{"id":4277,"date":"2026-04-08T19:40:51","date_gmt":"2026-04-08T16:40:51","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4277"},"modified":"2026-04-08T19:40:51","modified_gmt":"2026-04-08T16:40:51","slug":"berlin-2-sanayiden-kulture-buyuk-metamorfoz-skoda-ve-alman-sermayesi","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/04\/08\/berlin-2-sanayiden-kulture-buyuk-metamorfoz-skoda-ve-alman-sermayesi\/","title":{"rendered":"Berlin 2 -Sanayiden K\u00fclt\u00fcre B\u00fcy\u00fck Metamorfoz: Skoda ve Alman Sermayesi"},"content":{"rendered":"

Berlin\u2019in sadece binalar\u0131n\u0131 de\u011fil, de\u011fi\u015fiminin alt\u0131ndaki ekonomik akl\u0131 da d\u00fc\u015f\u00fcnd\u00fcm.
\nBerlin gezimde dikkatimi \u00e7eken en ilgin\u00e7 d\u00f6n\u00fc\u015f\u00fcmlerden biri, \u015fehrin o eski sanayi kimli\u011finden nas\u0131l s\u0131yr\u0131ld\u0131\u011f\u0131yd\u0131. Berlin bir zamanlar sanayinin kalbiydi, ancak Do\u011fu ile birle\u015fmenin ard\u0131ndan ba\u015fkent yap\u0131lmas\u0131yla birlikte devasa bir de\u011fi\u015fim ba\u015flam\u0131\u015f.
\n\u015eehri a\u011f\u0131r sanayi isinden kurtar\u0131p; k\u00fclt\u00fcr, siyaset ve sanat merkezine d\u00f6n\u00fc\u015ft\u00fcrmek i\u00e7in fabrikalar Do\u011fu Avrupa\u2019ya (\u00c7ekya, Polonya, Macaristan) y\u00f6nlendirilmi\u015f.<\/p>\n

Bu stratejik hamlenin en somut \u00f6rne\u011fi olarak Skoda\u2019n\u0131n Volkswagen taraf\u0131ndan sat\u0131n al\u0131n\u0131\u015f\u0131nda g\u00f6rd\u00fcm. Skoda i\u00e7in teknolojik bir yenilenme ve iflastan kurtulu\u015f olan bu yat\u0131r\u0131m, Alman sermayesinin Do\u011fu Avrupa\u2019ya a\u00e7\u0131lmas\u0131n\u0131n da anahtar\u0131 olmu\u015ftu. Bu b\u00fcy\u00fck d\u00f6n\u00fc\u015f\u00fcm\u00fcn elbette bir bedeli vard\u0131: Kapanan fabrikalar y\u00fcz\u00fcnden i\u015finden olan binlerce Berlinli i\u015f\u00e7i… Kimisi farkl\u0131 \u015fehirlere g\u00f6\u00e7 etti, kimisi i\u015f kolunu tamamen de\u011fi\u015ftirdi. Bug\u00fcn Berlin\u2019in eski fabrika binalar\u0131nda sanat galerilerinin y\u00fckselmesi, asl\u0131nda bir “ekonomik metamorfoz” hikayesidir. \u015eehir, pasl\u0131 di\u015flileri b\u0131rak\u0131p fikirlerin ve k\u00fclt\u00fcr\u00fcn ba\u015fkenti olmay\u0131 se\u00e7mi\u015fti.
\nFabrika binalar\u0131n\u0131n sanat galerilerine d\u00f6n\u00fc\u015fmesi, bir \u015fehrin nas\u0131l yeniden do\u011fabilece\u011finin en rasyonel kan\u0131t\u0131yd\u0131. Fakat bu d\u00f6n\u00fc\u015f\u00fcm \u015fehirde bir yorgunluk olarak yans\u0131m\u0131\u015ft\u0131. Sanki canl\u0131 bir organizma de\u011fil de gecmisin g\u00f6lgesinde ya\u015f\u0131yor gibiydi.
\nBerlin, bug\u00fcn bir k\u00fclt\u00fcr ve siyaset merkezi olsa da, asl\u0131nda devasa bir ekonomik d\u00f6n\u00fc\u015f\u00fcm\u00fcn (metamorfozun) meyvesidir. Do\u011fu ve Bat\u0131 birle\u015fti\u011finde, \u015fehir sanayinin isinden ve y\u00fck\u00fcnden kurtar\u0131lmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015f; fabrikalar Do\u011fu Avrupa\u2019ya \u2014\u00c7ekoslovakya, Polonya, Macaristan gibi \u00fclkelere\u2014 kayd\u0131r\u0131lm\u0131\u015f. Bu, kenti sadece bir ba\u015fkent de\u011fil, bir d\u00fc\u015f\u00fcnce merkezi haline getirmek i\u00e7in yap\u0131lm\u0131\u015f b\u00fcy\u00fck bir hamleydi.<\/p>\n

\"Berlin'de
\nFabrikalar\u0131n kapanmas\u0131yla i\u015fsiz kalan binlerce i\u015f\u00e7i i\u00e7in bu s\u00fcre\u00e7, sanc\u0131l\u0131 bir “Kendini Yeniden Yaratma” d\u00f6nemiydi. Nietzsche\u2019nin dedi\u011fi gibi, “Y\u0131k\u0131lmayan \u015fey g\u00fc\u00e7lenir.” Eski sanayi i\u015f\u00e7ileri, kollar\u0131n\u0131n g\u00fcc\u00fcnden zihinlerinin g\u00fcc\u00fcne ge\u00e7mek, i\u015f kollar\u0131n\u0131 de\u011fi\u015ftirmek ve yeni Berlin\u2019in o dinamik yap\u0131s\u0131na eklemlenmek zorunda kald\u0131lar. Bu, bir \u015fehrin sadece binalar\u0131n\u0131n de\u011fil, insan kayna\u011f\u0131n\u0131n da ba\u015ftan a\u015fa\u011f\u0131 “resetlenmesi” anlam\u0131na geliyordu.
\nMarx, sermayenin ulusal s\u0131n\u0131rlar\u0131 tan\u0131mayaca\u011f\u0131n\u0131 ve her zaman daha ucuz i\u015f g\u00fcc\u00fc, daha y\u00fcksek k\u00e2r pe\u015finde ko\u015faca\u011f\u0131n\u0131 s\u00f6yler. Berlin\u2019deki fabrikalar\u0131n kapat\u0131l\u0131p Skoda gibi markalar \u00fczerinden Do\u011fu Avrupa\u2019ya kayd\u0131r\u0131lmas\u0131, tam bir “Sermaye Ak\u00fcm\u00fclasyonu” (birikimi) stratejisidir. Bir Alman d\u00fc\u015f\u00fcn\u00fcr olan Marks\u2019\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131yla olay\u0131 de\u011ferlendirirsek: Alman sermayesi (Volkswagen), Berlin\u2019deki y\u00fcksek maliyetli i\u015f\u00e7iyi terk ederek, Do\u011fu Avrupa\u2019n\u0131n “yedek i\u015f\u00e7i ordusuna” y\u00f6nelmi\u015ftir. Bu, sanayinin modernle\u015fmesi de\u011fil; sermayenin, eme\u011fi daha ucuza sat\u0131n alabilece\u011fi yeni co\u011frafyalar\u0131 fethidir. Skoda\u2019n\u0131n kurtulu\u015fu, Berlinli i\u015f\u00e7inin i\u015fsizli\u011fiyle finanse edilmi\u015ftir. Berlinli i\u015f\u00e7i, y\u0131llarca \u00fcretti\u011fi o devasa makinelerden ve fabrikalardan kopar\u0131ld\u0131\u011f\u0131nda, Marx\u2019\u0131n tabiriyle “Yabanc\u0131la\u015fma”n\u0131n (Entfremdung) en a\u011f\u0131r halini ya\u015fam\u0131\u015ft\u0131r. Fabrikalar kapand\u0131\u011f\u0131nda, i\u015f\u00e7i sadece i\u015fini de\u011fil; kimli\u011fini, s\u0131n\u0131fda\u015flar\u0131n\u0131 ve hayat\u0131n\u0131n anlam\u0131n\u0131 da kaybetmi\u015ftir. Bir\u00e7o\u011fu zorunlu olarak “hizmet sekt\u00f6r\u00fcne” (garsonluk, g\u00fcvenlik, temizlik) y\u00f6nelerek, eski “\u00fcreten s\u0131n\u0131f” vakar\u0131ndan, modernitenin “ge\u00e7ici i\u015f\u00e7isi” konumuna d\u00fc\u015fm\u00fc\u015ft\u00fcr. Berlin sokaklar\u0131ndaki o \u015f\u0131k kafelerde bize servis yapan orta ya\u015fl\u0131 Almanlar\u0131n g\u00f6zlerinde, o eski fabrika disiplininin gururuyla kar\u0131\u015f\u0131k bir h\u00fcz\u00fcn okunur.<\/p>\n

Berlin\u2019in sanayiden ar\u0131nd\u0131r\u0131lmas\u0131, kentin s\u0131n\u0131fsal yap\u0131s\u0131n\u0131 da de\u011fi\u015ftirmi\u015ftir. Fabrika mahalleleri y\u0131k\u0131l\u0131p yerine l\u00fcks konutlar, sanat at\u00f6lyeleri ve teknoloji ofisleri kurulurken; i\u015f\u00e7i s\u0131n\u0131f\u0131 kentin d\u0131\u015f \u00e7eperlerine, o me\u015fhur gri bloklara itilmi\u015ftir. Marx\u2019\u0131n “M\u00fclks\u00fczle\u015fme” dedi\u011fi s\u00fcre\u00e7, Berlin\u2019de modern bir kentsel d\u00f6n\u00fc\u015f\u00fcm maskesiyle ya\u015fanm\u0131\u015ft\u0131r.
\n“Berlin\u2019in p\u0131r\u0131l p\u0131r\u0131l parlayan cam binalar\u0131na bakarken, Marx\u2019\u0131n o me\u015fhur uyar\u0131s\u0131n\u0131 hat\u0131rlamamak elde de\u011fil: ‘Kat\u0131 olan her \u015fey buharla\u015f\u0131yor.’ Berlin\u2019in o a\u011f\u0131r sanayi g\u00f6vdesi buharla\u015f\u0131rken, fabrikalar vagonlara y\u00fcklenip Do\u011fu\u2019ya ta\u015f\u0131n\u0131rken; geride elleri nas\u0131rl\u0131 bir s\u0131n\u0131f\u0131n sessizli\u011fi kald\u0131. Bug\u00fcn Skoda\u2019n\u0131n direksiyonunda oturan o rasyonel Alman akl\u0131, Berlin\u2019in eski i\u015f\u00e7i mahallelerini birer ‘k\u00fclt\u00fcr adas\u0131na’ d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken asl\u0131nda tarihin en b\u00fcy\u00fck s\u0131n\u0131f de\u011fi\u015fimlerinden birini imzalad\u0131. Berlin art\u0131k \u00fcretimin de\u011fil, t\u00fcketimin ve karar\u0131n ba\u015fkenti; ama bu \u015f\u0131kl\u0131\u011f\u0131n harc\u0131nda, fabrikas\u0131n\u0131 kaybeden o eski Berlinli i\u015f\u00e7inin al\u0131n teri ve gurbeti sakl\u0131.”
\nBug\u00fcn o eski fabrika binalar\u0131n\u0131n yerinde y\u00fckselen sanat galerileri, Berlin\u2019in ekonomik akl\u0131n\u0131n nas\u0131l bir k\u00fclt\u00fcrel sermayeye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fcn kan\u0131t\u0131. Berlin, pasl\u0131 di\u015flileri b\u0131rak\u0131p; Hegel\u2019in akl\u0131n\u0131, Goethe\u2019nin esteti\u011fini ve Rilke\u2019nin ruhunu kendine yeni bir ekonomi olarak se\u00e7mi\u015f bir \u015fehir.
\nBerlin Film Festivalleri ve o canl\u0131 sanat yap\u0131s\u0131, \u015fehri saran o tarihsel kasvetin panzehiri gibidir. \u0130nsanlar, sava\u015f\u0131n ve b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn yaratt\u0131\u011f\u0131 “travmatik haf\u0131za”dan kurtulmak i\u00e7in sanat\u0131 bir s\u0131\u011f\u0131nak olarak g\u00f6r\u00fcyorlar. Goethe\u2019nin dedi\u011fi gibi, “Sanat, d\u00fcnyadan ka\u00e7man\u0131n en g\u00fcvenli yoludur ama d\u00fcnyaya ba\u011flanman\u0131n da en g\u00fc\u00e7l\u00fc yolu.” Berlinli i\u00e7in sanat, sadece bir e\u011flence de\u011fil; y\u0131k\u0131lm\u0131\u015f bir ruhun, estetik bir bi\u00e7imde yeniden aya\u011fa kalkma \u00e7abas\u0131d\u0131r.
\nBerlin art\u0131k bir “\u00fcretim \u015fehri” de\u011fil, bir “karar verme ve temsil” \u015fehridir. Fabrikalar\u0131n Do\u011fu\u2019ya kayd\u0131r\u0131lmas\u0131, Berlin\u2019i bir nevi Avrupa\u2019n\u0131n “beyni” konumuna y\u00fckseltti. \u015eehir; film festivalleri, sanat galerileri ve diplomatik merkezlerle ku\u015fan\u0131rken, o eski i\u015f\u00e7i s\u0131n\u0131f\u0131 kasvetini \u00fczerinden at\u0131p modern, \u015f\u0131k ve entelekt\u00fcel bir “Vitrin \u015eehir” olmay\u0131 se\u00e7ti.<\/p>\n

Spree\u2019nin S\u00fckuneti ve Grafitilerin \u0130syan\u0131: Bir \u015eehrin Ruhu<\/p>\n

Berlin\u2019e dair zihnimdeki en kal\u0131c\u0131 imge, \u015fehri yumu\u015fatan Spree Nehri ve kanallar\u0131d\u0131r. E\u011fer o nehir olmasayd\u0131, Berlin Prusya\u2019n\u0131n o sert ve kat\u0131 mimarisi alt\u0131nda \u00e7ok bo\u011fucu bir yer olurdu. Su, bu rasyonel kente bir ruhsal dinginlik ve ak\u0131\u015fkanl\u0131k kat\u0131yordu.
\nE\u011fer Spree Nehri ve o zarif kanallar olmasayd\u0131, Berlin Prusya\u2019n\u0131n o sert mimarisiyle \u00e7ok “kat\u0131” bir kent olarak kal\u0131rd\u0131. Nehrin k\u0131y\u0131s\u0131ndaki o huzurlu y\u00fcr\u00fcy\u00fc\u015fler, kafelerde oturan insanlar\u0131n ne\u015fesi bu kat\u0131l\u0131\u011f\u0131 yumu\u015fat\u0131yor.
\nBerlin denince akla gelen o sert, so\u011fuk imaj\u0131n aksine; kar\u015f\u0131mda ye\u015fille bar\u0131\u015fm\u0131\u015f, parklar\u0131n nefes ald\u0131\u011f\u0131 bir \u015fehir buldum. \u015eehrin ortas\u0131ndan s\u00fcz\u00fcl\u00fcp giden Spree Nehri, Berlin\u2019e \u00f6yle bir zarafet, \u00f6yle \u015fiirsel bir hava katm\u0131\u015f ki, nehrin ak\u0131\u015f\u0131nda Rainer Maria Rilke\u2019nin m\u0131sralar\u0131n\u0131 duymamak elde de\u011fil. Rilke bir keresinde \u015f\u00f6yle demi\u015fti: “Gelecek, biz i\u00e7ine girmeden \u00e7ok \u00f6nce i\u00e7imize girer, orada d\u00f6n\u00fc\u015fmek \u00fczere.”
\nGoethe\u2019nin do\u011faya ve sanata olan tutkusu, Berlin\u2019in parklarla b\u00fct\u00fcnle\u015fmi\u015f mimarisinde ya\u015f\u0131yor sanki. \u015eehrin rasyonel y\u00fcz\u00fcyle ye\u015filin o lirik dans\u0131, Goethe\u2019nin “bilim ve \u015fiiri” birle\u015ftirme \u00e7abas\u0131n\u0131n mimari bir kar\u015f\u0131l\u0131\u011f\u0131 gibi. 24 saatlik bir biletle, ucuz ve pratik bir ula\u015f\u0131mla bu devasa sanat galerisini and\u0131ran \u015fehri gezmek, t\u0131pk\u0131 Goethe gibi her ad\u0131mda yeni bir ke\u015ffe \u00e7\u0131kmak demek. Berlin, insan\u0131n hem akl\u0131na hem de estetik duygular\u0131na hitap eden bir a\u00e7\u0131k hava m\u00fczesi.
\nYeniden Do\u011fu\u015fun Sembolleri: Paskalya
\nBerlin\u2019i sadece gri binalar ve a\u011f\u0131r tarihle hat\u0131rlamak haks\u0131zl\u0131k olurdu. Gezim tam da Paskalya yortusuna denk geldi. \u015eehrin o rasyonel ciddiyeti, bir anda yerini d\u00f6rt g\u00fcnl\u00fck bir tatil moduna, vitrinleri s\u00fcsleyen tav\u015fan ve yumurta motiflerinin ne\u015fesine b\u0131rakm\u0131\u015ft\u0131. Baz\u0131 yerlerin kapal\u0131 olmas\u0131 seyahat ritmimi yava\u015flatsa da, Hristiyan k\u00fclt\u00fcr\u00fcndeki bu “yeniden do\u011fu\u015f” kutlamas\u0131n\u0131 yerinde g\u00f6rmek ilgin\u00e7 bir deneyimdi.
\n\u015eehrin o ciddi y\u00fcz\u00fcn\u00fcn vitrinleri s\u00fcsleyen tav\u015fanlar ve renkli yumurtalarla nas\u0131l \u00e7ocuksu bir ne\u015feye b\u00fcr\u00fcnd\u00fc\u011f\u00fcn\u00fc g\u00f6rd\u00fcm. Tatil nedeniyle baz\u0131 yerlerin kapal\u0131 olmas\u0131 \u015fehri yava\u015flatsa da, bu “yeniden do\u011fu\u015f” atmosferini solumak ilgin\u00e7ti.
\nBerlin sokaklar\u0131nda kar\u015f\u0131la\u015ft\u0131\u011f\u0131m\u0131z o renkli yumurta ve tav\u015fan motifli vitrinler, \u015fehrin rasyonel y\u00fcz\u00fcn\u00fcn alt\u0131ndaki o kadim inan\u00e7 damar\u0131n\u0131 temsil ediyor. Paskalya\u2019n\u0131n getirdi\u011fi bu ne\u015fe, asl\u0131nda k\u0131\u015f\u0131n so\u011fu\u011fundan \u00e7\u0131kan \u015fehrin “yeniden do\u011fu\u015f” kutlamas\u0131d\u0131r. Bu vitrinler, modern ya\u015fam\u0131n i\u00e7inde gelene\u011fin nas\u0131l bir renk c\u00fcmb\u00fc\u015f\u00fcyle hayatta kald\u0131\u011f\u0131n\u0131 g\u00f6steriyor.
\nPaskalya, Hristiyanl\u0131kta Hz. \u0130sa\u2019n\u0131n \u00e7arm\u0131ha gerildikten sonra dirili\u015fini (Resurrektion) kutlayan en eski ve en \u00f6nemli bayramd\u0131r. Ancak Berlin sokaklar\u0131nda g\u00f6rd\u00fc\u011f\u00fcn\u00fcz o yumurta ve tav\u015fan motifleri, asl\u0131nda Hristiyanl\u0131k \u00f6ncesi kadim Germen gelenekleriyle (Ostara) harmanlanm\u0131\u015f bir sentezdir. Yumurta: D\u0131\u015far\u0131dan cans\u0131z g\u00f6r\u00fcnen ama i\u00e7inde hayat bar\u0131nd\u0131ran yap\u0131s\u0131yla “mezar ve dirili\u015f”i simgeler. Tav\u015fan: Do\u011furganl\u0131\u011f\u0131 ve bahar\u0131n geli\u015fini, yani hayat\u0131n \u00f6l\u00fcm\u00fc alt etmesini temsil eder.
\nBerlin, sava\u015fta “yok edilen” bir \u015fehir olarak, her Paskalya\u2019da kendi k\u00fcllerinden do\u011fu\u015funu sembolik olarak yeniden ya\u015far. \u015eehrin bir k\u0131sm\u0131n\u0131n kapal\u0131 olmas\u0131, hayat\u0131n h\u0131z\u0131na kar\u015f\u0131 bir “durma ve tefekk\u00fcr” eylemidir.
\nNietzsche her ne kadar kurumsal din ele\u015ftirisi yapsa da, toplumsal bayramlardaki o co\u015fkuyu ve “\u015fenlikli” yap\u0131y\u0131 hayat\u0131n bir olumlanmas\u0131 olarak g\u00f6r\u00fcrd\u00fc. Berlin\u2019deki Paskalya kutlamalar\u0131, o me\u015fhur Alman disiplininin yerini ge\u00e7ici bir s\u00fcreli\u011fine “oyuna ve ne\u015feye” b\u0131rakmas\u0131d\u0131r. Sokaklardaki s\u00fcslemeler, insanlar\u0131n o sava\u015f yorgunu kasvetten s\u0131yr\u0131l\u0131p, t\u0131pk\u0131 \u00e7ocuklar gibi renkli yumurtalar\u0131n pe\u015fine d\u00fc\u015fmesi, hayat\u0131n t\u00fcm trajedisine ra\u011fmen devam etti\u011finin bir kan\u0131t\u0131d\u0131r.
\nBerlin, Almanya\u2019n\u0131n en sek\u00fcler (dinden uzak) \u015fehirlerinden biri olsa da Paskalya geleneklerine s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131d\u0131r. \u0130nsanlar i\u00e7in bu sadece dini bir t\u00f6ren de\u011fil, ayn\u0131 zamanda ailelerin birle\u015fti\u011fi, bahar\u0131n selamland\u0131\u011f\u0131 bir “k\u00fclt\u00fcrel aidiyet” t\u00f6renidir. Kapal\u0131 d\u00fckkanlar ve sessizle\u015fen caddeler, Berlinliye o \u00f6zledi\u011fi “i\u00e7sel huzuru” ve “manevi damar\u0131” hat\u0131rlat\u0131r.
\nSanat S\u0131\u011f\u0131na\u011f\u0131<\/p>\n

\"En
\n\u015eehrin her yan\u0131n\u0131 saran grafitiler ise benim i\u00e7in gen\u00e7li\u011fin o otoriter ve sert tarihe kar\u015f\u0131 att\u0131\u011f\u0131 anar\u015fik bir imza ve \u00f6zg\u00fcrl\u00fck hayk\u0131r\u0131\u015f\u0131yd\u0131;. \u00d6zg\u00fcrl\u00fc\u011f\u00fcn ve ho\u015fg\u00f6r\u00fcn\u00fcn bir d\u0131\u015fa vurumu olan bu sanat eserleri, Berlin\u2019i gri olmaktan kurtar\u0131p g\u00f6kku\u015fa\u011f\u0131na \u00e7eviriyor. Sanat\u0131 bir s\u0131\u011f\u0131nma alan\u0131 olarak g\u00f6ren, nehirle nefes alan ve her soka\u011f\u0131nda kendi felsefesini yaratan bu \u015fehir, zihnimde “bilge bir metropol” olarak kald\u0131. Berlin\u2019de g\u00fcne\u015f bazen \u00fc\u015f\u00fctse de, insan hikayeleri ve manevi duraklar ruhu daima s\u0131cak tutuyordu.
\nSanat\u0131 bir s\u0131\u011f\u0131nak olarak g\u00f6ren Berlin, her bahar Paskalya ile yeniden canlanan, nehirle nefes alan ve her soka\u011f\u0131nda ayr\u0131 bir hikaye saklayan muazzam bir sahne.
\nBerlin sokaklar\u0131nda y\u00fcr\u00fcrken sadece fiziksel bir yolculuk yapm\u0131yorsunuz, adeta bir felsefe orman\u0131nda kayboluyorsunuz. Hegel\u2019in o devasa d\u00fc\u015f\u00fcnce sisteminin burada \u015fekillenmesi, Bat\u0131 felsefesini sarsan o fikirlerin bu atmosferde n\u00fcve bulmas\u0131 bo\u015funa de\u011fil. \u015eehrin her k\u00f6\u015fesinde bir diyalektik s\u00fcre\u00e7 i\u015fliyor; eski ile yeni, Do\u011fu ile Bat\u0131, y\u0131k\u0131m ile in\u015fa s\u00fcrekli bir \u00e7at\u0131\u015fma ve sentez halinde.
\nAd\u0131mlar\u0131m\u0131 atarken Rainer Maria Rilke\u2019nin dizeleri kulaklar\u0131mda u\u011fulduyor: “Gelecek \u015fimdiden i\u00e7imizde, d\u00f6n\u00fc\u015fmek i\u00e7in sessizce bekliyor.” Hegel\u2019in rasyonalitesiyle Rilke\u2019nin o k\u0131r\u0131lgan ama derin \u015fiirselli\u011fi aras\u0131nda gidip geliyorum. Goethe\u2019nin “Daha fazla \u0131\u015f\u0131k!” diyerek arad\u0131\u011f\u0131 o ayd\u0131nl\u0131k, Berlin\u2019in parklar\u0131na vuran ikindi g\u00fcne\u015finde sakl\u0131 sanki. T\u00fcm bu devasa d\u00fc\u015f\u00fcnce miras\u0131n\u0131, metronun o u\u011fultulu h\u0131z\u0131yla tefekk\u00fcr etmek, modern bir dervi\u015fin seyahati gibi geliyor bana.
\nBerlin, bir \u015fehirden ziyade uluslararas\u0131 bir sahne gibi. O \u00e7ok \u00f6v\u00fclen “kozmopolit” yap\u0131y\u0131 burada bizzat ya\u015f\u0131yorsunuz. Vietnaml\u0131 bir sat\u0131c\u0131n\u0131n yan\u0131ndan ge\u00e7ip Arap mahallesinde kahve kokusu al\u0131yor, ard\u0131ndan T\u00fcrk mahallesinde kendinizi evinizde buluyorsunuz. Berlin, t\u00fcm bu farkl\u0131 renkleri, bu farkl\u0131 trajedileri kabul etmi\u015f ve onlar\u0131 kendine has bir h\u00fcviyete b\u00fcr\u00fcnd\u00fcrm\u00fc\u015f.
\nUcuz, h\u0131zl\u0131 ve her yere ula\u015fan metro sistemi sayesinde bu devasa mozai\u011fin her par\u00e7as\u0131n\u0131 inceleme \u015fans\u0131 bulduk. Berlin, benim zihnimdeki o “so\u011fuk sava\u015f \u015fehri” tasvirlerini birer birer y\u0131kt\u0131. Onun yerine; ye\u015fille kucakla\u015fm\u0131\u015f, nehirle zarafet bulmu\u015f, felsefeyle yo\u011frulmu\u015f ve minaresiyle ruhuma dokunmu\u015f bir d\u00fcnya kenti koydu. Kaydetti\u011fim her not, \u00e7ekti\u011fim her kare asl\u0131nda kendime yapt\u0131\u011f\u0131m bir yolculu\u011fun izleriydi. Berlin, bana hem kendimi hem de d\u00fcnyay\u0131 yeniden d\u00fc\u015f\u00fcnme f\u0131rsat\u0131 verdi.<\/p>\n","protected":false},"excerpt":{"rendered":"

Berlin\u2019in sadece binalar\u0131n\u0131 de\u011fil, de\u011fi\u015fiminin alt\u0131ndaki ekonomik akl\u0131 da d\u00fc\u015f\u00fcnd\u00fcm. Berlin gezimde dikkatimi \u00e7eken en…<\/p>\n","protected":false},"author":2,"featured_media":4278,"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-4277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gezi"],"yoast_head":"\nBerlin 2 -Sanayiden K\u00fclt\u00fcre B\u00fcy\u00fck Metamorfoz: Skoda ve Alman Sermayesi - 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\/08\/berlin-2-sanayiden-kulture-buyuk-metamorfoz-skoda-ve-alman-sermayesi\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Berlin 2 -Sanayiden K\u00fclt\u00fcre B\u00fcy\u00fck Metamorfoz: Skoda ve Alman Sermayesi - simurgedebiyat.com\" \/>\n<meta property=\"og:description\" content=\"Berlin\u2019in sadece binalar\u0131n\u0131 de\u011fil, de\u011fi\u015fiminin alt\u0131ndaki ekonomik akl\u0131 da d\u00fc\u015f\u00fcnd\u00fcm. 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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":"Berlin 2 -Sanayiden K\u00fclt\u00fcre B\u00fcy\u00fck Metamorfoz: Skoda ve Alman Sermayesi - 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\/08\/berlin-2-sanayiden-kulture-buyuk-metamorfoz-skoda-ve-alman-sermayesi\/","og_locale":"tr_TR","og_type":"article","og_title":"Berlin 2 -Sanayiden K\u00fclt\u00fcre B\u00fcy\u00fck Metamorfoz: Skoda ve Alman Sermayesi - simurgedebiyat.com","og_description":"Berlin\u2019in sadece binalar\u0131n\u0131 de\u011fil, de\u011fi\u015fiminin alt\u0131ndaki ekonomik akl\u0131 da d\u00fc\u015f\u00fcnd\u00fcm. 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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\/1080f054-8969-477a-a284-8f0004eb3e101.jpg",1080,1440,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-225x300.jpg",225,300,true],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-768x1024.jpg",640,853,true],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-768x1024.jpg",640,853,true],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101.jpg",1080,1440,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101.jpg",1080,1440,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-1080x715.jpg",1080,715,true],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-800x500.jpg",800,500,true],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-1024x1365.jpg",1024,1365,true],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-540x340.jpg",540,340,true],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-400x250.jpg",400,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-272x182.jpg",272,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-375x375.jpg",375,375,true],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-720x480.jpg",720,480,true],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-950x630.jpg",950,630,true],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/04\/1080f054-8969-477a-a284-8f0004eb3e101-216x216.jpg",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":"Berlin\u2019in sadece binalar\u0131n\u0131 de\u011fil, de\u011fi\u015fiminin alt\u0131ndaki ekonomik akl\u0131 da d\u00fc\u015f\u00fcnd\u00fcm. Berlin gezimde dikkatimi \u00e7eken en...","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\/4277","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=4277"}],"version-history":[{"count":1,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4277\/revisions"}],"predecessor-version":[{"id":4279,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4277\/revisions\/4279"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4278"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4277"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}