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Şair, yazar, düşünce adamı, estet ve akademisyen kimlikleri altında Türkçeye ölümsüz eserler kazandıran Tanpınar, Osmanlının son döneminden Cumhuriyet Türkiye’sinde çok partili sürece uzanan çizgide ömür sürer. Bu doğrultuda eseri, Türkiye’nin önemli dönemeçlerinde yaşanan -onun sevdiği tabirle söylersek- medeniyet krizleri ekseninde vücut bulur. Eserinde âdeta yalnızca mazi ile hâli hazırı ne surette buluşturacağı sorusuna cevap arayan Tanpınar, geleceğin inşasını bu iki kutbun ılımlı imtizacı ile formüle eder. Bu yüzden Selçuklu, Osmanlı ve Cumhuriyet’i kesintisiz devam eden bir süreç olarak algılar. Zira varlıklarını devam ettiremeyen siyasi yapılarda söz konusu devam, ancak kültürel düzeyde olabilir. Bilhassa cumhuriyetin getirdiği büyük dönüşümün kültürel devam konusunda sıkıntılar oluşturduğu şüphesizdir. Diğer taraftan kültürün varoluşu bağımsız bir siyasi yapının varlığına bağlıdır. Bu yüzden, sürecin mimarı olarak gördüğü Atatürk’e ve inkılâplara -kültürdeki büyük değişmelere getirdiği itirazlar haricinde- samimi olarak bağlıdır. Atatürk’ün ölümünün ardından devletin başına geçen İsmet İnönü’yü, büyük ölçüde Millî Mücadele’deki hizmeti, Lozan’daki vazifesi ve II. Dünya Savaşı yıllarında izlediği barışçı siyaset doğrultusunda takdir eder. Onu, Atatürk’ten sonra makamını en fazla hak eden devlet adamı olarak idealleştirir. Bazı araştırmacılara göre Tanpınar’ın milletvekili olma ihtirasıyla ilişkili olan söz konusu hayranlık hissinin, yalnızca bu doğrultuda oluşmayıp Osmanlının son durumunu hayat hikâyesi ile idrak etmiş birinin tercihi olarak görüyor ve bu tavrının, Türkiye’nin birçok meselesine yaklaşırken takındığı kültür adamı tavrını bütünüyle zedelemeyeceğini düşünüyoruz.
Under his poet, writer, thinker, aesthetic and academic identity, Tanpınar, who has earned immortal works to Turkey, lives on the line that extends from the last period of the Ottoman in the Republic of Turkey as long as many parties. In this direction, his work finds the body in the axis of civilization crises that occur in the important periods of Turkey - if we say with the character he loves. In his work, Tanpınar, who seeks to answer the question in what form he will meet with the mazi and the condition prepared, formulates the construction of the future with the moderate testing of these two poles. That is why they perceive the Selçuklu, the Ottoman and the Republic as a continuing process. It can continue in political structures that cannot continue their existence, but it can be on a cultural level. It is undoubted that the great transformation that the Republic has brought has created trouble with the cultural continuation. On the other hand, the existence of culture depends on the existence of an independent political structure. Therefore, it is intimately dependent on Atatürk, which he sees as the architect, and on the incrusts – except for the objections he brings to great changes in culture – which he sees as the architect. After the death of Atatürk, the State's head of the State's Name Innu, largely the service in the National Struggle, his duty in Lozan and II. He appreciates the peaceful politics he has followed in the years of World War. He idealizes him as the state man who deserves his position most after Atatürk. According to some researchers, the respective feeling of admiration, which is related to Tanpınar's desire to be a member of the parliament, is not only seen in this direction and is the preference of someone who has realized the ultimate state of the Ottoman with his life story, and we think that this attitude will not completely undermine the attitude of the cultural man he has in his approach to many matters of Turkey.
Tanpınar, who brought immortal works to Turkish under the identities of poet, writer, thinker, esthete and academician, lives in the line stretching from the last period of the Ottoman Empire to the multi-party process in the Republic of Turkey. In this direction, his work is embodied in the axis of civilizational crises - to use his favorite phrase - experienced in Turkey's important turning points. Tanpınar, who seeks an answer to the question of how to bring the past and the present together in his work, formulates the future with the synthesis of these two poles. Therefore, he perceives the Seljuk, Ottoman and Republican periods as an uninterrupted process. Because, in political structures that cannot continue their existence, the said continuation can only be at the cultural level. There is no doubt that the great transformation brought about by the republic has created difficulties in terms of cultural continuity. On the other hand, the existence of culture depends on the existence of an independent political structure. For this reason, she is sincerely devoted to Atatürk, whom she sees as the architect of the process, and to the reforms, except for the objections she brings to the great changes in culture. He appreciates İsmet İnönü, who became the head of the state after Atatürk, in three respects: his service in the National Struggle, his duty in Lausanne, and II his peaceful politics during the World War II. This feeling of admiration was explained by some researchers as Tanpınar's ambition to become a member of parliament. In our opinion, this situation is to some extent the preference of an intellectual who has realized the last years of the Ottoman Empire with his life.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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