{"id":2863,"date":"2008-06-21T12:55:59","date_gmt":"2008-06-21T12:55:59","guid":{"rendered":""},"modified":"-0001-11-30T00:00:00","modified_gmt":"-0001-11-29T21:00:00","slug":"booker-ve-iris-murdoch","status":"publish","type":"post","link":"https:\/\/www.emresururi.com\/blogs\/sururi\/2008\/06\/21\/booker-ve-iris-murdoch\/","title":{"rendered":"Booker ve Iris Murdoch"},"content":{"rendered":"

Atonement’\u0131n filmini izledikten sonra, kitap hakk\u0131nda biraz daha fikir sahibi olmak a\u00e7\u0131s\u0131ndan \u015f\u00f6yle bir sanal denizlere yelken a\u00e7t\u0131m. Bu kitapla Ian McEwan, Booker \u00f6d\u00fcl\u00fcn\u00fc k\u0131l pay\u0131 ka\u00e7\u0131rm\u0131\u015f (hemen \u00fcz\u00fclmeyin, bir \u00f6nceki kitab\u0131 Amsterdam’la zaten alm\u0131\u015fm\u0131\u015f \u00f6d\u00fcl\u00fc). Booker \u00f6d\u00fcl\u00fcn\u00fc alanlar\u0131n listesine bakar iken Hande’nin gene Atonement ile ilgili yaz\u0131s\u0131nda<\/a> bahsini ge\u00e7irdi\u011fi John Banville’in The Sea<\/i> kitab\u0131n\u0131 da g\u00f6rd\u00fcm ama bu listenin bana as\u0131l an\u0131msatt\u0131\u011f\u0131 sevgili Iris Murdoch’\u0131m\u0131n sevgili fkk’m sayesinde edinip okudu\u011fum The Sea, the Sea<\/i>‘si oldu. Bir ara Iris Murdoch sevdam gelmi\u015fti de, birbirini takiben pek \u00e7ok kitab\u0131n\u0131 okumu\u015ftum (hatta \u0130T\u00dc’de “kendi imkanlar\u0131mla” okumaya ba\u015flay\u0131p da, ODT\u00dc k\u00fct\u00fcphanesinde cilt cilt Murdoch’lar\u0131 g\u00f6r\u00fcnce nas\u0131l da mutlu olmu\u015ftum).<\/p>\n

Iris’le birlikteli\u011fimiz onun The Sacred and Profane Love Machine<\/i>‘de yapt\u0131\u011f\u0131 “o \u015feye” kadar s\u00fcrd\u00fc ama o anda o kitab\u0131 da, further Murdoch reading<\/i>lerimi de bir kenara kald\u0131rd\u0131m, onu da affetmedim.<\/p>\n

Onca Murdoch kitab\u0131n\u0131n ard\u0131ndan ba\u015fl\u0131ca \u00fc\u00e7 kitab\u0131 vard\u0131r benim i\u00e7in:
\nThe Sea, the sea
\nThe Black Prince
\nThe Philosopher’s Pupil<\/p>\n

Bu da b\u00f6yle. Black Prince hele, bana resmen eziyet etmi\u015ftir. Bu ba\u011flamda Ernesto Sabato’nun T\u00fcnel’i, Michel Butor’un De\u011fi\u015fme’si ve O\u011fuz Atay’\u0131n Tehlikeli Oyunlar’\u0131 ile e\u015fde\u011ferdir – bana beni anlat\u0131p da \u00e7ok fena yaralayan. <\/p>\n

Neyse, ne diyordum, nereye geldim.. 8)<\/p>\n

The Sea, the sea… Bu hayatta sadece bir tek Murdoch okuyacaks\u0131n\u0131z, o da bu olsun..<\/i> 8P<\/p>\n

\u015eimdiii, a\u015fa\u011f\u0131ya fkk ile vaktiyle yapt\u0131\u011f\u0131m\u0131z uzuuuuun mu uzuuun bir HiTNet yaz\u0131\u015fmas\u0131n\u0131 aktar\u0131yorum. \u00d6nce ayr\u0131 bir link olarak verecektim ama sonra -nedense- vazge\u00e7tim. Okuyan okur, okumayan okumaz, bandwidth’ler \u015fi\u015fer. <\/p>\n

Ladiiiiessss and Gentlemeeeeen here I present you the IM tour de force:<\/p>\n

<\/p>\n
\n=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
\nFrom: Emre Sururi Tasci -etasci@hitnet.bbs.tr>
\nTo: DG -duzyazi@hitnet.bbs.tr>
\nDate: Tuesday, March 20, 2001, 1:43:10 AM
\nSubject: Fwd: Re: [DUZYAZI] The Sea, The Sea, The Sea (Three sides of every story) 1
\nFiles: -none>
\n–====—-====—-====—-====—-====—-====—-====—-====—-====—-===–
\nThis is a forwarded message
\nFrom: Emre Sururi Tasci -etasci@hitnet.bbs.tr>
\nTo: Duzyazi Alani Sakinleri -duzyazi@hitnet.bbs.tr>
\nDate: Tuesday, March 20, 2001, 1:38:55 AM
\nSubject: : Re: [DUZYAZI] The Sea, The Sea, The Sea (Three sides of every story) 1<\/p>\n

===8-==============Original message text===============
\npofff.. mesaj\u0131 yazm\u0131\u015ft\u0131m, 20000 s\u0131n\u0131r\u0131na tak\u0131lm\u0131\u015f… senin
\nal\u0131nt\u0131lardan biraz kesece\u011fim fkk, kusura bakma…<\/p>\n

sevgiler,
\nyine s.<\/p>\n

This is a forwarded message
\nFrom: Emre Sururi Tasci -etasci@hitnet.bbs.tr>
\nTo: DG -duzyazi@hitnet.bbs.tr>
\nDate: Tuesday, March 20, 2001, 1:25:04 AM
\nSubject: [DUZYAZI] The Sea, The Sea, The Sea (Three sides of every story)<\/p>\n

===8-==============Original message text===============
\nQuoting DG:<\/p>\n

EST>> ‘Mr Arkwright, do you ever see any very large eels in this vicinity?’<\/p>\n

DG> * Heavy Spoiler * (hele Emir de okuyacaksa..)
\nevet emir! keep off! san\u0131r\u0131m ben de ‘a\u011f\u0131r’ birka\u00e7 \u015fey s\u00f6yleyece\u011fim..<\/p>\n

DG> – Prehamis –<\/p>\n

DG> Onur bak, o BBS tipi mesajlardan birini atiyorum, aman dikkat \ud83d\ude42<\/p>\n

DG> Ayrica Extreme’in? Three sides of every story diye cok sevdigim bir
\nDG> albumu vardir ama, pek tutulmadi zamaninda… Her neyse..
\nbilmem, bilemem sevdice\u011fim.. ama san\u0131r\u0131m bu k\u0131s\u0131m da o’su b\u00fcy\u00fck (?)
\nonur’a gidiyordu..<\/p>\n

DG> – Mesaj –<\/p>\n

DG> The Sea^2’de ki butun o dev yilan baliklari, canavarlar, yildizlar,
\nDG> hayaletler, bogulmadaki hint fakiri numaralari bayagi ilgincti
\nDG> gercekten, mail listte de epey biseyler konusulmustu bu konuda. Gene
\nDG> bildigim kadariyla, Peter Conradi Iris Murdoch icin ‘a magical
\nDG> realist’ yazmisti biryerlerde ama kuskusuz Murdoch’in iluzyonlarini
\nDG> Marquez’le karsilastirmak yanlis olur.. Gelgelelim, mesela Byatt
\nDG> The Sea^2 incelemesinde,
\nvalla conradi midir, her kimse, ona kocaman bir yuh! diyorum… onca
\nkitab\u0131 aras\u0131nda bir bu kitapta rastlad\u0131m b\u00f6yle olaylara… amcam
\nherhalde, bir tek bu kitab\u0131n\u0131 okumu\u015f murdoch’\u0131n, bir de bizim “b\u00fct\u00fcn
\nmurdoch kitaplar\u0131 birbirine t\u0131pat\u0131p karakterler” muhabbetimizi… yok
\ncan\u0131m, yok \u00f6yle bir \u015fey (da\u011f\u0131l\u0131n..)<\/p>\n

DG> “And the magic? How do the deamons, sea-serpents, Tibetean magical
\nDG> ‘tricks’ and the careful realism of Charles’s daily tidinesses and
\nDG> chaos fit? Not quite”<\/p>\n

yep. not quite ama charlie zaten kendisi bir a\u00e7\u0131klama getiriyor buna,
\nyersek veya yemezsek ama adam yap\u0131yor a\u00e7\u0131klamas\u0131n\u0131 (LSD olay\u0131, i
\nmean). kald\u0131 ki, ba\u015flarda, hani “a terrible thing happened” deyip,
\nsonra da ‘hi\u00e7bir \u015fey olmam\u0131\u015f gibi’ devam ediyor ya, ben orada k\u0131l
\nolmu\u015ftum (ger\u00e7i olan\u0131 deniz canavar\u0131 de\u011fil de, konuyu az bu\u00e7uk
\nbildi\u011fimden kelli hartley’i g\u00f6r\u00fc\u015f\u00fc sanm\u0131\u015ft\u0131m, ama olsun) sonras\u0131nda
\nda, hani savunmaya ge\u00e7iyor ya, belki k\u0131llanm\u0131\u015fs\u0131n\u0131zd\u0131r, hem terrible
\nthing happened diye yaz\u0131p, sonras\u0131nda da normal devam edi\u015fime ama
\nbak\u0131n, a\u00e7\u0131klayay\u0131m, \u015f\u00f6yle \u015f\u00f6yle bir \u015feyler diyor ya, o da doyurmad\u0131
\nbeni. bir murdoch r\u00f6portaj\u0131nda okumu\u015ftum, hatun ki\u015fi, b\u00fct\u00fcn roman\u0131
\n\u00f6nce kafamda ba\u015ftan sona yaz\u0131p bitiririm, sonra ka\u011f\u0131da d\u00f6kerim
\ndiyordu, bunu bilmesem, gidi\u015fatta yazd\u0131\u011f\u0131n\u0131 s\u00f6ylerdim bu k\u0131sm\u0131..<\/p>\n

DG> dedikten sonra oykunun akisindaki bu degisikliklerin kimilerine keyif
\nDG> verebilecegi gibi okurun inancindaki atlamalarin iritasyon
\nDG> yaratabilecegini de hatirlatmis.. Ama tabii bana sorarsaniz ablamiz
\nDG> n’eylerse guzel eyler.. Hos hakkini yememek lazim, Byatt’in
\nDG> incelemesiyle (Degress of Freedom, kitabi marketinizden israrla
\nDG> isteyiniz)
\nvar bizde g\u00fczelim, merak etmeyiniz (k\u00fct\u00fcphanede yanl\u0131\u015f hat\u0131rlam\u0131yorsam
\n3 adet murdoch incelemesi vard\u0131, hatta bora ile ke\u015ffetti\u011fimizde \u015fok
\nolmu\u015ftuk, sittin tane doris lessing kitab\u0131, incelemesi ile vaktiyle
\nodt\u00fc’de yap\u0131lan “doris lessing sempozyumu” gibi bir olay\u0131n tutanaklar\u0131
\nda vard\u0131)
\nDG> , Melekler Zamani’ndaki Elizabeth ile The Sea^2’deki
\nDG> kuleye kapatilmis prenses motifinin benzerligi gibi enteresan pek cok
\nDG> seyi farkediyor insan..
\ndaha \u00f6nceden de yazm\u0131\u015f\u0131md\u0131r; melekler zaman\u0131 ile r\u00fcya sakinleri (oder
\nr\u00fcya gezginleri oder bruno’s dream, hangileri do\u011fru, hat\u0131rlam\u0131yorum)
\ntamam\u0131yla i\u00e7i\u00e7e ge\u00e7mi\u015f hatta y\u0131k\u0131c\u0131 giri\u015fim yapm\u0131\u015f durumdalar
\nbelle\u011fimde… o kadar az \u015fey hat\u0131rl\u0131yorum ki… bir de, byatt’\u0131
\ng\u00f6r\u00fcnce “vayz!” demi\u015ftim, “teyzem nereden nereye…”<\/p>\n

DG> The Sea^2’nin diger IM kitaplarindan farki, bence, guzel olay kurgusu
\nDG> bir yana, Deniz’in diger kitaplarindan cok daha fazla on plana cikisi
\nDG> (yoksa icinde Deniz ve\/veya Thames, taslar, ressamlar ve\/veya
\nDG> aktorler, guzel ve etekli kizlar, Wittgenstein ve\/veya Platon gecmeyen IM
\nDG> kitabi yoktur) ve tabii ki return of the beloved konusudur ki, ustasi
\nDG> Emre buralardayken benim bu konuya girmem yakisik almaz…
\n8) pub’lar\u0131 unutmu\u015fsunuz ki, \u00e7ok ay\u0131plad\u0131m (c\u0131k c\u0131k c\u0131k.. 8)
\nsonra inzivaya \u00e7ekili\u015f, roman\u0131n \u00f6nemli bir ki\u015fisinin \u00f6l\u00fcm\u00fc de
\nsay\u0131labilir. ve san\u0131r\u0131m, ge\u00e7mi\u015ften yahut da uzak akrabalardan hi\u00e7
\nbeklenmedik bir yak\u0131nl\u0131k, ili\u015fkiye ge\u00e7me de. sonra, ekseriye porselen,
\nbiblolar (bir yere kadar black prince’te hat\u0131rl\u0131yorum, phil’s pupi’de
\nde vard\u0131, nun’s and soldiers’da sanki, italyan k\u0131z\u0131’nda bilmiyorum).
\nayr\u0131ca \u00f6nem verilen ki\u015fili\u011fi olan bir ev de her roman\u0131nda mevcut.
\nakl\u0131ma gelmi\u015fken yazay\u0131m: san\u0131r\u0131m italyan k\u0131z\u0131 ile phil’s pupil ayn\u0131
\nevde ge\u00e7iyor (yani evler birbirine \u00f6te benziyor) hatta karakterler de
\nayn\u0131 kibin. (anne, hizmet\u00e7i, iki erkek karde\u015f, b\u00fcy\u00fck karde\u015fin metres
\nolay\u0131, vs..)<\/p>\n

the sea^2’de beni \u015fok eden, hatun ki\u015finin nas\u0131l bu kadar maskulin
\nyazd\u0131\u011f\u0131 oldu… kad\u0131nlar\u0131 \u00f6yle bir anlat\u0131yor ki… yani…<\/p>\n

DG> Tas dedim de, dun aksam uyuya kalmadan once Nuns & Soldiers’da Anne’in
\nDG> ruyasinda(?) Christ’le karsilastigi bolumu okudum ve o kadar guzeldi
\nDG> ki, tanrim, sabah kalkinca acaba bir ruya miydi diye dusundum \ud83d\ude42 (ilk
\nDG> bos vaktimde alana aticam, soz. Hem de sokak guvercini sozu.)
\nofff ya! hakikaten m\u00fcthi\u015fti… ben de vaktiyle “ilk f\u0131rsatta
\nal\u0131nt\u0131lanacaklar” listesine koymu\u015ftum, k\u0131smet sizeymi\u015f…<\/p>\n

… hIcbIR seYIM YOk akIp gIDEN sOKAkTaN bASka… c.sUreyA<\/p>\n

\n——————————————————————————-
\nOrigin : HiTNeT E-Posta Listeleri – http:\/\/www.hitnet.bbs.tr<\/p>\n

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=<\/p>\n

\n=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
\nFrom: Emre Sururi Tasci -etasci@hitnet.bbs.tr>
\nTo: DG -duzyazi@hitnet.bbs.tr>
\nDate: Tuesday, March 20, 2001, 1:43:54 AM
\nSubject: Fwd: Re: [DUZYAZI] The Sea, The Sea, The Sea (Three sides of every story) 1.5
\nFiles: -none>
\n–====—-====—-====—-====—-====—-====—-====—-====—-====—-===–
\npofff… b\u00f6ld\u00fc\u011f\u00fcm halde ilk b\u00f6l\u00fcm yine tak\u0131lm\u0131\u015f… onu da b\u00f6l\u00fcyorum,
\nbu 1.5’uncu par\u00e7a.. (o g\u00f6nderdi\u011fim de tak\u0131l\u0131nca \u015fimdi anlad\u0131m, fwd
\nedince, eski mesaj\u0131 da kaps\u0131yor, b\u00f6ylece mesaj\u0131n boyutu iki kat\u0131na
\n\u00e7\u0131k\u0131yor… neyse, ge\u00e7 olsun, g\u00fc\u00e7 olmas\u0131n..)<\/p>\n

————————————
\nDG> Murdoch’in kitaplarini niye bu kadar sevdigim konusuna gelirsem, bence
\nDG> yazdiklarini, soylemek istedikleri (ne kadar sevimsiz bir laf) ve de
\nDG> soyleme uslubu seklinde ikiye ayirmakta fayda var.. Sanat, neticede,
\nDG> gercegi dile getirmenin bir yolu olmasi ve aslinda, filozof yengemizin
\nDG> Wittgenstein’in ongordugu bicimde dogrudan dile getiremedigi pek cok
\nDG> dusuncesini aciklayabildigi bir arac olarak dusunuldugunde, ilk
\nDG> bakista kadinin kitaplarindan zevk almak icin derin bir felsefe genel
\nDG> kulturu gerektigi dusunulebilir, ki bu kismen dogru bir tanimlama da
\nDG> olur.. Hatta itiraf etmek gerekirse, adini habire unuttugum
\nDG> kitabi Metaphysics as a guide to morals’den su Derrida ve
\nDG> yapisalciligi cevirmeye baslamamin sebebi, Banks’in excession’da gecen su
\nDG> cumlenin bana Murdoch’i felaket bicimde hatirlatmasi oldu; sadece
\nDG> weapon yerine, mesela, love yazin yeter, IM’nin herhangi bir kitabinda
\nDG> heran karsiniza cikabilir:<\/p>\n

DG> “The weapon, like anything else, could only finally be judged by the
\nDG> effect it had on others, by the consequences it produced in some
\nDG> outside context, by its place in the rest of the universe.”
\nbu paragraf\u0131 “ay\u0131klay\u0131p” “mostly harmless spoiler” ibaresi ile emir’in
\ng\u00f6r\u00fc\u015f\u00fcne a\u00e7al\u0131m, \u015fevke gelsin derim (ben). ayr\u0131ca murdoch’\u0131 sevmenizin
\nbir sebebi daha var ki, \u00e7ok \u015f\u00fck\u00fcr, beni bunu \u00f6\u011frenmeye hakk\u0131 olan
\ninsanlar aras\u0131nda say\u0131p, bah\u015fetmi\u015ftiniz na\u00e7izane kulunuza… (the
\nnet’ti, de\u011fil mi?)<\/p>\n

DG> Nitekim Witty ve Derrida, kelimelerin[1] nesnelere onceden baglanmis
\nvaktiyle butor’un ‘masa’ \u00fczerine yazd\u0131klar\u0131n\u0131 yollam\u0131\u015ft\u0131m san\u0131r\u0131m…
\nyoksa cem aka\u015f’\u0131n m\u0131yd\u0131 o tart\u0131\u015fma… yoksa hayalet gemi’den miydi?
\npofff…
\nDG> isimler olmadigini ve kelimelerin anlamlarini kendi aralarindaki
\nDG> iliskiler vasitasiyla (Witty ek olarak yasamdaki kullanim biciminden de
\nDG> bahsetmisti ya) kazandigini soylemislerdi.. Neyse, asagiya daha once
\nDG> alana attigimi sanmadigim, Murdoch’un bu felsefi yonuyle ilgilenen cok
\nDG> guzel bir mesaj ekliyorum..<\/p>\n

murdoch, bir ara sartre’\u0131n sevgilisi olmu\u015f… ondan etkilenmi\u015f gibi
\ngeliyor bana ama sadece romanc\u0131l\u0131k konusunda… yani sartre’\u0131n
\nroman\u0131nda ne kadar felsefe varsa, murdoch’ta da o kadar edebiyat,
\nsartre’da ne kadar edebiyat varsa, murdoch’\u0131n roman\u0131nda da o kadar
\nfelsefe gibi geliyor bana (aha, b\u00f6yle de ahkam\u0131m\u0131 keserim)…<\/p>\n

bir de kelimeler \u00fczerine, beni bp’de (superV) kopartan yer:<\/p>\n

(Francis Marloe’nun kitab\u0131n sonundaki analizi)<\/p>\n

(…)Bradley tells us in so many words that his parents kept a PAPER
\nshop. (Paper: papa.) The ‘crime’ of soiling paper (defaecation) is a
\nnatural image of the revolt against the father. (…) Why does Bradley
\ngloatingly idolize ‘grand’ satationers’ shops? Father never got THIS
\nfar. This is a ‘gift’ far beyond the humble resources f the original
\nshop. (And of course gilt: guilt.) (…) Moreover (and what do we need
\nmore to complete our theory?) should we wish to inquire further
\nconcerning the identity of this monster we have only to consider the
\ntwo initial letters of his name. (Black Prince. Bradley Pearson.)(…)<\/p>\n

\nA subscription list form y forthcoming work, “Bradley Pearson, the
\nParanoiac from the Paper Shop” is now open c\/o the publisher.<\/p>\n

\noff ya! murdoch san\u0131r\u0131m bu b\u00f6l\u00fcm\u00fc yazarken kahkahalar\u0131n\u0131 tutam\u0131yordu.<\/p>\n

murdoch dedim de, akl\u0131ma geldi, bir gazete haberi:
\n7 Mart 2001, H\u00fcrriyet<\/p>\n

Alzheimer Tembel Hastal\u0131\u011f\u0131<\/p>\n

Ya\u015fl\u0131 insanlar \u00fczerinde ara\u015ft\u0131rma yapan ABD’li bilim adamlar\u0131, gen\u00e7lik
\nve ergenlik y\u0131llar\u0131nda entelekt\u00fcel ve hareketli ya\u015fam sergilenlerin,
\nAlzheimer hastal\u0131\u011f\u0131ndan daha fazla korundu\u011funu a\u00e7\u0131klad\u0131lar.<\/p>\n

(habere resim olarak ronald reagan’\u0131 koyarsan, olur tabii ama yuh
\nyani… entelekt\u00fcel ya\u015famda zaten bat\u0131yor, buna bir de, murdoch’\u0131n
\nkocas\u0131 ile evlenme karar\u0131n\u0131 onunla dans etti\u011finde vermi\u015f oldu\u011fu
\nbilgisini ekliyorum…)<\/p>\n

DG> Bununla beraber kadininin romanciligi (yukarida uslubu dedigim sey)
\nDG> basli basina bir olay.. Gene The Sea^2’den simdi hatirlayamadigim
\nDG> birisi buyuk ihtimalle okurken farketmedigim bir ornek vermisti: bir
\nDG> gun Charles kuleye masa tasirken masayi dusurur ve romanin ilerki
\nDG> bolumlerinden birinde Lizzie’nin ona ilk sordugu sey, kayalarin
\nDG> arasindaki masayi gorup gormedigi olur..<\/p>\n

ar\u015fivciniz burada da hizmetinizde!..<\/p>\n

I did not look at the crabs after all. I became obsessed with the
\nidea of carrying a cahir and table out to the tower, and I set off
\nacross the rocks with the little folding table which I had moved from
\nthe middle room to the drawing room. This object soon began to seem
\nabsurdly heavy, and I found to my annoyance that the smooth steep
\nfaces of the rocks were to difficult to climb while I was holding the
\ntable in one hand. Eventually I let the thing fall into a cravasse. I
\nmust try to pioneer some easier way to get to the tower.<\/p>\n

———————————————–<\/p>\n

Lizzie dropped her eyes, reached out one hand to the wall,
\nbalanced to shake her broken sandal off, and put her bare foot down
\ninto the grass. She said, ‘Did you know that there was a table there
\namong the rocks?’
\n ‘Yes, I put it there.’
\n ‘I thought the sea might have brought it in.’
\n(p97)<\/p>\n

black prince’te de, hani k\u0131zla bir operaya (rosenkavalier) giderler,
\nya\u015fl\u0131 kad\u0131n gen\u00e7 bir adam\u0131 seviyordur, dayanamaz, operadan ka\u00e7ar
\nbradley… sonra \u00f6lmeden \u00f6nce operan\u0131n sonunda ne oldu\u011funu sorar P.
\nLoxias’a..<\/p>\n

DG> Bunun gibi detaylari o kadar
\nDG> guzel kotariyor ki kadin, (yet, Proust kadar iyi degil. Yeri gelmisken
\nDG> bir daha: Proust gelmis gecmis en iyi yazardir. Herif icin roman degil gunluk
\nDG> yazaridir dediklerini dusunuyorum da…) okurun bu detaylarla
\nDG> beslenen bir dunya yaratmasi gercekten cok kolay ve zevkli oluyor,
\nDG> zaten iyi bir yazardan baska ne yapmasi istenebilir ki..
\nDG> Nitekim Byatt da sunlari yazmis:<\/p>\n

DG> “I think what I ultimately most admired was Miss Murdoch’s
\nDG> extraordinary success, in this book, with one of her expressed
\nDG> ambitions -to suggest, as Shakespeare and Dickens do – a world of
\nDG> people related to ‘in’ this fictive world- who are only sketched, or
\nDG> mentioned, or hinted at. A success with things unsaid, and people
\nDG> undescribed. Clement takes almost no-page but is a huge presence.”
\nkesinlikle… mesela nunnies’de kont. off offfff…<\/p>\n

DG> vs. vs… Bir de foklar olacakti ama, neyse artik.
\n\u015fimdilik sadece bahsediliyor…<\/p>\n

===8-===========End of original message text===========<\/p>\n

—
\nBest regards,
\n Emre mailto:etasci@hitnet.bbs.tr<\/p>\n

\n… vE beN bUyudum bIr gEcE… eDa’bI#2<\/p>\n

\n——————————————————————————-
\nOrigin : HiTNeT E-Posta Listeleri – http:\/\/www.hitnet.bbs.tr<\/p>\n

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
\n=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
\nFrom: Emre Sururi Tasci -etasci@hitnet.bbs.tr>
\nTo: DG -duzyazi@hitnet.bbs.tr>
\nDate: Tuesday, March 20, 2001, 1:34:20 AM
\nSubject: Fwd: Re: [DUZYAZI] The Sea, The Sea, The Sea (Three sides of every story) 2
\nFiles: -none>
\n–====—-====—-====—-====—-====—-====—-====—-====—-====—-===–
\nkesmeye k\u0131yamad\u0131m, ikiye b\u00f6ld\u00fcm ben de…
\n————————————————
\nDG> – Postscript –<\/p>\n

DG> —-<\/p>\n

DG> From: “John Najjar”
\nDG> Date: Wed Sep 13, 2000 2:34pm
\nDG> Subject: Prehistory History Postscript:Life Goes On.<\/p>\n

\nDG> Hi,
\nDG> I do not know if email is a good medium in which to discuss the
\nDG> complex themes of Iris Murdoch’s novels, as it is very difficult to
\nDG> deal with her complex ideas and themes in a few words. I have tried to
\nDG> be as concise as I could possibly be, without falsifying her ideas by
\nDG> being too general.
\nDG> Anyhow, in , The Sea, The Sea, I think that Iris, by using these
\nDG> three sections to structure this novel,( “Prehistory”, “History”,
\nDG> “Postscript:Life goes on”) is attempting to highlight a major theme in
\nDG> not only this novel, but all her novels. Iris Murdoch taught in the
\nDG> philosophy department of Oxford University for many years, but, as she
\nDG> made clear in her early essays, Murdoch became increasingly
\nDG> disillusioned with modern Western philosophy.
\nthesea^2’nin intro’sunu okumu\u015f muydun, o da \u00e7ok g\u00fczel.. hatta onu
\nokurken, \u00f6yle bir gaza geldim ki, fukuyama’y\u0131 da, derrida’y\u0131 da
\nunutup, bir kere de ben \u00e7\u0131kard\u0131m tarihin \u00f6ld\u00fc\u011f\u00fcn\u00fc… genelde pek sesli
\nyorumda bulunmam tek ba\u015f\u0131mayken, ama sesli sesli belirttim “tarih
\nart\u0131k yok.” diye..
\nDG> In all her
\nDG> novels,however, Murdoch’s major concern is a philosophical one. Her
\nDG> novels explore and bracket this question: “What is truth?”; or to put
\nDG> it another way – – “how do we know that what we believe to be true and
\nDG> good, really is good and true”. When we make a judgment about another,
\nDG> how can we know that our perceptions are just and true?
\n????? ayn\u0131 murdoch’tan m\u0131 bahsediyoruz??? ger\u00e7i \u015fimdi akl\u0131ma geldi,
\nphil’s puppy’den bir kuple: (phil. ile gen\u00e7 bir han\u0131m konu\u015fmaktalar,
\nphil, k\u0131z\u0131n arkada\u015flar\u0131ndan birini k\u00f6t\u00fcl\u00fcyor, gen\u00e7 han\u0131m da, aksini
\niddia ediyor..)<\/p>\n

‘There’s no mask, she’s a very truthful person, she’s one of the
\nbest people I’ve ever met!’
\n ‘I think you don’t know how coarse she is and the things she can
\nsay – you are a child and you have met very few people and you think
\ntoo well of everyone – people who seen nice can be thoroughly wicked.’
\n ‘What’s wicked is that article you’re so obsessed with, you got
\nall that stuff out of the article, it’s all just spiteful lies, you
\nhaven’t any proof. Well, have you?’
\n ‘Strong probabilities amount to proof.’
\n ‘Perhaps they do in philosophy, but I prefer to believe what I
\nsee clearly.’
\n ‘That’s in philosophy, too. But what you see clearly be false.’<\/p>\n

(p453)
\nama bu mevzuata ana olay demek… c\u0131k!<\/p>\n

\nDG> An awareness of a number of myths or metaphors are important to fully
\nDG> understanding the work of Iris Murdoch (she read Classics at Oxford).
\nDG> These myths or metaphors are: Plato’s myth of the Cave from his
\nDG> Republic, the ancient Greek myth of Eros, Apollo and Marsyas. I will
\nyunan meselesine dair:<\/p>\n

Of course most theatre is gross ephemeral rot; and only plays by great
\npoets can be READ, except as directors’ notes. I say ‘great poets’ but
\nI suppose I really mean Shakespeare. It is a paradox that the most
\nessentially frivolous and rootless of all the serious arts has
\nproduced the greatest of all writers. That Shakespeare was ‘quite
\ndifferent’ from the others, not just ‘primus inter pares’ but totally
\ndifferent in quality, was something which I discovered entirely by
\nmyself when I was still at school; and on this secret was I nourished.
\nThere are no other plays on paper, unless one counts Greek plays. I
\ncannot Greek, and James tells me these are untranslatable. After
\nlooking at a number of translations I am sure he is right.<\/p>\n

theseax2, p36
\nDG> now try to highlight why these myths and metaphors are so necessary to
\nDG> her work, and how this may related to the first section of The Sea,
\nDG> The Sea – “Prehistory”.
\nDG> As an aside, I would like to mention that by structuring this novel
\nDG> around 3 sections, Murdoch is drawing the reader’s attention to the
\nDG> fact that this is a history, a story. Murdoch has been criticized for
\nDG> writing the same novel over and over again.
\n****Murdoch has been criticized for writing the same novel over and
\nover again.*** biraz adice olacak ama espri olarak arada s\u0131rada,
\nmurdoch’\u0131n alzheimer nedeniyle, asl\u0131nda her seferinde \u00e7ok farkl\u0131 bir
\nhikaye yaz\u0131yor oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr\u00fcm… tamam, adiyim ama niyetim temiz.<\/b><\/p>\n

DG> Her answer to such
\nDG> criticism was that her work searches for a certain form, a perfection
\nDG> almost (see Murdoch’s essay, published in 1964, “The Idea Of
\nDG> Perfection”). These three sections, Prehistory (that which came
\nDG> before) History (that which is in the past) and Postscript (that which
\nDG> came after) highlight the artifice of the writer’s art. We always look
\nDG> back upon our lives, structuring the past using our present values and
\nDG> goals. Some have said of history that it is told by the victors, and
\nDG> what this underlines is that any human story is selective in what it
\nDG> tells us. There is no whole truth, especially where human values are
\nDG> involved, but only vague intuitions as to where truth may lay. With
\nDG> history at least there is an agreement about certain events and how
\nDG> they occurred, but there is no absolute agreement on what these events
\nDG> may have meant. Given that in a novel, we have before us only what we
\nDG> read or are told, how are we to know which character to judge harshly.
\n(…) It has only just now occured to me that really I could write all
\nsorts of fantastic nonsense about my life in these memoirs and
\neverybody would believe it! Such is human credulity, the power of the
\nprinted word, and of any well-known ‘name’ or ‘show business
\npersonality’. Even if readers claim that they ‘take it all with a
\ngrain of salt’, they do not really.<\/p>\n

the sea++(p76)<\/p>\n

DG> The last section makes this very clear, in the postscript we are given
\nDG> totally different accounts of what happened by each character in the
\nDG> novel.
\nbp’deki gibi olacak demek..
\nDG> Each character has a different perception, depending on how
\nDG> they formed their judgment and the influences that were brought to
\nDG> bear upon it. What is brought to our attention by the use of these 3
\nDG> terms is that this is a story, and that each character can only judge
\nDG> events from their perspective, and that such personal judgments must
\nDG> always be clouded by an individual’s values, emotions and goals. In
\nDG> the world of inter-subjectivity, there is no absolute truth that can
\nDG> exist independently outside of events, but only a vague understanding
\nDG> of what the truth may be. The only way we can come to any
\nDG> understanding of the situation is by attempting to see beyond the Cave
\nDG> of our selfish desires, motivations and prejudices. When we attempt to
\nDG> see beyond ourselves, and our self-centered perceptions, then we
\nDG> stand in the light of truth. Iris Murdoch’s novels show us just how
\nbunu murdoch sartre: romantic rationalist’te olduk\u00e7a detayl\u0131
\nbelirtiyordu…
\nDG> difficult and rare it is for us to perceive justly and truly.
\nDG> For Plato, and for Murdoch, truth is a process, whereby we approach
\nDG> the Good; a process of breaking away from the shadows reflected on the
\nDG> wall of the cave. Murdoch makes it clear that most of us are lost in
\nDG> darkness. The darkness of fantasy and narcissism. Truth is a process
\nDG> of sending energy outwards away from the self and its fantasies,
\nDG> towards another in mutual recognition. This is love. In Murdoch many
\nDG> of her characters fall in love, this is because Murdoch has stated
\nDG> that the closest most of us every get to actually seeing another
\nDG> for-themselves, and not what we want them to be, is when we fall in
\nDG> love. Many of Mrdoch’s characters are most deceived when they believe
\nDG> themselves to be in love with another. What love, highlights, however,
\nbu saptama harbi \u00e7ok iyi.
\nDG> is this movement of psychic energy away from the self outwards towards
\nDG> another. Very few of Murdock’s characters ever come close to seeing
\nDG> the truth of their situation.
\nDG> As this email is getting a bit too long, I shall leave my discussion
\nDG> of the myths and metaphors in Murdoch’s novels to another time. These
\nDG> metaphors are, however, crucial to a full understanding of her work.<\/p>\n

DG> John Najjar<\/p>\n

DG> —-<\/p>\n

DG> [1] Hediyesi…<\/p>\n

\nDG> Words like violence
\nDG> Break the silence
\nDG> Come crashing in
\nDG> Into my little world
\nDG> Painful to me
\nDG> Pierce right through me
\nDG> Can’t you understand
\nDG> Oh my little girl<\/p>\n

\nDG> All I ever wanted
\nDG> All I ever needed
\nDG> Is here in my arms
\nDG> Words are very
\nDG> Unnecessary
\nDG> They can only do harm<\/p>\n

\nDG> Vows are spoken
\nDG> To be broken
\nDG> Feelings are intense
\nDG> Words are trivial
\nDG> Pleasures remain
\nDG> So does the pain
\nDG> Words are meaningless
\nDG> And forgettable<\/p>\n

\nDG> All I ever wanted
\nDG> All I ever needed
\nDG> Is here in my arms
\nDG> Words are very
\nDG> Unnecessary
\nDG> They can only do harm…<\/p>\n

\nDG> Enjoy the silence
\nand i thank you for bringing me here, for showing me home…<\/p>\n

beni murdoch’la tan\u0131\u015ft\u0131rd\u0131\u011f\u0131n i\u00e7in \u00e7ok te\u015fekk\u00fcr ederim do\u011fan.. bug\u00fcn
\nthesea^2’yi okurken akl\u0131ma, senin de ayn\u0131 kitaptan okumu\u015f oldu\u011fun
\ngeldi, gururland\u0131m…<\/p>\n

sevgilers,
\nmre s.<\/p>\n

\n… johNny b. gOOdE, dOruk be bad!<\/p>\n

===8-===========End of original message text===========<\/p>\n

—
\nBest regards,
\n Emre mailto:etasci@hitnet.bbs.tr<\/p>\n

… GUzeL BIR KadInI tum sanAtlara TeRcIh edeRIm – MaupassAnt<\/p>\n

\n——————————————————————————-
\nOrigin : HiTNeT E-Posta Listeleri – http:\/\/www.hitnet.bbs.tr<\/p>\n

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=<\/p>\n

\n<\/div>\n

<\/TD><\/TR><\/TABLE><\/p>\n","protected":false},"excerpt":{"rendered":"

Atonement’\u0131n filmini izledikten sonra, kitap hakk\u0131nda biraz daha fikir sahibi olmak a\u00e7\u0131s\u0131ndan \u015f\u00f6yle bir sanal denizlere yelken a\u00e7t\u0131m. Bu kitapla Ian McEwan, Booker \u00f6d\u00fcl\u00fcn\u00fc k\u0131l pay\u0131 ka\u00e7\u0131rm\u0131\u015f (hemen \u00fcz\u00fclmeyin, bir \u00f6nceki kitab\u0131 Amsterdam’la zaten alm\u0131\u015fm\u0131\u015f \u00f6d\u00fcl\u00fc). Booker \u00f6d\u00fcl\u00fcn\u00fc alanlar\u0131n listesine bakar iken Hande’nin gene Atonement ile ilgili yaz\u0131s\u0131nda bahsini ge\u00e7irdi\u011fi John Banville’in The Sea kitab\u0131n\u0131 … Okumaya devam et “Booker ve Iris Murdoch”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[10,13],"tags":[],"_links":{"self":[{"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/posts\/2863"}],"collection":[{"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/comments?post=2863"}],"version-history":[{"count":0,"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/posts\/2863\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/media?parent=2863"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/categories?post=2863"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.emresururi.com\/blogs\/sururi\/wp-json\/wp\/v2\/tags?post=2863"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}