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Dervi\u015f Ayd\u0131n Akko\u00e7<\/span><\/span> \u201cMy friend, you would not tell with such high zest T\u00fcm toplumlar \u201csava\u015f kurbanlar\u0131n\u0131\u201d \u015fu ya da bu \u015fekilde estetize etmi\u015flerdir. Siyasi, hukuki ya da dini bir de\u011fer u\u011fruna \u201chayat\u0131n\u0131 ortaya koyan\u201d ve ortaya koydu\u011fu bu hayat\u0131, sava\u015f esnas\u0131nda yitiren ki\u015filer ya tanr\u0131la\u015ft\u0131r\u0131lm\u0131\u015f ya da kahramanla\u015ft\u0131r\u0131lm\u0131\u015flard\u0131r. Gerek Antik Yunan\u2019da gerekse Roma \u0130mparatorlu\u011fu\u2019nda \u201cvatan i\u00e7in \u00f6lmek\u201d (pro patria mori) genel siyasi d\u00fc\u015f\u00fcncenin \u00f6nemli bir bile\u015fenini olu\u015fturuyordu. Patria, yani vatan, Yunan\u2019daki polis ya da Roma\u2019daki respublica kavramlar\u0131yla do\u011frudan ili\u015fkiliydi. \u00d6te yandan vatan i\u00e7in \u00f6lmeye, siyasi ve hukuki s\u00f6ylemin bir par\u00e7as\u0131 olmas\u0131 hasebiyle manevi bir i\u00e7erik y\u00fcklenmi\u015fti. Kantorowicz\u2019in belirtti\u011fi \u00fczere Antik d\u00f6nemde patria salt co\u011frafi bir anlama sahip de\u011fildi. Vatan kavram\u0131 daha ziyade yurtta\u015flar\u0131n (politai) i\u00e7inde ya\u015famlar\u0131n\u0131 s\u00fcrd\u00fcrd\u00fckleri \u201cevren\u201d (kosmos) anlam\u0131nda kullan\u0131l\u0131yordu. Bu kosmos, Yunan\u2019da polis, Roma\u2019daysa respublica\u2019da cisimle\u015fiyordu. Bu nedenle vatan i\u00e7in \u00f6lmek, asl\u0131nda yurtta\u015flar\u0131n siyasi b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc ifade eden polis ya da respublica i\u00e7in \u00f6lmek demekti. \u00d6rne\u011fin geni\u015f bir alana yay\u0131lan Roma \u0130mparatorlu\u011fu kendi \u201cb\u00fct\u00fcnl\u00fc\u011f\u00fc\u201d i\u00e7inde bir kent (polis) olarak tasavvur ediliyordu. \u201cRoma\u2019n\u0131n gitti\u011fi her yer Roma\u2019d\u0131r\u201d s\u00f6ylemi de, bu duruma at\u0131ft\u0131. Kantorowicz\u2019e g\u00f6re, Romal\u0131 bir asker Galya, Suriye ya da \u0130spanya\u2019daki bir \u00e7arp\u0131\u015fmada hayat\u0131n\u0131 kaybetti\u011finde pro patria (kahraman) olarak \u00f6l\u00fcyordu. Ne var ki, Roma \u0130mparatorlu\u011fu bir patria, vatan de\u011fildi. Patria\u2019dan ziyade orbis Ramanus (Roma d\u00fcnyas\u0131) vatan kavram\u0131n\u0131n yerine ge\u00e7iyordu. Bir ba\u015fka ifadeyle bu geni\u015f imparatorlu\u011fun savunulmas\u0131 esnas\u0131nda ya\u015fam\u0131n\u0131 kaybeden insanlar respublica Romana (Roma siyasi b\u00fct\u00fcn\u00fc) ad\u0131na hayatlar\u0131n\u0131 feda ediyorlard\u0131.<\/p>\n Yunan\u2019daki polis ya da Roma\u2019daki respublica u\u011fruna \u00f6lenlere kar\u015f\u0131 b\u00fcy\u00fck bir \u201csayg\u0131\u201d duyuluyordu. Kantorowicz\u2019e g\u00f6re, bu sayg\u0131n\u0131n alt\u0131nda yatan saik ba\u015flang\u0131\u00e7ta \u201c\u00f6l\u00fclerin geri d\u00f6nece\u011fine dair dini korkuyla\u201d alakal\u0131yd\u0131. S\u00f6z konusu dinsel korkudan hareketle daha sonra \u00f6l\u00fclerin yar\u0131-tanr\u0131la\u015ft\u0131r\u0131lmas\u0131 s\u00fcreci ya\u015fand\u0131. \u0130\u00d6 V. y\u00fczy\u0131lda sava\u015f kurbanlar\u0131n\u0131n estetik-mitik kurgulanma s\u00fcreci son \u015feklini ald\u0131. Sava\u015flarda \u00f6lenler i\u00e7in ilk defa \u201cresmi mezarlar\u201d yap\u0131lmaya ba\u015fland\u0131. \u00d6l\u00fcler, mezarlar ya da t\u00f6renlerle onurland\u0131r\u0131l\u0131yordu art\u0131k. Epik \u015fiirlerde, felsefi anlat\u0131larda, dinsel s\u00f6ylemlerde sava\u015f\u00e7\u0131lar\u0131n \u201ccesaretleri\u201d, \u201cfedak\u00e2rl\u0131klar\u0131\u201d ve \u201ckahramanl\u0131klar\u0131\u201d i\u015fleniyordu.<\/p>\n Ne var ki, bu onurland\u0131rma pratikleri tek tarafl\u0131 de\u011fildi. \u015e\u00f6yle ki, resmi onurland\u0131rma sadece zafer kazanm\u0131\u015f g\u00fc\u00e7ler i\u00e7in de\u011fil, ma\u011flup g\u00fc\u00e7ler i\u00e7in de ge\u00e7erliydi. Sava\u015fta hayat\u0131n\u0131 kaybedenlere y\u00f6nelik olarak kar\u015f\u0131l\u0131kl\u0131 sayg\u0131 duyuluyordu. S\u00f6zgelimi Homeros \u0130lyada adl\u0131 eserinde kendi halk\u0131 olan Akhalar\u0131 sava\u015f\u00e7\u0131l\u0131klar\u0131 ve erdemleri bak\u0131m\u0131ndan \u00f6verken, d\u00fc\u015fman g\u00fc\u00e7lerin ba\u015f\u0131nda yer alan ve a\u011f\u0131r bir hezimete u\u011frayan Hektor\u2019u da \u00f6v\u00fcyordu. Zira d\u00fc\u015fman, d\u00fc\u015fman da olsa h\u00e2l\u00e2 insand\u0131. D\u00fc\u015fman\u0131n d\u00fc\u015fman olma hali, onun belli bir \u201cestetik b\u00fct\u00fcnl\u00fc\u011fe\u201d kavu\u015fturulmas\u0131n\u0131 gerekli k\u0131l\u0131yordu. Bu nedenle Antik d\u00f6nemde sava\u015f\u00e7\u0131lar\u0131n cesetlerine y\u00f6nelik estetik bir hassasiyet geli\u015ftirilmi\u015fti. \u00d6l\u00fcm, belli bir kutsall\u0131k tasarrufuyla g\u00fczelleniyordu.<\/p>\n Antik \u00e7a\u011f\u0131n \u201csava\u015f kurban\u0131\u201d ve sava\u015f\u00e7\u0131 imgeleri, Orta\u00e7a\u011f\u2019a giri\u015fle birlikte \u00e7\u00f6z\u00fclmeye ba\u015flad\u0131. \u0130mge ikiye b\u00f6l\u00fcnd\u00fc. Orta\u00e7a\u011f\u2019da insanlar polis ya da respublica i\u00e7in de\u011fil, efendisi ya da lordu i\u00e7in \u00f6l\u00fcyordu bu defa. Manevi i\u00e7erik, bir ba\u015fka anlam ve de\u011ferler k\u00fcmesi taraf\u0131ndan yeniden kurgulan\u0131yordu. Daha sonra H\u0131ristiyanl\u0131\u011f\u0131n da etkisiyle vatan i\u00e7in \u00f6lmek ile Tanr\u0131 i\u00e7in \u00f6lmek aras\u0131nda ba\u011f kuruldu. Vatan ve Tanr\u0131 kavramlar\u0131 birbirlerinin muadili olarak tahayy\u00fcl ediliyordu. Ki\u015finin hayat\u0131n\u0131 \u201cTanr\u0131\u2019n\u0131n Krall\u0131\u011f\u0131\u201d u\u011fruna feda etmesi ile d\u00fcnyevi krall\u0131k u\u011fruna feda etmesi aras\u0131nda paralellikler kuruluyordu. \u00d6lenleri nitelemek i\u00e7in \u015fehitlik kavram\u0131n\u0131 kullanmak yayg\u0131n bir hal ald\u0131. Zamanla efendi ya da krallar ad\u0131na \u00f6lenler ile Tanr\u0131 ad\u0131na \u00f6lenler aras\u0131ndaki ayr\u0131m silikle\u015fti. B\u00f6ylece Antik d\u00f6nemin vatan kavram\u0131 niteliksel bir de\u011fi\u015fim ge\u00e7irdi; co\u011frafi anlamda \u00fclkeye, siyasi anlamdaysa devlete g\u00f6ndermede bulunmaya ba\u015flad\u0131. Vatan kavram\u0131n\u0131n devlete ve siyasi iktidara olan mesafesinin ortadan kalkmas\u0131yla imgenin b\u00f6l\u00fcnm\u00fc\u015f yap\u0131s\u0131 yeniden birle\u015ftirilmi\u015f oluyordu. D\u00f6nemin sonuna do\u011fru insanlardan hayatlar\u0131n\u0131 talep eden siyasi iktidarlar, hem Tanr\u0131\u2019ya hem de siyasi temsil olarak krall\u0131\u011fa vurgu yap\u0131yordu.<\/p>\n Modern devlet paradigmas\u0131na ge\u00e7i\u015fle birlikte vatan kavram\u0131n\u0131n Orta\u00e7a\u011f\u2019\u0131n sonlar\u0131nda kazand\u0131\u011f\u0131 anlam, Weber\u2019in ifadesiyle \u201cb\u00fcy\u00fcs\u00fcn\u00fc\u201d yitirdi. Mistik unsur olarak Tanr\u0131 kavram\u0131 vatan kavram\u0131n\u0131n \u00e7eperlerine itildi. I. ve II. D\u00fcnya Sava\u015flar\u0131nda vatan i\u00e7in \u00f6lmeye atfedilen tarihsel ve k\u00fclt\u00fcrel anlam, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde da\u011f\u0131ld\u0131. Bu durum olduk\u00e7a \u00fcrk\u00fct\u00fcc\u00fc bir d\u00fczeye ula\u015ft\u0131. \u00d6yle ki, Kantorowicz\u2019in g\u00f6zlemiyle \u201cbir askerin hayat\u0131n\u0131, hayat kayb\u0131na e\u015fde\u011fer herhangi bir manevi kar\u015f\u0131l\u0131k olmaks\u0131z\u0131n istemek \u00fczeriyiz\u201d (Devlet Kuram\u0131, Dost Kitabevi, s. 125). Modernli\u011fin \u00f6lme ve \u00f6ld\u00fcrme bi\u00e7imlerindeki kritik e\u015fik de, buras\u0131d\u0131r. Siyasi iktidarlar egemenlikleri alt\u0131nda olan yurtta\u015flar\u0131ndan hayatlar\u0131n\u0131 talep ederken, talepte bulundu\u011fu hayatlar\u0131n kar\u015f\u0131l\u0131\u011f\u0131n\u0131 sunma hususunda kifayetsiz kalm\u0131\u015ft\u0131r. Herhangi bir yeni de\u011fer yaratamam\u0131\u015flard\u0131r. Geleneksel \u015fehitlik anlay\u0131\u015f\u0131n\u0131 modern \u00f6l\u00fcmlere uyarlayarak, \u00f6l\u00fcm\u00fc \u201culusal onur\u201d, \u201cvatanseverlik\u201d gibi s\u00f6ylemlerle telafi etmeye \u00e7al\u0131\u015fmakla yetinmektedir modern siyasi iktidarlar.<\/p>\n Vatan s\u00f6zc\u00fc\u011f\u00fcn\u00fcn modern yeniden de\u011ferlendirilmesiyle, s\u00f6zc\u00fc\u011fe y\u00fcklenen anlamlar Antik modeldeki kullan\u0131m bi\u00e7imine tuhaf bir bi\u00e7imde geri d\u00f6nd\u00fc. Vatan mefhumu siyasi iktidar olarak, d\u00fcnyevi devletle ili\u015fkilenmeye ba\u015flad\u0131. Lakin Antik d\u00f6nemin d\u00fc\u015fman ve sava\u015f kavramlar\u0131na de\u011fer bah\u015feden unsurlar ya yap\u0131sal d\u00f6n\u00fc\u015f\u00fcmlere u\u011frad\u0131 ya da b\u00fcsb\u00fct\u00fcn ortadan kalkt\u0131. Geleneksel yi\u011fitlik ve kahramanl\u0131k s\u00f6ylemleri tuzla buz oldu. Zira d\u00fc\u015fman kavram\u0131n\u0131n insan kavram\u0131yla olan ili\u015fkisi kesildi. Modern anlamland\u0131rmada d\u00fc\u015fman, \u201conura\u201d sahip de\u011fildir. D\u00fc\u015fman, onurdan ziyade belirleyici s\u0131fat olarak \u201chayvanl\u0131k\u201d \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n\u0131 da bar\u0131nd\u0131ran kahpelikle tan\u0131mlan\u0131r. \u00d6yle ki, d\u00fc\u015fman ter\u00f6rle m\u00fccadelede oldu\u011fu gibi \u201cd\u00fc\u015fman stat\u00fcs\u00fcne\u201d dahi \u00e7o\u011fu zaman sahip olmayabiliyor. D\u00fc\u015fman cephede konu\u015flan\u0131r, hayvanlarsa inlerde. D\u00fc\u015fmanlar g\u00f6\u011f\u00fcs g\u00f6\u011fse \u00e7arp\u0131\u015fmada \u00f6ld\u00fcr\u00fcl\u00fcyorken, hayvanlar inlerinde avlan\u0131yor art\u0131k.<\/p>\n Bu durumun yans\u0131mas\u0131n\u0131 T\u00fcrkiye\u2019deki \u201ckirli sava\u015fta\u201d g\u00f6zlemleyebiliriz. K\u00fcrt Sorunu \u00f6zelinde \u00f6ld\u00fcr\u00fclm\u00fc\u015f \u201csava\u015f\u00e7\u0131lar\u0131n\u201d burunlar\u0131 ve kulaklar\u0131 kesiliyor; g\u00f6zleri oyuluyor. Cesetlere yap\u0131lan k\u00f6t\u00fc muamelelerle cesedin temsil etti\u011fi d\u00fc\u015fman kuvvetler a\u015fa\u011f\u0131lan\u0131p, \u00e7irkinle\u015ftiriliyor. Bu durum bir de-estetizasyon, yani \u00e7irkinle\u015ftirme s\u00fcreci olarak de\u011ferlendirilebilir. Fakat bana \u00f6yle geliyor ki tam tersi bi\u00e7imde de de\u011ferlendirilebilir. \u00d6yle ki, modern sava\u015f ve d\u00fc\u015fman ger\u00e7ekli\u011fine uygun yeni bir esteti\u011fin tedav\u00fcle sokuldu\u011fu kanaatindeyim. Bu estetik vah\u015fetin, \u00e7irkinli\u011fin esteti\u011fidir. \u00d6ncelikle ve sadece korkuyu eksen almaktad\u0131r bu estetik. Varl\u0131\u011f\u0131yla deh\u015fet sa\u00e7an, kan\u0131 donduran vah\u015fet esteti\u011fi modern devlet akl\u0131n\u0131n tezah\u00fcr\u00fcd\u00fcr. Modern devlet, M. De Sade\u2019\u0131n g\u00fczellik ve \u00e7irkinlik aras\u0131nda yapt\u0131\u011f\u0131 ayr\u0131m\u0131n ge\u00e7 de olsa fark\u0131na vard\u0131 gibi: \u201cg\u00fczellik basit bir \u015feydir, ola\u011fand\u0131\u015f\u0131 olan \u00e7irkinliktir. G\u00fczellik basit anlam\u0131yla \u00e7arp\u0131c\u0131 olamaz. \u00c7irkinlik, \u00e7\u00fcr\u00fcm\u00fc\u015fl\u00fck \u00e7ok daha sert bir darbe yarat\u0131r, \u00e7ok daha g\u00fc\u00e7l\u00fc sarsar\u201d (Sodom, \u00c7iviyaz\u0131lar\u0131, s. 57). T\u00fcrkiye\u2019de \u201c\u00e7irkinli\u011fin g\u00fcc\u00fc\u201d 1990\u2019lar\u0131n ortalar\u0131nda ke\u015ffedildi. Bug\u00fcnlerde yeniden g\u00f6r\u00fcn\u00fcr hale geldi. PKK \u00fcyelerine ait cesetlere y\u00f6nelik \u00e7irkinle\u015ftirme uygulamalar\u0131n\u0131n, K\u00fcrt toplumunda \u201csars\u0131c\u0131\u201d ve \u201csert bir darbe\u201d yaratma amac\u0131yla ger\u00e7ekle\u015ftirildi\u011fi vak\u0131ad\u0131r. Cesetlere birer le\u015f muamelesi yap\u0131larak, m\u00fccadele edilen insanlar\u0131n, insan olmaktan kaynaklanan itibarlar\u0131 ellerinden al\u0131n\u0131yor. Bu durum da anla\u015f\u0131l\u0131rd\u0131r zira Antik d\u00f6nemin kar\u015f\u0131l\u0131kl\u0131 sayg\u0131 anlay\u0131\u015f\u0131, yerini topyek\u00fbn bir sayg\u0131s\u0131zl\u0131\u011fa b\u0131rakt\u0131.<\/p>\n T\u00fcrkiye\u2019de K\u00fcrt Sorunu \u00f6zelinde Kantorowicz\u2019in g\u00f6zleminin ge\u00e7erli oldu\u011fu kan\u0131s\u0131nday\u0131m. \u201cHerhangi bir manevi kar\u015f\u0131l\u0131k olmaks\u0131z\u0131n\u201d askerlerden ya\u015famlar\u0131 isteniyor. Vatan i\u00e7in \u00f6lme fikri s\u0131cakl\u0131\u011f\u0131n\u0131, seferber edici g\u00fcc\u00fcn\u00fc halen muhafaza etmektedir. Fakat mesele burada de\u011fil. As\u0131l sorun, vatan kavram\u0131ndan anla\u015f\u0131lan tasavvurun belirsizli\u011findedir. Co\u011frafi olarak vatan i\u00e7in mi yoksa siyasi birlik olarak \u201cvatan\u0131n b\u00f6l\u00fcnmez b\u00fct\u00fcnl\u00fc\u011f\u00fc\u201d i\u00e7in mi askerlerden ya\u015famlar\u0131 talep ediliyor? Tan\u0131l Bora, T\u00fcrk milliyet\u00e7ili\u011finin s\u00f6ylemsel olarak vatan s\u00f6zc\u00fc\u011f\u00fcne y\u00fckledi\u011fi anlam\u0131n \u201charitalardan\u201d ve \u201ckilometrekarelerden\u201d ibaret oldu\u011funu belirtiyor. Bu tespite kat\u0131lmamak m\u00fcmk\u00fcn de\u011fil. Harita olarak vatan, devlete dolay\u0131m kurman\u0131n da yeg\u00e2ne vas\u0131tas\u0131d\u0131r. Bu tasavvurda T\u00fcrk kimli\u011fi d\u0131\u015f\u0131ndaki \u00e7e\u015fitli etnik unsurlar\u0131n k\u00fclt\u00fcrel \u00e7oklu\u011fu bir zenginlik de\u011fil, zillet belirtisidir. Terk-i diyar etmek zorunda b\u0131rak\u0131lanlar diyardan oldu\u011fu kadar haritalardan da s\u00fcr\u00fclm\u00fc\u015f, silinmi\u015flerdir.<\/p>\n Vatan\u0131n b\u00f6l\u00fcnmez b\u00fct\u00fcnl\u00fc\u011f\u00fc esprisi ile \u201cdevletin b\u00f6l\u00fcnmez b\u00fct\u00fcnl\u00fc\u011f\u00fc\u201d esprisi aras\u0131nda kurulan ba\u011fda bir m\u00fcphemlik s\u00f6z konusudur. T\u00fcrkiye\u2019de vatan i\u00e7in \u00f6lmek ya da \u00f6ld\u00fcrmek devlet i\u00e7in \u00f6lmek ve \u00f6ld\u00fcrmek anlam\u0131na geliyor. Fakat h\u00e2kim ideolojik s\u00f6ylem tam da bu durumu pe\u00e7elemek \u00fczere i\u015fliyor. Zira ni\u00e7in ve neden sava\u015ft\u0131\u011f\u0131 hakk\u0131nda pek bir fikri olmayan insanlar\u0131, \u00f6lmeye ve \u00f6ld\u00fcrmeye \u015fartland\u0131rmak, ba\u015fka t\u00fcrl\u00fc m\u00fcmk\u00fcn de\u011fildir. Vatan s\u00f6zc\u00fc\u011f\u00fc siyasilerin muhayyilesinde haritadan ibaret oldu\u011fu i\u00e7in, ter\u00f6rle m\u00fccadele esnas\u0131nda ormanlar\u0131n yak\u0131lmas\u0131 gibi uygulamalardan imtina edilmiyor. Ormanlar\u0131n yak\u0131lmas\u0131yla birlikte insanlar\u0131n yan\u0131 s\u0131ra, hayvanlar\u0131n da varl\u0131\u011f\u0131 silinip gidiyor.<\/p>\n Devlet \u00f6zg\u00fcl\u00fcnde ger\u00e7ekle\u015fen s\u00fcre\u00e7, bir bak\u0131ma PKK i\u00e7in de ge\u00e7erli. PKK de y\u0131llar\u0131 bulan bu sava\u015fta militanlar\u0131ndan hayatlar\u0131n\u0131 talep ederken eski \u201cmanevi kar\u015f\u0131l\u0131klar\u0131\u201d epeyce bir a\u015f\u0131nd\u0131rd\u0131. Gerillalar ni\u00e7in \u00f6lmektedirler? Bu soru asl\u0131nda T\u00fcrkiye kamuoyunda bir ba\u015fka \u00f6nemli sorudan sonra geliyor: PKK ne istiyor? PKK\u2019nin siyasi talepleri, militanlar\u0131n\u0131n \u00f6lme ve \u00f6ld\u00fcrme gerek\u00e7esidir. PKK taraf\u0131ndan \u00f6ne s\u00fcr\u00fclen gerek\u00e7elerin belirsizli\u011fi, dahas\u0131 politik taleplerin m\u00fctemadiyen de\u011fi\u015fmesi, san\u0131r\u0131m T\u00fcrk halk\u0131ndan \u00f6nce K\u00fcrt halk\u0131 nezdinde kimi sorular\u0131n sorulmas\u0131na neden olacak, oluyor. Hakikaten K\u00fcrt gen\u00e7leri ni\u00e7in \u00f6l\u00fcyor? Par\u00e7alanm\u0131\u015f bir vatan imgesi olarak K\u00fcrdistan i\u00e7in mi, k\u00fclt\u00fcrel-anayasal haklar i\u00e7in mi, devrim i\u00e7in mi, \u201cdemokratik \u00f6zerklik\u201d i\u00e7in mi? Ni\u00e7in bu \u00f6lmeler, \u00f6ld\u00fcrmeler?<\/p>\n Wilfred Owen\u2019\u0131n dizeleri bug\u00fcn her zamankinden daha bir \u00e7arp\u0131c\u0131. \u015eaire g\u00f6re, vatan i\u00e7in \u00f6lmek (pro patria mori) \u201ceski bir yaland\u0131r\u201d. Bu yalan\u0131n b\u00f6yle \u015fevkle dile getirilmemesini talep ediyor Owen. Bilhassa da bu yalan\u0131n yarataca\u011f\u0131 \u201cumutsuz \u015f\u00f6hrete\u201d heves eden \u00e7ocuklara kar\u015f\u0131\u2026<\/p>\n","protected":false},"excerpt":{"rendered":" Derviş Aydın Akkoç Birikim Dergisi, 31 Temmuz 2010 “My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie; Dulce et Decorum est Pro partria mori.” (Wilfred Owen, 1917) Tüm toplumlar “savaş kurbanlarını” şu ya da bu şekilde estetize etmişlerdir. Siyasi, hukuki ya da dini bir […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","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,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"0","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"off","ocean_gallery_id":[],"footnotes":""},"categories":[6],"tags":[],"class_list":["post-10391","post","type-post","status-publish","format-standard","hentry","category-arastirma-ana-sayfa","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/10391","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=10391"}],"version-history":[{"count":3,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/10391\/revisions"}],"predecessor-version":[{"id":15001,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/10391\/revisions\/15001"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=10391"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=10391"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=10391"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/span> <\/b> Birikim Dergisi, 31 Temmuz 2010<\/span><\/p>\n
\nTo children ardent for some desperate glory,
\nThe old Lie; Dulce et Decorum est
\nPro partria mori.\u201d
\n<\/i>(Wilfred Owen, 1917)<\/span><\/p>\n