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Yahya Kemal Beyatlı gerek kültürel alana ilişkin önermeleri gerekse şiirleriyle Türkiye kamusalının başat figürlerinden biri olmuştur. Beyatlı’nın toplumsal dönüşüm çağrılarının kesintisiz bir aktivizme kaynaklık ettiği bir zaman diliminde ortaya çıkardığı şiirsel benliği çeşitli gerilimler açısından pürüzsüz değildir. Bu inceleme Yahya Kemal şiirinin en çok tekrarlanan temalarından olan maziyi Jacques Lacan’ın eksik (lack) kavramlaştırması ışığında yeniden yorumlama denemesidir. Yahya Kemal’de etik ve patetik kaygının kaynağı haline gelen tarihsel ethos’un sunum biçimi telafi girişimiyle baş etmek durumundadır. Yahya Kemal şiiri büyüsü bozulan dünyaya yeniden büyü kazandırma yönünde romantik bir motivasyona sahiptir. Hem toplumsal tahayyüle su taşıyan hem de görece daha bireysel bir çıkıştan yol alan şiirlerinde bu motivasyonun tezahürlerine rastlamak şaşırtıcı değildir. Ne var ki bu tezahürler her zaman tek yönlü bir görünüm sergilemezler büyüklenme ve kabuğuna çekilmeyi birlikte içerirler. Bu yazının temel arayışı da söz konusu ikili hareketi tespit ederek Yahya Kemal’in Türk şiiri içindeki hükümran pozisyonunu sorunsallaştırmak olacaktır.
Yahya Kemal Beyatlı has been one of the main figures of the Turkish public with his poems, if they need suggestions about the cultural area. Beyatlı’s poetic self revealed in a period of time in which the calls for social transformation resulted in uninterrupted activism is not smooth in terms of various tensions. This review is the attempt to reinterpret the Mazia, one of the most repeated subjects of Yahya Kemal's poem, in the light of Jacques Lacan's lack of (lack) conception. In Yahya Kemal, the form of presentation of the historical ethos, which has become the source of ethical and pathetic concerns, has to deal with an attempt to replace it. Yahya Kemal has a romantic motivation to bring magic back to the broken world. It is not surprising to find the manifestations of this motivation in both the poems that bring water to social imagination and lead to a relatively more individual outcome. However, these manifestations do not always show a one-way appearance; they involve enlarging and pulling into the skin together. The main quest of this article will also be to question the ruling position of Yahya Kemal in the Turkish poem by identifying the two-way movement.
Yahya Kemal Beyatlı has been a principal figure of Turkish public both with his propositions regarding the cultural sphere and with his poetry. His poetical self that he revealed during a period when his calls for social transformation became a source for continuous activism is not bereft of tensions. This article is an attempt to reinterpret one of Yahya Kemal’s most repeated themes, the past, in the light of Jacques Lacan’s conceptualization of lack. The mode of presentation belonging to the historical ethosthat became the source of the ethical and pathetic anxiety in Yahya Kemal has to tackle with an attempt for compensation. His poetry has the romantic motivation of enchanting the disenchanted world. It is not surprising to encounter the manifestations of this motivation in his poetry, which nourish social imagination and also progress from a more individual point of departure. These manifestations, however, do not always present a unidirectional appearance; they harbor both arrogance and withdrawal. The main quest of this article is to identify this dual movement and thereby problematize the dominant position of Yahya Kemal in Turkish poetry.
Alan : Filoloji
Dergi Türü : Uluslararası
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