{"id":62907,"date":"2021-05-17T02:05:05","date_gmt":"2021-05-17T07:05:05","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=62907"},"modified":"2021-05-17T02:05:05","modified_gmt":"2021-05-17T07:05:05","slug":"soykirimin-imgeleri","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=62907","title":{"rendered":"Soyk\u0131r\u0131m\u0131n imgeleri"},"content":{"rendered":"
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Umut T\u00fcmay Arslan<\/a><\/span>\u00a0<\/span><\/strong><\/div>\n
Soyk\u0131r\u0131mlar\u0131 ve s\u00f6m\u00fcrgeci \u015fiddet bi\u00e7imlerini, daha fazla belgeyle, ilk nedenle, kaynak olayla doldurulamayacak olana, sesleri hi\u00e7 duyulamayacak olan, duyulmam\u0131\u015f olan tan\u0131klara yer a\u00e7arak, bu bo\u015flu\u011fu, onlar\u0131n yoklu\u011funu ele ge\u00e7irmeden, gasp etmeden d\u00fc\u015f\u00fcnmek zorunday\u0131z.<\/span><\/strong><\/em><\/div>\n
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\u0130nkar edilen ya da y\u00fczle\u015filmeye \u00e7al\u0131\u015f\u0131lan soyk\u0131r\u0131mlar\u0131n, insan yap\u0131m\u0131 y\u0131k\u0131mlar\u0131n anlat\u0131s\u0131 g\u00f6r\u00fcn\u00fcrle g\u00f6r\u00fcnmez olan aras\u0131ndaki s\u0131n\u0131rda ge\u00e7er. Katlan\u0131lamaz, g\u00f6r\u00fcn\u00fcr alan\u0131n d\u0131\u015f\u0131na itilmi\u015f, ger\u00e7ekli\u011fimizden \u00e7\u0131kar\u0131lm\u0131\u015f olan\u0131, dil ve sembolik alana dahil edilmemi\u015f olan\u0131 dile dahil etmenin bir yolunu bulmak gerekir. Y\u0131k\u0131m\u0131n vakayinamesini \u00e7\u0131karmak ve belgelemek ilk g\u00f6rev gibidir. Olaylar\u0131 b\u00fcy\u00fck k\u00fc\u00e7\u00fck ay\u0131rt etmeden say\u0131p d\u00f6ken vakan\u00fcvis ya da olaylar\u0131 kay\u0131t alt\u0131na alan ar\u015fivci i\u015fte bu g\u00f6revi \u00fcstlenir ve \u015fu do\u011frudan yola \u00e7\u0131kar: Hi\u00e7bir olay tarih i\u00e7in kaybolmu\u015f say\u0131lamaz.<\/p>\n

Arjantin\u2019de ve Latin Amerika\u2019da askeri diktat\u00f6rl\u00fck sonras\u0131 hat\u0131rlama pratikleri, ge\u00e7mi\u015fle y\u00fczle\u015fme anlat\u0131lar\u0131 \u00fczerine yazd\u0131\u011f\u0131\u00a0Ge\u00e7mi\u015f Zaman<\/em>\u00a0kitab\u0131nda Beatriz Sarlo da hat\u0131rlaman\u0131n \u00f6ncelikle bir g\u00f6rev haline geli\u015finden s\u00f6z etmi\u015fti.\u00a0 (1) Hat\u0131rlamak gerekir \u00e7\u00fcnk\u00fc tan\u0131kl\u0131klar devlet ter\u00f6r\u00fcn\u00fcn mahkum edilmesine olanak verir. Hat\u0131rlamak gerekir, \u00e7\u00fcnk\u00fc neyin \u2018bir daha asla\u2019 olmamas\u0131 gerekti\u011fini \u00e7ok iyi biliyoruzdur. Hat\u0131rlamak gerekir, \u00e7\u00fcnk\u00fc ba\u015fka kaynaklar faillerce yok edildi\u011fi i\u00e7in an\u0131 tutanaklar\u0131 hukuki bir ara\u00e7 olarak ge\u00e7mi\u015fi yeniden in\u015fa edebilmeye imkan verecektir. Hat\u0131rlamak gerekir, \u00e7\u00fcnk\u00fc tan\u0131klar ve kurbanlar\u0131n anlat\u0131lar\u0131ndan elde edilen an\u0131 tutanaklar\u0131 olmasayd\u0131 hi\u00e7bir mahkumiyet ger\u00e7ekle\u015femezdi. Yine de b\u00fct\u00fcn bunlar bir ba\u015f\u0131na ge\u00e7mi\u015fin i\u015flenmesine imkan veremiyor, hatta kimi zaman ge\u00e7mi\u015fin bundan ibaret oldu\u011fu varsay\u0131m\u0131 ge\u00e7mi\u015fi ge\u00e7mi\u015f zaman olarak kolayca hazmedilen seyirlik bir malzemeye d\u00f6n\u00fc\u015ft\u00fcrebiliyordur. Hakikat fikrinin ta kendisini sorgulamam\u0131z gereken ba\u015fka bak\u0131\u015flara ihtiya\u00e7 vard\u0131r.<\/p>\n

Haf\u0131za arazisi yekpare olmad\u0131\u011f\u0131 gibi, hat\u0131rlama m\u00fccadelesinin de alan\u0131. Haf\u0131zan\u0131n zaman i\u00e7inde lineer bir \u015fekilde geni\u015flemedi\u011fini, \u00e7atlaklar ve y\u0131rt\u0131klarla dolu olu\u015funu, se\u00e7icili\u011fini ve kaypakl\u0131\u011f\u0131n\u0131, hat\u0131rlaman\u0131n aktif bir par\u00e7as\u0131 olan sessizliklerin \u00fcretimini, nihayet hat\u0131rlama ve unutman\u0131n g\u00fc\u00e7 stratejileri olarak i\u015fleyi\u015fini fark etmek, tan\u0131mak gerekir. (2)\u00a0 Bir m\u00fccadele alan\u0131 olarak haf\u0131za g\u00fcncel politik ili\u015fkiler i\u00e7ine g\u00f6m\u00fcl\u00fc. Bu, Ermeni soyk\u0131r\u0131m\u0131n\u0131 d\u00fc\u015f\u00fcnme bi\u00e7imimiz i\u00e7in de ge\u00e7erli. Sadece soyk\u0131r\u0131m\u0131n maddili\u011fine ve olgusall\u0131\u011f\u0131na odaklanan bir bak\u0131\u015f, soyk\u0131r\u0131m\u0131n \u015fimdiyle ve gelecekle ili\u015fkisinin siyasi bir mesele olu\u015funu g\u00f6rmemize engel olman\u0131n yan\u0131 s\u0131ra\u00a0 soyk\u0131r\u0131m sahnesinin g\u00f6r\u00fcnmez \u0131\u015f\u0131k kayna\u011f\u0131 ve soyk\u0131r\u0131m\u0131\u00a0b\u00fct\u00fcn\u00fcyle\u00a0<\/em>g\u00f6ren bir g\u00f6z halini al\u0131yor.<\/p>\n

Yak\u0131n zamanda Taner Ak\u00e7am\u2019\u0131n Filiz Gazi s\u00f6yle\u015fisindeki (3) bir ifadesinin yaratt\u0131\u011f\u0131 ke\u015fmeke\u015fin i\u00e7inde g\u00fcr\u00fclt\u00fcye bo\u011fulan da soyk\u0131r\u0131ma belirli bir bak\u0131\u015f\u0131n bu kendine g\u00f6r\u00fcnmezlikle kazand\u0131\u011f\u0131 kudretti. Bir tarafta soyk\u0131r\u0131m inkarc\u0131l\u0131\u011f\u0131, di\u011fer tarafta tarihsel-toplumsal olarak \u00fcretilmi\u015f oryantalist \u201cK\u00fcrt imgesi\u201dne tutunmayla olu\u015fan bu g\u00fcr\u00fclt\u00fc, soyk\u0131r\u0131ma belirli bir bak\u0131\u015f a\u00e7\u0131s\u0131na, bilgi \u00f6znesine y\u00f6nelik sorgulamalar\u0131 duymay\u0131 imkans\u0131zla\u015ft\u0131rd\u0131. Soyk\u0131r\u0131m failli\u011fini ve su\u00e7 ortakl\u0131klar\u0131n\u0131 \u00e7ok boyutlu ve rasyonel bir konu\u015fma i\u00e7ine dahil etmek isteyen sesler duyulmad\u0131.\u00a0 (4)<\/p>\n

Ermeni soyk\u0131r\u0131m\u0131n\u0131 1878 Berlin antla\u015fmas\u0131yla ba\u015flay\u0131p 1923 Lozan antla\u015fmas\u0131yla tamamlanm\u0131\u015f bir s\u00fcre\u00e7 olarak kavrad\u0131\u011f\u0131n\u0131 vurgulad\u0131\u011f\u0131 s\u00f6yle\u015fide Ak\u00e7am, Ermenilerin e\u015fit yurtta\u015fl\u0131k taleplerinin nedenlerini ve ya\u015fad\u0131klar\u0131 hukuki e\u015fitsizlikleri soran Gazi\u2019ye \u015funu s\u00f6ylemi\u015fti:<\/p>\n

\u201cH\u0131ristiyanlara bi\u00e7ilen yer, ikinci s\u0131n\u0131f vatanda\u015f olmakt\u0131. Korkun\u00e7 bir \u00f6rnek vereyim: 19. y\u00fczy\u0131l feodal toplumunda \u00f6rne\u011fin K\u00fcrt b\u00f6lgelerinde K\u00fcrt a\u011falar\u0131, evlenen Ermenilerin ilk gece hakk\u0131na sahiplerdi. Onun \u00f6tesinde Ermeniler \u00e7ifte vergi veriyordu. Bir devlete normal vergi veriyorlard\u0131, bir de \u2018Hafir\u2019 (veya hapir; kiafir) denen y\u00f6redeki K\u00fcrt feodal y\u00f6neticilerine vergi veriyorlard\u0131 yani vatanda\u015f say\u0131lm\u0131yorlard\u0131. Mahkemelerde ifadeleri kabul edilmiyordu. En iyi say\u0131lan Hanifi hukukuna g\u00f6re bile iki tane H\u0131ristiyan bulacaks\u0131n ki, bir tane M\u00fcsl\u00fcman\u2019\u0131n \u015fahitli\u011fine e\u015fit olsun. Hukuki e\u015fitsizlikler anlat\u0131l\u0131r gibi de\u011fil. K\u0131yaslarsak e\u011fer G\u00fcney Afrika\u2019daki \u0131rk\u00e7\u0131 rejime benzer. Ermeniler, H\u0131ristiyanlar, S\u00fcryaniler ikinci s\u0131n\u0131f vatanda\u015f stat\u00fcs\u00fcndedirler, o stat\u00fclerini de\u011fi\u015ftirmek istemedikleri m\u00fcddet\u00e7e sorun yok. K\u00fcrtlerin bug\u00fcn her bak\u0131mdan T\u00fcrklerle onurlu, e\u015fit ve e\u015f de\u011fer bir arada ya\u015famak istemeleri gibi.\u201d<\/em><\/p>\n

Bu c\u00fcmlelerde hemen g\u00f6ze \u00e7arpan ar\u0131za, \u201c19. y\u00fczy\u0131l feodal toplumunda \u00f6rne\u011fin K\u00fcrt b\u00f6lgelerinde K\u00fcrt a\u011falar\u0131, evlenen Ermenilerin ilk gece hakk\u0131na sahiplerdi\u201d c\u00fcmlesinin, yararlan\u0131lan kaynakta ge\u00e7en\u00a0baz\u0131 b\u00f6lgelerde<\/em>\u00a0kayd\u0131n\u0131\u00a0 i\u00e7ermemesi ve daha \u00f6nemlisi \u201csahiplerdi\u201d ifadesiyle anlat\u0131c\u0131n\u0131n g\u00f6ren g\u00f6z\u00fcn\u00fcn kaynak haline gelerek kesinlik i\u00e7ermesi; bu dilsel ve zamansal tercihin anlat\u0131n\u0131n kendi ger\u00e7ekli\u011fini kuruyor olu\u015fu. Buna benzer bir bak\u0131\u015f a\u00e7\u0131s\u0131, birka\u00e7 sene \u00f6nce Ayhan Aktar\u2019\u0131n bir s\u00f6yle\u015fisinde de kar\u015f\u0131m\u0131za \u00e7\u0131km\u0131\u015ft\u0131. (5)\u00a0 \u201cTehcir mi soyk\u0131r\u0131m m\u0131\u201d sorusuna \u015f\u00f6yle cevap vermi\u015fti Aktar:<\/p>\n

“Bunlar\u0131 kesin hatlarla birbirinden ay\u0131rmak asl\u0131nda zor. Bana kal\u0131rsa Bursa, Eski\u015fehir ve Adapazar\u0131\u2019nda tehcir oldu. Yani insanlar vagonlara dolduruldu ve do\u011fduklar\u0131 yerleri terk etmeye zorland\u0131. Ancak ayn\u0131 \u015feyi Erzurum, Mu\u015f ve Diyarbak\u0131r i\u00e7in s\u00f6yleyemem. Orada soyk\u0131r\u0131m oldu. Evlerinden \u00e7\u0131k\u0131p, kafileler halinde yola d\u00fcz\u00fcld\u00fcler, ondan sonra Diyarbak\u0131r Valisi Dr. Re\u015fit Bey\u2019in \u00f6rg\u00fctledi\u011fi Ramanl\u0131 A\u015fireti\u2019nin mensuplar\u0131 ve yerel unsurlar taraf\u0131ndan katledildiler. Dolay\u0131s\u0131yla Bat\u0131\u2019da olanla Do\u011fu\u2019da olan ayn\u0131 \u015fey de\u011fildir. D\u00fcnya \u00fczerinde ya\u015fanm\u0131\u015f soyk\u0131r\u0131mlar incelendi\u011finde de b\u00f6lgesel farkl\u0131l\u0131klar oldu\u011funu g\u00f6r\u00fcrs\u00fcn\u00fcz zaten. Yani Nazilerin de Polonya\u2019da yapt\u0131klar\u0131 ile Fransa\u2019da yapt\u0131klar\u0131 ayn\u0131 de\u011fildir.”<\/em><\/p>\n

Olgular, olaylar bu dille aktar\u0131ld\u0131\u011f\u0131nda tarihsel anlat\u0131 kendi k\u0131smili\u011fini gizleyen bir \u201cher \u015feyi g\u00f6rd\u00fcm\u201de d\u00f6n\u00fc\u015f\u00fcr; bize verili olan\u0131 bir b\u00fct\u00fcnm\u00fc\u015f gibi d\u00fc\u015f\u00fcnmemize sebep olur. Soyk\u0131r\u0131m \u00fczerine d\u00fc\u015f\u00fcn\u00fcrken kendi bak\u0131\u015f\u0131m\u0131z\u0131n k\u0131smili\u011fini, kendi habitus ve ethosumuzca konumlanm\u0131\u015fl\u0131\u011f\u0131m\u0131z\u0131 da hesaba katacak bir bi\u00e7imde c\u00f6mert\u00e7e bir sorgulamaya girmedi\u011fimiz durumda, \u2018Bat\u0131\u2019da tehcir, Do\u011fuda soyk\u0131r\u0131m\u2019 \u00e7er\u00e7evesinin ger\u00e7ekli\u011fin resmi oldu\u011funa inan\u0131r\u0131z. Ak\u00e7am\u2019\u0131n ifadelerine d\u00f6nersek, 19. Y\u00fczy\u0131l Osmanl\u0131 co\u011frafyas\u0131nda Ermenilere y\u00f6nelen \u015fiddetin cinsel \u015fiddetle i\u00e7 i\u00e7e ge\u00e7mi\u015fli\u011fi ya da soyk\u0131r\u0131m\u0131n \u00fcretti\u011fi, \u00fcretmi\u015f olabilece\u011fi \u00e7ok boyutlu \u015fiddet bi\u00e7imleri, burada verilen \u00f6rne\u011fin varl\u0131\u011f\u0131 ya da yoklu\u011fu meselesine indirgenemez bir meseledir. O halde resmi sanki tamamlayacakm\u0131\u015f gibi vazge\u00e7ilemez k\u0131l\u0131nan bu\u00a0fazlal\u0131\u011fa<\/em>, cinsel \u015fiddeti tan\u0131man\u0131n tek ve tamamlay\u0131c\u0131 imgesiymi\u015f gibi sunulan bu resme neden ihtiya\u00e7 duyuluyor? Bilgi \u00f6znesinin otoritesini kuran, \u201csoyk\u0131r\u0131m\u0131n b\u00fct\u00fcn\u00fcn\u00fc g\u00f6rd\u00fcm\u201d yan\u0131lsamas\u0131n\u0131 \u00fcretecek bu t\u00fcr aktarma, anlatma bi\u00e7imleriyle ni\u00e7in bir derdimiz olmal\u0131?<\/p>\n

Soyk\u0131r\u0131mlar\u0131n ya da insan yap\u0131m\u0131 y\u0131k\u0131m ve imhalar\u0131n temsili, nas\u0131l anlat\u0131labilecekleri anlat\u0131 ya da temsil dedi\u011fimiz \u015feyin esas\u0131na dair de bir mesele. Olaylar\u0131 birbirine ba\u011flama, neden-sonu\u00e7 ili\u015fkilerini \u00f6rerek olay \u00f6rg\u00fcs\u00fcn\u00fc kurma i\u015fine dair.\u00a0 Tarihsel ger\u00e7eklikle anlat\u0131sal ger\u00e7eklik bir kar\u015f\u0131la\u015fma ya\u015fayacak. Bu nas\u0131l yap\u0131lacak? Anlat\u0131sal ger\u00e7eklik anlat\u0131c\u0131n\u0131n g\u00f6r\u00fcnmezle\u015ferek otoritesinin sorgulanmad\u0131\u011f\u0131, bir sona varmac\u0131, neden-sonu\u00e7 ili\u015fkileri ve ba\u011flant\u0131lar\u0131n\u0131n bizi bu sona g\u00f6t\u00fcrd\u00fc\u011f\u00fc bir bi\u00e7imde mi kurulacak? Yoksa tarihsel ger\u00e7eklikle kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda, \u00e7arp\u0131\u015ft\u0131\u011f\u0131nda, onunla bir de\u011fi\u015f-toku\u015fa girerek d\u00f6n\u00fc\u015fecek mi? \u201cHer \u015feyi g\u00f6rd\u00fcm\u201d ile \u201chi\u00e7bir \u015fey g\u00f6rmedim\u201d aras\u0131nda bir yerde durabilmenin olanaklar\u0131n\u0131 ara\u015ft\u0131rmak, bir hakikati i\u015fliyor olman\u0131n etik-politik boyutlar\u0131n\u0131 da d\u00fc\u015f\u00fcnmek zorunda m\u0131 kalaca\u011f\u0131z?<\/p>\n

“Kesik” ve “Ararat”<\/strong><\/p>\n

Kesik\u00a0<\/em>(The Cut, Fatih Ak\u0131n, 2014) filmini\u00a0Ararat\u00a0<\/em>(Atom Egoyan, 2002) ile birlikte d\u00fc\u015f\u00fcnmek, bu iki film aras\u0131ndaki fark\u0131 iyi anlayabilmek buradaki meseleyi anlamak i\u00e7in epey i\u015fe yarayabilir.\u00a0 (6)\u00a0 Kesik\u2019in, soyk\u0131r\u0131m\u0131 belirli bir tarihsel d\u00f6neme s\u0131k\u0131\u015ft\u0131rarak anlatan, bir sona varmac\u0131, bir an\u0131n di\u011ferini yiyip yuttu\u011fu ilerlemeci zaman kavray\u0131\u015f\u0131 ve kendini bir b\u00fct\u00fcnm\u00fc\u015f gibi sunan bir sinema evreni vard\u0131. Yani g\u00f6r\u00fcnmez olan\u0131 g\u00f6r\u00fcn\u00fcr alana dahil ederken kendi k\u0131smili\u011fini ve konumlanm\u0131\u015fl\u0131\u011f\u0131n\u0131 gizleyen, \u201c\u0130\u015fte Ermeni soyk\u0131r\u0131m\u0131 sahnesi b\u00f6yleydi, Ermeni soyk\u0131r\u0131m\u0131 imgesi budur\u201d diyen bir perspektife sahipti. B\u00f6ylelikle, soyk\u0131r\u0131m, sembolik d\u00fcnyam\u0131za, ger\u00e7eklik evrenimize b\u00fct\u00fcn\u00fcyle dahil edebilece\u011fimiz, kolayca hazmedebilece\u011fimiz bir imgeye d\u00f6n\u00fc\u015f\u00fcyordu.<\/p>\n

Oysa bu, tarihe kat\u0131l\u0131m\u0131m\u0131z\u0131, bakmayla bellek aras\u0131ndaki ili\u015fkiyi, bug\u00fcn bizim haf\u0131za ve ger\u00e7ekli\u011fimizle bu olan biten aras\u0131ndaki ili\u015fkiyi tan\u0131mam\u0131za imkan vermeyen bir bak\u0131\u015f. Ger\u00e7ekli\u011fimizin ve ya\u015fam\u0131n k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131, ba\u015fkalar\u0131na ba\u011f\u0131ml\u0131l\u0131\u011f\u0131m\u0131z\u0131, bu ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n ba\u015fkalar\u0131 taraf\u0131ndan s\u00f6m\u00fcr\u00fclmeye a\u00e7\u0131kl\u0131\u011f\u0131n\u0131 tan\u0131ma kabiliyetimizi harekete ge\u00e7irecek bir etik kar\u015f\u0131la\u015fmaya imkan vermiyor, \u00e7\u00fcnk\u00fc bak\u0131\u015f\u0131n belirsizli\u011fini, k\u0131smili\u011fini, hepsi olamay\u0131\u015f\u0131n\u0131 \u00f6rten bir anlat\u0131sal ger\u00e7eklik kuma\u015f\u0131na sahip. Oysa\u00a0Ararat<\/em>, film i\u00e7inde filmle, kendi anlat\u0131sal ger\u00e7ekli\u011fi i\u00e7inde bir ba\u015fka anlat\u0131sal ger\u00e7eklik y\u00fczeyi olan \u201cErmeni soyk\u0131r\u0131m\u0131 filmi\u201d dolay\u0131m\u0131yla, \u201cher \u015feyi g\u00f6rd\u00fcm\u201d anlat\u0131s\u0131nda k\u0131r\u0131lma ve par\u00e7alanmalara yol a\u00e7\u0131yordu. B\u00fct\u00fcn\u00fcyle g\u00f6rebildi\u011fi, hepsini oldu\u011fu gibi anlatabilece\u011fi varsay\u0131m\u0131yla kurulan anlat\u0131sal ger\u00e7ekli\u011fi k\u0131r\u0131lmaya u\u011fratan bu \u00e7ok y\u00fczeylilik ku\u015faklararas\u0131, \u00e7ok boyutlu ve \u00e7ok katmanl\u0131 haf\u0131za topografyas\u0131yla da bir kar\u015f\u0131la\u015fma i\u00e7eriyordu. B\u00fct\u00fcnselle\u015ftirici anlat\u0131y\u0131 kesintiye u\u011fratan bir ba\u015fka kurmaca topografyas\u0131, bir ba\u015fka anlat\u0131sal ger\u00e7eklik b\u00f6yle kurulabilirdi.\u00a0B\u00fct\u00fcn\u00fcyle g\u00f6rmek\u00a0<\/em>ve\u00a0hi\u00e7bir \u015fey g\u00f6rmemek<\/em>\u00a0aras\u0131nda, her \u015fey olanla hi\u00e7 olan\u0131n s\u0131n\u0131r\u0131nda bir yerlerde \u00e7al\u0131\u015f\u0131yordu\u00a0Ararat<\/em>. B\u00f6ylelikle bir film bobininin i\u00e7indeki o\u00a0imgeyi<\/em>, bir kutunun i\u00e7inde ke\u015ffedilen o belgeyi,\u00a0korkun\u00e7 o \u015fey<\/em>i s\u00f6yleyerek \u00fcretilen b\u00fct\u00fcnl\u00fck yan\u0131lsamas\u0131n\u0131 ve anlat\u0131c\u0131 otoritesini reddediyor, g\u00f6rmeyi bekledi\u011fimiz ve arzulad\u0131\u011f\u0131m\u0131z soyk\u0131r\u0131m\u0131n sahnesini g\u00f6rmeye iten bak\u0131\u015f\u0131 kesintiye u\u011frat\u0131yordu. Tesad\u00fcf olmasa gerek, Atom Egoyan\u2019\u0131n anlat\u0131sal ger\u00e7eklik kavray\u0131\u015f\u0131yla Wendy Brown\u2019\u0131n tarihsel ger\u00e7eklik kavray\u0131\u015f\u0131 yan yana durur. Bellekle tarihi birbirinden ay\u0131rma \u00e7abas\u0131na kar\u015f\u0131 koyan bu ortak bak\u0131\u015f, tarihsel ger\u00e7ekli\u011fin ve anlat\u0131sal ger\u00e7ekli\u011fin etik-politik olanla ili\u015fkisini d\u00fc\u015f\u00fcnmeyi zorunlu k\u0131lm\u0131\u015f gibidir:<\/p>\n

\u201cYahudi Soyk\u0131r\u0131m\u0131, ku\u015fkusuz ya\u015fand\u0131, fakat yol a\u00e7t\u0131\u011f\u0131 ayr\u0131nt\u0131l\u0131 d\u00f6k\u00fcm\u00fc, altm\u0131\u015f sene sonra, soyk\u0131r\u0131m\u0131n ard\u0131ndan gelen tarihsel d\u00f6nemde, d\u00fcnyan\u0131n farkl\u0131 yerlerinde, farkl\u0131 \u015fekillerde ya\u015fayan insanlar i\u00e7in bu soyk\u0131r\u0131m\u0131n ne anlama geldi\u011fi hakk\u0131nda hi\u00e7bir \u015fey anlatmaz bize. Bu nedenle, Yahudi Soyk\u0131r\u0131m\u0131n\u0131n maddeselli\u011fine veya olgusall\u0131\u011f\u0131na yap\u0131lan vurgu, Yahudi Soyk\u0131r\u0131m\u0131n\u0131n \u015fimdi\u2019de nas\u0131l ya\u015fad\u0131\u011f\u0131 sorusu i\u00e7in, bu vurgunun kar\u015f\u0131t\u0131 oldu\u011fu iddia edilen g\u00f6r\u00fc\u015f kadar \u015f\u00fcpheli bir konumdad\u0131r\u2026 Ge\u00e7mi\u015fin \u015fimdi ile, bu ikisinin de gelecek ile ili\u015fkisi karma\u015f\u0131k bir siyasi mesele oldu\u011fundan, ne olgularla ne de do\u011frulukla \u00e7\u00f6z\u00fcmlenebilir. S\u00f6m\u00fcrgeci tarihler post-s\u00f6m\u00fcrgeci \u015fimdi\u2019yi a\u00e7\u0131ktan a\u00e7\u0131\u011fa kaplad\u0131\u011f\u0131 i\u00e7in, post-s\u00f6m\u00fcrgeci \u00e7izgideki ara\u015ft\u0131rmac\u0131lar bunu pekala kavr\u0131yor olmakla birlikte, metropollerin hegemonyac\u0131 tarih yaz\u0131m\u0131n\u0131n, nesnelli\u011fi hala tarihsel ve siyasi bir kurtulu\u015f bi\u00e7imi olarak sunmas\u0131 hayli ironiktir.\u201d\u00a0 (7)<\/em><\/p>\n

Baz\u0131 sorular<\/strong><\/p>\n

T\u00fcrkiye soyk\u0131r\u0131m\u0131 inkara devam etti\u011fi i\u00e7in soyk\u0131r\u0131m\u0131n maddili\u011fine ve olgusall\u0131\u011f\u0131na vurgudan ibaret bir bak\u0131\u015f\u0131n b\u00fct\u00fcn\u00fcyle terk edilmesi gerekti\u011fini iddia ediyor de\u011filim. Di\u011fer yandan, soyk\u0131r\u0131ma dair anlat\u0131sal ve tarihsel ger\u00e7eklik in\u015fas\u0131nda bu bak\u0131\u015f\u0131n sorgulanmas\u0131n\u0131n, –Ak\u00e7am\u2019\u0131n tart\u0131\u015f\u0131lan ifadesi ama ayn\u0131 zamanda bu ifadenin i\u00e7ine yerle\u015fti\u011fi tarihsel ger\u00e7eklik anlay\u0131\u015f\u0131n\u0131n da– soyk\u0131r\u0131m inkarc\u0131l\u0131\u011f\u0131 ke\u015fmeke\u015fi i\u00e7inde kaybolmas\u0131na izin verilmesine, bu bak\u0131\u015fa y\u00f6nelik ele\u015ftirinin g\u00f6rmezden gelinmesine de itiraz ediyorum. Holokost\u2019u ve Ermeni soyk\u0131r\u0131m\u0131n\u0131 kar\u015f\u0131la\u015ft\u0131rma de\u011fil birlikte d\u00fc\u015f\u00fcnme, aralar\u0131nda ba\u011flant\u0131lar ve ili\u015fkiler kurarak hakikate yakla\u015fman\u0131n yollar\u0131ndan biri de buradan ge\u00e7iyor. Bak\u0131\u015f\u0131m\u0131z\u0131 dekolonize edebilmenin, erkek\u00e7i ve \u0131rk\u00e7\u0131 anlat\u0131lardan s\u00f6kebilmenin yollar\u0131n\u0131 ancak b\u00f6yle bulabiliriz. Birilerinin \u00e7\u0131plak hayat derekesine indirgenmesi biyopolitik bir mesele oldu\u011fu kadar, bu biyopolitikayla nas\u0131l bir ili\u015fki kurdu\u011fumuzu, kuraca\u011f\u0131m\u0131z\u0131 sorgulamay\u0131 zorunlu hale getiren optik ve akustik bir meseledir de. Nas\u0131l g\u00f6r\u00fcyoruz? Neden b\u00f6yle g\u00f6r\u00fcyoruz? G\u00f6r\u00fc\u015f\u00fcm\u00fcz\u00fcn s\u0131n\u0131rlar\u0131 nelerdir? Ne i\u00e7in g\u00f6r\u00fcl\u00fcr? Kiminle g\u00f6r\u00fcl\u00fcr? Kimin pay\u0131na birden \u00e7ok bak\u0131\u015f a\u00e7\u0131s\u0131 d\u00fc\u015fer? Kimin g\u00f6zleri ba\u011flan\u0131r? Kim at g\u00f6zl\u00fckleri takar? G\u00f6rsel alan\u0131 kim olarak yorumluyoruz? Neleri, hangi sesleri g\u00f6remiyor ve i\u015fitemiyoruz, hangileri bize ger\u00e7ekli\u011fin hepsiymi\u015f gibi g\u00f6r\u00fcn\u00fcyor?<\/p>\n

B\u00fct\u00fcn bu sorular\u0131 sorabilen bir bak\u0131\u015fla, bilme anlay\u0131\u015f\u0131yla d\u00fc\u015f\u00fcnmek zorunday\u0131z. Oysa Ak\u00e7am\u2019\u0131n bak\u0131\u015f\u0131 olan bitenin d\u00f6k\u00fcm\u00fcn\u00fc, vakayinamesini \u00e7\u0131karma ve belirli bir tarihsel ana s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f \u015fiddet sahnesini hayal etme odakl\u0131. Soyk\u0131r\u0131mlar\u0131n, fa\u015fizmin, \u0131rk\u00e7\u0131l\u0131k, devlet \u015fiddeti ve yerinden etme gibi eylemlerin farkl\u0131 tarihselliklerde tekrar ediyor olu\u015funu, insan yap\u0131m\u0131 imha ve \u015fiddet olaylar\u0131 ve s\u00f6m\u00fcrgecilikle soyk\u0131r\u0131mlar aras\u0131ndaki haf\u0131za duvarlar\u0131n\u0131 k\u0131racak palimpsestik, kozmopolit bir haf\u0131zayla d\u00fc\u015f\u00fcnebilmeye engel olur bu bak\u0131\u015f a\u00e7\u0131s\u0131. Bu bak\u0131\u015f benimsendi\u011finde, politik olanla tarihsel olan\u0131 birbirinden ayr\u0131 tuttu\u011fumuzu, tarafs\u0131z bir bi\u00e7imde tarihsel ger\u00e7ekli\u011fi anlatt\u0131\u011f\u0131m\u0131z\u0131 sanarken, tarihsel ger\u00e7ekli\u011fi egemenin zaman \u00f6rg\u00fcs\u00fcne terk ederiz. Oysa soyk\u0131r\u0131m inkarc\u0131l\u0131\u011f\u0131n\u0131n alternatifi b\u00fct\u00fcnselle\u015ftirici bir tarihsel ger\u00e7eklik in\u015fas\u0131 olmak\u00a0 zorunda de\u011fil ya da b\u00fct\u00fcnselle\u015ftirici bir tarihsel ger\u00e7eklik in\u015fas\u0131n\u0131n alternatifi soyk\u0131r\u0131m\u0131 g\u00f6relile\u015ftirmek ya da soyk\u0131r\u0131m inkarc\u0131l\u0131\u011f\u0131 de\u011fil. Y\u00fczle\u015fme-inkar ikili kar\u015f\u0131tl\u0131\u011f\u0131 \u00fczerine, iki boyutlu geometri \u00fczerine kurulu tarihsel ger\u00e7eklik ve anlat\u0131sal ger\u00e7eklik, Ermeni soyk\u0131r\u0131m\u0131n\u0131 ve soyk\u0131r\u0131m\u0131n inkar\u0131n\u0131, soyk\u0131r\u0131m\u0131n izlerinin silini\u015fini, y\u0131k\u0131m\u0131n tarihini kavrayabilmek konusunda son derece s\u0131n\u0131rl\u0131 bir \u00e7er\u00e7eve sunmakla kalm\u0131yor, kendini mutlak ger\u00e7eklikmi\u015f gibi dayatarak soyk\u0131r\u0131m\u0131 d\u00fc\u015f\u00fcnmenin \u00e7er\u00e7evesini de s\u0131n\u0131rland\u0131r\u0131yor.<\/p>\n

Soyk\u0131r\u0131mlar\u0131 ve s\u00f6m\u00fcrgeci \u015fiddet bi\u00e7imlerini, daha fazla belgeyle, ilk nedenle, kaynak olayla doldurulamayacak olana, sesleri hi\u00e7 duyulamayacak olan, duyulmam\u0131\u015f olan tan\u0131klara yer a\u00e7arak, bu bo\u015flu\u011fu, onlar\u0131n yoklu\u011funu ele ge\u00e7irmeden, gasp etmeden d\u00fc\u015f\u00fcnmek zorunday\u0131z. Fethedici benlik aynalar\u0131 \u00fcreten s\u00f6m\u00fcrgeci ve erkek egemenli\u011fine dayal\u0131 anlat\u0131lara ancak bu \u015fekilde m\u00fcdahale edebilir, k\u0131smi ba\u011flant\u0131larla, kendi konumlanm\u0131\u015fl\u0131\u011f\u0131m\u0131z\u0131n ve bedenlili\u011fimizin hesab\u0131n\u0131 vermeye, sorgulanabilirli\u011fe a\u00e7\u0131k olarak, sadece i\u00e7erikte de\u011fil d\u00fc\u015f\u00fcnme bi\u00e7imimizde de ba\u015fka t\u00fcr bilme bi\u00e7imlerine yer a\u00e7abiliriz. Topyekun ayd\u0131nlatmadan, b\u00fct\u00fcnl\u00fckl\u00fc bir anlat\u0131 kurmaktan vazge\u00e7i\u015f, \u00e7eli\u015fkilerle birlikte d\u00fc\u015f\u00fcnebilmemize imkan verdi\u011fi \u00f6l\u00e7\u00fcde tarihi \u015fimdiye ve gelece\u011fe ait bir mesele k\u0131lar. Tarihin imgesel boyutu natamamd\u0131r. K\u0131smi, hesap verilebilir ve iktidar ili\u015fkilerini g\u00f6rme \u0131srar\u0131n\u0131 kaybetmeden d\u00fc\u015f\u00fcnebilmek, saydaml\u0131k ve b\u00fct\u00fcnl\u00fck aray\u0131\u015f\u0131yla de\u011fil ba\u011flant\u0131lara a\u00e7\u0131kl\u0131kla, mutlak bir \u00f6zerklik, bo\u015f, evrensel bir konumdan konu\u015ftu\u011funa inanm\u0131\u015fl\u0131kla de\u011fil konumlulu\u011fu, k\u0131smili\u011fi kabullenerek bilim yapabilmek \u015fimdiye ve gelece\u011fe ait bir mesele. Bak\u0131\u015f\u0131m\u0131z, tarihsel etkinlik alan\u0131n\u0131n bir par\u00e7as\u0131. Tarihe hayat kazand\u0131r\u0131r, tarihin d\u00fc\u015f\u00fcn\u00fclme bi\u00e7imine kat\u0131l\u0131m\u0131m\u0131z\u0131 harekete ge\u00e7irir. Tarihin imgesel boyutta d\u00fc\u015f\u00fcn\u00fclmesi, tarihe kat\u0131l\u0131m\u0131m\u0131z\u0131n fark\u0131na varmam\u0131z\u0131 sa\u011flar.<\/p>\n

Soyk\u0131r\u0131m\u0131 yeniden anlat\u0131lmay\u0131 bekleyen ham bir tarihsel malzeme olarak kavramak da, asla ula\u015famayaca\u011f\u0131m\u0131z bir tarihsel nesne, gizemli bir hakikat olarak ele almak da dilsel, tarihsel, politik \u00f6zneler olarak de\u011fil, n\u00f6tr bir bi\u00e7imde konu\u015fuyor oldu\u011fumuz yan\u0131lsamas\u0131n\u0131 tekrar tekrar yeniden \u00fcretir. Ermeni soyk\u0131r\u0131m\u0131n\u0131 ham bir tarihsel malzeme olarak kavramak, dolay\u0131s\u0131yla onun olgusall\u0131\u011f\u0131na vurgudan ibaret bir konu\u015fma \u00e7er\u00e7evesi, \u00fczerine konu\u015fuyor oldu\u011fumuz s\u00fcrecin, \u00e7ifte ortadan kald\u0131rma s\u00fcreci oldu\u011funu g\u00f6rm\u00fcyor; sadece Ermenilerin yok edilmesi de\u011fil, ayn\u0131 zamanda bu yok edi\u015fin izlerinin silinmesi s\u00fcrecini: \u0130nkar s\u00fcrecini. Soyk\u0131r\u0131m\u0131 ge\u00e7mi\u015f zaman olarak\u00a0\u015fimdi<\/em>nin \u00e7er\u00e7evesine oldu\u011fu gibi geri getirdi\u011fine inanan bir konu\u015fma, izlerin ortadan kald\u0131r\u0131lma s\u00fcrecini, sessizlikle ge\u00e7en, inkar\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fcm\u00fcz onca zaman\u0131n izini d\u0131\u015farda b\u0131rakt\u0131\u011f\u0131 \u00f6l\u00e7\u00fcde, onun bir zamanlar, bir kereli\u011fine, bir kesinti olarak d\u00fc\u015f\u00fcn\u00fclmesini, konu\u015fman\u0131n ge\u00e7mi\u015fin cellatlar\u0131 ve kurbanlar\u0131n\u0131 konu\u015fmaktan ibaret oldu\u011fu yan\u0131lsamas\u0131n\u0131, biz-\u015fimdi-konu\u015fanlar olarak bu tarihin d\u0131\u015f\u0131nda durabildi\u011fimiz bir d\u00fcnyada ya\u015f\u0131yor oldu\u011fumuz yan\u0131lsamas\u0131n\u0131 da peki\u015ftiriyor.<\/p>\n

Sona varmayan, ba\u011flant\u0131lara a\u00e7\u0131k bir ortak ak\u0131l<\/strong><\/p>\n

Felaket-sonras\u0131 t\u00fcr diyebilece\u011fimiz anlat\u0131sal ger\u00e7eklik, sadece diyelim Alain Resnais ile W. G. Sebald gibi anlat\u0131c\u0131lar\u0131 de\u011fil, onlarla mesela Siegfried Kracauer ya da Donna Haraway gibi d\u00fc\u015f\u00fcn\u00fcrleri de ba\u015fka t\u00fcr bir ortak ak\u0131l ve bilme bi\u00e7iminde yan yana d\u00fc\u015f\u00fcnmeye imkan verir. Bir bak\u0131\u015f ortakl\u0131\u011f\u0131, kavray\u0131\u015f ortakl\u0131\u011f\u0131 varsa burada, o da bir sona varmayan, ba\u011flant\u0131lara a\u00e7\u0131k bir ortak akl\u0131 olu\u015fturma \u00e7abas\u0131d\u0131r. \u0130lerleme modeli temelli, var\u0131lacak bir son odakl\u0131 tarihsel ger\u00e7eklik ya da anlat\u0131sal ger\u00e7eklik in\u015fas\u0131 yerini tarihsel ger\u00e7ekli\u011fi, sondan bir \u00f6nceki \u015feyler olarak d\u00fc\u015f\u00fcnmeye b\u0131rak\u0131r. Soyk\u0131r\u0131m\u0131n o\u00a0imgesini\u00a0<\/em>g\u00f6rmek \u00fczere hareketlenen bak\u0131\u015fa, \u201cneyi g\u00f6rmeyi umuyorsun\u201d derken, anlatma ve dile getirme \u00e7abas\u0131ndan da vazge\u00e7meyen, bu arzuya sadakatle i\u015fleyen bir ortak ak\u0131l. Soyk\u0131r\u0131m sahnesini b\u00fct\u00fcn\u00fcyle g\u00f6rd\u00fc\u011f\u00fcm\u00fcz\u00fc sanmaktan, nedenlerle sonu\u00e7lar\u0131n birbirini tam olarak tamamlay\u0131\u015f\u0131ndan ald\u0131\u011f\u0131m\u0131z zevke yaslanan anlat\u0131sal ger\u00e7eklik in\u015fas\u0131 reddedilmi\u015ftir. Di\u011fer bir deyi\u015fle bizim d\u0131\u015f\u0131m\u0131zda bir d\u00fcnyay\u0131, kendi masumiyetimize inan\u00e7la ve ahlaki konforla seyretmekten ve anlatmaktan al\u0131konuluruz. T\u0131pk\u0131 i\u00e7eri-d\u0131\u015far\u0131, ge\u00e7mi\u015f-\u015fimdi, barbarl\u0131k-uygarl\u0131k kar\u015f\u0131tl\u0131klar\u0131n\u0131, bunlar\u0131n aras\u0131na konmu\u015f s\u0131n\u0131rlar\u0131 a\u015f\u0131nd\u0131r\u0131rken kendi bak\u0131\u015f\u0131n\u0131n k\u0131smili\u011fini hat\u0131rlatacak ifade bi\u00e7imlerine ba\u015fvurulmas\u0131nda oldu\u011fu gibi. Buradaki palimpsestik haf\u0131za, deh\u015fetin rasyonel ve zamansal s\u0131n\u0131rlar\u0131n\u0131n yoklu\u011fuyla, farkl\u0131 y\u0131k\u0131m tarihleri aras\u0131nda ba\u011flant\u0131lar kurarak, a\u011flar \u00f6rerek in\u015fa edilir.<\/p>\n

Temsil edilemez olan, katlan\u0131lamaz olan, dil ve sembolik d\u00fcnyaya dahil edilemez olan ne imkans\u0131zl\u0131\u011fa b\u0131rak\u0131l\u0131yor ne de oldu\u011fu gibi geri getirdi\u011fini varsayan kayg\u0131s\u0131z, kesiksiz ve kats\u0131z bir anlat\u0131sal ger\u00e7ekli\u011fe, otoritesi sorgulanmayan g\u00f6r\u00fcnmez anlat\u0131c\u0131n\u0131n, tan\u0131klar\u0131 ve onlar\u0131n yoklu\u011funu b\u00fct\u00fcn\u00fcyle dolduran sesine terk ediliyordur. Ne \u201chakikat bizden ka\u00e7amaz\u201d, \u201chakikat kaybolmaz\u201d diyerek olaylar\u0131 ard\u0131 ard\u0131na s\u0131ralayan vakan\u00fcvisin, kay\u0131t alt\u0131na alan ar\u015fivcinin malumat deposu \u015feklinde \u00e7al\u0131\u015fan ne de anlatan\u0131n ve okuyan\u0131n y\u0131k\u0131m\u0131n tarihine dahlini iptal eden bir anlat\u0131sal ve tarihsel ger\u00e7eklik in\u015fas\u0131 s\u00f6z konusu. Anlat\u0131c\u0131n\u0131n bo\u015f, evrensel, her \u015feyi g\u00f6ren seyyah g\u00f6z\u00fcn\u00fcn yerini k\u0131smi, bedenli, yaralanabilir anlat\u0131c\u0131 al\u0131r. Ge\u00e7mi\u015f zaman kipi, ge\u00e7meyen bir ge\u00e7mi\u015fin diliyle, zamansal bir karma\u015fan\u0131n diliyle i\u015f g\u00f6rmekte art\u0131k. Zaman burada hep gelece\u011fin ge\u00e7mi\u015fi. Bir sona, tamamlanmaya do\u011fru ilerlemiyor, hep sondan, bir sonrakinden geriye d\u00f6n\u00fck olarak, yeni ba\u011flant\u0131larla d\u00fc\u015f\u00fcn\u00fcyoruz soyk\u0131r\u0131mlar\u0131 ve insan yap\u0131m\u0131 felaketleri.<\/p>\n

\u015eayet y\u0131k\u0131mlar\u0131n tarihi zamanla mekan aras\u0131nda kurulan belirli bir ili\u015fkinin tarihi ise, felaket-sonras\u0131 anlat\u0131sal ger\u00e7eklik bilgiyle ba\u015fka t\u00fcrden bir ili\u015fki kurman\u0131n yollar\u0131n\u0131 bulacak, bir yerin tan\u0131kl\u0131k etti\u011fi yap\u0131m\/y\u0131k\u0131m s\u00fcrecini ba\u015fka yer ve zamanlara ba\u011flayarak tart\u0131\u015fmaya a\u00e7acakt\u0131r. Felaket-sonras\u0131n\u0131, felaket-toplum olmay\u0131 anlatan W. G. Sebald, Holokost\u2019un elli y\u0131l sonra insanlar \u00fczerinde b\u0131rakt\u0131\u011f\u0131 etkileri ara\u015ft\u0131r\u0131rken ge\u00e7mi\u015fin etraf\u0131nda, hat\u0131rlama ve unutman\u0131n arazisinde dolanm\u0131\u015ft\u0131. Sadece unutmamak ya da unutmaya kar\u015f\u0131 hat\u0131rlamak de\u011fil, \u201cy\u0131k\u0131m vakayinamesini tersine \u00e7evirebilecek\u201d, Tarih\u2019in hav\u0131n\u0131 tersine tarayabilme kabiliyetimizi hat\u0131rlatabilecek bir kurmaca, anlat\u0131sal ger\u00e7eklik \u00fcretebilmekti derdi. Ranci\u00e8re, Sebald anlat\u0131s\u0131n\u0131n her daim var\u0131lacak bir sona y\u00f6nelen, izlenecek bir yolu olan klasik kurmacadan fark\u0131n\u0131, yani daha ba\u015ftan y\u0131k\u0131ma mahk\u00fbm bu modelden fark\u0131n\u0131, bir yeri ve o yerin tan\u0131kl\u0131k etti\u011fi yap\u0131m\/y\u0131k\u0131m s\u00fcrecini ba\u015fka yer ve zamanlara yatay olarak ba\u011flayan ba\u011flar\u0131n \u00f6r\u00fclmesi olarak tarif eder. (8) (B\u00f6yle bir a\u011f \u00f6rmeye \u00e7al\u0131\u015f\u0131rken kurulan c\u00fcmleler de her \u015feyi g\u00f6ren g\u00f6z\u00fcn, kendine g\u00f6r\u00fcnmez olan kayna\u011f\u0131n ge\u00e7mi\u015f zaman kipleriyle i\u015flemez: \u201cAndre ad\u0131n\u0131, demis\u0327ti bir keresinde bana, dedi Austerlitz\u201d; \u201chatta bazen, demis\u0327ti Alphonso, dedi Austerlitz.\u201d) (9)\u00a0 Bu yatay a\u011flar\u0131n \u00f6r\u00fclmesiyle tarih anlay\u0131\u015f\u0131m\u0131z\u00a0sondan bir \u00f6nceki \u015feylere\u00a0<\/em>d\u00f6n\u00fc\u015f\u00fcyor ve ili\u015fkisel d\u00fc\u015f\u00fcnerek bir b\u00fct\u00fcne ula\u015fmac\u0131, ilerlemeci, neden-sonu\u00e7 silsilesinin belirdi\u011fi, geride b\u0131rakmac\u0131, her zaman y\u0131k\u0131c\u0131 zaman anlay\u0131\u015f\u0131n\u0131n yerini ba\u015fka bir zamansal ortakl\u0131k alabiliyordur.<\/p>\n

Zamansal bir ortakl\u0131k nas\u0131l kurulabilir?<\/strong><\/p>\n

Y\u0131k\u0131mlar\u0131n perdesinin, T\u00fcrkl\u00fck perdesinin de gerildi\u011fi her yerde, yatay ve e\u015fitlik\u00e7i pek \u00e7ok ba\u011fdan kurulu bir ba\u015fka a\u011f\u0131n \u00f6r\u00fclebilmesine nas\u0131l imkan verebiliriz? Ak\u0131p giden y\u0131k\u0131m\u0131n zaman\u0131na, Tarih\u2019in zafer alay\u0131na k\u00f6stek olacak, galiplerin zaman\u0131n\u0131 k\u00f6stekleyecek bir ba\u015fka zamansal ortakl\u0131k nas\u0131l kurulabilir? Ermeni soyk\u0131r\u0131m\u0131 ge\u00e7mi\u015fte kalm\u0131\u015f bir felaket de\u011fildir; bir a\u015famada rafa kald\u0131r\u0131lacak ya da yeter neden ilkesiyle a\u00e7\u0131klanabilecek, belirli bir tarihsel zamansal aral\u0131\u011f\u0131na s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f bir olay olarak onu ele alan tarihselci bak\u0131\u015f, onu \u015fimdide d\u00fc\u015f\u00fcnmenin, tarihsel etkinlik alan\u0131n\u0131n bir par\u00e7as\u0131 olarak d\u00fc\u015f\u00fcnmenin \u00f6n\u00fcne ge\u00e7mektedir. Judith Butler \u201cPrimo Levi for the Present\u201d konu\u015fmas\u0131nda ge\u00e7mi\u015fi i\u015flemekle Holokost\u2019tan \u00f6\u011frenmi\u015f bir \u015fimdiye uyanmak aras\u0131nda bir ili\u015fki kurar. Bu \u015fimdiye uyanmak, fa\u015fizmin, devlet \u015fiddetinin, \u0131rk\u00e7\u0131l\u0131\u011f\u0131n, zorunlu yerinden etmenin kar\u015f\u0131m\u0131za \u00e7\u0131kt\u0131\u011f\u0131 her yerde ona kar\u015f\u0131 durma zorunlulu\u011fudur. Travmatik ge\u00e7mi\u015f, tekrar tekrar farkl\u0131 tarihselliklerde farkl\u0131 toplumsall\u0131klarda kar\u015f\u0131m\u0131za \u00e7\u0131kmakta, hi\u00e7 kimseyi ya da zalim olma olas\u0131l\u0131\u011f\u0131ndan muaf tutmayan bir bak\u0131\u015fla, ya\u015fam\u0131n k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131 tan\u0131ma ve bunun gerektirdi\u011fi politik talepleri \u00fcstlenme sorumlulu\u011fuyla ba\u015f ba\u015fa b\u0131rakmaktad\u0131r bizleri.\u00a0 (10)Ba\u015fka bir tarih kavray\u0131\u015f\u0131na, tarihsel nesnenin bilgi \u00f6znesinin iktidar\u0131n\u0131 garanti alt\u0131na ald\u0131\u011f\u0131, \u00f6zne olman\u0131n ve bak\u0131\u015f\u0131m\u0131za kar\u015f\u0131l\u0131k verme kudretinin tarihsel nesneden esirgendi\u011fi bir tarih anlay\u0131\u015f\u0131n\u0131 sorgulamaya, yap\u0131sal ve \u0131rksallas\u0327t\u0131r\u0131lm\u0131s\u0327 s\u0327iddetin birbirinden ayr\u0131 tarihleri aras\u0131ndaki haf\u0131za duvarlar\u0131n\u0131 par\u00e7alamaya bu y\u00fczden ihtiya\u00e7 var.<\/p>\n

Egemenin zaman kurgusunu, olay \u00f6rg\u00fcs\u00fcn\u00fc, olaylar aras\u0131nda kurdu\u011fu ba\u011flar\u0131 bozabilecek, ba\u015fka zamansal ortakl\u0131klar kurabilmeye, tekrar tekrar ayn\u0131 yere d\u00f6nerek yeniden d\u00fc\u015f\u00fcnmeye, yeni bilgiye, soluk almaya yer a\u00e7abilmeye ihtiyac\u0131m\u0131z var. Daha fazla kan\u0131tla doldurulmayacak olana bir yer a\u00e7abilmeye. Anlatmak zorunda olduklar\u0131 \u015feyleri duyma ya da dinleme kabiliyetine sahip dinleyicilerle hi\u00e7 kar\u015f\u0131la\u015fmam\u0131\u015f tan\u0131klar\u0131n seslerine, onlar\u0131n art\u0131k aram\u0131zda olamay\u0131\u015f\u0131n\u0131n b\u0131rakt\u0131\u011f\u0131 yoklu\u011fu kendi sesimiz ve mevcudiyetimizle doldurmadan, bu bo\u015flu\u011fa el koymadan yer a\u00e7abilmeye.\u00a0 (11) Art\u0131k aram\u0131zda olmayanlar ve hen\u00fcz do\u011fmam\u0131\u015f olanlar\u0131n yokluklar\u0131na. \u015eimdi i\u00e7in de gelecek i\u00e7in de herkesin sadece var olana inanmas\u0131na engel olan bak\u0131\u015f ve sesler \u00fcretebilecek bilme, d\u00fc\u015f\u00fcnme ve hayal etme bi\u00e7imlerine ihtiyac\u0131m\u0131z var.<\/p>\n

(1)\u00a0 Beatriz Sarlo, Ge\u00e7mi\u015f Zaman, \u00e7ev. P. B. Charum ve D. Ekinci, \u0130stanbul: Metis, 2012, s. 18.<\/em><\/p>\n

(2)\u00a0 Maria Theresia Starzmann, \u201cEngaging Memory: An Introduction\u201d,\u00a0Excavating Memory: Sites of Remembering and Forgetting, Maria Theresia,\u00a0John R. Roby (ed.), Gainesville: University Press Florida, 2016.<\/em><\/p>\n

(3) \u015euradan ula\u015f\u0131labilir\u00a0s\u00f6yle\u015fiye<\/a>:\u00a0 (20 Nisan 2021)<\/em><\/p>\n

(4) Mesela F\u0131rat Ayd\u0131nkaya\u2019n\u0131n yaz\u0131s\u0131.\u00a0\u015euradan\u00a0<\/a>ula\u015fabilir.\u00a0 (1 May\u0131s 2021)<\/em><\/p>\n

(5)\u201cHem tehcir hem soyk\u0131r\u0131m\u201d ba\u015fl\u0131kl\u0131, 24 Nisan 2015 tarihli s\u00f6yle\u015fiye\u00a0\u015furadan\u00a0<\/a>ula\u015f\u0131labilir.\u00a0<\/em><\/p>\n

(6) Umut T\u00fcmay Arslan, \u201cKesik\u2019in A\u00e7t\u0131\u011f\u0131 Yerden: Kat Kat Notlar\u201d, Altyaz\u0131, 27 Mart 2015. Bu yaz\u0131ya\u00a0\u015furadan\u00a0<\/a>eri\u015filebilir.\u00a0\u00a0<\/em><\/p>\n

(7)Wendy Brown, Tarihten \u00c7\u0131kan Siyaset, \u00e7ev. Emine Ayhan, \u0130stanbul: Metis, 2010: 174.<\/em><\/p>\n

(8) Jacques Ranci\u00e8re,\u00a0Kurmacan\u0131n K\u0131y\u0131lar\u0131, \u00e7ev. Yunus \u00c7etin, \u0130stanbul: Metis, 2019, s. 127.<\/em><\/p>\n

(9)W. G. Sebald,\u00a0Austerlitz, \u00e7ev. G\u00fclfer Tunal\u0131, \u0130stanbul: Can, 2008.<\/em><\/p>\n

(10) Judith Butler, \u201cPrimo Levi for the Present\u201d, Parting Ways: Jewishness and the Critique of Zionism,\u00a0 New York: Columbia University Press, 2012, s. 298-9.<\/em><\/p>\n

(11) Paul Ricouer\u2019un\u00a0Haf\u0131za, Tarih, Unutu\u015f\u2019undan (T\u00fcrk\u00e7esi: Metis, 2012) aktar\u0131yor Thomas Elsaesser. Buradaki tart\u0131\u015fma i\u00e7in ayr\u0131ca Elsaesser\u2019in \u015fu metnine de bak\u0131labilir, online ula\u015f\u0131labiliyor: \u201cReturning to the Past its Own Future: Harun Farocki\u2019s Respite\u201d, Research in Film and History, The Long Path to Audio-visual History (2018), No. 1, pp. 1\u201320. DOI: https:\/\/doi.org\/10.25969\/mediarep\/14781<\/em><\/p>\n

http:\/\/www.agos.com.tr\/tr\/yazi\/25681\/soykirimin-imgeleri<\/strong><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Umut T\u00fcmay Arslan\u00a0 Soyk\u0131r\u0131mlar\u0131 ve s\u00f6m\u00fcrgeci \u015fiddet bi\u00e7imlerini, daha fazla belgeyle, ilk nedenle, kaynak olayla doldurulamayacak olana, sesleri hi\u00e7 duyulamayacak olan, duyulmam\u0131\u015f olan tan\u0131klara yer a\u00e7arak, bu bo\u015flu\u011fu, onlar\u0131n yoklu\u011funu ele ge\u00e7irmeden, gasp etmeden d\u00fc\u015f\u00fcnmek zorunday\u0131z. \u0130nkar edilen ya da y\u00fczle\u015filmeye \u00e7al\u0131\u015f\u0131lan soyk\u0131r\u0131mlar\u0131n, insan yap\u0131m\u0131 y\u0131k\u0131mlar\u0131n anlat\u0131s\u0131 g\u00f6r\u00fcn\u00fcrle g\u00f6r\u00fcnmez olan aras\u0131ndaki s\u0131n\u0131rda ge\u00e7er. Katlan\u0131lamaz, g\u00f6r\u00fcn\u00fcr […]<\/p>\n","protected":false},"author":7,"featured_media":62908,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,1,70],"tags":[],"class_list":["post-62907","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ermeni-soykirimi","category-haberler","category-makaleler"],"yoast_head":"\nSoyk\u0131r\u0131m\u0131n imgeleri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/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:\/\/akunq.net\/tr\/?p=62907\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Soyk\u0131r\u0131m\u0131n imgeleri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Umut T\u00fcmay Arslan\u00a0 Soyk\u0131r\u0131mlar\u0131 ve s\u00f6m\u00fcrgeci \u015fiddet bi\u00e7imlerini, daha fazla belgeyle, ilk nedenle, kaynak olayla doldurulamayacak olana, sesleri hi\u00e7 duyulamayacak olan, duyulmam\u0131\u015f olan tan\u0131klara yer a\u00e7arak, bu bo\u015flu\u011fu, onlar\u0131n yoklu\u011funu ele ge\u00e7irmeden, gasp etmeden d\u00fc\u015f\u00fcnmek zorunday\u0131z. \u0130nkar edilen ya da y\u00fczle\u015filmeye \u00e7al\u0131\u015f\u0131lan soyk\u0131r\u0131mlar\u0131n, insan yap\u0131m\u0131 y\u0131k\u0131mlar\u0131n anlat\u0131s\u0131 g\u00f6r\u00fcn\u00fcrle g\u00f6r\u00fcnmez olan aras\u0131ndaki s\u0131n\u0131rda ge\u00e7er. 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