literature, a distinction of the Influence Worry, which we think can be identified among many poets and writers, is also seen among some of the characters in the Nobel Prize writer Orhan Pamuk's My Name Red novel. In the crowded character staff of My Step Red, the names of the four lines, which are Butterfly, Loyle, Olive and Zarif, the tradition and the interpretations of the artists, are in a certain sense in accordance with the influence theory created by Bloom. But the main problem here is that, although we think the comments of these characters follow the theory of Bloom in shape, the man is corrupt. The two most important branches of the art of Zira Osmanlı are linearity and nickness to stay connected to the tradition, to look like a master, to write with the style of the tradition, to make paintings without having a personal style. That is, Ottoman's relations between heads and selfies in the arts of linearity and cracks are not progressing in the way that Bloom reflects in the theory. This is also a situation that is contrary to the theory of influence of concern, and even the place makes it invalid. In this article, we will try to reveal as much as possible the compatibility and differences between My Step Red novel and the influence concern poetry theory.
The Anxiety of Influence a theory of poetry written by affecting the masses American writer and critic Harold Bloom, tells us possible Oedipal relationship between a poet (or an artisans) and his/her predecessors. According to The Anxiety of Influence a poet could, even most of the time must, creates another poet. However, poems, rather poets, must go through which stages to come to this creation condition from each other? Bloom’s answer to this question is description of complex and that so painful way. According to Bloom, a poet living the anxiety of influence tries to revise his/her poem (or work of art) exposed to Clinamen (Poetic Misprision), Tessera (Completion and Antithesis), Kenosis (Repetition an Discontinuity), Daemonization (The Counter-Sublime), Askesis (Purgation and Solipsism), Apophrades (The Return of The Dead) stages. There are lots of projections about anxiety of influence that we think that we can observe between many poets and writers in Turkish Literature. One of these projections is seen between some of the characters mentioned in My Name is Red novel written by Orhan Pamuk owner of the 2006 Nobel Prize. There are four penmen, miniaturists and craftsmen nicknamed Butterfly, Stork, Olive and Elegant respectively among the crowded cast of characters of the novel. Tradition and style reviews between these characters are partially befit to Bloom’s theory of influence. Nevertheless, there is a main problem about befitting. These characters’ reviews formally follow Bloom’s theory but not inwardly. Because these are significant in the most important two art branches which are penmanship and muralistship at Ottoman Empire that adherence to tradition, to copy the master, and not having personal style. So, because of these reasons Bloom’s theory is not completely compensating the successor – predecessor relationship at Ottoman penmanship and muralistship. This situation contradicts to The Anxiety of Influence in some ways. We try to manage with this study that bring into the open similarities and differences between My Name is Red and The Anxiety of Influence as possible as.
Field : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Journal Type : Uluslararası
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