{"id":4268,"date":"2026-04-06T15:31:36","date_gmt":"2026-04-06T12:31:36","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4268"},"modified":"2026-04-06T15:31:36","modified_gmt":"2026-04-06T12:31:36","slug":"berlin-izlenimleri-1-hegel-nietzche-goethe-rilke-ve-bismarckin-golgesinde-berlin-zitliklarin-diyalektigi","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/04\/06\/berlin-izlenimleri-1-hegel-nietzche-goethe-rilke-ve-bismarckin-golgesinde-berlin-zitliklarin-diyalektigi\/","title":{"rendered":"BERL\u0130N \u0130ZLEN\u0130MLER\u0130-1 (Hegel, Nietzche, Goethe, Rilke ve Bismarck\u2019\u0131n G\u00f6lgesinde Berlin: Z\u0131tl\u0131klar\u0131n Diyalekti\u011fi)"},"content":{"rendered":"

G\u00fcne\u015fin Bile \u00dc\u015f\u00fcd\u00fc\u011f\u00fc \u015eehir
\nSabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla Berlin\u2019e indik. D\u0131\u015farda g\u00fczel bir g\u00fcne\u015f vard\u0131 ve hava g\u00fcne\u015fli gibiydi. Fakat d\u0131\u015far\u0131 \u00e7\u0131kt\u0131\u011f\u0131m\u0131zda y\u00fcz\u00fcm\u00fcz\u00fc keskin bir r\u00fczgar k\u0131rba\u00e7lad\u0131. G\u00fcne\u015f ise kendisini bile \u0131s\u0131tmaktan aciz kalm\u0131\u015f sanki \u00fc\u015f\u00fcyor gibiydi. Berlin\u2019de yedi\u011fimiz bu tokat asl\u0131nda bat\u0131 medeniyetinin uzaktan g\u00fczel ve s\u0131cak g\u00f6r\u00fcnd\u00fc\u011f\u00fc ama i\u00e7ine girdi\u011finde ise insan\u0131 ezen ve \u00fc\u015f\u00fcten bir bask\u0131s\u0131 gibiydi.
\nNietzsche bu manzaray\u0131 g\u00f6rseydi, muhtemelen bu g\u00fcne\u015fi “Efendi Ahlak\u0131” ile “K\u00f6le Ahlak\u0131” aras\u0131ndaki o gerilime benzetirdi. Berlin\u2019in g\u00fcne\u015fi, zay\u0131f bir g\u00fcne\u015fti; parl\u0131yordu ama h\u00fckmedemiyordu. O keskin ayaz ise, hayat\u0131n sert ve \u00e7\u0131plak ger\u00e7ekli\u011fi gibi g\u00fcne\u015fin sahte vaatlerini yerle bir ediyordu. G\u00fcne\u015fin bile \u00fc\u015f\u00fcd\u00fc\u011f\u00fc bir kentti buras\u0131. I\u015f\u0131\u011f\u0131n \u0131s\u0131ya ihanet etti\u011fi, g\u00f6rkemli bir yalan\u0131n ortas\u0131nda y\u00fcr\u00fcd\u00fc\u011f\u00fcm\u00fcz o anlar, Berlin\u2019in bize sundu\u011fu ilk felsefi dersti: Her parlayan \u015fey hayat vermez.
\nBu keskin ayazda y\u00fcr\u00fcrken, Nietzsche\u2019nin “Beni \u00f6ld\u00fcrmeyen \u015fey beni g\u00fc\u00e7lendirir” d\u00fcsturunu d\u00fc\u015f\u00fcnd\u00fcm. Berlin\u2019in bu sert iklimi, asl\u0131nda buradaki insanlar\u0131n karakterini de \u015fekillendirmi\u015f. \u00d6zellikle T\u00fcrk mahallesine girdi\u011fimizde, d\u0131\u015far\u0131daki o “\u00fc\u015f\u00fcyen g\u00fcne\u015fe” inat, d\u00fckkanlardan ta\u015fan o s\u0131cakl\u0131k ve d\u00f6ner tezgahlar\u0131ndan y\u00fckselen ate\u015f, birer “G\u00fc\u00e7 \u0130stenci” tezah\u00fcr\u00fcyd\u00fc.<\/p>\n

\"Duvar
\nNietzsche\u2019ye g\u00f6re hayat, zorluklara kar\u015f\u0131 bir \u00fcst\u00fcnl\u00fck kurma \u00e7abas\u0131d\u0131r. Berlin\u2019in ayaz\u0131 ne kadar keskinse, T\u00fcrk lokantalar\u0131ndaki o samimiyet ve s\u0131cak sohbeti o kadar k\u0131ymetliydi. Almanlar\u0131n o “sahte g\u00fcne\u015fine” kar\u015f\u0131, bizim insan\u0131m\u0131z\u0131n “i\u00e7ten gelen harareti” \u015fehri ya\u015fan\u0131r k\u0131lan as\u0131l sentezi olu\u015fturuyordu. So\u011fuk, burada bir engel de\u011fil; ruhun direncini ve bir araya gelme arzusunu tetikleyen bir k\u0131rba\u00e7 gibiydi.
\n\u00d6\u011fleden sonraki o \u0131l\u0131manla\u015fma ise bir “teslimiyet” de\u011fil, Nietzsche\u2019nin “\u00dcstinsan” (\u00dcbermensch) \u00f6\u011fretisindeki gibi, do\u011fan\u0131n kendi z\u0131tl\u0131klar\u0131n\u0131 a\u015farak ula\u015ft\u0131\u011f\u0131 bir kendi olma halidir. \u0130nsan, o ayazda \u00fc\u015f\u00fcrken asl\u0131nda kendi dayan\u0131kl\u0131l\u0131\u011f\u0131n\u0131 test eder; g\u00fcne\u015fin \u0131s\u0131tmad\u0131\u011f\u0131 bir yerde kendi i\u00e7 ate\u015fiyle \u0131s\u0131nmay\u0131 \u00f6\u011frenir. Berlin\u2019in havas\u0131, t\u0131pk\u0131 Nietzsche\u2019nin felsefesi gibi, insan\u0131 \u00f6nce sars\u0131yor, donduruyor ve sonra kendi i\u00e7indeki o \u0131l\u0131man g\u00fcc\u00fc ke\u015ffetmeye zorluyor.
\n\u0130kindi vakti havan\u0131n \u0131l\u0131manla\u015fmas\u0131yla birlikte, Rainer Maria Rilke\u2019nin o mistik ve h\u00fcz\u00fcnl\u00fc dizeleri Berlin caddelerine d\u00f6k\u00fclmeye ba\u015flad\u0131. Rilke, “Korkular\u0131n\u0131 sev, \u00e7\u00fcnk\u00fc onlar sana giden yolu g\u00f6sterir” der. Berlin\u2019in sabahki o korkutucu ayaz\u0131, \u00f6\u011fleden sonraki o zarif yumu\u015faman\u0131n bedeliymi\u015f me\u011fer.
\nH\u00fcz\u00fcn ve umut, so\u011fuk ve s\u0131cak bu \u015fehrin dar sokaklar\u0131nda el ele y\u00fcr\u00fcyor. G\u00fcne\u015fin bile titredi\u011fi o sabah\u0131n ard\u0131ndan gelen bu \u0131l\u0131man esinti, Rilke\u2019nin \u015fiirlerindeki o ani duygu ge\u00e7i\u015fleri gibi ruhumuzu ok\u015fad\u0131. Berlin bize \u015funu f\u0131s\u0131ld\u0131yordu: Hi\u00e7bir k\u0131\u015f sonsuza dek s\u00fcrmez, en sert ayaz\u0131n i\u00e7inde bile ruhu \u0131s\u0131tan bir ak\u015fam\u00fczeri mutlaka sakl\u0131d\u0131r.
\nBerlin\u2019in havas\u0131, Hegel\u2019in z\u0131tl\u0131klar \u00fczerinden y\u00fckselen felsefesinin bizzat tecelli etti\u011fi bir sahne gibiydi. \u00d6\u011fle saatlerine kadar ya\u015fad\u0131\u011f\u0131m\u0131z o \u00e7eli\u015fki, rasyonel bir akl\u0131n s\u00fczgecinden ge\u00e7iyordu:
\n* Tez: G\u00f6ky\u00fcz\u00fcndeki o aldat\u0131c\u0131, ma\u011frur ve parlak g\u00fcne\u015f.
\n* Antitez: \u0130nsan\u0131n direncini k\u0131ran, tavizsiz ve keskin kuzey ayaz\u0131.
\n* Sentez: \u00d6\u011fleden sonra r\u00fczgar\u0131n aniden dinmesiyle havan\u0131n mucizevi bir \u015fekilde yumu\u015fay\u0131p \u0131l\u0131manla\u015fmas\u0131.
\nBu yumu\u015fama, \u015fehrin o sert ve maskeli y\u00fcz\u00fcn\u00fcn yerini ince bir zarafete b\u0131rakmas\u0131yd\u0131. Hegel\u2019in dedi\u011fi gibi, “Ger\u00e7ek olan b\u00fct\u00fcnd\u00fcr.” Berlin\u2019in ger\u00e7e\u011fi de ne sadece o dondurucu ayaz ne de o \u0131s\u0131tmayan g\u00fcne\u015fti; ger\u00e7ek, bu iki z\u0131tl\u0131\u011f\u0131n ak\u015fam\u00fczeri birbirine sar\u0131larak olu\u015fturdu\u011fu o \u0131l\u0131man s\u00fckunetti.<\/p>\n

Mutluluk
\nSabah\u0131n erken saatlerinde Berlin\u2019e ad\u0131m att\u0131\u011f\u0131m\u0131zda, bizi sadece bir \u015fehir de\u011fil, tarihin en keskin “tez ve antitez” kavgas\u0131 kar\u015f\u0131lad\u0131. Zihnimde Hegel\u2019in o me\u015fhur tespiti yank\u0131lan\u0131yordu: “D\u00fcnya tarihi, \u00f6zg\u00fcrl\u00fck bilincinin geli\u015fiminden ba\u015fka bir \u015fey de\u011fildir.”
\nBerlin, \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n o devasa y\u00fck\u00fcn\u00fc omuzlar\u0131nda ta\u015f\u0131yan, Amerikan hegemonyas\u0131 ile Sovyet idealizmi aras\u0131nda ikiye b\u00f6l\u00fcnm\u00fc\u015f bir \u015fehirdi. \u015eimdi ise o iki par\u00e7an\u0131n birle\u015fmesinden do\u011fan sanc\u0131l\u0131 ama ihti\u015faml\u0131 bir “sentezi” ya\u015f\u0131yor. Metro a\u011f\u0131n\u0131n k\u0131lcal damarlar gibi t\u00fcm \u015fehri sarmas\u0131, bu rasyonel akl\u0131n bir tezah\u00fcr\u00fc gibi. Hegel\u2019in burada \u015fekillendirdi\u011fi Bat\u0131 felsefesi, \u015fehrin her ta\u015f\u0131nda bir fikir olarak donmu\u015f sanki. Berlin, sadece bir mekan de\u011fil; akl\u0131n, ideolojilerin ve tarihin \u00e7arp\u0131\u015farak kendine yeni bir yol buldu\u011fu ya\u015fayan bir felsefe metni.
\nBiz bu \u015fehirde sadece sokaklar\u0131 gezmedik; Hegel\u2019in akl\u0131yla tartt\u0131k, Nietzsche\u2019nin iradesiyle direndik, Rilke\u2019nin ruhuyla duyumsad\u0131k ve Goethe\u2019nin merak\u0131yla ke\u015ffettik. Berlin; g\u00fcne\u015fin \u00fc\u015f\u00fcd\u00fc\u011f\u00fc ama insan\u0131n tefekk\u00fcrle \u0131s\u0131nd\u0131\u011f\u0131, z\u0131tl\u0131klar\u0131n o muazzam dans\u0131n\u0131 sergileyen devasa bir fikirler sahnesi olarak haf\u0131zam\u0131za kaz\u0131nd\u0131.
\n\u015eehir hen\u00fcz uykusundan tam uyanmam\u0131\u015f, sisli bir griye b\u00fcr\u00fcnm\u00fc\u015fken biz e\u015fyalar\u0131m\u0131z\u0131 terminaldeki emanete b\u0131rak\u0131p bu devasa haf\u0131zan\u0131n i\u00e7ine dald\u0131k. T\u00fcrk lokantas\u0131nda tan\u0131\u015ft\u0131\u011f\u0131m\u0131z hem\u015ferimizin bize e\u015flik etmesi ile metronun o yer alt\u0131 labirentlerine dald\u0131k. Metro a\u011flar\u0131 \u00f6yle yo\u011fun ki, adeta \u015fehrin damarlar\u0131 gibi her noktaya hayat ta\u015f\u0131yor. 24 saatlik biletimizi cebimize koydu\u011fumuzda, koca \u015fehri bir u\u00e7tan bir uca fethedecek olman\u0131n o “ucuz ama zengin” hazz\u0131n\u0131 ya\u015fad\u0131k.
\nMetroda giderken bizimle kar\u015f\u0131la\u015ft\u0131\u011f\u0131 i\u00e7in memleket hasretini gidermeye \u00e7al\u0131\u015fan T\u00fcrk i\u015f\u00e7imiz burada her \u015feye sahip oldu\u011funu ama mutlu olmad\u0131\u011f\u0131n\u0131 s\u00f6yledi. \u201cMemleketimde \u00e7obanl\u0131k yapsayd\u0131m daha mutlu olurdum\u201d c\u00fcmlesini kurmas\u0131 i\u00e7imizi yakt\u0131. Berlin\u2019in o muazzam metro a\u011flar\u0131, t\u0131k\u0131r t\u0131k\u0131r i\u015fleyen ekonomisi ve her t\u00fcrl\u00fc imk\u00e2n\u0131 sunan d\u00fczeni; bazen insan\u0131n i\u00e7indeki o derin bo\u015flu\u011fu \u00f6rtmeye yetmiyor. Bizi terminalde kar\u015f\u0131layan T\u00fcrk dostumuzun o k\u0131sa ama sars\u0131c\u0131 c\u00fcmlesi, modern insan\u0131n ve \u00f6zellikle “gurbetteki insan\u0131n” en b\u00fcy\u00fck \u00e7eli\u015fkisini ortaya koydu. Siyasi veya ekonomik gerek\u00e7elerle vatan\u0131ndan kopup bu “d\u00fczen cennetine” s\u0131\u011f\u0131nan ruhlar, madden doysalar da manen bir yabanc\u0131la\u015fma (Hegelci anlamda Entfremdung) ya\u015f\u0131yorlar.<\/p>\n

\"Exploring<\/p>\n

K\u00f6klerinden Kopan Ruhun Yaln\u0131zl\u0131\u011f\u0131<\/p>\n

Sosyolojik ve ekonomik refah\u0131n zirvesinde, kalabal\u0131k caddelerin ortas\u0131nda bile olsan\u0131z; e\u011fer k\u00f6kleriniz o topra\u011f\u0131n derinliklerinde de\u011filse, s\u0131\u011f bir saks\u0131da hayata tutunmaya \u00e7al\u0131\u015fan bir \u00e7i\u00e7ek gibi kal\u0131yorsunuz. Berlin her \u015feyi veriyor; g\u00fcvenli\u011fi, disiplini, imk\u00e2n\u0131… Ancak o “tan\u0131d\u0131kl\u0131k” hissini, o f\u0131tri mutlulu\u011fu ve aidiyet duygusunu veremiyor.
\nRilke\u2019nin Dedi\u011fi Gibi…”\u015eimdi evi olmayan, art\u0131k bir tane in\u015fa edemez” der.
\nBerlin\u2019deki T\u00fcrk varl\u0131\u011f\u0131, kendi mahallelerini, camilerini ve lokantalar\u0131n\u0131 kurarak bu “evsizli\u011fe” bir \u00e7are aram\u0131\u015f; ancak ruhun o as\u0131l vatan\u0131na duydu\u011fu \u00f6zlem, en l\u00fcks Alman caddesinde bile insan\u0131n kar\u015f\u0131s\u0131na bir “ayaz” gibi \u00e7\u0131k\u0131yor. Arkada\u015f\u0131m\u0131z\u0131n “T\u00fcrkiye\u2019de daha mutluydum” itiraf\u0131, Bat\u0131\u2019n\u0131n sundu\u011fu rasyonel d\u00fczenin, insan\u0131n irrasyonel ve duygusal mutluluk ihtiyac\u0131n\u0131 kar\u015f\u0131lamaya yetmedi\u011finin en somut kan\u0131t\u0131d\u0131r.<\/p>\n

Fakat tabi ki burada mutlu olan ve buraya kendisini ait hisseden T\u00fcrklerin say\u0131s\u0131 daha \u00e7oktu. \u00d6zellikle ilk ku\u015fak sonras\u0131 jenerasyon art\u0131k bura ile bir aidiyet olu\u015fturmu\u015ftu.<\/p>\n

Berlin, yer alt\u0131ndaki o devasa ve saat gibi i\u015fleyen metro a\u011flar\u0131yla ne kadar “g\u00fc\u00e7l\u00fc ve rasyonel” bir \u015fehir imaj\u0131 \u00e7iziyorsa, ana terminal noktalar\u0131nda (ZOB – Zentraler Omnibus Bahnhof) bir o kadar \u015fa\u015f\u0131rt\u0131c\u0131 bir vasatl\u0131kla bizi kar\u015f\u0131l\u0131yor. T\u00fcrkiye\u2019deki modern, sosyal imkanlar\u0131 geni\u015f ve adeta k\u00fc\u00e7\u00fck birer \u015fehir gibi kurgulanm\u0131\u015f terminallerle k\u0131yaslad\u0131\u011f\u0131m\u0131zda; Berlin\u2019in bu noktadaki eksikli\u011fi, Bat\u0131\u2019n\u0131n bazen sadece “i\u015flevselli\u011fe” odaklan\u0131p “insani ve sosyal esteti\u011fi” \u0131skalad\u0131\u011f\u0131n\u0131n bir kan\u0131t\u0131 gibi.
\nBerlin\u2019e dair zihnimde uyanan o “y\u00fcksek teknoloji ve kusursuz nizam” imaj\u0131, \u015fehrin ana terminaline (ZOB) ad\u0131m att\u0131\u011f\u0131m an sars\u0131ld\u0131. Yer alt\u0131nda, saniyelerle yar\u0131\u015fan, \u015fehri bir dantel gibi i\u015fleyen o muazzam metro a\u011flar\u0131n\u0131n g\u00fcc\u00fcne hayran kalmamak elde de\u011fil. Ancak yer \u00fcst\u00fcne \u00e7\u0131k\u0131p, \u015fehirleraras\u0131 yolculu\u011fun kalbi say\u0131lan terminale vard\u0131\u011f\u0131m\u0131zda kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z manzara tam bir tezat; hatta tabir-i caizse tam bir vasatl\u0131k.
\nBizim \u00fclkemizde, en s\u0131radan ilimizin terminali bile bir “insan oda\u011f\u0131” ta\u015f\u0131r; i\u00e7inde dinlenecek mekanlar, sosyal alanlar, bir canl\u0131l\u0131k ve g\u00f6rkem vard\u0131r. Berlin\u2019in bu terminali ise adeta ruhunu teslim etmi\u015f, sadece “gitmek” \u00fczerine kurulu, “durmay\u0131 ve dinlenmeyi” d\u0131\u015flayan, estetikten yoksun bir beton y\u0131\u011f\u0131n\u0131 gibi kar\u015f\u0131m\u0131zda duruyor. Berlin gibi bir d\u00fcnya devine bu s\u00f6n\u00fck manzaray\u0131 hi\u00e7 yak\u0131\u015ft\u0131ramad\u0131m.
\nHegel\u2019in o me\u015fhur rasyonalitesi, anla\u015f\u0131lan o ki yer alt\u0131na inince saat gibi i\u015fliyor ama yer \u00fcst\u00fcndeki bu kamusal alanda s\u0131n\u0131fta kal\u0131yor.
\nBir kentin geli\u015fmi\u015fli\u011fi sadece raylar\u0131n h\u0131z\u0131yla de\u011fil, o raylar aras\u0131ndaki bekleyi\u015fin kalitesiyle de \u00f6l\u00e7\u00fclmeliydi. Rilke\u2019nin o h\u00fcz\u00fcnl\u00fc dizelerindeki eksiklik duygusu sanki bu terminalin so\u011fuk banklar\u0131nda v\u00fccut bulmu\u015f: “Bazen ger\u00e7eklik, en \u00e7\u0131plak ve en yetersiz haliyle bir durakta bekler bizi.” Berlin\u2019in bu planlama tezat\u0131, Bat\u0131\u2019n\u0131n bazen sadece “i\u015flevselli\u011fe” tap\u0131p “insani esteti\u011fi” nas\u0131l \u0131skalad\u0131\u011f\u0131n\u0131n en somut kan\u0131t\u0131 olarak notlar\u0131m\u0131n aras\u0131na giriyor.
\n\u0130\u015fte burada Nietzsche devreye girer: Nietzsche, modern Bat\u0131\u2019n\u0131n sadece “i\u015flevsel” olan\u0131 y\u00fcceltirken, insan ruhunu nas\u0131l bir “h\u0131n\u00e7” (ressentiment) ve vasatl\u0131k i\u00e7ine itti\u011fini s\u00f6yler. Berlin\u2019in terminali, Nietzsche\u2019nin tabiriyle “S\u00fcr\u00fc \u0130nsan\u0131” i\u00e7in tasarlanm\u0131\u015f gibidir; sadece gidilecek yere ula\u015ft\u0131ran ama orada bulunulan an\u0131 de\u011fersizle\u015ftiren bir mek\u00e2n. T\u00fcrkiye\u2019nin en s\u0131radan ilindeki o “insan odakl\u0131” terminal g\u00f6rkemiyle k\u0131yaslad\u0131\u011f\u0131m\u0131zda, Berlin\u2019in bu hali Nietzscheci bir “De\u011ferlerin Yitimi” (Nihilizm) \u00f6rne\u011fidir. Bat\u0131, alt yap\u0131da “\u00dcstinsan”\u0131n g\u00fcc\u00fcn\u00fc sergilerken, terminalde insan\u0131 “sonuncu insan”\u0131n (der letzte Mensch) zavall\u0131l\u0131\u011f\u0131na terk etmi\u015ftir.<\/p>\n

\u0130lk \u0130zlenimler
\nBerlin, filmlerde g\u00f6rd\u00fc\u011f\u00fcm o gri, as\u0131k suratl\u0131 beton y\u0131\u011f\u0131n\u0131 de\u011filmi\u015f me\u011fer. G\u00f6zlerime inanamad\u0131m; \u015fehir ye\u015fille \u00f6ylesine bar\u0131\u015f\u0131k, parklar \u00f6ylesine geni\u015f ki… Goethe\u2019nin \u0130talya Seyahati\u2019nde do\u011faya duydu\u011fu o saf hayranl\u0131\u011f\u0131 \u015fimdi Berlin\u2019in orman k\u0131vam\u0131ndaki parklar\u0131nda ben hissediyorum.
\n\u015eehrin tam ortas\u0131ndan s\u00fcz\u00fclen nehir, bu devasa mekanik yap\u0131ya \u015fiirsel bir zarafet katm\u0131\u015f. Su, ta\u015f\u0131n sertli\u011fini yumu\u015fat\u0131yor. Rilke\u2019nin dedi\u011fi gibi: “Her \u015fey, e\u011fer istersen, bir ba\u015flang\u0131\u00e7 olabilir.” Bizim i\u00e7in de bu nehir k\u0131y\u0131s\u0131ndaki y\u00fcr\u00fcy\u00fc\u015f, Berlin\u2019in sakl\u0131 ruhuna yap\u0131lan bir ba\u015flang\u0131\u00e7 oldu.
\nBerlin benim i\u00e7in sadece fiziksel bir \u015fehir de\u011fil, bir fikirler sahnesiydi. Hegel\u2019in “tez, antitez ve sentez” d\u00f6ng\u00fcs\u00fcn\u00fcn ete kemi\u011fe b\u00fcr\u00fcnm\u00fc\u015f haliydi. \u015eehri ad\u0131mlarken zihnimde hep ayn\u0131 soru vard\u0131: \u0130nsan psikolojisi ve siyaset, nas\u0131l bu kadar keskin u\u00e7lar\u0131 ayn\u0131 sokakta bar\u0131nd\u0131rabiliyor? Ad\u0131mlar\u0131m\u0131 atarken yan\u0131mda Hegel\u2019in rasyonalitesi, Rilke\u2019nin i\u00e7sel derinli\u011fi ve Goethe\u2019nin estetik dengesi vard\u0131.
\nBerlin\u2019i ad\u0131mlarken sadece binalar\u0131 de\u011fil, bir ba\u015fkentin ruhunu hissetmeye \u00e7al\u0131\u015ft\u0131m. Zihnimde hep Hegel\u2019in diyalekti\u011fi vard\u0131: Tarih, z\u0131tl\u0131klar\u0131n \u00e7at\u0131\u015fmas\u0131ndan do\u011fan bir ilerleyi\u015f miydi? Bu kentin her k\u00f6\u015fesinde Hegel\u2019in bahsetti\u011fi o “z\u0131tl\u0131klar\u0131n d\u00fcnyas\u0131n\u0131” soludum. Berlin bu sorunun canl\u0131 cevab\u0131 gibiydi.
\nBir yanda Bismarck\u2019\u0131n o d\u00f6nemin Alman-Prusya \u0130mparatorlu\u011fu\u2019nun ihti\u015faml\u0131, d\u00fcnya hayalleri kuran rasyonel, disiplinli ve “demir ve kan”la \u00f6r\u00fcl\u00fc Prusya devlet akl\u0131; di\u011fer yanda ise antitezi olarak kar\u015f\u0131m\u0131za \u00e7\u0131kan Hitler ve Nazizm… Bu iki u\u00e7 aras\u0131ndaki gerilimi her k\u00f6\u015fe ba\u015f\u0131nda hissettim.<\/p>\n

\"Berlin
\nNas\u0131l olur da ayn\u0131 toplum, Goethe\u2019nin esteti\u011finden \u00e7\u0131k\u0131p y\u0131k\u0131m\u0131n en rasyonel haline evrilebilirdi? Benim i\u00e7in Berlin, “g\u00fcne\u015fin bile \u00fc\u015f\u00fcd\u00fc\u011f\u00fc” ama akl\u0131n durmaks\u0131z\u0131n \u00e7al\u0131\u015ft\u0131\u011f\u0131 bir laboratuvard\u0131. Rilke\u2019nin i\u00e7sel d\u00fcnyas\u0131 ile Hegel\u2019in toplumsal akl\u0131 burada \u00e7arp\u0131\u015f\u0131yor, ortaya her an\u0131 sanc\u0131l\u0131 ama bir o kadar da bilgece bir sentez \u00e7\u0131k\u0131yordu.
\nBismarck\u2019\u0131n imparatorluk hayalleriyle Hitler\u2019in b\u0131rakt\u0131\u011f\u0131 enkaz\u0131n ayn\u0131 caddede y\u00fcr\u00fcmesi, insanl\u0131k tarihinin en b\u00fcy\u00fck trajedisini bir yazar\u0131n g\u00f6zleri \u00f6n\u00fcne seriyordu.
\nBerlin, \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n o devasa y\u00fck\u00fcn\u00fc omuzlar\u0131nda ta\u015f\u0131yan, Amerikan hegemonyas\u0131 ile Sovyet idealizmi aras\u0131nda ikiye b\u00f6l\u00fcnm\u00fc\u015f bir \u015fehirdi. \u015eimdi ise o iki par\u00e7an\u0131n birle\u015fmesinden do\u011fan sanc\u0131l\u0131 ama ihti\u015faml\u0131 bir “sentezi” ya\u015f\u0131yor. Metro a\u011f\u0131n\u0131n k\u0131lcal damarlar gibi t\u00fcm \u015fehri sarmas\u0131, bu rasyonel akl\u0131n bir tezah\u00fcr\u00fc gibi. Hegel\u2019in burada \u015fekillendirdi\u011fi Bat\u0131 felsefesi, \u015fehrin her ta\u015f\u0131nda bir fikir olarak donmu\u015f sanki. Berlin, sadece bir mekan de\u011fil; akl\u0131n, ideolojilerin ve tarihin \u00e7arp\u0131\u015farak kendine yeni bir yol buldu\u011fu ya\u015fayan bir felsefe metni.
\nBerlin\u2019in sokaklar\u0131nda y\u00fcr\u00fcrken bu iki z\u0131t kutbun yaratt\u0131\u011f\u0131 gerilimi her an hissettim. Hegel\u2019in z\u0131tl\u0131klar d\u00fcnyas\u0131 burada adeta bir laboratuvar gibi \u00f6n\u00fcmde duruyordu. Bismarck\u2019\u0131n stratejik rasyonalitesinden, Hitler\u2019in irrasyonel y\u0131k\u0131m\u0131na evrilen bu s\u00fcre\u00e7, sosyolojinin ve siyasetin nas\u0131l trajik bir sentez olu\u015fturabilece\u011fini bana kan\u0131tlad\u0131. Benim i\u00e7in Berlin; “g\u00fcne\u015fin bile \u00fc\u015f\u00fcd\u00fc\u011f\u00fc”, tarihin ise hi\u00e7 uyumad\u0131\u011f\u0131 bir tefekk\u00fcr dura\u011f\u0131yd\u0131.
\nM\u00fczeler Adas\u0131\u2019ndaki o vakur s\u00fctunlar aras\u0131nda y\u00fcr\u00fcrken, rasyonel g\u00fcc\u00fcn nas\u0131l sanatsal bir vakara d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc g\u00f6rd\u00fcm. Benim i\u00e7in Berlin, “g\u00fcne\u015fin bile \u00fc\u015f\u00fcd\u00fc\u011f\u00fc” ama akl\u0131n durmaks\u0131z\u0131n \u00e7al\u0131\u015ft\u0131\u011f\u0131 bir laboratuvard\u0131. Rilke\u2019nin dedi\u011fi gibi; her \u015feyin bir ak\u0131\u015fa ihtiyac\u0131 vard\u0131 ve ben bu ak\u0131\u015f\u0131 Berlin\u2019in diyalekti\u011finde buldum.<\/p>\n

Gurbetin Vatanla\u015ft\u0131\u011f\u0131 Kale: Mevlana Camii ve K\u00fc\u00e7\u00fck T\u00fcrkiye
\nBerlin sokaklar\u0131nda ilerlerken, \u015fehrin rasyonel ve felsefi \u00e7ehresinin ard\u0131nda, oraya can veren insanlar\u0131n kurdu\u011fu o “i\u00e7sel d\u00fcnyalarla” kar\u015f\u0131la\u015f\u0131yoruz. Bu yolculuk, sadece bir co\u011frafyay\u0131 tan\u0131mak de\u011fil; gurbetin nas\u0131l s\u0131laya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc, inanc\u0131n yabanc\u0131 bir g\u00f6ky\u00fcz\u00fc alt\u0131nda nas\u0131l bir s\u0131\u011f\u0131nak in\u015fa etti\u011fini bizzat m\u00fc\u015fahede etmektir.
\nBerlin sadece Almanlar\u0131n de\u011fil, d\u00fcnyan\u0131n t\u00fcm renklerini kabul etmi\u015f uluslararas\u0131 bir kent h\u00fcviyetinde. Arap, Vietnam ve T\u00fcrk mahalleleri aras\u0131nda dola\u015f\u0131rken, Berlin\u2019in bu \u00e7ok k\u00fclt\u00fcrl\u00fcl\u00fc\u011f\u00fc nas\u0131l bir potada eritti\u011fine \u015fahitlik ediyoruz. Fakat T\u00fcrk mahallesine ula\u015ft\u0131\u011f\u0131m\u0131zda, tabelalarda T\u00fcrk isimlerini ve o tan\u0131d\u0131k yemek kokular\u0131n\u0131 duyunca bir an i\u00e7in kendimi T\u00fcrkiye\u2019de zannettim. \u0130\u00e7imi derin bir heves ve \u00f6zlem kaplad\u0131.
\nBerlin\u2019de her k\u00f6\u015fe ba\u015f\u0131nda y\u00fckselen d\u00f6ner, kebap ve \u0131zgara kokular\u0131, art\u0131k sadece bir yemek se\u00e7ene\u011fi de\u011fil; Berlin\u2019in mutfak kimli\u011finin asli unsurudur. \u0130\u015fin en etkileyici yan\u0131, bu mekanlar\u0131n sadece T\u00fcrklerin \u00f6zlem giderdi\u011fi yerler de\u011fil, Almanlar\u0131n ve d\u00fcnyan\u0131n d\u00f6rt bir yan\u0131ndan gelen turistlerin en u\u011frak noktalar\u0131 olmas\u0131d\u0131r. D\u00f6ner, Berlin\u2019de adeta bir “\u015fehir ikonu”na d\u00f6n\u00fc\u015fm\u00fc\u015f, T\u00fcrk mutfa\u011f\u0131 Alman damak tad\u0131yla i\u00e7 i\u00e7e ge\u00e7erek yeni bir lezzet dili olu\u015fturmu\u015ftur.
\nBerlin sokaklar\u0131nda her k\u00f6\u015fe ba\u015f\u0131nda y\u00fckselen d\u00f6ner, kebap ve \u0131zgara kokular\u0131, sadece birer yiyecek de\u011fil; Nietzsche\u2019nin tabiriyle birer “G\u00fc\u00e7 \u0130stenci” tezah\u00fcr\u00fcd\u00fcr. T\u00fcrkler buraya sadece emeklerini de\u011fil, damak tatlar\u0131n\u0131 da dayatarak Berlin\u2019in o so\u011fuk ve rasyonel yap\u0131s\u0131n\u0131 de\u011fi\u015ftirdiler.
\nNietzsche, “Kendi de\u011ferlerini yaratmayan, ba\u015fkas\u0131n\u0131n de\u011ferlerine k\u00f6le olur” der. T\u00fcrk gastronomisi Berlin’de k\u00f6lele\u015fmek yerine kendi h\u00fck\u00fcmranl\u0131\u011f\u0131n\u0131 kurdu. Bug\u00fcn bir Alman’\u0131n \u00f6\u011fle yeme\u011finde T\u00fcrk lezzetlerine ra\u011fbet etmesi, bir “k\u00fclt\u00fcrel fethin” sessiz kan\u0131t\u0131d\u0131r. Gastronomi, burada T\u00fcrklerin kendilerini ger\u00e7ekle\u015ftirdi\u011fi, Almanlar\u0131n ise bu lezzet iradesine teslim oldu\u011fu bir “g\u00fc\u00e7 alan\u0131” haline gelmi\u015ftir. Art\u0131k Berlin’in tad\u0131, T\u00fcrk baharatlar\u0131yla yo\u011frulmu\u015f bir sentezdir.
\nRilke\u2019nin \u015fiirlerinde s\u0131k\u00e7a rastlad\u0131\u011f\u0131m\u0131z o “yabanc\u0131l\u0131k” ve “evsizlik” duygusu, Berlin\u2019deki T\u00fcrklerin ilk ku\u015faklar\u0131nda derin bir melankoliydi. Ancak bug\u00fcnk\u00fc ku\u015faklar, Rilke\u2019nin “Evim her yerdir” dedi\u011fi o mistik olgunlu\u011fa eri\u015fmi\u015f durumda.
\nBerlin\u2019in o gri ve rasyonel caddelerinden s\u0131yr\u0131l\u0131p T\u00fcrk mahallesine girdi\u011fimde, zaman\u0131n ruhu de\u011fi\u015fti. Derken kar\u015f\u0131mda o zarif minareyi, Mevlana Camii\u2019ni g\u00f6rd\u00fcm. Avrupa\u2019n\u0131n orta yerinde bir minareyle selamla\u015fmak, gurbetin ortas\u0131nda bir vatan selam\u0131 almak gibiydi; i\u00e7imi b\u00fcy\u00fck bir sevin\u00e7 kaplad\u0131. Avrupa’n\u0131n orta yerinde bir minare g\u00f6rmek beni tarif edilemez bir sevince bo\u011fdu. \u0130\u00e7eri ad\u0131m\u0131m\u0131 att\u0131\u011f\u0131mda sa\u011fda solda g\u00f6rd\u00fc\u011f\u00fcm ayetler, a\u015fina oldu\u011fum Arap\u00e7a yaz\u0131lar ruhumu bir anda sarmalad\u0131. \u0130\u015fte o an “kendimi vatan\u0131mda hissettim.” Ne demi\u015fti \u015fair: Gurbet sevdiklerinden ayr\u0131 kalmakt\u0131. Ben sevdi\u011fimi bulunca gurbetten s\u0131yr\u0131ld\u0131m. Demek ki buradakiler de ayn\u0131 duygulara kap\u0131l\u0131yorlard\u0131. Bir cami demek evinde demekti.
\nAbdest al\u0131p namaz\u0131m\u0131 eda etti\u011fimde, \u00fczerimdeki t\u00fcm yol yorgunlu\u011fu, gurbetin o a\u011f\u0131r k\u00fclfeti ve zihnimdeki karma\u015fa bir anda yerini muazzam bir dinginli\u011fe b\u0131rakt\u0131. Caminin huzurlu ortam\u0131 beni resmen tazeledi.
\nBurada sadece bir ibadethane de\u011fil, muazzam bir sosyolojik diren\u00e7 g\u00f6rd\u00fcm. \u0130lk gelen i\u015f\u00e7ilerimiz, burada tutunabilmek i\u00e7in kendi k\u00fclt\u00fcrlerinden, dillerinden ve mutfaklar\u0131ndan bir “K\u00fc\u00e7\u00fck T\u00fcrkiye” in\u015fa etmi\u015fler.
\nBuradaki g\u00f6zlemlerim bana \u015funu g\u00f6sterdi: \u0130lk gelen T\u00fcrk g\u00f6\u00e7menleri ve i\u015f\u00e7iler, sadece kollar\u0131n\u0131n g\u00fcc\u00fcn\u00fc de\u011fil, ruhlar\u0131n\u0131 da getirmi\u015fler buraya. Kendi mahallelerini, camilerini, lokantalar\u0131n\u0131 kurarak adeta “k\u00fc\u00e7\u00fck bir T\u00fcrkiye” in\u015fa etmi\u015fler.
\nBu, gurbette gurbeti hissetmemek i\u00e7in geli\u015ftirilmi\u015f muazzam bir varolu\u015f m\u00fccadelesiydi. Geleneklerini koruyarak, \u00e7ocuklar\u0131n\u0131 kendi dillerinden ve dinlerinden koparmadan burada nesiller boyu ye\u015fermeyi ba\u015farm\u0131\u015flar. Berlin\u2019i bir anlamda i\u00e7ten i\u00e7e “T\u00fcrkle\u015ftirmi\u015fler”. Bu tutunu\u015f, yaln\u0131zl\u0131\u011fa kar\u015f\u0131 verilmi\u015f en b\u00fcy\u00fck k\u00fclt\u00fcrel cevapt\u0131r.
\nBu mahalleler, \u00e7ocuklar\u0131n\u0131 yabanc\u0131la\u015fmadan koruyan birer kale i\u015flevi g\u00f6rm\u00fc\u015f. Kendi varolu\u015flar\u0131n\u0131 bu mekanlar \u00fczerinden sa\u011flam\u0131\u015flar ve yaln\u0131zl\u0131klar\u0131n\u0131 bu sayede gidermi\u015fler. Berlin bu y\u00f6n\u00fcyle art\u0131k bir Alman \u015fehri olmaktan \u00e7\u0131km\u0131\u015f, bir anlamda “T\u00fcrkle\u015fmi\u015fti.”
\nAlmanya\u2019n\u0131n ge\u00e7mi\u015findeki o karanl\u0131k \u0131rk\u00e7\u0131 sald\u0131r\u0131lar ve Nazi ideolojisinin g\u00f6lgesi, haf\u0131zalardaki yerini korusa da, son y\u0131llarda toplumsal iklimin bir nebze yumu\u015fad\u0131\u011f\u0131 g\u00f6zlemleniyor. Alman devletinin ve sivil toplumunun “\u00e7ok k\u00fclt\u00fcrl\u00fcl\u00fck” (Multikulti) politikalar\u0131 ve yeni nesil Almanlar\u0131n bu \u00e7e\u015fitlili\u011fi bir zenginlik olarak g\u00f6rmesi, \u0131rk\u00e7\u0131 sald\u0131r\u0131lar\u0131n azalmas\u0131nda etkili olmu\u015ftur. Ancak bu, tamamen yok olmu\u015f bir tehlike de\u011fil, toplumsal bilincin ve hukukun denetimiyle dizginlenmi\u015f bir s\u00fcre\u00e7tir. T\u00fcrk toplumu art\u0131k sadece “i\u015f\u00e7i” de\u011fil; Berlin\u2019in sanat\u00e7\u0131s\u0131, siyaset\u00e7isi, akademisyeni ve i\u015f insan\u0131 olarak bu \u015fehrin vazge\u00e7ilmez bir payda\u015f\u0131d\u0131r.
\nHegel\u2019in “tarihin ilerleyi\u015fi” fikri burada T\u00fcrk toplumunun entegrasyonuyla v\u00fccut buluyor. Goethe\u2019nin “Do\u011fu-Bat\u0131 Divan\u0131”ndaki o evrensel kucakla\u015fma, bug\u00fcn Berlin\u2019in T\u00fcrk mahallelerinde bizzat ya\u015fan\u0131yor. Rilke\u2019nin o i\u00e7sel derinli\u011fi ise, iki k\u00fclt\u00fcr aras\u0131nda kalan insan\u0131n ya\u015fad\u0131\u011f\u0131 o naif \u00f6zlemde (s\u0131la hasretinde) kar\u015f\u0131l\u0131k buluyor.
\nGoethe, Do\u011fu-Bat\u0131 Divan\u0131’nda bu iki d\u00fcnyay\u0131 birbirine yak\u0131nla\u015ft\u0131rmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131. Bug\u00fcn Berlin\u2019deki T\u00fcrk mahalleleri, Goethe\u2019nin o edebi hayalinin ete kemi\u011fe b\u00fcr\u00fcnm\u00fc\u015f halidir. Almanlar\u0131n T\u00fcrk yemekleri i\u00e7in buralara ra\u011fbet etmesi, k\u00fclt\u00fcrel bir “bulu\u015fma” noktas\u0131d\u0131r.
\nBerlin; Hegel’in akl\u0131yla y\u00f6netilse de, T\u00fcrklerin duygusuyla \u0131s\u0131n\u0131yor. Nietzsche\u2019nin dinamizmiyle b\u00fcy\u00fcyor, Rilke\u2019nin derinli\u011fiyle d\u00fc\u015f\u00fcn\u00fcyor ve Goethe\u2019nin esteti\u011fiyle kucakla\u015f\u0131yor.<\/p>\n

\"Berlin-Mitte'de<\/p>\n

Ta\u015flar\u0131n Haf\u0131zas\u0131: Prusya \u0130hti\u015fam\u0131ndan Utan\u00e7 Duvar\u0131na
\nBerlin’in sokaklar\u0131nda ilerlerken, \u015fehrin kalbine bir b\u0131\u00e7ak gibi saplanan o eski hatt\u0131n \u2014Berlin Duvar\u0131’n\u0131n\u2014 izlerini s\u00fcrmek, \u00f6zg\u00fcrl\u00fc\u011f\u00fcn k\u0131ymetini bir kez daha hat\u0131rlat\u0131yor. Berlin\u2019i ikiye b\u00f6len bu yap\u0131, bug\u00fcn bir ibret vesikas\u0131 gibi kar\u015f\u0131m\u0131zda duruyor.
\nBerlin Duvar\u0131\u2019n\u0131n \u00f6n\u00fcnde durdu\u011fumda, sadece bir beton y\u0131\u011f\u0131n\u0131na de\u011fil, bir milletin ortas\u0131ndan ge\u00e7en kanl\u0131 bir hatta bakt\u0131\u011f\u0131m\u0131 hissettim. 1961\u2019den 1989\u2019a kadar d\u00fcnyay\u0131 “biz” ve “onlar” diye ikiye ay\u0131ran bu yap\u0131, bug\u00fcn sanat\u0131n iyile\u015ftirici g\u00fcc\u00fcyle birer h\u00fcrriyet hayk\u0131r\u0131\u015f\u0131na d\u00f6n\u00fc\u015fm\u00fc\u015f. East Side Gallery boyunca y\u00fcr\u00fcrken, duvar\u0131n \u00fczerindeki o me\u015fhur grafitilerde sadece boya de\u011fil, bast\u0131r\u0131lm\u0131\u015f \u00e7\u0131\u011fl\u0131klar g\u00f6rd\u00fcm. Ziyaret etti\u011fimiz o me\u015fhur k\u00f6pr\u00fcde (Glienicke veya o g\u00f6rkemli kuleleriyle Oberbaumbr\u00fccke), sadece iki yakay\u0131 de\u011fil, iki farkl\u0131 zaman dilimini birle\u015ftirdik. So\u011fuk Sava\u015f\u2019\u0131n en gerilimli anlar\u0131na, gizli kapakl\u0131 casus de\u011fi\u015fimlerine tan\u0131kl\u0131k eden bu k\u00f6pr\u00fcde y\u00fcr\u00fcrken; Do\u011fu Berlin\u2019in o a\u011f\u0131r, mesafeli ve disiplinli havas\u0131n\u0131 hala ci\u011ferlerimde hissettim.
\nAmerikan hegemonyas\u0131 alt\u0131nda bir zamanlar ikiye b\u00f6l\u00fcnm\u00fc\u015f; bir yar\u0131s\u0131 Do\u011fu\u2019ya, bir yar\u0131s\u0131 Bat\u0131\u2019ya bakan o yaral\u0131 Berlin\u2019in birle\u015fme sanc\u0131lar\u0131n\u0131 her heykelde, her binada okumak m\u00fcmk\u00fcn. Bu \u015fehirde tarih, sadece kitaplarda de\u011fil, bizzat sokaklarda nefes al\u0131yor.
\nBerlin, her ad\u0131mda size farkl\u0131 bir y\u00fczy\u0131l\u0131 f\u0131s\u0131ldayan dev bir tarih sahnesi. M\u00fczeler Adas\u0131\u2019ndaki o vakur s\u00fctunlar aras\u0131nda y\u00fcr\u00fcrken Bismarck’\u0131n o disiplinli Prusya ideallerini ve Alman \u0130mparatorlu\u011fu\u2019nun azametini soludum. O disiplinli ihti\u015fam\u0131n\u0131, medeniyet kurma iradesini iliklerime kadar hissettim. Bir yanda Bismarck d\u00f6neminin o “demir ve kan”la \u00f6r\u00fcl\u00fc ihti\u015fam\u0131, di\u011fer yanda \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n yaratt\u0131\u011f\u0131 o a\u011f\u0131r kasvet… Bu iki u\u00e7 aras\u0131nda y\u00fcr\u00fcrken tarihin nas\u0131l bir “ruhsal sa\u011falt\u0131m” s\u00fcreci ge\u00e7irdi\u011fine tan\u0131kl\u0131k ettim.
\nAncak bu ihti\u015fam\u0131n hemen yan\u0131 ba\u015f\u0131nda, sava\u015f\u0131n ve b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn so\u011fuk izleriyle kar\u015f\u0131la\u015ft\u0131m. Berlin Duvar\u0131\u2019n\u0131n \u00f6n\u00fcnde durdu\u011fumda, bir \u015fehrin nas\u0131l b\u0131\u00e7akla kesilir gibi b\u00f6l\u00fcnd\u00fc\u011f\u00fcn\u00fc ve o so\u011fuk betonun insanlar\u0131n h\u00fcrriyetine nas\u0131l set \u00e7ekti\u011fini d\u00fc\u015f\u00fcnd\u00fcm.
\nKaiser Wilhelm An\u0131t Kilisesi\u2019nin o y\u0131k\u0131k kulesi, Nazizm\u2019in yaratt\u0131\u011f\u0131 y\u0131k\u0131m\u0131n bir utan\u00e7 vesikas\u0131 olarak \u015fehrin kalbinde y\u00fckseliyor. Bu kilise ve katedraller asl\u0131nda toplumun b\u00fcy\u00fck felaketlerden sonra s\u0131\u011f\u0131nd\u0131\u011f\u0131 manevi damar\u0131 temsil ediyor. Reichstag\u2019\u0131n \u015feffaf kubbesi ise ge\u00e7mi\u015fin o karanl\u0131k ve kapal\u0131 kap\u0131lar\u0131na bir cevap gibi: “Art\u0131k gizlimiz sakl\u0131m\u0131z yok” diyor sanki. Benim i\u00e7in Berlin, imparatorluk gururu ile sava\u015f\u0131n utanc\u0131n\u0131n ayn\u0131 meydanda hesapla\u015ft\u0131\u011f\u0131, zafer an\u0131tlar\u0131 ile Holokost\u2019un sessiz \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131n i\u00e7 i\u00e7e ge\u00e7ti\u011fi bir haf\u0131za mekan\u0131, her ta\u015f\u0131n alt\u0131na bir haf\u0131za par\u00e7as\u0131n\u0131n sakland\u0131\u011f\u0131 e\u015fsiz bir tarih kitab\u0131d\u0131r. Bu \u015fehirde tarih, sadece ge\u00e7mi\u015fi anlatm\u0131yor; bug\u00fcn\u00fcn insan\u0131na bir vicdan muhasebesi yapt\u0131r\u0131yor. Berlin\u2019in ge\u00e7mi\u015fin karanl\u0131\u011f\u0131ndan ders alarak nas\u0131l bir “\u015feffaf gelecek” in\u015fa etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 g\u00f6rd\u00fcm.
\n\u015eehrin her taraf\u0131ndaki kilise ve katedraller ise toplumun manevi bir damara s\u0131\u011f\u0131narak kendini toparlama \u00e7abas\u0131n\u0131n en g\u00fc\u00e7l\u00fc tan\u0131klar\u0131yd\u0131. Benim i\u00e7in Berlin, ge\u00e7mi\u015fin g\u00f6rkemiyle y\u0131k\u0131m\u0131n h\u00fczn\u00fcn\u00fcn ayn\u0131 caddede y\u00fcr\u00fcd\u00fc\u011f\u00fc e\u015fsiz bir tarihsel laboratuvard\u0131.
\nDuvar\u0131n kal\u0131nt\u0131lar\u0131n\u0131n sanata d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc East Side Gallery’de y\u00fcr\u00fcrken, \u00fczerindeki renkli grafitilerin sadece birer resim de\u011fil, birer \u00f6zg\u00fcrl\u00fck hayk\u0131r\u0131\u015f\u0131 oldu\u011funu hissediyoruz. Sanat\u00e7\u0131lar\u0131n bu so\u011fuk beton \u00fczerine i\u015fledi\u011fi fig\u00fcrler, Do\u011fu Almanya\u2019n\u0131n o gri ve bask\u0131c\u0131 ruhuna kar\u015f\u0131 Bat\u0131\u2019n\u0131n renkli ve asi bir cevab\u0131 gibi. Bir milletin haf\u0131zas\u0131, bu duvarlar \u00fczerinden silinmeyecek bir “m\u00fc\u015fterek ruh” in\u015fa etmi\u015f.
\nBerlin duvar\u0131ndan ge\u00e7ip Do\u011fu Berlin\u2019e ula\u015ft\u0131\u011f\u0131m\u0131zda kar\u015f\u0131m\u0131zda casus filimlerinde g\u00f6rd\u00fc\u011f\u00fcm me\u015fhur k\u00f6pr\u00fc \u00e7\u0131kt\u0131. (muhtemelen Glienicke veya Oberbaumbr\u00fccke), sadece iki yakay\u0131 birbirine ba\u011flam\u0131yor; ayn\u0131 zamanda So\u011fuk Sava\u015f\u2019\u0131n en gerilimli anlar\u0131na, casus de\u011fi\u015fimlerine ve gizli tarihe tan\u0131kl\u0131k ediyor. Do\u011fu Berlin taraf\u0131na ge\u00e7ti\u011fimizde, binalar\u0131n mimarisinden sokaklar\u0131n dokusuna kadar o d\u00f6nemin a\u011f\u0131r havas\u0131n\u0131 hala soluyabiliyoruz. Bu tezatl\u0131k, Bat\u0131 Avrupa\u2019n\u0131n dinamizmiyle birle\u015fti\u011finde insan\u0131n zihninde derin bir tefekk\u00fcr kap\u0131s\u0131 a\u00e7\u0131yor.
\nHegel\u2019in diyalekti\u011fi burada ete kemi\u011fe b\u00fcr\u00fcnm\u00fc\u015f gibiydi: Do\u011fu\u2019nun kolektif disiplini (Tez) ile Bat\u0131\u2019n\u0131n bireysel dinamizmi (Antitez) bu k\u00f6pr\u00fclerde \u00e7arp\u0131\u015fm\u0131\u015f ve bug\u00fcn\u00fcn birle\u015fmi\u015f Berlin\u2019ini (Sentez) do\u011furmu\u015f. Do\u011fu\u2019nun o mahzun mimarisinden Bat\u0131\u2019n\u0131n \u0131\u015f\u0131lt\u0131l\u0131 caddelerine ge\u00e7mek, bir insan\u0131n kendi i\u00e7 d\u00fcnyas\u0131ndaki karanl\u0131k ve ayd\u0131nl\u0131k noktalar aras\u0131nda seyahat etmesi gibi… Berlin, bize bir milletin ancak “m\u00fc\u015fterek bir ruhla” bir b\u00fct\u00fcn kalabilece\u011fini bu k\u00f6pr\u00fcler \u00fczerinden anlat\u0131yor.<\/p>\n

DEVAM EDECEK<\/p>\n","protected":false},"excerpt":{"rendered":"

G\u00fcne\u015fin Bile \u00dc\u015f\u00fcd\u00fc\u011f\u00fc \u015eehir Sabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla Berlin\u2019e indik. D\u0131\u015farda g\u00fczel bir g\u00fcne\u015f vard\u0131 ve…<\/p>\n","protected":false},"author":2,"featured_media":4269,"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":[18],"tags":[],"ppma_author":[93],"class_list":["post-4268","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gezi"],"yoast_head":"\nBERL\u0130N \u0130ZLEN\u0130MLER\u0130-1 (Hegel, Nietzche, Goethe, Rilke ve Bismarck\u2019\u0131n G\u00f6lgesinde Berlin: Z\u0131tl\u0131klar\u0131n Diyalekti\u011fi) - 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\/04\/06\/berlin-izlenimleri-1-hegel-nietzche-goethe-rilke-ve-bismarckin-golgesinde-berlin-zitliklarin-diyalektigi\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BERL\u0130N \u0130ZLEN\u0130MLER\u0130-1 (Hegel, Nietzche, Goethe, Rilke ve Bismarck\u2019\u0131n G\u00f6lgesinde Berlin: Z\u0131tl\u0131klar\u0131n Diyalekti\u011fi) - simurgedebiyat.com\" \/>\n<meta property=\"og:description\" content=\"G\u00fcne\u015fin Bile \u00dc\u015f\u00fcd\u00fc\u011f\u00fc \u015eehir Sabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla Berlin\u2019e indik. 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Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\\\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\\\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).\",\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"BERL\u0130N \u0130ZLEN\u0130MLER\u0130-1 (Hegel, Nietzche, Goethe, Rilke ve Bismarck\u2019\u0131n G\u00f6lgesinde Berlin: Z\u0131tl\u0131klar\u0131n Diyalekti\u011fi) - simurgedebiyat.com","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/simurgedebiyat.com\/index.php\/2026\/04\/06\/berlin-izlenimleri-1-hegel-nietzche-goethe-rilke-ve-bismarckin-golgesinde-berlin-zitliklarin-diyalektigi\/","og_locale":"tr_TR","og_type":"article","og_title":"BERL\u0130N \u0130ZLEN\u0130MLER\u0130-1 (Hegel, Nietzche, Goethe, Rilke ve Bismarck\u2019\u0131n G\u00f6lgesinde Berlin: Z\u0131tl\u0131klar\u0131n Diyalekti\u011fi) - simurgedebiyat.com","og_description":"G\u00fcne\u015fin Bile \u00dc\u015f\u00fcd\u00fc\u011f\u00fc \u015eehir Sabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla Berlin\u2019e indik. 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Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu. \u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir. ESERLER\u0130: Cennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015), KAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018).","url":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"}]}},"featured_image_urls":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792.jpeg",1080,1452,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-150x150.jpeg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-223x300.jpeg",223,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-768x1033.jpeg",640,861,true],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-762x1024.jpeg",640,860,true],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792.jpeg",1080,1452,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792.jpeg",1080,1452,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-1080x715.jpeg",1080,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-800x500.jpeg",800,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-1024x1377.jpeg",1024,1377,true],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-540x340.jpeg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-400x250.jpeg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-272x182.jpeg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-375x375.jpeg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-720x480.jpeg",720,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-950x630.jpeg",950,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/ec3b5f02-adb5-43d3-b106-a404d2e13792-216x216.jpeg",216,216,true]},"author_info":{"display_name":"\u0130brahim 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Halil ER","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/ibrahim-halil-er\/"},"uagb_comment_info":0,"uagb_excerpt":"G\u00fcne\u015fin Bile \u00dc\u015f\u00fcd\u00fc\u011f\u00fc \u015eehir Sabah\u0131n ilk \u0131\u015f\u0131klar\u0131yla Berlin\u2019e indik. D\u0131\u015farda g\u00fczel bir g\u00fcne\u015f vard\u0131 ve...","authors":[{"term_id":93,"user_id":2,"is_guest":0,"slug":"ibrahim-halil-er","display_name":"\u0130brahim Halil ER","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/03\/indir.jpeg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"Ara\u015ft\u0131rmac\u0131-yazar. 31 Aral\u0131k 1968 tarihinde Gaziantep\u2019in Nizip il\u00e7esinde do\u011fdu. Aslen Diyarbak\u0131rl\u0131 bir aileden olup, bu \u015fehrin ve \u00fclkenin me\u015fhur alimlerinden Muhammed Emin Er'in o\u011fludur.Babas\u0131n\u0131n yan\u0131nda dini ve Arabi ilimler okuyup ilmi ve ameli icaze ald\u0131. Gaziantep'te Aliye \u00d6mer Battal \u0130lkokulu (1981) ve Gaziantep \u0130mam Hatip Lisesi (1984)'ni, sonra Ankara Mimar Sinan Lisesini (1988) bitirdikten sonra Marmara \u00dcniversitesi Fen-Edebiyat Fak\u00fcltesi Tarih B\u00f6l\u00fcm\u00fc ve Medine \u0130slam \u00dcniversitesi Arap Dili B\u00f6l\u00fcm\u00fcnde y\u00fcksek \u00f6\u011frenim g\u00f6rd\u00fc. Ankara \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fcnde \u0130slam Tarihi ve Sanatlar\u0131 b\u00f6l\u00fcm\u00fcnde\"\u0130slam Tarihi ve Sanatlar\u0131 \/ Emeviler D\u00f6neminde \u0130lim\" konulu teziyle master program\u0131n\u0131 tamamlad\u0131. Y\u00fcksek tahsilinin ard\u0131ndan \u00e7e\u015fitli okullarda \u00f6\u011fretmen ve idareci olarak g\u00f6rev yapt\u0131, \u00f6zel sekt\u00f6rde kendi i\u015fiyle me\u015fgul oldu.\r\n\r\n\u0130brahim Halil Er'in ilk yaz\u0131s\u0131 1986'da Edebiyat dergisinde yay\u0131mlanan bir kitap tan\u0131t\u0131m\u0131yd\u0131. Sonraki y\u0131llarda makaleleri; Milli Gazete, \u0130stiklal Gazetesi, Milat Gazetesi ile Anadolu Gen\u00e7lik, Gen\u00e7 \u0130stikbal, G\u00fclistan ve Milli \u015euur dergilerinde yer ald\u0131. Hedef Radyo ve Kanal 5 Televizyonunda Programlar yapt\u0131.\r\n\r\nT\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi, \u00d6\u011f-Der, \u015euurlu \u00d6\u011fretmenler Derne\u011fi (Y\u00f6netim Kurulu), \u00d6z-Der, \u00d6zel \u00d6\u011fretim Derne\u011fi (Y\u00f6netim Kurulu), Tarih ve Strateji Derne\u011fi (Ba\u015fkan), Muhammed Emin Er \u0130lim K\u00fclt\u00fcr ve Yard\u0131mla\u015fma Derne\u011fi (Ba\u015fkan) \u00fcyesidir. Evli olup; Muhammed Emin ve Erkam Tuna adlar\u0131nda iki o\u011ful babas\u0131d\u0131r. Hayat\u0131n\u0131 ve \u00e7al\u0131\u015fmalar\u0131n\u0131 Ankara'da devam ettirmektedir.\r\n\r\n \r\n\r\nESERLER\u0130:\r\n\r\n \r\n\r\nCennet Do\u011fuda Bir Yerdedir (Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Ha\u00e7l\u0131 Seferleri) (2006), Siyasal \u0130slam D\u00fc\u015f\u00fcncesinin Do\u011fu\u015fu (2016), Peygamberimizin E\u011fitim Metodu (2011), \u00c7anakkaleye Can Verenler (2013), \u00dcmmetin Dirili\u015fi \u00c7anakkale (2014), Son Osmanl\u0131 Alimi (2014), Seyda Muhammed Emin Er Hoca ile S\u00f6yle\u015filer (2016), \u00d6yk\u00fclerle Osmanl\u0131 Padi\u015fahlar\u0131 1-2 (2015), Selahaddin Eyyubi (2017), Hz. Muhammed\u2019in Mektuplar\u0131 ve Diplomasi (2017), As\u0131m\u2019\u0131n Nesli (2017), \u0130stiklal Mar\u015f\u0131 ve Mehmet Akif (2015),\r\n\r\n \r\n\r\n\r\nKAYNAK\u00c7A: \u0130brahim Halil Er (Bilgi teyidi, 2014, 2017), \u0130hsan I\u015f\u0131k \/ Ge\u00e7mi\u015ften G\u00fcn\u00fcm\u00fcze Diyarbak\u0131rl\u0131 \u0130lim Adamlar\u0131 Yazarlar ve Sanat\u00e7\u0131lar (2014) - Resimli ve Metin \u00d6rnekli T\u00fcrkiye Edebiyat\u00e7\u0131lar ve K\u00fclt\u00fcr Adamlar\u0131 Ansiklopedisi (C. 12, 2018)."}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4268","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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4268"}],"version-history":[{"count":1,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4268\/revisions"}],"predecessor-version":[{"id":4270,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4268\/revisions\/4270"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4269"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4268"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}