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R<\/span>omanc\u0131. Siyasal alanda da etkinlik g\u00f6stermi\u015ftir.<\/p>\n \u0130stanbul’da do\u011fdu. Kimi kaynaklara g\u00f6re do\u011fum y\u0131l\u0131 1884’t\u00fcr. \u0130ngiliz terbiyesiyle yeti\u015fmesini isteyen babas\u0131 onu \u00dcsk\u00fcdar Amerikan K\u0131z Koleji’nde okuttu. Orada R\u0131za Tevfik’den (B\u00f6l\u00fckba\u015f\u0131) Frans\u0131z edebiyat\u0131 dersleri ald\u0131 ve Do\u011fu’nun mistik edebiyat\u0131n\u0131 dinledi. Sonradan evlendi\u011fi Salih Zeki’den de matematik dersleri al\u0131yordu. Koleji 1901’de bitirdi. 1908’de gazetelere yazmaya ba\u015flad\u0131\u011f\u0131 kad\u0131n haklar\u0131yla ilgili yaz\u0131lardan \u00f6t\u00fcr\u00fc gericilerin d\u00fc\u015fmanl\u0131\u011f\u0131n\u0131 kazand\u0131. 31 Mart Ayaklanmas\u0131’nda bir s\u00fcre i\u00e7in M\u0131s\u0131r’a ka\u00e7mak zorunda kald\u0131.1909’dan sonra e\u011fitim alan\u0131nda g\u00f6rev alarak \u00f6\u011fretmenlik, m\u00fcfetti\u015flik yapt\u0131. Balkan Sava\u015f\u0131 y\u0131llar\u0131nda hastanelerde \u00e7al\u0131\u015ft\u0131. Gerek bu \u00e7al\u0131\u015fmalar\u0131, gerekse m\u00fcfetti\u015fli\u011fi s\u0131ras\u0131nda \u0130stanbul semtlerini dola\u015fmas\u0131, ona \u00e7e\u015fitli kesimlerden insanlar\u0131 tan\u0131ma f\u0131rsat\u0131n\u0131 verdi. 1919’da Sultanahmet Meydan\u0131’nda, \u0130zmir’in i\u015fgalini protesto mitinginde yapt\u0131\u011f\u0131 etkili konu\u015fma \u00fcnl\u00fcd\u00fcr. 1920’de Anadolu’ya ka\u00e7arak Kurtulu\u015f Sava\u015f\u0131’na kat\u0131ld\u0131.<\/p>\n Kendisine \u00f6nce onba\u015f\u0131, sonra da \u00fcst\u00e7avu\u015f r\u00fctbesi verildi. Sava\u015f\u0131 izleyen y\u0131llarda Cumhuriyet Halk F\u0131rkas\u0131 ve Atat\u00fcrk ile siyasal g\u00f6r\u00fc\u015f ayr\u0131l\u0131\u011f\u0131na d\u00fc\u015ft\u00fc. 1917’de evlenmi\u015f oldu\u011fu ikinci kocas\u0131 Adnan Ad\u0131var ile birlikte T\u00fcrkiye’den ayr\u0131ld\u0131. 1939’a kadar d\u0131\u015f \u00fclkelerde ya \u015fad\u0131. O y\u0131llarda konferanslar vermek \u00fczere Amerika’ya ve Mohandas Gandi taraf\u0131ndan Hindistan’a \u00e7a\u011fr\u0131ld\u0131. 1939’da \u0130stanbul’a d\u00f6nen Ad\u0131var 1940’ta \u0130stanbul \u00dcniversitesi’nde \u0130ngiliz Filolojisi K\u00fcrs\u00fcs\u00fc ba\u015fkan\u0131 oldu, 1950’de Demokrat Parti listesinden ba\u011f\u0131ms\u0131z milletvekili se\u00e7ildi. 1954’te istifa ederek evine \u00e7ekilmi\u015f ve 1964’te \u00f6lm\u00fc\u015ft\u00fcr.<\/p>\n Ad\u0131var’\u0131n Seviye Talip (1910), Handan (1912) ve Son Eseri (1913) gibi ilk romanlar\u0131 a\u015fk \u00f6yk\u00fcleri anlatan yap\u0131tlard\u0131r. Yazar kahramanlar\u0131n\u0131 yak\u0131p y\u0131kan bir sevgiyi dile getirmek istedi\u011fi i\u00e7in ki\u015filerin i\u00e7 d\u00fcnyas\u0131na y\u00f6nelir ve bu sevginin zamanla bir tutkuya d\u00f6n\u00fc\u015fmesini sergiler. Bu yap\u0131tlar\u0131n \u00f6nemli \u00f6zelli\u011fini, birbirine benzeyen ve ondan \u00f6nceki T\u00fcrk romanlar\u0131nda bulunmayan kad\u0131n kahramanlarda aramak do\u011fru olur. Yazar\u0131n as\u0131l amac\u0131 kad\u0131n kahramanlar\u0131n ki\u015filiklerini erkeklerin g\u00f6z\u00fcyle de\u011ferlendirmek oldu\u011fu i\u00e7in, romanlar\u0131n\u0131n anlat\u0131c\u0131s\u0131 olarak bu kad\u0131nlara \u00e2\u015f\u0131k erkekleri se\u00e7er ve f\u0131rt\u0131nal\u0131 bir a\u015fk \u00f6yk\u00fcs\u00fcn\u00fc onlar\u0131n an\u0131 defterlerinden ya da mektuplar\u0131ndan anlat\u0131r. Erkek (bazen kad\u0131n da) evli oldu\u011fu i\u00e7in, ka\u00e7\u0131n\u0131lmas\u0131 olanaks\u0131z bir i\u00e7 \u00e7at\u0131\u015fma, romanlar\u0131n moral sorununu olu\u015fturur ve roman ya kad\u0131n\u0131n ya da erke\u011fin \u00f6l\u00fcm\u00fcyle biter. Ad\u0131var’\u0131n, biraz kendi oldu\u011funu iddia edilen bu kad\u0131n kahramanlar\u0131, yazar\u0131n o d\u00f6nemde ideal sayd\u0131\u011f\u0131 T\u00fcrk kad\u0131n\u0131n\u0131 temsil ederler. Seviye Talipler, Handanlar, K\u00e2muranlar her \u015feyden \u00f6nce g\u00fc\u00e7l\u00fc ki\u015fili\u011fi olan, haklar\u0131n\u0131 savunan, Bat\u0131 terbiyesi alm\u0131\u015f, ama Bat\u0131l\u0131la\u015fmay\u0131 giyim ku\u015famda aramayan, resim ya da m\u00fczik gibi bir sanat alan\u0131nda yetenek sahibi, yabanc\u0131 dil bilir, k\u00fclt\u00fcrl\u00fc ve \u00e7ekici kad\u0131nlard\u0131r.<\/p>\n Ad\u0131var 1910 y\u0131llar\u0131nda Ziya G\u00f6kalp, Yusuf Ak\u00e7ura ve Ahmet A\u011fao\u011flu ile birlikte T\u00fcrk Oca\u011f\u0131’nda \u00e7al\u0131\u015fmaya ba\u015flad\u0131ktan sonra yazd\u0131\u011f\u0131 Yeni Turan adl\u0131 roman\u0131nda (1912) yurt sorunlar\u0131na e\u011filir. II. Me\u015frutiyet d\u00f6neminde ge\u00e7en bu \u00fctopik romanda, Yeni Turan adl\u0131 idealist bir partinin program ve \u00e7al\u0131\u015fmalar\u0131n\u0131 anlat\u0131rken yeni bir T\u00fcrkiye’nin hangi sa\u011flam temellere oturtulmas\u0131 gerekti\u011fi hakk\u0131nda o zamanki g\u00f6r\u00fc\u015flerini a\u00e7\u0131klamak f\u0131rsat\u0131n\u0131 bulur. Ate\u015ften G\u00f6mlek (1922) ve Vurun Kahpeye (1923) romanlar\u0131nda Kurtulu\u015f Sava\u015f\u0131 s\u0131ras\u0131nda Anadolu’da tan\u0131k oldu\u011fu olaylar\u0131, direni\u015fleri, kahramanl\u0131klar\u0131, ihanetleri anlat\u0131rken kendi g\u00f6zlemlerinden yararland\u0131\u011f\u0131 i\u00e7in daha ger\u00e7ek\u00e7idir. Bununla birlikte, bir a\u015fk sorununun a\u015f\u0131ld\u0131\u011f\u0131 bu yap\u0131tlarda da y\u00fcceltilmi\u015f kad\u0131n kahraman yerini korur. Ancak \u015fimdi, yine ola\u011fan d\u0131\u015f\u0131 bu kad\u0131n, \u00f6ncekiler gibi bireysel sorunlarla sars\u0131lan k\u00fclt\u00fcrl\u00fc bir sanat\u00e7\u0131 olarak de\u011fil, milli dava pe\u015finde erdemlerini kan\u0131tlayan ya da Anadolu’da d\u00fc\u015fmana kar\u015f\u0131 sava\u015fan bir yurtsever olarak \u00e7\u0131kar kar\u015f\u0131m\u0131za.<\/p>\n Ad\u0131var’\u0131n ilk yap\u0131tlar\u0131nda T\u00fcrk okuruna sundu\u011fu bir yenilik yaratt\u0131\u011f\u0131 bu kad\u0131n imgesidir. Bu imge toplumda birbirine kar\u015f\u0131t olarak alg\u0131lanan de\u011ferleri uzla\u015ft\u0131rd\u0131\u011f\u0131 i\u00e7in \u00f6nemliydi. Osmanl\u0131 -\u0130slam geleneklerine g\u00f6re ev kad\u0131n\u0131 olarak yeti\u015ftirilmi\u015f basit ve cahil kad\u0131n, o d\u00f6nemin ayd\u0131n kesiminin g\u00f6z\u00fcnde geri kalm\u0131\u015f bir uygarl\u0131\u011f\u0131n simgesi gibiydi. \u00d6te yandan Bat\u0131l\u0131la\u015fm\u0131\u015f “asr\u00ee” kad\u0131n da k\u00f6klerinden kopmu\u015f, de\u011ferlerini \u015fa\u015f\u0131rm\u0131\u015f, namus anlay\u0131\u015f\u0131 ku\u015fku uyand\u0131ran bir kad\u0131nd\u0131. Ad\u0131var’\u0131n kahramanlar\u0131 i\u015fte bu \u00e7eli\u015fkiyi kendilerinde uzla\u015ft\u0131rmakla bir \u00f6zleme cevap veriyorlard\u0131. \u00c7\u00fcnk\u00fc bunlar hem Bat\u0131l\u0131la\u015fm\u0131\u015f hem de milli de\u011ferlerine ba\u011fl\u0131 kalm\u0131\u015f, hem serbest hem de namus konusunda \u00e7ok titiz, ahlak\u0131 sa\u011flam kad\u0131nlard\u0131. Gerekti\u011finde bir erkek gibi spor yapan, ata binen bu kad\u0131nlar \u00fcstelik di\u015filiklerini de korumay\u0131 ba\u015farm\u0131\u015flard\u0131r.<\/p>\n Ad\u0131var’\u0131n en \u00fcnl\u00fc roman\u0131 Sinekli Bakkal’da (1936) ileri bir ad\u0131m att\u0131\u011f\u0131n\u0131, yeni bir a\u015famaya vard\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. \u0130lk romanlar\u0131n\u0131n olay \u00f6rg\u00fcs\u00fc bir iki ki\u015fi aras\u0131ndaki bireysel ili\u015fkilere ba\u011fl\u0131 olarak geli\u015firken, II. Abd\u00fclhamid d\u00f6nemindeki T\u00fcrk toplumunun panoramik bir tablosunu sergileyen Sinekli Bakkal’\u0131n olay \u00f6rg\u00fcs\u00fc siyasal, d\u00fc\u015fsel, toplumsal sorunlarla \u00f6r\u00fclm\u00fc\u015f olarak geli\u015fir. Roman\u0131n okuru en \u00e7ok \u00e7eken y\u00f6n\u00fc de fakir kenar mahallesi, Romanda II. Me\u015frutiyet’in ilan\u0131 “as\u0131rlar\u0131n kurdu\u011fu m\u00fcesseselerin k\u00f6klerini” s\u00f6ken, “i\u00e7tima\u00ee ve siyas\u00ee nizam ve intizam\u0131” alt\u00fcst eden bir devrim olarak nitelenir. Do\u011fru tutum Mevlev\u00ee tarikat\u0131ndan Vehbi Dede’nin yapt\u0131\u011f\u0131 gibi “herhangi bir hayat f\u0131rt\u0131nas\u0131n\u0131 s\u00fck\u00fbnetle seyretmek”tir. Yazar devrimden de\u011fil evrimden yanad\u0131r. Roman\u0131n ikinci k\u0131sm\u0131nda yozla\u015fm\u0131\u015f saray \u00e7evresi sergilenirken ana tema olarak Rabia ile Peregrini ili\u015fkisi geli\u015fir ve evlilikle son bulur. Bu evlili\u011fin simgesel anlam\u0131 Bat\u0131 ile Do\u011fu’nun bile\u015fimi olarak yorumlanm\u0131\u015ft\u0131r. Ama Peregrini’nin “\u00f6yle basit ve insan\u00ee ananeler” dedi\u011fi geleneklere ba\u011fl\u0131 Sinekli Bakkal mahallesindeki cemaat ya\u015fam\u0131na hayran olmas\u0131, M\u00fcsl\u00fcmanl\u0131k’\u0131 kabul ederek Rabia ile evlenmesi ve mahalleye yerle\u015fmesi, daha \u00e7ok Do\u011fu de\u011ferlerinin \u00fcst\u00fcnl\u00fc\u011f\u00fcne i\u015faret say\u0131lmaktad\u0131r. Ne var ki yazar, Rabia ile Peregrini’nin sevi\u015fip evlenmelerine inand\u0131r\u0131c\u0131 bir hava verememi\u015ftir.<\/p>\n Farkedilir ki, olaylar yazar\u0131n kafas\u0131ndaki bir g\u00f6r\u00fc\u015f\u00fc dile getirmek i\u00e7in tertiplenmekte ve Do\u011fulu kad\u0131n ile Bat\u0131l\u0131 erkek yazar\u0131n tezi gere\u011fi sevi\u015ftirilip evlendirilmektedirler. Birinci k\u0131s\u0131mda olay \u00f6rg\u00fcs\u00fcn\u00fcn do\u011fal geli\u015fimi, farkl\u0131 d\u00fcnya g\u00f6r\u00fc\u015flerine sahip ki\u015filer aras\u0131ndaki \u00e7at\u0131\u015fmadan do\u011fan gerilim ve dramatik sahneler, ikinci k\u0131s\u0131mda yerlerini, zorlama izlenimi veren bir ili\u015fkiye ve saray \u00e7evresinin tan\u0131t\u0131lmas\u0131na b\u0131rak\u0131nca roman\u0131n 1943’te CHP \u00d6d\u00fcl\u00fc’n\u00fc alan Sinekli Bakkal T\u00fcrkiye’de en \u00e7ok bask\u0131 yapan roman olmu\u015ftur. Sinekli Bakkal’\u0131 izleyen romanlar\u0131n ise yazar\u0131n \u00fcn\u00fcne katk\u0131da bulunacak nitelikte olduklar\u0131 s\u00f6ylenemez. Romancı. Siyasal alanda da etkinlik göstermiştir. İstanbul’da doğdu. Kimi kaynaklara göre doğum yılı 1884’tür. İngiliz terbiyesiyle yetişmesini isteyen babası onu Üsküdar Amerikan Kız Koleji’nde okuttu. Orada Rıza Tevfik’den (Bölükbaşı) Fransız edebiyatı dersleri aldı ve Doğu’nun mistik edebiyatını dinledi. Sonradan evlendiği Salih Zeki’den de matematik dersleri alıyordu. Koleji 1901’de bitirdi. 1908’de gazetelere yazmaya başladığı kadın haklarıyla 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\nzengin konaklar\u0131 ve saray \u00e7evresiyle II. Abd\u00fclhamid zaman\u0131n\u0131n \u0130stanbul’u anlatmas\u0131d\u0131r. Ne var ki yazar\u0131n amac\u0131 bir d\u00f6nemin T\u00fcrk toplumunu yans\u0131tmak de\u011fildir yaln\u0131zca. Bu felsefi romanda \u00e7evrelerin bir i\u015flevi de belli de\u011ferlerin temsilcisi olmakt\u0131r. Sinekli Bakkal mahallesi gelenekleri ve insanc\u0131l de\u011ferleri s\u00fcrd\u00fcren halk kesimini; Gen\u00e7 T\u00fcrkler’den Hilmi ve a rkada\u015flar\u0131 devrimci ayd\u0131nlar\u0131; saray \u00e7evresi ise, yozla\u015fm\u0131\u015f y\u00f6netici kesimi temsil eder. Roman iki k\u0131sma ayr\u0131lm\u0131\u015ft\u0131r. Birinci k\u0131sm\u0131n ana temas\u0131 Abd\u00fclhamid’in istibdat idaresi kar\u015f\u0131s\u0131nda \u015fiddete ba\u015fvurarak devrim yapman\u0131n ge\u00e7erlili\u011fi sorunudur. Ger\u00e7i Ad\u0131var i\u00e7tenlikle ezilen halktan yanad\u0131r, ama gelenek\u00e7ili\u011fi ve savundu\u011fu mistik d\u00fcnya g\u00f6r\u00fc\u015f\u00fc \u015fiddete ba\u015fvurarak devrim yapmay\u0131 onaylamas\u0131na izin vermez.<\/p>\n
\nsanatsal d\u00fczeyi d\u00fc\u015fer.<\/p>\n
\nAd\u0131var \u00e7e\u015fitli alanlarda etkinlik g\u00f6stermi\u015f, siyasal ve toplumsal konularda da hem T\u00fcrk\u00e7e, hem \u0130ngilizce kitaplar yazm\u0131\u015f, \u0130ngilizce’den T\u00fcrk\u00e7e’ye \u00e7eviriler yapm\u0131\u015ft\u0131r. Zaman\u0131n\u0131n d\u0131\u015f \u00fclkelerde en \u00e7ok tan\u0131nan T\u00fcrk yazar\u0131 olmu\u015ftur. Yap\u0131tlar\u0131ndan kimileri \u0130ngiliz, Frans\u0131z, Alman, Rus, Macar, Fin, Urdu, S\u0131rp, Portekiz dillerine \u00e7evrilmi\u015ftir. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"