Kötü dünyanın tasviri -üçüncü dünya modernizmi ve kış uykusu-
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Dosyalar
Tarih
2018
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Ticaret Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Marshall Berman, modernitenin, “insanları modernleşmenin nesnesi olduğu kadar öznesi de kılmayı, onlara, kendilerini değiştiren dünyayı değiştirme gücü vermeyi amaçlayan olağanüstü çeşitlilikteki görüş ve düşünceleri” beslemiş olduğunu söyler. Bu görüş ve düşünceler, Fransa’da Baudelaire, Balzac, Almanya’da Goethe, Schiller, Rusya’da Puşkin, Gogol vb. ile temsilcisini bulmuş olan klasik modernzim idi. Modernizmin bu güçteki eserlerini üretmiş olan modernite deneyimi, Berman’a göre, günümüzde hâlâ devam etmektedir. Perry Anderson ise, Berman’ın modernizmle ilgili görüşünü on dokuzuncu yüzyıla ait bir kültür ve siyaset tasarımı olarak doğru bulmakla birlikte, bu tasarımın, günümüzle bir ilgisi olmadığını savunur. Anderson’a göre, “entelektüel açıdan bir tür düşüş (decadance)” yaşanmıştır; günümüzde Batılı sanatçının içinde bulunduğu durumun tipik özelliği, “bütün ufukların kapalı oluşudur”; Batılı sanatçı klasik modernizmi tetikleyen koşullardan yoksundur artık. Ama bu durum Üçüncü Dünya için geçerli değildir. Nitekim son dönemin başyapıtları, Gabriel Garcia Marquez’in Yüzyıllık Yalnızlık’ı, Salman Rushdie’nin Midnight’s Children’ı gibi romanlar, ya da Yılmaz Güney’in Yol’u gibi filmler, hep Üçüncü Dünya’dan (Kolombiya’dan, Hindistan’dan, Türkiye’den) çıkmıştır. Anderson’ın dile getirdiği ‘Üçüncü Dünya modernizmi’, son birkaç on yıldır modernliğin yürürlükteki dönemini tanımlamaya çalışan günümüz sosyal teorisinde önemli bir yer tutan ‘çoklu modernlik’ kavramıyla ilişki içindedir. Çoklu modernlik, Avrupa-merkezci modernlik teorileri ve izahlarına getirilmiş bir eleştiri olarak, Batılı olmayan toplumların modernleşme deneyimlerini ‘Batılılaşma’ya indirgeyen yaklaşımları hedef almaktadır. Buna göre, Avrupa modernliğinin dönemi kapansa bile, yerkürede farklı modernlik deneyimleri yürürlüktedir. Çoklu ve geç modernlikler kavramının, modernliği kültüre indirgeyen, kültürcü bir yaklaşım olduğunu düşünenler de vardır. Örneğin Arif Dirlik’e göre, çoklu modernlikler kavramı, “birden fazla ifadesi ve eklemlenmesi olan tek bir modernite” olarak ‘küresel modernite’ye karşılık, “yerlici kültürel iddiaların şekillendirdiği” alternatiflerdir. Bu bağlamda, Kış Uykusu filmi özelinde Nuri Bilge Ceylan’ın uluslararası başarılara sahip sineması incelendiğinde, onun Üçüncü Dünyaya ilişkin ütopik tasarıları temsil eden bir “Üçüncü Dünya modernizmi” olarak değil, klasik modernizmin günümüzdeki sürdürücüsü olarak tanımlanması uygun görünmektedir. Bu şekilde tanımlanmasının önemi, hem modernizmin nesnel gerçekliği (yani modernliğin Avrupa toplumunun kendine özgü içsel bir gelişmesi değil, yerküredeki tarihsel etkileşimlerin bir ürünü olduğu, dolayısıyla birden fazla moderniteden değil, Avrupa’nın öncü rolü oynadığı hâlâ işleyen tek bir küresel moderniteden bahsedilebileceği gerçeği), hem de Ceylan sinemasının semantik yapısının “insan varoluşunun evrensel gerçekliği”, “mutluluk vaadi” gibi, ilk örneklerini Avrupa sanatında gördüğümüz klasik modernizmin “sanat ideali”ne ilişkin değerler taşımakta olduğu gerçeğinde temellenmektedir.
Extended Abstract: Marshall Berman utters that modernity “has nourished an amazingly variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them and to make their way through the maelstrom and make it their own.” Those visions and ideas were the classical modernism represented by Baudelaire and Balzac in France, by Goethe and Schiller in Germany and by Pushkin, Gogol, etc. in Russia. According to Berman, the experience of modernity, generated those greatest works of art, continues now. However, Perry Anderson, who agrees with the utterance of Berman on the condition that if it is regarded as the layout of 19th century cultural and political milieu, the utterance bears no relation to modern days. According to Anderson, “intellectual decadence has taken place” and “horizons are closed” for the Western Artist. The Western Artist is deprived of the conditions triggering classical modernism. This situation is not valid for Third World, though. Hence, Magnum Opi of recent period, such as; the novels, One Hundred Years of Solitude by Gabriel Garcia Marquez, and Midnight Children by Salman Rushdie, or the movies like The Road by Yılmaz Güney, are flourished from Third World, from Colombia, India, and Turkey. “Third World Modernism” uttered by Anderson is in relation with ‘multiple modernity’ a term, significant for today’s social theory, trying to define the borders of modernity for the last few decades. Multiple Modernity, as a critique of Eurocentric modernity theories and explanations, takes aim at the perspectives, degrading the modernization experience of Non-western societies, into “Westernization”. Regarding this, even if the period of European modernity terminated, different modernity experiences are existent on earth. However, there are some as well, considering that the concepts of multiple and late modernities are culturalist approaches degrading modernity into culture. For instance; according to Arif Dirlik, the theory of multiple modernities are the alternatives “shaped by the ethnocentric cultural claims,” “as opposed to global modernity,” as an only modernity, “having more than one expression and an articulation.” When internationally acclaimed Nuri Bilge Ceylan’s Cinematography is analyzed peculiarly within the context of Winter Sleep, it would be fitting that if the cinematography is defined as “the representative of classical modernity in today’s world,” rather than defining as “Third World Modernism,” representing the utopic ideas of Third World. The significance of this description is based on the fact that both the objective reality (namely the fact that modernity is not the internal progress of European society, yet the product of historical interactions on earth and consequently that there is single model of global modernity, of which Europe taking a leading part and still functioning, but isn’t more than one model of modernities) and the semantic structure of Ceylan’s cinematography carry the values of “poetic ideal” of classical modernism whose prototypes such as; “universal reality of human existence”, “the promise of happiness” and etc. can be seen in European art.
Extended Abstract: Marshall Berman utters that modernity “has nourished an amazingly variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them and to make their way through the maelstrom and make it their own.” Those visions and ideas were the classical modernism represented by Baudelaire and Balzac in France, by Goethe and Schiller in Germany and by Pushkin, Gogol, etc. in Russia. According to Berman, the experience of modernity, generated those greatest works of art, continues now. However, Perry Anderson, who agrees with the utterance of Berman on the condition that if it is regarded as the layout of 19th century cultural and political milieu, the utterance bears no relation to modern days. According to Anderson, “intellectual decadence has taken place” and “horizons are closed” for the Western Artist. The Western Artist is deprived of the conditions triggering classical modernism. This situation is not valid for Third World, though. Hence, Magnum Opi of recent period, such as; the novels, One Hundred Years of Solitude by Gabriel Garcia Marquez, and Midnight Children by Salman Rushdie, or the movies like The Road by Yılmaz Güney, are flourished from Third World, from Colombia, India, and Turkey. “Third World Modernism” uttered by Anderson is in relation with ‘multiple modernity’ a term, significant for today’s social theory, trying to define the borders of modernity for the last few decades. Multiple Modernity, as a critique of Eurocentric modernity theories and explanations, takes aim at the perspectives, degrading the modernization experience of Non-western societies, into “Westernization”. Regarding this, even if the period of European modernity terminated, different modernity experiences are existent on earth. However, there are some as well, considering that the concepts of multiple and late modernities are culturalist approaches degrading modernity into culture. For instance; according to Arif Dirlik, the theory of multiple modernities are the alternatives “shaped by the ethnocentric cultural claims,” “as opposed to global modernity,” as an only modernity, “having more than one expression and an articulation.” When internationally acclaimed Nuri Bilge Ceylan’s Cinematography is analyzed peculiarly within the context of Winter Sleep, it would be fitting that if the cinematography is defined as “the representative of classical modernity in today’s world,” rather than defining as “Third World Modernism,” representing the utopic ideas of Third World. The significance of this description is based on the fact that both the objective reality (namely the fact that modernity is not the internal progress of European society, yet the product of historical interactions on earth and consequently that there is single model of global modernity, of which Europe taking a leading part and still functioning, but isn’t more than one model of modernities) and the semantic structure of Ceylan’s cinematography carry the values of “poetic ideal” of classical modernism whose prototypes such as; “universal reality of human existence”, “the promise of happiness” and etc. can be seen in European art.
Açıklama
Anahtar Kelimeler
Modernizm, Üçüncü Dünya Modernizmi, Çoklu Modernlikler, Nuri Bilge Ceylan Sineması, Kış Uykusu, Modernism, Third World Modernism, Multiple Modernities, Nuri Bilge Ceylan’s Cinematography, Winter Sleep
Kaynak
Intermedia Uluslararası Hakemli İletişim Bilimleri E-Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
5
Sayı
8
