![\"\"](\"http:\/\/www.circassiancenter.com\/cc-turkiye\/z-2013-Images-2\/787.JPG\")
<\/p>\n<\/p>\n
Kafda\u011f\u0131<\/b><\/span><\/span><\/p>\n Bu g\u00fcne kadar Kafda\u011f\u0131’na okuyucular\u0131n kat\u0131l\u0131m\u0131 en \u00e7ok \u015fiir \u00e7al\u0131\u015fmalar\u0131yla oldu. Dergiye \u015fiirini g\u00f6nderenler iki ayr\u0131 e\u011filim g\u00f6sterdi. Bir k\u0131sm\u0131 mektuplar\u0131n\u0131n arkas\u0131na bir-iki \u015fiirini eklerken, di\u011fer k\u0131sm\u0131 da \u00e7al\u0131\u015fmalar\u0131n\u0131, belki de yazd\u0131klar\u0131n\u0131n i\u00e7inden se\u00e7tiklerini toplu olarak g\u00f6nderdi. <\/span><\/p>\n Toplumsal sorunlar\u0131 dile getirmenin bir bi\u00e7imi kavramlarla konu\u015fmaksa di\u011feri de imgelerle konu\u015fmakt\u0131r. Bilimsel \u00e7al\u0131\u015fmalar\u0131n dili olan kavramlar, sanatsal etkinliklerle, onun dili olan imgelerle b\u00fct\u00fcnle\u015fti\u011finde ve desteklendi\u011finde ya\u015fam bulur, etkinliklerini art\u0131r\u0131rlar. Bu nedenle genelde sanata \u00f6zelde \u015fiire olan ilgi sevindiricidir. Fakat birka\u00e7 \u015fiir yazarak Kafda\u011f\u0131’na g\u00f6nderen arkada\u015flar \u015fiir yazmay\u0131 “kolay” ve “\u00e7abuk \u00fcretilebilir” buluyorlarsa bu konuyu irdelemek gerekmektedir. Bu \u00e7aba ayn\u0131 zamanda “\u015fiiri i\u015f edinenleri de tart\u0131\u015fmaya katabilirse, ele\u015ftiri\/tart\u0131\u015fma s\u00fcreci onlar\u0131n da \u015fiir \u00fczerine yo\u011funla\u015fmalar\u0131na katk\u0131da bulunabilecektir.<\/p>\n \u015eiir yazmaya ba\u015flayanlara hat\u0131rlatal\u0131m; yazmak kolay de\u011fil. Resul Hamzat’\u0131n dedi\u011fi gibi “\u015eiir, dil ve yeti isteyen a\u011f\u0131r bir i\u015f\u00e7ili\u011fi gerektiriyor” Mayakovski de Resul Hamzat ile ayn\u0131 g\u00f6r\u00fc\u015ftedir. “\u015eair i\u015f\u00e7idir” diyen ozan, \u015fiiri “\u00e7ok g\u00fc\u00e7 ve \u00e7ok karma\u015f\u0131k t\u00fcrden bir \u00fcretim” olarak tan\u0131ml\u0131yor.<\/p>\n \u015eA\u0130R \u0130\u015e\u00c7\u0130D\u0130R<\/p>\n <\/b>Ba\u011f\u0131r\u0131rlar \u015faire: Mayakovski’ye g\u00f6re \u015fiir \u00fcretiminin ba\u015flamas\u0131 i\u00e7in \u00f6n ko\u015ful “toplumda, ancak \u015fiir yoluyla \u00e7\u00f6z\u00fclmesi d\u00fc\u015f\u00fcn\u00fclecek bir sorun bulunmas\u0131” k\u0131saca “toplumsal bir buyru\u011fun” olmas\u0131d\u0131r. Naz\u0131m Hikmet de “insan\u0131n evvela s\u00f6ylenecek s\u00f6z\u00fc olacak” der; “sonra bu s\u00f6z s\u00f6ylenme\u011fe de\u011fer olacak, sonra bunu en uygun, en m\u00fckemmel kal\u0131ba d\u00f6k\u00fcp, o kal\u0131b\u0131n mukabil tesirinden de faydalanarak s\u00f6yleyecek”.<\/p>\n Muhaceretteki Kafkasyal\u0131 \u015fairlerin hemen hepsi bilin\u00e7li olarak veya de\u011fil “toplumsal bir buyru\u011fun” fark\u0131nda ve b\u00fcy\u00fck bir k\u0131sm\u0131n\u0131n \u015fiir yazma nedeni de bu buyruk. \u015eiirlerinde genellikle eksik olan ise i\u015f\u00e7ilik. \u015eiirlerinin ortak \u00f6zelli\u011fi “belli bir ruhsal etkilenme i\u00e7inde, bir duygulanma sonucunda” yaz\u0131ld\u0131klar\u0131n\u0131n sezilmesi.<\/p>\n \u015eiirde duygu gerekli fakat yeterli de\u011fildir. N.Hikmet, Yahya Kemal’in “\u015fevk ak\u015fam\u0131nda” yazd\u0131\u011f\u0131 \u015fiirleri ele\u015ftirir. Ve sorar “\u0130spanyol raks\u0131 der demez, \u015faldan, zilden ve g\u00fclden ba\u015fka bir \u015feyi olmamas\u0131 bir \u015fair i\u00e7in hazin bir \u015fey. Zilsiz, \u015fals\u0131z, g\u00fcls\u00fcz \u0130spanyol rakkasesi olmaz. Ama nefes almadan da insan ya\u015fayamaz. Binaenaleyh, ya\u015famaktan bahsederken, nefes alma fiilini mi \u00f6n plana getirece\u011fiz?” Bertolt Brecht, \u015fairlerin duygular\u0131n\u0131n, ruh durumlar\u0131n\u0131n da\u011f\u0131laca\u011f\u0131 korkusu ile ak\u0131ldan korkmamalar\u0131n\u0131 \u00f6\u011f\u00fctler. “\u015eiirsel bir giri\u015fim rastgiden bir giri\u015fimse, duygu ve us uyum i\u00e7inde \u00e7al\u0131\u015f\u0131rlar.”<\/p>\n Latin Amerikal\u0131 \u015fair Pablo Neruda da Brecht ile ayn\u0131 g\u00f6r\u00fc\u015ftedir. Neruda “y\u00f6nlendirilmi\u015f kendili\u011findenli\u011fe” inanmaktad\u0131r. \u00c7al\u0131\u015fmalar\u0131n\u0131n \u00f6nemli bir k\u0131sm\u0131nda \u015fairin “herhangi bir verili konuda, toplumun bir b\u00fct\u00fcn olarak ihtiya\u00e7 duydu\u011fu bir \u015fey hakk\u0131nda yazabilece\u011fini kan\u0131tlamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131” vurgular, eskinin t\u00fcm b\u00fcy\u00fck klasik eserlerinin istek \u00fczerine yaz\u0131ld\u0131klar\u0131n\u0131 hat\u0131rlat\u0131r. Neruda’ya g\u00f6re “\u00d6zg\u00fcrl\u00fck hi\u00e7 bir zaman bu nedenle kaybolmam\u0131\u015ft\u0131r. B\u00fcy\u00fcl\u00fc ilham ve \u015fairin tanr\u0131 ile haberle\u015fmesi, ki\u015fisel \u00e7\u0131karlar\u0131n dikte ettirdi\u011fi icatlard\u0131r.”<\/p>\n “Bu\u011fday\u0131n T\u00fcrk\u00fcs\u00fc” onun ‘toplumsal bir buyrukla’ ‘ak\u0131ldan korkmadan’ yazd\u0131\u011f\u0131 \u015fiirlerine \u00f6rnek olarak verilebilir:<\/p>\n BU\u011eDAYIN T\u00dcRK\u00dcS\u00dc \u00d6zetlersek; Kafdağı Bu güne kadar Kafdağı’na okuyucuların katılımı en çok şiir çalışmalarıyla oldu. Dergiye şiirini gönderenler iki ayrı eğilim gösterdi. Bir kısmı mektuplarının arkasına bir-iki şiirini eklerken, diğer kısmı da çalışmalarını, belki de yazdıklarının içinden seçtiklerini toplu olarak gönderdi. Toplumsal sorunları dile getirmenin bir biçimi kavramlarla konuşmaksa diğeri de imgelerle konuşmaktır. Bilimsel çalışmaların dili olan kavramlar, 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\n“Bir de torna tezgah\u0131 ba\u015f\u0131nda g\u00f6reydik seni.
\n\u015eiir de ne?
\nBo\u015f i\u015f.
\n\u00c7al\u0131\u015fmak, harc\u0131n\u0131z de\u011fil demek ki…”
\nDo\u011frusu
\nbizler i\u00e7in de t\u00fcm de\u011ferlerin \u00fcst\u00fcndedir \u00e7al\u0131\u015fmak. Ve kendimi
\nbir fabrika saymaktay\u0131m ben de ve e\u011fer
\nbacam yoksa
\ni\u015fim daha zor demektir bu.
\nV\u00fccut ve ruh emek\u00e7ileriyiz
\nayn\u0131 kavgan\u0131n i\u00e7inde ve ancak ortak eme\u011fimizle bezeriz evreni
\nmar\u015flar\u0131m\u0131z\u0131 g\u00fcmb\u00fcrdeterek.<\/p>\n
\n<\/b>
\nHalk\u0131m ben, parmakla say\u0131lmayan
\nSesimde p\u0131r\u0131l p\u0131r\u0131l bir g\u00fc\u00e7 var
\nKaranl\u0131kta boy atmaya
\nSessizli\u011fi a\u015fmaya yarayan
\n\u00d6l\u00fc, yi\u011fit, g\u00f6lge ve buz, ne varsa
\nTohuma dururlar yeniden
\nVe halk, topra\u011fa g\u00f6m\u00fcl\u00fc
\nTohuma durur bir yerde
\nBu\u011fday nas\u0131l filizini s\u00fcrer de
\n\u00c7\u0131karsa topra\u011f\u0131n \u00fcst\u00fcne
\nG\u00fczelim k\u0131rm\u0131z\u0131 elleriyle
\nSessizli\u011fi burgu gibi deler de
\nBiz halk\u0131z, yeniden do\u011far\u0131z \u00f6l\u00fcmlerde.<\/p>\n
\n1) \u015eiir bir \u00fcretimdir,
\n2) Bu \u00fcretimin ba\u015flamas\u0131 i\u00e7in toplumsal bir buyruk gereklidir,
\n3) \u015eiirde duygu ve us uyum i\u00e7inde \u00e7al\u0131\u015f\u0131rlar, (Y\u00f6nlendirilmi\u015f kendili\u011findenlikle)
\n4) Duygu ve usun birlikteli\u011fi verili bir konuda \u015fiirin yaz\u0131labilmesine olanak sa\u011flar.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"