{"id":3745,"date":"2026-02-13T14:53:14","date_gmt":"2026-02-13T11:53:14","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=3745"},"modified":"2026-02-13T14:54:52","modified_gmt":"2026-02-13T11:54:52","slug":"monsieur-soubisein-ot-yataginda-suara","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/02\/13\/monsieur-soubisein-ot-yataginda-suara\/","title":{"rendered":"Monsieur Soubise’in Ot Yata\u011f\u0131nda \u015euara"},"content":{"rendered":"

Denis Diderot’nun Rameau’nun Ye\u011feni (\u00d6zg\u00fcn ad\u0131:  Le Neuvu de Rameau; \u00c7ev. Adnan Cemgil, Yazko Yay., \u0130st., 1982) roman\u0131n\u0131 1985’teki ilk okumamdan k\u0131rk y\u0131l sonra tekrar elime ald\u0131m. O zaman alt\u0131n\u0131 \u00e7izip mim koydu\u011fum yerlerle yetinmiyor, kitab\u0131 ba\u015ftan, s\u0131f\u0131rdan okuyorum. <\/p>\n

Y\u00fcksek kanaatim \u015fu: Voltaire’in Candide’iyle Diderot’nun bu eseri benim o y\u0131llar\u0131ma bi\u00e7im ve renk veren kitaplar oldu. K\u0131rk y\u0131l sonra tekrar oraya d\u00f6n\u00fcp at\u0131f yapmam bir da\u00fcss\u0131la yahut nostaljiden kaynaklan\u0131yor olamaz. \u00c7\u00fcnk\u00fc gerek s\u0131radan bir insan gerekse \u015fair bir kimlik olarak tutum ve davran\u0131\u015flar\u0131m\u0131n muharrik noktas\u0131 o d\u00f6nemden bu d\u00f6neme ayn\u0131 sabitedeydi. \u0130nsaniyet, hakkaniyet ve hassasiyette o g\u00fcn nerede idiysem bug\u00fcn de oradayd\u0131m. Kimi gidip geldi\u011fim sosyo-psikolojik yap\u0131lanmalar s\u0131ras\u0131nda k\u00fc\u00e7\u00fck sars\u0131nt\u0131lar hari\u00e7…<\/p>\n

Bu fas\u0131lda pek oyalanmay\u0131p Rameau’nun Ye\u011feni \u00fczerinden yol almaya ba\u015flayal\u0131m. “Moi” (“Ben”) ve “Lui” (“O”) adl\u0131 iki kahraman\u0131n felsefi diyaloglar\u0131 ile kurgulanm\u0131\u015f olan Rameau’nun Ye\u011feni, Diderot’un 18. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131nda (1761 ve sonraki y\u0131llara tarihlendirilir; Adnan Cemgil 1862’de yazd\u0131\u011f\u0131n\u0131, 1873’te g\u00f6zden ge\u00e7irdi\u011fini belirtir.) kaleme alm\u0131\u015f oldu\u011fu bir romand\u0131r. Eser, pek \u00e7ok tarihi \u015fahsiyetin ilgi oda\u011f\u0131 olmu\u015f. S\u00f6zgelimi Marx, eseri kendi \u00f6\u011fretisi i\u00e7in de\u011ferli bulmu\u015f ve 1869’da okunmas\u0131n\u0131 tavsiye etmi\u015f. Engels kitab\u0131 “diyalektik ba\u015fyap\u0131t<\/i>” olarak nitelendirmi\u015f, d\u00fcnya edebiyat\u0131n\u0131n \u015faheseri olaca\u011f\u0131n\u0131 s\u00f6ylemi\u015f.<\/p>\n

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Diderot, bu eserini 1875’teki \u00f6l\u00fcm\u00fcnden \u00f6nce \u00fc\u00e7 n\u00fcsha kopya yapt\u0131rm\u0131\u015ft\u0131r. K\u0131z\u0131, Diderot’nun k\u00fct\u00fcphanesini ve el yazmas\u0131 eserlerini Saint Petersburg’a ta\u015f\u0131m\u0131\u015f, eserin bir kopyas\u0131 Almanya’da bir rastlant\u0131yla \u00f6nce Schiller’in, onun vas\u0131tas\u0131yla da 1803’te Goethe’nin eline ge\u00e7mi\u015ftir. <\/span>Goethe bu Frans\u0131zca el yazmas\u0131ndan yararlanarak eseri 1805’te Almanca ‘ya \u00e7evirir. Bu \u00e7eviride kullan\u0131lan Frans\u0131zca el yazmas\u0131 daha sonra kaybolunca, bu kez Joseph-Henri de Saur ve L\u00e9once de Saint-Geni\u00e8s 1821’de Almanca n\u00fcshadan Frans\u0131zca ‘ya \u00e7evirmi\u015fler eseri. <\/span>Bundan k\u0131sa bir s\u00fcre sonra, 1823’te Frans\u0131zca el yazmas\u0131na dayanan orijinal metin ortaya \u00e7\u0131kar\u0131lm\u0131\u015f. Rameau’nun Ye\u011feni’nin modern bask\u0131lar\u0131, 1890’da k\u00fct\u00fcphaneci Georges Monval’in Paris bir ikinci el kitap\u00e7\u0131da buldu\u011fu Diderot’nun el yaz\u0131s\u0131yla yazd\u0131\u011f\u0131 tam el yazmas\u0131na dayanmaktad\u0131r. Monval eseri 1891’de yay\u0131mlam\u0131\u015f; Diderot’un el yazmas\u0131 ise New York’taki Pierpont Morgan K\u00fct\u00fcphanesi’nce sat\u0131n al\u0131nm\u0131\u015ft\u0131r. Eserin orijinal dildeki en yeni yay\u0131m\u0131 Jacques Berchtold ve Michel Delon taraf\u0131ndan yap\u0131lm\u0131\u015f kar\u015f\u0131la\u015ft\u0131rmal\u0131 edisyondur.<\/div>\n<\/div>\n

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Rameau’nun Ye\u011feni’yle ilgili bir ba\u015fka bilgi: Andrew S. Curran, d\u00f6nemin \u00f6nde gelen \u015fahsiyetlerini betimledi\u011fi, bu nedenle ba\u015f\u0131na hukuki sorunlar a\u00e7\u0131labilece\u011fi endi\u015fesiyle eseri sa\u011fl\u0131\u011f\u0131nda yay\u0131mlamad\u0131\u011f\u0131n\u0131 ileri s\u00fcrer.<\/p>\n

Romandaki anlat\u0131c\u0131 kahraman\u0131n\u0131n (“Ben”in) yazar\u0131 (Diderot’yu) temsil etti\u011fi varsay\u0131l\u0131r. Bir edebi metin, yaz\u0131nsal kurgu ba\u011flam\u0131nda bu varsay\u0131m elbette yanl\u0131\u015ft\u0131r. Kahraman anlat\u0131c\u0131n\u0131n diyalog kurdu\u011fu “O”(Rameau)nun ise 18. y\u00fczy\u0131l\u0131n \u00fcnl\u00fc Frans\u0131z bestecisi ve m\u00fczik teorisyeni Jean-Philippe Rameau’nun ye\u011feni Jean-Fran\u00e7ois Rameau oldu\u011fu kaydedilir. Bu iki kahraman eserin geli\u015fim seyri i\u00e7inde farkl\u0131 konularda fikir \u00e7at\u0131\u015fmalar\u0131 ya\u015farlar. Bu arada diyaloglara zeka oyunlar\u0131, ironiler, alegorik anlat\u0131mlar, hedonist yakla\u015f\u0131mlar dahil olur. Kimi b\u00fcy\u00fck \u015fahsiyetlere, filozof, politikac\u0131, m\u00fczisyen ve finans\u00f6rlere, bu arada muhayyel kahramanlara g\u00f6ndermeler yap\u0131l\u0131r. S\u00f6zgelimi Sezar, Sokrat, Diyojen, Homeros, Rabelais, Theophraste, Racine, Voltaire, Molliere, La Bruyere, Marivauxm, Praksitel, Charles-Pinot Duclos, Abbe Trublet, Abbe d’Olivet, Jean Baptiste Greuze, Charles Palissot de Montene, Henri Poinsinet, Abbe Freron, Abbe Sabatier, Pietro-Antonio Locatelli, Domenico Alberti, Boldusarre Galuppi; Apollon, Andromaque, Britannicus, \u0130phigenie, Phedre, Attalies…<\/p>\n

\"\ud83d\udcd6Rameau'nun<\/p>\n

Yaz\u0131m\u0131z\u0131n bu noktas\u0131nda “ye\u011fen” Rameau’yu biraz daha ayr\u0131nt\u0131l\u0131 tan\u0131mam\u0131z gerekiyor: Roman\u0131n ilk sayfalar\u0131nda onun hakk\u0131nda bilgi veren anlat\u0131c\u0131 kahraman, hakk\u0131nda \u015funa benzer ifadeler kullan\u0131r: “Acayip tiplerden biri<\/i>“, “ki\u015fili\u011finde y\u00fckseklikle al\u00e7akl\u0131\u011f\u0131, sa\u011fduyu ile ka\u00e7\u0131kl\u0131\u011f\u0131 birle\u015ftirmi\u015f bir adam<\/i>“, “kafas\u0131nda onur ve onursuzluk kavramlar\u0131 nas\u0131l garip bir bi\u00e7imde birbirine kar\u0131\u015fm\u0131\u015f<\/i>“, “huyunun k\u00f6t\u00fc taraflar\u0131n\u0131 hay\u0131rs\u0131zca a\u00e7\u0131\u011fa vurmaktan \u00e7ekinmez<\/i>“. Rameau’nun \u015fahsiyetini yans\u0131tan \u015fu sat\u0131rlar\u0131 okuman\u0131z san\u0131r\u0131m sizde daha kal\u0131c\u0131 izlenimler b\u0131rakacakt\u0131r: “Onunla kar\u015f\u0131la\u015f\u0131r da, gariplikleri kar\u015f\u0131s\u0131nda ap\u0131\u015f\u0131k kalmazsan\u0131z ya kulaklar\u0131n\u0131z\u0131 t\u0131kar ya da ka\u00e7ars\u0131n\u0131z. Aman tanr\u0131m, ne \u00e7ene, ne \u00e7ene! K\u0131l\u0131ktan k\u0131l\u0131\u011fa girer. bir g\u00fcn bakars\u0131n\u0131z, avurtlar\u0131 \u00e7\u00f6km\u00fc\u015f, s\u0131f\u0131r\u0131 t\u00fcketmi\u015f bir hasta gibi bir deri bir kemik kalm\u0131\u015ft\u0131r. \u0130nsan g\u00fcnlerdir a\u011fz\u0131na lokma koymam\u0131\u015f ya da Trape manast\u0131r\u0131ndan \u00e7\u0131km\u0131\u015f san\u0131rn, ba\u015fka bir zaman onu bankarlerin sofras\u0131ndan hi\u00e7 kalkmam\u0131\u015f ya da, Bernardins’lerin manast\u0131r\u0131ndan geliyormu\u015f gibi semirmi\u015f, g\u00f6beklenmi\u015f g\u00f6r\u00fcrs\u00fcn\u00fcz. Bug\u00fcn g\u00f6mle\u011fi kirli, pantalonu y\u0131rt\u0131k, \u00fcst\u00fc ba\u015f\u0131 d\u00f6k\u00fclm\u00fc\u015ft\u00fcr hemen hemen yal\u0131nayakt\u0131r; ba\u015f\u0131 \u00f6n\u00fcnde dola\u015f\u0131r; herkesten ka\u00e7ar; insan\u0131n \u00e7a\u011f\u0131r\u0131p avucuna bir ka\u00e7 para koyas\u0131 gelir. Ba\u015fka bir g\u00fcn, pudralanm\u0131\u015f, aya\u011f\u0131nda g\u00fczel pabu\u00e7lar, sa\u00e7lar\u0131 k\u0131vr\u0131lm\u0131\u015f, iyi giyimli olarak kar\u015f\u0131n\u0131za \u00e7\u0131kar; ba\u015f\u0131 dik y\u00fcr\u00fcr, y\u00fcksekten bakar, kurumlan\u0131r; onu keyfi yerinde bir adam san\u0131rs\u0131n\u0131z. Bug\u00fcn kazan\u0131r, bug\u00fcn yer. Zaman\u0131na g\u00f6re \u015fen ya da kederlidir. (…)<\/i>”<\/p>\n

Rameau’nun kimli\u011fi, ki\u015fili\u011fi hakk\u0131nda d\u00f6rt d\u00f6rtl\u00fck bilgi edinmek istiyorsan\u0131z kitab\u0131n ba\u015f\u0131nda yer alan ve bir k\u0131sm\u0131n\u0131 al\u0131nt\u0131lad\u0131\u011f\u0131m\u0131z anlat\u0131y\u0131, hatta eserin tamam\u0131n\u0131 okuman\u0131z\u0131 sal\u0131k veririz. Bizimkisi tahass\u00fcs ve tahayy\u00fcl olu\u015fturmak i\u00e7in yap\u0131lm\u0131\u015f k\u00fc\u00e7\u00fck bir antipas… <\/p>\n

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Bunu belirttikten sonra \u015furaya gelelim; eserin ba\u015f\u0131na, anlat\u0131c\u0131 “Ben” ile “O” Rameau’nun bir g\u00fcn Paris’te, soylular\u0131n oturdu\u011fu ve fakat “bah\u00e7esi sonradan kumarc\u0131lar\u0131n, hovardalar\u0131n ve oynak k\u0131zlar\u0131n gezindi yeri<\/i>” olan saray binalar\u0131 (Plais Royal) civar\u0131ndaki Regence kahvesinde kar\u015f\u0131la\u015fmalar\u0131na… O g\u00fcnlerde Rameau, bir \u015fekilde kendisini be\u011fendirdi\u011fi, orada hane halk\u0131na soytar\u0131l\u0131k yaparak g\u00f6rece m\u00fcreffeh bir hayat s\u00fcrd\u00fc\u011f\u00fc evden kovulmu\u015ftur. \u0130ki kahraman aras\u0131ndaki diyaloglardan anla\u015f\u0131lan; “O”nun kap\u0131land\u0131\u011f\u0131 evden kovuldu\u011fu i\u00e7in pi\u015fmanl\u0131k duydu\u011fudur: “Ah ben ne hayvan herifim! Her \u015feyi elden ka\u00e7\u0131rd\u0131m. B\u00fct\u00fcn \u00f6mr\u00fcmde bir defac\u0131k akl\u0131 ba\u015f\u0131nda hareket etmek y\u00fcz\u00fcnden her \u015feyi yitirdim. O g\u00fcnleri bir daha g\u00f6recek miyim, acaba?<\/i>”<\/p>\n

Rameau, kovulu\u015funu anlat\u0131c\u0131 kahraman “Ben”in sorusu \u00fczerine yer yer monolog yaparak anlat\u0131r: <\/p>\n

“Ben. – S\u00f6z konusu olan nedir acaba?
\n<\/i>O. – Rameau! Rameau! Sana neden i\u00e7erlediler biliyor musun? Az\u0131c\u0131k zevk, bir par\u00e7ac\u0131k ince d\u00fc\u015f\u00fcn\u00fc\u015f, biraz da zek\u00e2 sahibi olmak enayili\u011fini g\u00f6sterdi\u011fin i\u00e7in! Rameau, dostum, bu, sana yarad\u0131l\u0131\u015ftan ne oldu\u011funu ve efendilerinin ne olman\u0131 istediklerini \u00f6\u011fretecek. Kolundan tuttuklar\u0131 gibi kap\u0131 d\u0131\u015far\u0131 ettiler. Arkandan \u015f\u00f6yle diyorlard\u0131: ‘Seni hergele seni! \u00c7ek araban\u0131 bakal\u0131m! Bir daha buralarda g\u00f6r\u00fcneyim deme sak\u0131n! Ak\u0131l, mant\u0131k sahibi olmaya kalkars\u0131n ha? Bizde bu nesnelerden bol bol var.’ Ve sen \u00f6fkenden elini \u0131s\u0131rarak yolu tutars\u0131n. Ama daha \u00f6nce \u015fu kopas\u0131 dilini \u0131s\u0131rman gerekirdi. \u0130\u015fte ihtiyats\u0131zl\u0131\u011f\u0131n cezas\u0131: b\u00f6yle meteliksiz, yersiz yurtsuz, sokak ortas\u0131nda kalmakt\u0131r. T\u0131ka basa karn\u0131n doyuyordu, yeniden \u00e7\u00f6pl\u00fc\u011fe d\u00fc\u015ft\u00fcn; g\u00fczel bir evde ya\u015farken, eski tavan aras\u0131n\u0131n \u00f6zlemini \u00e7ekecek hale geldin; rahat yataklarda yatarken, art\u0131k M. de Soubise’in arabac\u0131s\u0131yla Robbe karde\u015fin aras\u0131nda bir ot yata\u011fa uzanacaks\u0131n. Eskisi gibi tatl\u0131 ve rahat bir uyku yerine kula\u011f\u0131na, bir yandan da bunlardan bin kere daha \u00e7ekilmez olan, kuru, mutsuz berbat manzumelerin g\u00fcr\u00fclt\u00fcs\u00fc dolacak, g\u00f6rd\u00fcn m\u00fc ba\u015f\u0131na gelenleri! A mutsuz, a kendini bilmez, a cin \u00e7arpas\u0131!”<\/i> <\/p>\n

Bu al\u0131nt\u0131y\u0131 okurken tahminim siz de bahsedilen baz\u0131 ki\u015fi ve halleri merak ettiniz. S\u00f6zgelimi M.de Soubise ve Robbe kimdir, ot yataklar neyin nesidir gibi… Kitaba eklenen “A\u00e7\u0131klamalar” k\u0131sm\u0131na bak\u0131p gidereyim merak\u0131n\u0131z\u0131: S\u00f6zgelimi Bay Soubise… O y\u0131llarda yeteneksiz yazar, \u015fair, aktrist ve akt\u00f6rler soylu ki\u015filerin ah\u0131rlar\u0131nda bar\u0131n\u0131rlarm\u0131\u015f; o soylulardan birisidir… Robbe ise d\u00f6nemin yeteneksiz bir \u015fairi…<\/p>\n

Lui, yani Rameau bir soylunun kap\u0131s\u0131na kap\u0131lan\u0131p soytar\u0131l\u0131k yapmay\u0131 ilelebet s\u00fcrd\u00fcremeyen, bu bahiste s\u00fcre\u011fen bir ba\u015far\u0131 g\u00f6steremeyen kendisini, Robbe \u00f6rne\u011finden hareket edersek, soylular\u0131n ah\u0131r\u0131nda bar\u0131nan \u015fairlerle e\u015f tutuyor. Orada ya\u015fayacak olman\u0131n yo\u011fun \u0131st\u0131rab\u0131n\u0131 ya\u015f\u0131yor. Onun gibi birisinden de gelse bu \u0131st\u0131rapta bir haysiyet emaresi var.<\/p>\n

Rameau’nun s\u00f6zlerini g\u00fcncelleyip zaman\u0131m\u0131za getirmeyeg\u00f6relim; k\u0131rm\u0131z\u0131 \u00e7izgilerle ku\u015fat\u0131lm\u0131\u015f sorular\u0131m\u0131z havada u\u00e7uyor: Sahi, bug\u00fcn Rameau’nun bahsetti\u011fi “ah\u0131r” istiaresiyle benzerlik g\u00f6sterebilecek nice se\u00e7kin ve soylunun mekan ve makam\u0131nda \u00e7\u00f6reklenmi\u015f \u015fairlerde ayn\u0131 \u0131st\u0131rap ve haysiyet neden olsun?..  Kanon \u015fairlerinde, saray soytar\u0131lar\u0131nda, belediye taklac\u0131lar\u0131nda… Yok i\u015fte…<\/p>\n","protected":false},"excerpt":{"rendered":"

Denis Diderot’nun Rameau’nun Ye\u011feni (\u00d6zg\u00fcn ad\u0131:  Le Neuvu de Rameau; \u00c7ev. Adnan Cemgil, Yazko Yay.,…<\/p>\n","protected":false},"author":17,"featured_media":2492,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"om_disable_all_campaigns":false,"_uag_custom_page_level_css":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[20],"tags":[],"ppma_author":[173],"class_list":["post-3745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap"],"yoast_head":"\nMonsieur Soubise'in Ot Yata\u011f\u0131nda \u015euara - simurgedebiyat.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/simurgedebiyat.com\/index.php\/2026\/02\/13\/monsieur-soubisein-ot-yataginda-suara\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Monsieur Soubise'in Ot Yata\u011f\u0131nda \u015euara - simurgedebiyat.com\" \/>\n<meta property=\"og:description\" content=\"Denis Diderot’nun Rameau’nun Ye\u011feni (\u00d6zg\u00fcn ad\u0131:  Le Neuvu de Rameau; \u00c7ev. 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Ele\u015ftiri: Gelenek ve \u0130kinci Yeni \u015eiiri, \u015eiirin \u0130pek Sesi, \u015eiirin \u015eiddeti, \u00d6zg\u00fcn Bir Toplum Kurucu Mehmet \u00c2kif, \u015ei\u2019r-Pen\u00e7e, \u0130kinci Yeni Okumalar\u0131, K\u00f6klenme Bilinci, Kerberos\u2019u Ta\u015flamak. Antoloji: Baba Bu Kitap Sana, Ankara \u015eiirleri Antolojisi, Daima Rabia-M\u0131s\u0131r Direni\u015fi \u0130\u00e7in \u015eiirler, Eski\u015fehir \u015eairler Antolojisi, Bursa Naat Okuyor, Darbeye Direnen \u015eiirler-15 Temmuz Direni\u015f \u015eiirleri, Darbeye Direnen \u015eiirler-28 \u015eubat Direni\u015f \u015eiirleri. Derleme: Bursa\u2019n\u0131n \u00c7anakkale \u015eehitleri, \u00c7anakkale Sava\u015flar\u0131 ve \u0130stanbul, \u00c7anakkale Zaferi ve Bursa, Sanat ve Edebiyat Hayat\u0131n\u0131n 35. Y\u0131l\u0131nda Bestami Yazgan. Biyografi: Feraizciz\u00e2de Mehmet \u015eakir. \u2003","url":"https:\/\/simurgedebiyat.com\/index.php\/author\/cevat-akkanat\/"}]}},"featured_image_urls":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-300x144.jpg",300,144,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",640,306,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",640,306,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-540x336.jpg",540,336,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-375x336.jpg",375,336,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982.jpg",702,336,false],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/dost-ve-dostluk-ile-ilgili-ayetler-191982-216x216.jpg",216,216,true]},"author_info":{"display_name":"Cevat 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AKKANAT","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/cevat-akkanat\/"},"uagb_comment_info":3,"uagb_excerpt":"Denis Diderot’nun Rameau’nun Ye\u011feni (\u00d6zg\u00fcn ad\u0131:  Le Neuvu de Rameau; \u00c7ev. Adnan Cemgil, Yazko Yay.,...","authors":[{"term_id":173,"user_id":17,"is_guest":0,"slug":"cevat-akkanat","display_name":"Cevat AKKANAT","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/cevat.jpg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/cevat.jpg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"Bal\u0131kesir, 1964. \u0130zmir Dokuz Eyl\u00fcl \u00dcniversitesi, Buca E\u011fitim Fak\u00fcltesi, T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm\u00fcn\u00fc 1991\u2019de bitirdi. 2000\u2019de K\u0131r\u0131kkale \u00dcniversitesi\u2019nde \u201cGelenek ve \u0130kinci Yeni \u015eiiri\u201d ba\u015fl\u0131kl\u0131 tezle y\u00fcksek lisans\u0131n\u0131 tamamlad\u0131. 1997-2005 aras\u0131nda Lik\u00e2 edebiyat dergisini \u00e7\u0131kard\u0131. \r\n\r\nYay\u0131nlanm\u0131\u015f Eserleri: \r\n\u015eiir: Kara Oyun, G\u00fcz Kl\u00e2si\u011fi, Sen Bir Sevda A\u011fac\u0131s\u0131n T\u00fcrk\u00fcler B\u00fcy\u00fct\u00fcr Y\u00fcz\u00fcn, Tan Tan Traska!, H\u00fczn \u00fc A\u015fk, Korku Isl\u0131\u011f\u0131, Nas\u0131ls\u0131n\u0131z?, H\u00e2s\u0131l\u0131 Memlekette, \u015eanl\u0131 \u015eark\u0131, G\u00fcl\u00fcmse Kul\u00fcb\u00fc, Post Ah, \u00c7arlek, Kabuk, Lirik Parampar\u00e7a, Kovgun \u0130sa T\u00fcrk\u00fcs\u00fc.\r\nDeneme: Edebiyat Hayat Memat, \u0130lhan Berk\u2019in Ha\u015femas\u0131, K\u00f6pekler L\u00fcgati, Deneme Tahtas\u0131, Festivalde \u015eempanze, Iss\u0131zl\u0131k Mar\u015f\u0131, Adalet Divan\u0131, Abide Kubbeler, Ben Size Ne Demi\u015ftim?.\r\nEle\u015ftiri: Gelenek ve \u0130kinci Yeni \u015eiiri, \u015eiirin \u0130pek Sesi, \u015eiirin \u015eiddeti, \u00d6zg\u00fcn Bir Toplum Kurucu Mehmet \u00c2kif, \u015ei\u2019r-Pen\u00e7e, \u0130kinci Yeni Okumalar\u0131, K\u00f6klenme Bilinci, Kerberos\u2019u Ta\u015flamak.\r\nAntoloji: Baba Bu Kitap Sana, Ankara \u015eiirleri Antolojisi, Daima Rabia-M\u0131s\u0131r Direni\u015fi \u0130\u00e7in \u015eiirler, Eski\u015fehir \u015eairler Antolojisi, Bursa Naat Okuyor, Darbeye Direnen \u015eiirler-15 Temmuz Direni\u015f \u015eiirleri, Darbeye Direnen \u015eiirler-28 \u015eubat Direni\u015f \u015eiirleri.\r\nDerleme: Bursa\u2019n\u0131n \u00c7anakkale \u015eehitleri, \u00c7anakkale Sava\u015flar\u0131 ve \u0130stanbul, \u00c7anakkale Zaferi ve Bursa, Sanat ve Edebiyat Hayat\u0131n\u0131n 35. Y\u0131l\u0131nda Bestami Yazgan.\r\nBiyografi: Feraizciz\u00e2de Mehmet \u015eakir.\r\n\r\n\r\n\r\n \r\n\r\n\r\n\u2003\r\n"}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/3745","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=3745"}],"version-history":[{"count":2,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/3745\/revisions"}],"predecessor-version":[{"id":3747,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/3745\/revisions\/3747"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/2492"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=3745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=3745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=3745"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=3745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}