{"id":30611,"date":"2014-07-01T02:46:46","date_gmt":"2014-07-01T07:46:46","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=30611"},"modified":"2014-07-01T02:46:46","modified_gmt":"2014-07-01T07:46:46","slug":"baronyanin-mahallelerinde-bugunun-istanbuluyla-gezinti","status":"publish","type":"post","link":"https:\/\/akunq.net\/turkish\/2014\/07\/01\/baronyanin-mahallelerinde-bugunun-istanbuluyla-gezinti\/","title":{"rendered":"Baronyan\u2019\u0131n mahallelerinde bug\u00fcn\u00fcn \u0130stanbul\u2019uyla gezinti"},"content":{"rendered":"

\"\u00dcsk\u00fcdar\"<\/a>KAR\u0130N KARAKA\u015eLI<\/b><\/p>\n

On dokuzuncu y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na damgas\u0131n\u0131 vuran oyun ve mizah yazar\u0131, Osmanl\u0131 Ermeni bas\u0131n\u0131n\u0131n g\u00fc\u00e7l\u00fc kalemi Hagop Baronyan’\u0131n Can Yay\u0131nlar\u0131’ndan \u00e7\u0131kan, ‘\u0130stanbul Mahallelerinden Bir Gezinti’ ba\u015fl\u0131kl\u0131 kitab\u0131 da, kokusu, sesi, insanlar\u0131 ile, okuru soka\u011fa davet eden kitaplardan biri. Biz de o \u00e7a\u011fr\u0131ya kulak verdik. <\/i><\/b><\/p>\n

\u0130yi bir gezi kitab\u0131, okura yolculuk hissi verir. Bir s\u00fcre sonra kitab\u0131 da yan\u0131na al\u0131p yola koyulmak, \u015fu bahsi ge\u00e7en yerleri kendi g\u00f6zlerinle g\u00f6rmek, havas\u0131n\u0131 solumak istersin. Asl\u0131nda o yerlere ait kendi hik\u00e2yeni ya\u015famak ve kim bilir, belki de yazmakt\u0131r i\u00e7inde y\u00fckselen his. Sokaklar\u0131n \u00e7a\u011fr\u0131s\u0131 bundand\u0131r. On dokuzuncu y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na damgas\u0131n\u0131 vuran oyun ve mizah yazar\u0131, Osmanl\u0131 Ermeni bas\u0131n\u0131n\u0131n g\u00fc\u00e7l\u00fc kalemi Hagop Baronyan’\u0131n Can Yay\u0131nlar\u0131’ndan \u00e7\u0131kan, ‘\u0130stanbul Mahallelerinden Bir Gezinti’ ba\u015fl\u0131kl\u0131 kitab\u0131 da, kokusu, sesi, insanlar\u0131 ile, okuru soka\u011fa davet eden kitaplardan biri. Biz de o \u00e7a\u011fr\u0131ya kulak verdik. Kitab\u0131 hen\u00fcz T\u00fcrk\u00e7ede yay\u0131mlanmad\u0131\u011f\u0131 d\u00f6nemde, \u2018B\u0131duyd m\u0131 Bolso Ta\u011ferun Me\u00e7\u2019 ba\u015fl\u0131kl\u0131 Ermenice haliyle okuyan foto\u011fraf\u00e7\u0131m\u0131z Berge Arabian, kitaba konu olan, bir zamanlar Ermenilerin yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 semtlerden iz yakalaman\u0131n pe\u015fine d\u00fc\u015ft\u00fc. Ben de vapurun yan a\u00e7\u0131\u011f\u0131na oturup i\u00e7inden ak\u0131p gitti\u011fim \u0130stanbul’a ve elimdeki kitaba bakt\u0131m, \u00e7\u0131k\u0131lamayan yollar\u0131n kayd\u0131n\u0131 tuttum.<\/p>\n

Parodiye \u00e7ak\u0131lan selam<\/b><\/p>\n

\u00c7\u0131k\u0131lamayan yollar s\u00f6z\u00fc bo\u015fa de\u011fil. Zira bug\u00fcn Hagop Baronyan’\u0131n pe\u015finden izi s\u00fcr\u00fclebilecek o tarihi Ermeni mahallelerinin yerinde yeller esiyor. Ama Baronyan kendisi de kitab\u0131n ba\u015fl\u0131\u011f\u0131ndan farkl\u0131 olarak, d\u00f6neminin Ermeni mahallelerindeki hayat\u0131, alameti farikas\u0131 olan m\u00fcbala\u011fa sanat\u0131 e\u015fli\u011finde anlat\u0131rken, asl\u0131nda tasvirden ve gezintiden farkl\u0131 bir \u015fey yap\u0131yor.<\/p>\n

O di\u011fer ihtimal i\u00e7in Murat Cankara’n\u0131n Agos’un kitap eki Kirk’in 16 May\u0131s tarihli say\u0131s\u0131nda yer alan yaz\u0131s\u0131n\u0131 an\u0131msamakta yarar var. Bu kitab\u0131 \u201cbir etnografi ve seyahatname parodisi olarak okumay\u0131\u201d \u00f6neren Cankara, Mark Twain’in \u2018Innocents Abroad’da (1869) Twain gemiyle \u0130stanbul’a girerken bu “\u015fehrin g\u00fczelli\u011finin, ba\u015flad\u0131\u011f\u0131 yerde bitti\u011fini” yazd\u0131\u011f\u0131nda \u015fehirle ilgili bir \u015fey s\u00f6ylemekten ziyade seyahatnamelerin ve oryantalist s\u00f6ylemin \u015fehri temsil etme bi\u00e7imiyle dalga ge\u00e7ti\u011fini an\u0131msatarak \u015f\u00f6yle diyordu: \u201cBenzer bir \u015fekilde, kitab\u0131 Karekin Srvantzdyants’\u0131n (1840-1892) Anadolu’yu gezerek yazd\u0131\u011f\u0131 ve 1874-1884 aras\u0131nda yay\u0131mlanan etnografik eserleri (\u00f6rne\u011fin \u2018Toros Ahbar\u2019) ba\u011flam\u0131nda okumak da \u00e7ok ilgin\u00e7 olacakt\u0131r. Bu, etnografinin milliyet\u00e7ilikle ili\u015fkisi ba\u011flam\u0131nda \u00f6nemlidir, \u00e7\u00fcnk\u00fc Baronyan kitab\u0131nda bir anlamda \u0130stanbul’un \u2018tersten etnografi\u2019sini yapmaktad\u0131r. B\u00f6yle d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde \u00e7ok modern(ist) bir giri\u015fim Baronyan’\u0131nkisi; Ermeni cemaatine dair g\u00f6zlemlerini par\u00e7alay\u0131p mahallelere da\u011f\u0131tmakla kalm\u0131yor, \u015fiirsel\/mizahi bir dil kullanarak d\u00f6nemin yayg\u0131n t\u00fcrleriyle de alay ediyor.\u201d<\/p>\n

K\u0131v\u0131l k\u0131v\u0131l eksikli\u011fi<\/b><\/p>\n

Hagop Baronyan’\u0131n m\u00fcbala\u011fa \u00fczerine kurulu mizahi anlay\u0131\u015f\u0131, t\u00fcrlerin ve kal\u0131plar\u0131n s\u0131\u011f bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 sergilemeye ger\u00e7ekten de \u00e7ok m\u00fcsait. Kald\u0131 ki, d\u00f6nemin \u0130stanbul’unda toplumsal hayat ve edebiyat \u00fczerinde etkisi olan Frans\u0131zca ve \u0130talyancay\u0131 kendi kendine \u00f6\u011frenecek kadar okuma \u00e2\u015f\u0131\u011f\u0131 olan Baronyan’\u0131n Avrupa edebiyat\u0131ndaki parodi gelene\u011fini uygulamay\u0131 istemi\u015f olabilece\u011fi de tahmin edilebilir bir \u015fey.<\/p>\n

Kitab\u0131 y\u00fcz k\u00fcsur y\u0131l sonra h\u00e2l\u00e2 s\u0131cac\u0131k k\u0131lansa, yazar\u0131n bu edebi g\u00f6ndermelerden ba\u011f\u0131ms\u0131z tan\u0131kl\u0131k etti\u011fi hayat\u0131 k\u0131v\u0131l k\u0131v\u0131l anlatma mahareti. 1864\u2019de yerle\u015fti\u011fi \u0130stanbul\u2019da sekreter, aktar, \u00f6\u011fretmen, gazeteci s\u0131fat\u0131yla \u00e7ok farkl\u0131 ortamlarda \u00e7al\u0131\u015fan Baronyan, hayat\u0131 her zerresiyle g\u00f6zlemlemi\u015f. Berge’le konu\u015ftu\u011fumuzda en \u00e7ok bu k\u0131v\u0131l k\u0131v\u0131ll\u0131\u011f\u0131n eksikli\u011fi \u00e7\u0131k\u0131yor ortaya. \u201cKimi mahalleleri ararken, bir labirentte gibi yolumu kaybettim. Sanki ortada bir tek hayaletler kalm\u0131\u015f. \u0130nsanlar yok, bo\u015fluk ve binalar var. Hani kilise ve okullar da olmasa, \u00e7ekilebilecek foto\u011fraf yoktu kimi yerde\u201d diyor Berge.<\/p>\n

Bu bo\u015flu\u011fu, yak\u0131n tarihin b\u00fct\u00fcn ac\u0131 ve y\u0131k\u0131c\u0131 d\u00f6neme\u00e7leri sonunda H\u0131ristiyan n\u00fcfusun sistematik azalt\u0131lm\u0131\u015fl\u0131\u011f\u0131na i\u015faret saymamak elde de\u011fil. Kilise bah\u00e7elerinden soka\u011fa ta\u015fan kalabal\u0131klar, kahve ve pazarda birbirine farkl\u0131 dillerden tak\u0131lanlar yok art\u0131k. Misal, Baronyan\u2019\u0131n Kuzguncuk’una do\u011fru \u015fu sat\u0131rlara bir g\u00f6z atal\u0131m:<\/p>\n

\u201cKuzguncuklular\u0131n al\u0131\u015fkanl\u0131\u011f\u0131d\u0131r, her gece, her pazar veya bayram g\u00fcnlerinde evlerde toplan\u0131p e\u011flenmek. Konu\u015ftuklar\u0131 konular genellikle tavla ve k\u00e2\u011f\u0131t oynamak hakk\u0131ndad\u0131r. Bazen de iskele kahvesinde Yahudilerle tavla oynay\u0131p \u015fakala\u015fma dersleri al\u0131rlar, Ani \u015fivesiyle. Tavla veya k\u00e2\u011f\u0131t oyununda kaybeden, istedi\u011fi ve yapabildi\u011fi kadar k\u00fcfretmeye hak kazan\u0131r.\u201d<\/p>\n

Berge’in Kuzguncuk foto\u011fraf\u0131nda bir kadraja s\u0131\u011fan cami ve kilise d\u0131\u015f\u0131nda, semtin \u00e7okk\u00fclt\u00fcrl\u00fc hayat\u0131na tan\u0131kl\u0131k eden bir veri yok. Balat’ta bir s\u00fcre fabrika olarak hizmet veren ve sonra kaderine terk edilen o camlar\u0131 k\u0131r\u0131k Ermeni okulu ya da \u00dcsk\u00fcdar’da pek \u00e7ok \u00fcnl\u00fc yazar ve \u015fairin yatt\u0131\u011f\u0131 mezarl\u0131k, Ermenilerin ‘olmay\u0131\u015f\u0131n\u0131’ anlat\u0131yorsa en \u00e7ok, bug\u00fcn\u00fcn sakinlerinin soraca\u011f\u0131 sorular\u0131n zaman\u0131d\u0131r elbet.<\/p>\n

Kald\u0131 ki, bu yok olu\u015fun gerek\u00e7elerini Baronyan’\u0131n kitab\u0131ndaki \u015fu paragraftan da izlemek m\u00fcmk\u00fcn: \u201cGedikpa\u015fa’dad\u0131r Vartovyan Tiyatrosu. K\u0131\u015f mevsiminde g\u00f6sterileriyle halk\u0131 e\u011fitir. Son zamanlarda B\u00e2b\u0131\u00e2li taraf\u0131ndan Ermenice temsiller yasakland\u0131\u011f\u0131ndan yaln\u0131z T\u00fcrk\u00e7e temsiller verilir. Mahalleli de korkusundan Ermenice konu\u015fmaz ki, buradan bir ihtar gelmesin kendilerine…\u201d<\/p>\n

Sokaklardan avlulara<\/b><\/p>\n

O ihtar\u0131, sivri mizahi dili dolay\u0131s\u0131yla Osmanl\u0131 sans\u00fcr b\u00fcrosu taraf\u0131ndan s\u0131kl\u0131kla kendi eserlerine ili\u015fkin olarak da duyan Hagop Baronyan, amiralar ve halk aras\u0131ndaki s\u0131n\u0131f fark\u0131n\u0131, ayd\u0131n ve ruhani kesim i\u00e7erisindeki yozla\u015fmay\u0131, bitmek bilmeyen iktidar kavgalar\u0131n\u0131, sadece giyim-ku\u015fam \u00fczerinden \u00f6yk\u00fcn\u00fclen Bat\u0131l\u0131la\u015fmay\u0131, en \u00e7ok da toplumsal hayattaki adaletsizlik ve hakkaniyetsizli\u011fi k\u0131yas\u0131ya ele\u015ftirdi. Bu a\u00e7\u0131dan okundu\u011funda bug\u00fcne ili\u015fkin olarak da \u201cBiz bu filmi iyi biliyoruz\u201d hissini veren anlat\u0131da b\u00fcy\u00fck dekor de\u011fi\u015fikli\u011finin ad\u0131d\u0131r \u0130stanbul’un hik\u00e2yesi.<\/p>\n

Bu hik\u00e2ye her ne kadar Ermeni toplumuna \u00f6zel gibi g\u00f6r\u00fcnse de, esasen \u00f6zellikle son y\u0131llarda mahalle sakinlerini silindir misali ezen, onlar\u0131 \u015fehir s\u0131n\u0131rlar\u0131n\u0131n d\u0131\u015f\u0131na s\u00fcp\u00fcren o devasa ve ihtirasl\u0131 kentsel d\u00f6n\u00fc\u015f\u00fcm projelerinin de bir \u00f6zeti olarak okunabilir. Bug\u00fcn azalan n\u00fcfuslar\u0131 ile Ermenileri kamusal alanda, toplu olarak sokaklarda de\u011fil, hane i\u00e7lerinde, okul binalar\u0131, mezarl\u0131k ve kilise avlular\u0131nda\u00a0 g\u00f6rebiliyoruz. Ama ayn\u0131 zamanda, genel olarak da, mahalleler bir bir yok olurken; sokaklardan bakkal, manav, k\u00fc\u00e7\u00fck esnaf ile top oynayan \u00e7ocuklar\u0131n \u00e7ekili\u015fini izliyoruz. Art\u0131k her \u015fey g\u00fcvenlik kul\u00fcbeli, y\u00fcksek site duvarlar\u0131n\u0131n gerisinde. Fena halde ‘soylu’ bir hayat h\u00fck\u00fcm s\u00fcr\u00fcyor rezidanslarda. O kadar ki, ger\u00e7eklerine sahip \u00e7\u0131kamad\u0131\u011f\u0131m\u0131z Bo\u011faz konak ve yal\u0131lar\u0131n\u0131n \u00e7akmalar\u0131n\u0131 yarat\u0131yor, nice siyasi \u00e7alkant\u0131ya \u015fahit o \u00e7ok \u00f6zel Gazi Mahallesi\u2019nin ortas\u0131na da Venedik konutlar\u0131 dikiyoruz. Bitmek bilmeyen bir \u015fantiye alan\u0131n\u0131n ortas\u0131nda hep biraz i\u011freti ya\u015fay\u0131p gidiyoruz.<\/p>\n

Yanarda\u011f olarak Galata Kulesi<\/b><\/p>\n

Yazar\u0131n Galata ile ilgili d\u00fc\u015ft\u00fc\u011f\u00fc kay\u0131t, b\u00fct\u00fcn de\u011fi\u015fimlere direnen Galata Kulesi d\u0131\u015f\u0131nda d\u00fc\u015fk\u00fcnl\u00fckten elitli\u011fe ‘terfi edilen’ istikamette eskilerden ibretlik bir durak: \u201cGalata’n\u0131n s\u0131n\u0131rlar\u0131 g\u00fcneyde yankesiciler, bat\u0131da sarho\u015flar, kuzeyde katiller ve do\u011fuda \u015fark\u0131c\u0131 k\u0131zlard\u0131r… Mahallenin \u00f6nemli da\u011f\u0131 Galata Kulesi’dir. Siyasi y\u00f6nden bak\u0131l\u0131nca Babil Kulesi say\u0131labilir. \u015eehirde ya\u015fanan yang\u0131nlar\u0131n i\u015faretini verir bu kule. Tepesinde hi\u00e7 kar olmaz, yaln\u0131z \u0131\u015f\u0131k g\u00f6r\u00fcn\u00fcr, bu nedenle yanarda\u011f da denilir. Meyhaneler kapl\u0131calar\u0131d\u0131r, insanlar burada \u00e7ok terler. Apsent, mastika, konyak vesaire maden sular\u0131d\u0131r…\u201d<\/p>\n

Bug\u00fcn Galata-Karak\u00f6y hatt\u0131 da Galataport dahil olmak \u00fczere devasa d\u00f6n\u00fc\u015f\u00fcmler \u00f6ng\u00f6r\u00fcyor. Bu \u015fehirde kendi de\u011fi\u015fmez ki\u015fisel koordinatlar\u0131na sahip \u00e7\u0131kmaktan \u00f6te ya\u015fama imk\u00e2n\u0131 yok. \u0130nsan, Baronyan bug\u00fcnden baksa, gezinti duraklar\u0131nda kim bilir ne hicvedilesi ayr\u0131nt\u0131lar yakalard\u0131 demekten al\u0131koyam\u0131yor kendini. Hayat koca bir \u015fakaya d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcnde, elde kalan tek m\u00fccadele arac\u0131 mizah ve an\u0131lar. \u015eehrin dokusuyla ba\u011f kurmak, kimi k\u00f6\u015feleri sevdiklerinle \u00f6zel k\u0131lmaktan ge\u00e7iyor. Asl\u0131nda \u015fehirleri, ya\u015fad\u0131\u011f\u0131m\u0131z yerleri hep an\u0131larla in\u015fa ediyoruz. Baronyan’\u0131n anlat\u0131s\u0131 bize kendi k\u00fc\u00e7\u00fck hayat mek\u00e2nlar\u0131m\u0131za sahip \u00e7\u0131kmay\u0131 an\u0131msat\u0131yor sanki. Sesleri, kokular\u0131, dokunu\u015flar\u0131, tatlar\u0131, an\u0131lar\u0131 kaydetmeyi. Soru sormay\u0131 ve asla unutmamay\u0131…<\/p>\n

Kad\u0131n okumalar\u0131<\/b><\/p>\n

Baronyan’\u0131n mahalle notlar\u0131nda kad\u0131nlara ili\u015fkin d\u00fc\u015f\u00fclen notlar ise yazar\u0131 farkl\u0131 okumalara tabi tutman\u0131n imk\u00e2nlar\u0131na dair \u00e7ok \u015fey vaat ediyor. Feminist okuma a\u00e7\u0131s\u0131ndan, genelle\u015ftirici bu ifadelerin, d\u00f6nemin kad\u0131n ger\u00e7e\u011fine, kad\u0131n d\u00fcnyas\u0131n\u0131n bireysel hakikatine dair bir \u015feyler yakalad\u0131\u011f\u0131n\u0131 s\u00f6ylemek m\u00fcmk\u00fcn de\u011fil. Kuzguncuk’taki Ermeni kad\u0131nlar\u0131 i\u00e7in \u015fu sat\u0131rlar yer al\u0131yor: \u201cKad\u0131nlar da genellikle erkekler gibi hayat s\u00fcrd\u00fcr\u00fcr. Kad\u0131nlar ara\u015ft\u0131rma fikrine sahip olmaya haz\u0131r de\u011fil daha. Erkeklerin g\u00f6nderdi\u011fi bal\u0131klar\u0131 k\u0131zartarak ge\u00e7irirler g\u00fcn\u00fcn yar\u0131s\u0131n\u0131. Kuzguncuk’ta erkekler daha sayg\u0131de\u011ferdir kad\u0131nlardan. Kad\u0131nlar erkeklerin arkas\u0131ndan gider. Oysa Beyo\u011flu’nda bunun tersi. Erkek kad\u0131n\u0131n arkas\u0131ndan gider. \u0130ncil’de dendi\u011fi gibi, ‘Adam, annesini babas\u0131n\u0131 b\u0131rak\u0131p kar\u0131s\u0131na ba\u011flanacak.’<\/p>\n

Kuzguncuk’un kad\u0131nlar\u0131 \u00e7al\u0131\u015fkand\u0131r, \u0130cadiye’den al\u0131rlar moda derslerini. Dedikoduya \u00e7ok niyetli de\u011fildirler ama giyim konusunda dedikodu yapmaya yeteneklidirler.\u201d<\/p>\n

Yazar\u0131n kad\u0131n\u0131n ara\u015ft\u0131rma fikrine sahip olmad\u0131\u011f\u0131n\u0131 s\u00f6ylerken hangi veriye yasland\u0131\u011f\u0131 bilinmez. Zira ayn\u0131 d\u00f6nem, feminist kad\u0131n yazarlar\u0131n Anadolu’da k\u0131z \u00e7ocuklar\u0131 i\u00e7in okul a\u00e7\u0131lmas\u0131na \u00f6n ayak olduklar\u0131 \u00e7ok hareketli ve talepk\u00e2r bir zamand\u0131r. Keza D\u0131\u015f Kumkap\u0131 b\u00f6l\u00fcm\u00fcndeki kad\u0131n portresi de ‘namus’ kavram\u0131n\u0131n s\u0131k\u0131nt\u0131s\u0131na dair bize \u00e7ok \u015fey g\u00f6sterir:<\/p>\n

\u201cKad\u0131nlar da ayn\u0131 erkekler gibidir \u2013 \u00e7al\u0131\u015fkan ve d\u00fcr\u00fcst. Bunlar\u0131n i\u00e7leri namusludur, oysa acayip k\u0131yafetlerle dola\u015ft\u0131klar\u0131ndan d\u0131\u015flar\u0131 z\u0131t g\u00f6r\u00fcnt\u00fc verir. Ger\u00e7i kollar\u0131n\u0131, g\u00f6\u011f\u00fcslerini, bacaklar\u0131n\u0131 a\u00e7arak \u00e7ama\u015f\u0131r sererler ama yine de kapal\u0131 kollarla, kapal\u0131 g\u00f6\u011f\u00fcslerle, kapal\u0131 bacaklarla evde \u00e7ama\u015f\u0131r asan kad\u0131nlardan daha namusludur. Bu kad\u0131nlar \u00e7o\u011fu zaman birbiriyle d\u00f6v\u00fc\u015f\u00fcr ve bar\u0131\u015f\u0131rlar.<\/p>\n

Bu kad\u0131nlar\u0131n di\u011fer kad\u0131nlardan \u00fcst\u00fcnl\u00fckleri vard\u0131r. Milleti \u00e7o\u011faltmak i\u00e7in fedak\u00e2rl\u0131k yapar. Her bir kad\u0131n en az on alt\u0131 \u00e7ocuk anas\u0131 olma onuruna sahiptir.\u201d<\/p>\n

Nice konuda ilerici ve ele\u015ftirel olan Baronyan’\u0131n mesele kad\u0131nlara geldi\u011finde tak\u0131nd\u0131\u011f\u0131 bu geleneksel, muhafazak\u00e2r tav\u0131r, ataerkinin k\u00f6klerine dair ilgin\u00e7 tart\u0131\u015fmalar\u0131n konusudur.\u00a0<\/p>\n

\u0130flah olmaz muhalif: Hagop Baronyan<\/b><\/p>\n

1843\u2019te Edirneli yoksul bir ailenin \u00e7ocu\u011fu olarak do\u011fan Baronyan, ilk ve orta \u00f6\u011frenimini Ermeni okullar\u0131nda tamamlad\u0131. Bu arada bir y\u0131l kadar da bir Rum okulunda e\u011fitim g\u00f6rd\u00fc ve Rumca \u00f6\u011frendi. 1864\u2019de \u0130stanbul\u2019a yerle\u015fti. Hevesli bir okur olarak baz\u0131 Avrupa dillerini, \u00f6zellikle de d\u00f6nemin \u0130stanbul\u2019unda b\u00fcy\u00fck etkileri olan Frans\u0131zca ve \u0130talyancay\u0131 kendi kendine \u00f6\u011frendi. Osmanl\u0131 ba\u015fkentinde yay\u0131mlanan \u00e7e\u015fitli dergilere katk\u0131 sunarak yazarl\u0131k konusunda deneyim kazand\u0131.<\/p>\n

Yay\u0131na haz\u0131rlad\u0131\u011f\u0131 mizah ve tiyatro a\u011f\u0131rl\u0131kl\u0131 s\u00fcreli yay\u0131nlar\u0131n \u00f6mr\u00fc k\u0131sa, fakat etkisi b\u00fcy\u00fck oldu. Po\u011f aravodyan (Sabah Borusu), Yeprad (F\u0131rat), Me\u011fu (Ar\u0131), Ermenice ve Osmanl\u0131ca olarak iki farkl\u0131 versiyonu yay\u0131mlanan Tadron (Tiyatro), Khigar (Bilgi\u00e7), Dzidza\u011f (G\u00fcl\u00fc\u015f) isimli dergilerin yay\u0131n\u0131, i\u00e7erdikleri toplumsal ele\u015ftiriler nedeniyle s\u0131kl\u0131kla Osmanl\u0131 sans\u00fcr b\u00fcrosu taraf\u0131ndan durduruldu.<\/p>\n

Baronyan\u2019\u0131n tiyatroya olan yo\u011fun ilgisi \u00e7ok gen\u00e7 ya\u015flarda kendini g\u00f6sterdi. 1865\u2019te yazd\u0131\u011f\u0131 ilk oyunu, Goldoni\u2019nin orjinal eserinin bir t\u00fcr taklidi olan Yergu derov dzara m\u0131 (\u0130ki Efendili Bir U\u015fak) adl\u0131 k\u0131sa bir farst\u0131. Bundan d\u00f6rt y\u0131l sonra, g\u00f6r\u00fcc\u00fc usul\u00fc evlilikleri ve evlilikte sadakat konusunu genellikle ne\u015feli bir \u00fcslupta ele ald\u0131\u011f\u0131 ilk komedisi Adamnapuyjn arevelyan (\u015eark Di\u015f\u00e7isi) geldi. 1872 y\u0131l\u0131nda \u015eo\u011fokort\u0131\u2019ya (Dalkavuk) ba\u015flad\u0131 ancak yar\u0131m b\u0131rakt\u0131; bu eseri yakla\u015f\u0131k elli y\u0131l sonra, bir ba\u015fka b\u00fcy\u00fck mizah yazar\u0131 olan Yervant Odyan tamamlayacakt\u0131. 1880-81 y\u0131llar\u0131nda yay\u0131mlanan esasl\u0131 ta\u015flamas\u0131 Medzabadiv muratsganner (Ha\u015fmetlu Dilenciler), ta\u015fral\u0131 e\u015fraf\u0131n patavats\u0131zl\u0131\u011f\u0131na ve naifli\u011fine odaklan\u0131rken, bu niteliklerin ayn\u0131 zamanda \u00e7e\u015fitli sanatsal, profesyonel, dini ve zanaatk\u00e2r f\u0131rsat\u00e7\u0131lar taraf\u0131ndan s\u00f6m\u00fcr\u00fclmeye ne denli a\u00e7\u0131k oldu\u011funa da dikkat \u00e7ekiyordu. Son eseri Ba\u011fdasar A\u011fpar ise yine bo\u015fanma temas\u0131 etraf\u0131nda modern Ermeni kurumlar\u0131n\u0131 ele\u015ftirir.<\/p>\n

Hayat\u0131 boyunca yazd\u0131\u011f\u0131 her eserde hiciv ve toplumsal ele\u015ftiriye yer veren Baronyan 1891\u2019de \u0130stanbul Surp P\u0131rgi\u00e7 Ermeni Hastanesi\u2019nde t\u00fcberk\u00fcloz hastal\u0131\u011f\u0131ndan \u00f6ld\u00fc. \u00d6l\u00fcm bu muhalif ki\u015fili\u011fi susturmu\u015f gibi g\u00f6r\u00fcnse de, eserleri okundu\u011fu ve izlendi\u011fi m\u00fcddet\u00e7e, onun keskin mizah\u0131, okurlar\u0131 g\u00fcld\u00fcrmeye ve adaletsizliklere kar\u015f\u0131 kalemiyle m\u00fccadele edenlere yol g\u00f6stermeye devam edecek.
\nkkarakasli@agos.com.tr<\/i><\/b><\/p>\n

http:\/\/www.agos.com.tr\/haber.php?seo=baronyanin-mahallelerinde-bugunun-istanbuluyla-gezinti&haberid=7558<\/i><\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

KAR\u0130N KARAKA\u015eLI On dokuzuncu y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na damgas\u0131n\u0131 vuran oyun ve mizah yazar\u0131, Osmanl\u0131 Ermeni bas\u0131n\u0131n\u0131n g\u00fc\u00e7l\u00fc kalemi Hagop Baronyan’\u0131n Can Yay\u0131nlar\u0131’ndan \u00e7\u0131kan, ‘\u0130stanbul Mahallelerinden Bir Gezinti’ ba\u015fl\u0131kl\u0131 kitab\u0131 da, kokusu, sesi, insanlar\u0131 ile, okuru soka\u011fa davet eden kitaplardan biri. Biz de o \u00e7a\u011fr\u0131ya kulak verdik. \u0130yi bir gezi kitab\u0131, okura yolculuk hissi verir. Bir […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,65,26,44],"tags":[],"class_list":["post-30611","post","type-post","status-publish","format-standard","hentry","category-haberler","category-istanbul","category-makaleler","category-unluler"],"yoast_head":"\nBaronyan\u2019\u0131n mahallelerinde bug\u00fcn\u00fcn \u0130stanbul\u2019uyla gezinti - 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\/turkish\/2014\/07\/01\/baronyanin-mahallelerinde-bugunun-istanbuluyla-gezinti\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Baronyan\u2019\u0131n mahallelerinde bug\u00fcn\u00fcn \u0130stanbul\u2019uyla gezinti - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"KAR\u0130N KARAKA\u015eLI On dokuzuncu y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na damgas\u0131n\u0131 vuran oyun ve mizah yazar\u0131, Osmanl\u0131 Ermeni bas\u0131n\u0131n\u0131n g\u00fc\u00e7l\u00fc kalemi Hagop Baronyan’\u0131n Can Yay\u0131nlar\u0131’ndan \u00e7\u0131kan, ‘\u0130stanbul Mahallelerinden Bir Gezinti’ ba\u015fl\u0131kl\u0131 kitab\u0131 da, kokusu, sesi, insanlar\u0131 ile, okuru soka\u011fa davet eden kitaplardan biri. 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