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Adalet Ağaoğlu, özellikle 1970’lerde yazdığı öykü, tiyatro oyunu ve romanlarında, 12 Mart döneminin politik ortamına, psikolojik-fiziksel şiddet olaylarına, toplumsal çatışmaya, kutuplaşmaya, işkence gerçeğine, sosyalist öznenin bütün bunlar arasında yaşadığı suçluluk duygusuna, iç ve dış çelişkilere odaklanır. Adalet Ağaoğlu, bu dönemde yazdığı öykülerinde, suç olgusunu, kanunları belirleyenlerin meşruiyetini tartışmaya açar, kanunlar tarafından suçlu ilan edilenlerin masumiyetini sergiler. Bu dönemde yazdığı Yüksek Gerilim (1974) kitabında, 12 Mart dönemi askerî yönetimiyle devrimci aktivistler arasındaki çatışma yansıtılırken aynı zamanda kapitalist-burjuva devletinde işçi-emekçilerin yaşadığı ekonomik şiddet ve onları suça iten koşullar da ele alınır. Böylece hem politik hem adi suç tanımlamaları etrafında suç olgusunun sınıfsal bağlamı sorgulanır. Sessizliğin İlk Sesi (1978) öykü kitabındaysa, 12 Mart döneminin sıcak-çatışmalı ortamından uzaklaşılmasının da etkisiyle yazar, suç olgusunu daha örtük bir bağlamda, ağırlıklı olarak sivil yaşamdaki sınıf çatışmaları odağında ele alır. Bu yazıda, Adalet Ağaoğlu’nun iki öykü kitabında, suç konusuna hangi meseleler odağında yaklaştığını ele almaya çalışacağım.
Justice Brother, especially in his 1970s story, theatre play and novels, focuses on the political environment of the 12th March period, the events of psycho-physical violence, the social conflict, polarization, the truth of torture, the feeling of guilt in which the socialist essence lives between them all, the internal and external contradictions. Justice Brother, in his stories in this period, opens to debate the fact of crime, the legitimacy of those who determine the laws, the innocence of those who are declared guilty by the laws. In his book High Tension (1974), the conflict between the military administration and the revolutionary activists of the 12th March period is reflected, but also the economic violence of the workers and workers in the capitalist-bourgeois state and the conditions that push them for crime. Thus, the class context of the crime facts around both political and adverse crime definitions is questioned. If in the story book The First Voice of Silence (1978) the writer, with the influence of the evasion from the hot-conflict environment of the 12th March period, addresses the crime in a more covered context, mainly in the focus of class conflicts in civil life. In this article, I will try to discuss in the two story books of the Brother of Justice, which issues approach the subject of crime in the center.
Adalet Ağaoğlu focuses on the political environment of the March 12 period, the psychological-physical violence events, social conflict, polarization, the reality of torture, a socialist subject’s feeling of guilt, and its internal and external contradictions among all these, in her stories, theater plays and novels written in the 1970s. In her stories written at this period, she discusses the phenomenon of crime, legitimacy of those who set the laws and displays the innocence of those who are declared guilty by the laws. In her story book Yüksek Gerilim (1974), the conflict between the military administration and the revolutionary activists of the March 12 period is reflected, while at the same time discussing the economic violence faced by workers and laborers in the capitalist-bourgeois state and the conditions that pushed them into crime. Thus, the class context of the crime phenomenon is questioned around both political and ordinary crime definitions. In the other story book, Sessizliğin İlk Sesi (1978), she deals with the phenomenon of crime in a more implicit context, mainly in the -context of class conflicts in civilian life, with the influence of the decrease on the hot-conflict environment of the March 12 period. In this article, I will try to show how Adalet Ağaoğlu focuses on the matter of crime in her two story books.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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