{"id":291,"date":"2011-08-01T17:22:25","date_gmt":"2011-08-01T15:22:25","guid":{"rendered":"http:\/\/yasamaevet.noblogs.org\/?p=291"},"modified":"2011-08-01T17:22:25","modified_gmt":"2011-08-01T15:22:25","slug":"antichrist-ne-anlatiyor-iii-trierin-zerdustu-yasin-yildirim","status":"publish","type":"post","link":"https:\/\/yasamaevet.noblogs.org\/?p=291","title":{"rendered":"Antichrist Ne Anlat\u0131yor? – III, Trier’in Zerd\u00fc\u015ft’\u00fc | Yasin Y\u0131ld\u0131r\u0131m"},"content":{"rendered":"

\"\"<\/a><\/strong><\/p>\n

<\/a><\/strong>Trier\u2019in Zerd\u00fc\u015ft\u2019\u00fc
\n<\/strong><\/p>\n

<\/strong>Nietzsche\u2019nin H\u0131ristiyanl\u0131\u011f\u0131 ve H\u0131ristiyan\u2019\u0131 m\u00fcmk\u00fcn k\u0131lan h\u0131n\u00e7 bilinci analizini bir kez kavrad\u0131\u011f\u0131m\u0131zda Trier\u2019in Antichrist\u2019inin \u00fczerindeki t\u00fcm sis perdesi kalkar. Trier\u2019in hikayesini anlatt\u0131\u011f\u0131 kad\u0131nla erkek san\u0131labilece\u011fi gibi Adem ile Havva de\u011fildir, hele kad\u0131n Deccal hi\u00e7. \u00d6te yandan, Trier s\u0131radan bir kibirli erkek-\u2018su\u00e7lu\u2019 kad\u0131n ili\u015fkisini de anlatm\u0131yordur filmde. Film H\u0131ristiyanl\u0131\u011f\u0131n ba\u015flang\u0131c\u0131ndaki efendi\u2013k\u00f6le, yani rahip-k\u00f6le ili\u015fkisinin ilk kurgulan\u0131\u015f\u0131ndan binlerce y\u0131l sonra nas\u0131l bir sonla kar\u015f\u0131la\u015faca\u011f\u0131na, H\u0131ristiyanl\u0131k mitolojisinin k\u0131yametine, Nietzsche\u2019nin b\u00fct\u00fcn de\u011ferlerin de\u011fersizle\u015fip, rahiple k\u00f6le aras\u0131ndaki hakikat ili\u015fkisinin bir su\u00e7lama ve fiziki g\u00fc\u00e7 ili\u015fkisine d\u00f6necek dedi\u011fi nihilistik s\u00fcrecin sonuna ili\u015fkin bir yorumdur. Yani kad\u0131n d\u00fc\u015fmanl\u0131\u011f\u0131 yap\u0131yor diye su\u00e7lanan Trier \u2018k\u0131yamet\u2019 koptu\u011funda kad\u0131n\u0131n ba\u015f\u0131na gelecek olan felaketi anlat\u0131yor, en ba\u015fta da kad\u0131nlar\u0131 uyar\u0131yordur.
\nFilmde anlat\u0131lan k\u0131yamet, erkekle kad\u0131n son H\u0131ristiyanlard\u0131r. Erkek iki bin sene sonra ba\u015flang\u0131\u00e7taki rahibin ula\u015ft\u0131\u011f\u0131 son noktad\u0131r; ateisttir, hakikatin bilgisine sahip entelekt\u00fceldir, t\u0131pk\u0131 ilk rahip gibi psikanalisttir ve k\u00f6lesinin ac\u0131s\u0131n\u0131 dindirmeyi kendine g\u00f6rev edinmi\u015ftir. Kad\u0131nsa binlerce y\u0131ld\u0131r arzular\u0131n\u0131 bast\u0131rmas\u0131 tavsiye edilmi\u015f k\u00f6ledir; t\u0131pk\u0131 Nietzsche\u2019nin H\u0131ristiyanl\u0131\u011f\u0131n k\u00f6keninde buldu\u011fu k\u00f6le gibi neredeyse b\u00fct\u00fcn fiziksel enerjisini yitirecek kadar ac\u0131 \u00e7ekmektedir ve ac\u0131s\u0131n\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fc kar\u015f\u0131s\u0131nda \u00e7aresizle\u015fmi\u015f, kendini rahibinin kollar\u0131na b\u0131rakm\u0131\u015ft\u0131r. Hik\u00e2ye t\u0131pk\u0131 ilk rahip ile k\u00f6lesi aras\u0131ndaki hakikat ili\u015fkisi gibi ba\u015flar, ama ona tamamen z\u0131t bir bi\u00e7imde. \u0130lk rahip sahip oldu\u011fu hakikatin bilgisiyle k\u00f6lesine su\u00e7lusun der, Tanr\u0131 sen su\u00e7lulu\u011funu g\u00f6r diye kendi \u00e7ocu\u011funu feda etti, su\u00e7lulu\u011funu kabul, arzular\u0131n\u0131 terk et. Trier\u2019in ateist rahibi ise tam tersini s\u00f6yler; \u00e7ocuklar\u0131n\u0131n \u00f6l\u00fcm\u00fcnden dolay\u0131 ne kendisi ne kad\u0131n su\u00e7lanabilir, kad\u0131n\u0131n su\u00e7luluk hissinin ba\u015fka bir sebebi vard\u0131r. H\u0131ristiyan rahip k\u00f6lesine kendisini dinleyip arzular\u0131n\u0131 reddederse ac\u0131lar\u0131n\u0131 yenece\u011fini ve Cennet\u2019te zevklerin en b\u00fcy\u00fc\u011f\u00fcn\u00fc ya\u015fayaca\u011f\u0131n\u0131 vaat ederken, Trier\u2019in rahibi korkusuyla y\u00fczle\u015fip ac\u0131s\u0131ndan \u00f6zg\u00fcrle\u015fsin diye k\u00f6lesini yery\u00fcz\u00fcndeki Cennet\u2019e, yani Eden Orman\u0131\u2019na g\u00f6t\u00fcrecektir.<\/p>\n

Evet, adam\u0131n hareket noktas\u0131 do\u011frudur, t\u0131pk\u0131 rahibin hareket noktas\u0131n\u0131n do\u011fru oldu\u011fu gibi. H\u0131ristiyan rahip k\u00f6leye e\u011fer arzular\u0131n\u0131 doyuram\u0131yorsan onlar\u0131 unut, ac\u0131n\u0131 yenemiyorsan ondan zevk almay\u0131 \u00f6\u011fren der. Adam\u0131n hareket noktas\u0131 da do\u011frudur; su\u00e7luluk duygusu insan\u0131n su\u00e7lu oldu\u011fu anlam\u0131na gelmez zorunlu olarak. E\u011fer herhangi bir \u015fey insan\u0131n bilin\u00e7d\u0131\u015f\u0131 bir korkusunu tetiklerse bilin\u00e7 fizyolojisinde hissetti\u011fi korku kaynakl\u0131 ac\u0131y\u0131 su\u00e7luluk duygusu olarak yorumlar. Ama adam\u0131n t\u0131pk\u0131 H\u0131ristiyan rahip gibi fark\u0131nda olmad\u0131\u011f\u0131 ve bizim Nietzsche\u2019den \u00f6\u011frendi\u011fimiz \u00e7ok \u00f6nemli bir detay var. Do\u011frudur, su\u00e7luluk duygusu korkudan ve bu korkunun fizyolojik ac\u0131s\u0131ndan do\u011far; ama insan kibrini kaybedecek kadar \u00e7ok korkuyorsa su\u00e7luluk duygusu korkusuna kar\u015f\u0131 tek silah\u0131 olur. \u0130nsan kendisini su\u00e7layarak, k\u00fc\u00e7\u00fcmseyerek, de\u011fersizle\u015ftirerek zevk ve \u00fcst\u00fcnl\u00fck hissi kazan\u0131r ve bilin\u00e7d\u0131\u015f\u0131 korkusunun bilincini b\u00fct\u00fcn\u00fcyle ele ge\u00e7irmesini \u00f6nler. Yani kad\u0131n korktu\u011fu ve ac\u0131 \u00e7ekti\u011fi i\u00e7in su\u00e7luluk duymuyordur; t\u0131pk\u0131 ac\u0131s\u0131ndan \u00fcst\u00fcnl\u00fck hissi \u00fcretip bilin\u00e7d\u0131\u015f\u0131 arzular\u0131n\u0131 doyuran H\u0131ristiyanl\u0131\u011f\u0131n \u00e7eli\u015fik k\u00f6lesi gibi, kad\u0131n da korkusuna kar\u015f\u0131 koyabilmek ve kibrini koruyabilmek i\u00e7in kendini, kendi \u2018cinsel do\u011fas\u0131n\u0131\u2019 su\u00e7luyordur. Bu onun kibrini korumas\u0131n\u0131n tek yoludur, aksi halde hayvani bir cinselli\u011fin pen\u00e7esine d\u00fc\u015fmektedir, ki bunun en b\u00fcy\u00fck kan\u0131t\u0131 bilincin, yani kibrinin devre d\u0131\u015f\u0131 kald\u0131\u011f\u0131 sevi\u015fme sahnelerinde kad\u0131n\u0131n cinsel arzular\u0131n\u0131n \u2018hayvani\u2019 denilebilecek bir \u015fiddette kad\u0131n\u0131 teslim almas\u0131d\u0131r. Ancak tehlikeli bir i\u015fe soyunmu\u015ftur i\u015fte kad\u0131n, cinsel arzular\u0131n\u0131 kontrol etmek i\u00e7in onlar\u0131 bast\u0131rd\u0131k\u00e7a bilin\u00e7d\u0131\u015f\u0131 arzular\u0131 g\u00fc\u00e7lenmekte, bunun kar\u015f\u0131s\u0131nda kad\u0131n kendini daha fazla su\u00e7lamak zorunda kalmaktad\u0131r. Bu patolojik s\u00fcrecin sonu ka\u00e7\u0131n\u0131lmaz olarak kad\u0131n\u0131n cinsel arzular\u0131n\u0131 \u015feytanili\u011finin bir i\u015fareti olarak yorumlamas\u0131d\u0131r. Kad\u0131n soyk\u0131r\u0131m\u0131 \u00fczerine \u00e7al\u0131\u015f\u0131rken daha fazla kontrol edemedi\u011fi arzular\u0131n\u0131n bask\u0131s\u0131yla \u2013adam bu s\u0131rada kad\u0131n\u0131n yan\u0131nda yoktur, yani kad\u0131n arzular\u0131n\u0131 fizyolojik olarak doyuramaz- ve entelekt\u00fcel faaliyetin insan\u0131n arzular\u0131n\u0131 bast\u0131ran bir karaktere sahip olmas\u0131n\u0131n da etkisiyle kad\u0131n kibrine sahip \u00e7\u0131kmak i\u00e7in son kozunu oynar: kad\u0131n do\u011fas\u0131 \u015feytanidir. Kad\u0131n bilin\u00e7d\u0131\u015f\u0131 arzular\u0131n\u0131n bilincini ele ge\u00e7irmesini \u00f6nlemi\u015f, kibrini \u015fimdilik kurtarm\u0131\u015ft\u0131r, cinsel arzular\u0131n\u0131 lanetlemek pahas\u0131na da olsa.<\/p>\n

Kibirli adam\u0131m\u0131zsa b\u00fct\u00fcn bunlar\u0131n fark\u0131nda de\u011fildir. \u00c7\u00fcnk\u00fc kibirli bilin\u00e7 \u00fcst\u00fcnl\u00fck hissinin su\u00e7suzlu\u011funun, hakl\u0131l\u0131\u011f\u0131n\u0131n bir i\u015fareti oldu\u011fundan emindir ve bu kibrin arkas\u0131nda ne kadar b\u00fcy\u00fck bir su\u00e7 yatarsa yats\u0131n, kibir ve su\u00e7luluk duygusu aras\u0131ndaki kar\u015f\u0131l\u0131kl\u0131\u011f\u0131 g\u00f6remez. Kibrinin etkisiyle adam san\u0131r ki kad\u0131n\u0131 korkusuyla y\u00fczle\u015ftirdi\u011finde kad\u0131n\u0131 \u00f6zg\u00fcrle\u015ftirecektir. Ama \u00f6yle olmaz i\u015fte, adam kad\u0131n\u0131n kendisini su\u00e7lamas\u0131n\u0131 \u015feytan oldu\u011funu d\u00fc\u015f\u00fcnecek kadar ileri g\u00f6t\u00fcrd\u00fc\u011f\u00fcn\u00fc ke\u015ffetti\u011finde ve kad\u0131n\u0131 bununla y\u00fczle\u015ftirdi\u011finde, kad\u0131n\u0131n adam kar\u015f\u0131s\u0131ndaki son kibri de k\u0131r\u0131l\u0131r. Kad\u0131n daha fazla y\u0131rt\u0131c\u0131 ve sald\u0131rgan bilin\u00e7d\u0131\u015f\u0131n\u0131 kontrol edemez, buldu\u011fu ilk gerek\u00e7eyle adam\u0131 su\u00e7lar, -beni (arzular\u0131m\u0131) terk edeceksin!- Bilincini ve kibrini kaybetmi\u015f kad\u0131n art\u0131k ona en b\u00fcy\u00fck korkusunu-arzular\u0131n\u0131 doyuramama korkusunu- hat\u0131rlatan her \u015feyi cezaland\u0131rmak isteyecektir, adam\u0131, adam\u0131n cinsel organ\u0131n\u0131 ve en sonunda kendi cinsel organ\u0131n\u0131. Bu noktada adam\u0131n ertelenmi\u015f trajedisi de ba\u015flar. Aya\u011f\u0131na matkapla ta\u015f monte edilen, cinsel organ\u0131 par\u00e7alanan, diri diri g\u00f6m\u00fclen adam\u0131n kibri k\u0131r\u0131lm\u0131\u015f, uyuyan dev uyanm\u0131\u015f, su\u00e7lanacak ve cezaland\u0131r\u0131lacak bir d\u00fc\u015fman arayan h\u0131n\u00e7 bilinci adam\u0131 ele ge\u00e7irmi\u015ftir Kad\u0131n kontrolden \u00e7\u0131km\u0131\u015f hastas\u0131 de\u011fildir daha fazla adam\u0131n, adam\u0131 su\u00e7layan \u015feytan\u0131n ta kendisidir ve cezaland\u0131r\u0131lmay\u0131 hak etmektedir. Adamla kad\u0131n aras\u0131ndaki rahip-k\u00f6le ili\u015fkisi g\u00fc\u00e7l\u00fc olan\u0131n ayakta kalaca\u011f\u0131 bo\u011faz bo\u011faza \u00e7\u0131plak bir g\u00fc\u00e7 ili\u015fkisine d\u00f6ner. H\u0131ristiyan rahibin ac\u0131s\u0131ndan zevk almay\u0131 ve dolay\u0131s\u0131yla ac\u0131s\u0131na ra\u011fmen ya\u015famay\u0131 \u00f6\u011fretti\u011fi k\u00f6leyi son rahip kendi elleriyle \u00f6ld\u00fcr\u00fcr. Nietzsche\u2019nin d\u00f6ng\u00fcs\u00fc tamamlan\u0131r.<\/p>\n

Peki kimdir o zaman Antichrist-Zerd\u00fc\u015ft, adamla kad\u0131n son rahip ile k\u00f6leyi temsil ediyor ve Nietzsche bize bu hesapla\u015fmadan yeni insan Antichrist-Zerd\u00fc\u015ft do\u011facak diyorsa? Elbette kad\u0131n\u0131n \u00f6lmesi kad\u0131n\u0131n Deccal oldu\u011fu anlam\u0131na gelmedi\u011fi gibi, ayakta kalan erkek de ne \u0130sa Mesih ne de Antichrist-Zerd\u00fc\u015ft\u2019t\u00fcr. Antichrist-Zerd\u00fc\u015ft, – Trier\u2019i kad\u0131n d\u00fc\u015fmanl\u0131\u011f\u0131yla su\u00e7layanlar\u0131 hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011frataca\u011f\u0131z ama-, bizzat Trier\u2019in kendisidir. Zerd\u00fc\u015ft Trier\u2019dir, \u00e7\u00fcnk\u00fc Nietzsche\u2019nin H\u0131ristiyanl\u0131\u011f\u0131n do\u011falc\u0131 analizinin de \u00f6nerdi\u011fi gibi insanl\u0131\u011f\u0131n ba\u015f\u0131na musallat olacak olan \u015feytan Deccal ile onun antitezi (Hristiyanl\u0131k mitolojisisne g\u00f6re \u0130sa Mesih; Nietzsche i\u00e7in Zerd\u00fc\u015ft) metafizik varl\u0131klar de\u011fil, Deccal su\u00e7lamak ve cezaland\u0131rmak i\u00e7in d\u00fcnyaya bakan h\u0131n\u00e7 bilinci (inanmayan sadece 20.yy\u2019a bakabilir) ve Zerd\u00fc\u015ft de do\u011falc\u0131 bir bak\u0131\u015f a\u00e7\u0131s\u0131yla h\u0131n\u00e7 bilincinin-Deccal\u2019in ele\u015ftirisini yapacak (yani onu sembolik olarak \u00f6ld\u00fcrecek) olan yeni insand\u0131r, t\u0131pk\u0131 Trier\u2019in bu filmde yapmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 gibi. Ama bu elbette Nietzsche ve Trier i\u00e7in Zerd\u00fc\u015ft\u2019\u00fcn \u0130sa Mesih\u2019in taht\u0131nda g\u00f6z\u00fc olan yeni peygamber oldu\u011fu gibi tehlikeli bir ima i\u00e7ermez. (Nietzsche bu noktay\u0131 \u00f6zellikle vurgular. Bak\u0131n\u0131z Ecce Homo, \u2018Ben Neden Kaderim?\u2019 b\u00f6l\u00fcm\u00fc) Zerd\u00fc\u015ft sadece bir metafordur ve Nietzsche kadar b\u00fct\u00fcnl\u00fckl\u00fc olmasa da do\u011falc\u0131 terimlerle h\u0131n\u00e7 ele\u015ftirisi yapm\u0131\u015f Freud, Lacan gibi psikanalistler, Nietzscheci d\u00fc\u015f\u00fcnce gelene\u011finin 20.yy.\u2019daki takip\u00e7ileri, \u00f6rne\u011fin Deleuze ve Foucault gibi filozoflar (h\u0131n\u00e7 bilincinin ele\u015ftirisini de\u011fil \u00f6vg\u00fcs\u00fcn\u00fc yapan Heidegger hari\u00e7 elbette) ve bu d\u00fc\u015f\u00fcn\u00fcrlerin g\u00fcn\u00fcm\u00fczdeki felsefi ya da politik uzant\u0131lar\u0131 Zerd\u00fc\u015ftyen karakterlere sahiptirler. Zerd\u00fc\u015ft\u2019\u00fcn bir metafor, yani istisna olmaktan \u00e7\u0131k\u0131p ete kemi\u011fe b\u00fcr\u00fcnmesi ancak h\u0131n\u00e7 bilincinin ele\u015ftirisi \u00fczerine kurulmu\u015f bir toplumla m\u00fcmk\u00fcnd\u00fcr. Nietzsche bunun ger\u00e7ekle\u015fece\u011finden emindir, ama bunun olup olamayaca\u011f\u0131, olacaksa nas\u0131l olaca\u011f\u0131 bamba\u015fka sorular\u0131n yan\u0131tlanmas\u0131n\u0131 gerektiren bamba\u015fka \u00e7al\u0131\u015fmalar\u0131n konusudur. Biz \u015fimdi Trier\u2019in Zerd\u00fc\u015ft oldu\u011funa ikna olmayan seyirci-okur i\u00e7in gelin filmin anla\u015f\u0131lmas\u0131n\u0131n \u00f6n\u00fcndeki en b\u00fcy\u00fck engel olan Trier\u2019in \u2018\u00fc\u00e7 dilenci\u2019 metaforu \u00fczerindeki sis perdesini de aralayal\u0131m.<\/p>\n

Filmde \u00fc\u00e7 hayvanla, ceylan-tilki-karga ile temsil edilen ve s\u0131ras\u0131yla \u0131st\u0131rap, ac\u0131 ve umutsuzluk ad\u0131 verilen \u00fc\u00e7 dilenci metaforu filmin anla\u015f\u0131lmas\u0131 \u00f6n\u00fcndeki en b\u00fcy\u00fck engeldir, \u00e7\u00fcnk\u00fc bu \u00fc\u00e7l\u00fc filmin ba\u015f\u0131ndan sonuna dek bir\u00e7ok kilit sahnede kar\u015f\u0131m\u0131za \u00e7\u0131karlar ama Trier\u2019in bu \u00fc\u00e7l\u00fc ile ne kastetti\u011fi anla\u015f\u0131lmaktan \u00e7ok uzakt\u0131r. Trier bu \u00fc\u00e7l\u00fcy\u00fc s\u0131ras\u0131yla adlar\u0131n\u0131 verdikleri ilk \u00fc\u00e7 b\u00f6l\u00fcm\u00fcn sonunda tan\u0131t\u0131r bize; ama bundan \u00f6nce, ilk izleyi\u015fte g\u00f6zlerden ka\u00e7ar do\u011fal olarak, filmin a\u00e7\u0131l\u0131\u015f sahnesinde \u00e7iftin \u00e7ocuklar\u0131 Nick\u2019in pencereden d\u00fc\u015ft\u00fc\u011f\u00fc sahnede kar\u015f\u0131la\u015f\u0131r\u0131z bu \u00fc\u00e7l\u00fcyle. \u00c7ocu\u011fun yata\u011f\u0131ndan inip pencereye ula\u015fmak i\u00e7in kulland\u0131\u011f\u0131 masan\u0131n \u00fczerinde \u00fc\u00e7 dilenciyi sembolize eden ve \u00fczerlerinde s\u0131ras\u0131yla \u0131st\u0131rap, ac\u0131 ve umutsuzluk yazan \u00fc\u00e7 biblo g\u00f6r\u00fcr\u00fcz (ellerini a\u00e7m\u0131\u015f dilenir gibi duran kasketli \u00fc\u00e7 adam biblosu.) \u00c7ocuk masaya \u00e7\u0131karken bu \u00fc\u00e7 bibloyu yere yuvarlar. Sonra ceylan\u0131 ilk b\u00f6l\u00fcm\u00fcn, Ist\u0131rap b\u00f6l\u00fcm\u00fcn\u00fcn sonunda g\u00f6r\u00fcr\u00fcz, rahminden bir cenin sarkt\u0131\u011f\u0131 halde, umursamaz bir \u015fekilde ormanda dola\u015fmaktad\u0131r. Tilkiyle ikinci b\u00f6l\u00fcm\u00fcn, Ac\u0131 b\u00f6l\u00fcm\u00fcn\u00fcn sonunda kar\u015f\u0131la\u015f\u0131r\u0131z, karn\u0131n\u0131 yarm\u0131\u015f ba\u011f\u0131rsaklar\u0131n\u0131 de\u015fmektedir ve hi\u00e7 de ac\u0131 \u00e7ekiyor gibi bir hali yoktur. Kargaya ise \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcmde, Umutsuzluk b\u00f6l\u00fcm\u00fcn\u00fcn son sahnesinde, adam\u0131n aya\u011f\u0131na ta\u015f monte edilmi\u015f bir halde kad\u0131ndan ka\u00e7arken s\u0131\u011f\u0131nd\u0131\u011f\u0131 tilki kovu\u011funda rastlar\u0131z. Adam yerini belli eden kargay\u0131 onca u\u011fra\u015fmas\u0131na ra\u011fmen susturamaz\/\u00f6ld\u00fcremez. Bu \u00fc\u00e7l\u00fcy\u00fc biraraya gelecekleri d\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcmden \u00f6nce \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcmde adam kad\u0131n\u0131n \u2018cad\u0131 odas\u0131\u2019n\u0131 ke\u015ffetti\u011finde g\u00f6r\u00fcr\u00fcz sonra, bir g\u00f6ky\u00fcz\u00fc haritas\u0131nda bir tak\u0131my\u0131ld\u0131z\u0131 olarak resmedilmi\u015flerdir. D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcmde bu \u00fc\u00e7 dilenciyi yorumlayabilece\u011fimiz tek materyal verilir bize. Adam kendisini tilki kovu\u011fundan \u00e7\u0131kar\u0131p tekrar kul\u00fcbeye getiren kad\u0131na \u2018beni \u00f6ld\u00fcrmek istedin mi?\u2019 diye sorar. Kad\u0131n \u2018hen\u00fcz de\u011fil\u2019 der ve ekler: \u2018\u00fc\u00e7 dilenci geldi\u011finde biri \u00f6lmek zorunda.\u2019 \u00c7ok ge\u00e7meden yerde s\u0131rt\u00fcst\u00fc yatan adam\u0131n g\u00f6z\u00fc pencereden d\u0131\u015far\u0131 g\u00f6ky\u00fcz\u00fcne kayar ve g\u00f6ky\u00fcz\u00fcnde kad\u0131n\u0131n cad\u0131 odas\u0131nda g\u00f6rd\u00fc\u011f\u00fc tak\u0131my\u0131ld\u0131zlar\u0131n\u0131 g\u00f6r\u00fcr ve \u2018b\u00f6yle bir tak\u0131my\u0131ld\u0131z\u0131 yok\u2019 der. Ancak hemen bu sahneyi takip eden sahnede, yine ilk izleyi\u015fte dikkatlerden ka\u00e7m\u0131\u015f olmas\u0131 muhtemel \u00e7ok \u015fa\u015f\u0131rt\u0131c\u0131 bir sahne g\u00f6r\u00fcr\u00fcz. \u00c7ocu\u011fun pencereden d\u00fc\u015f\u00fc\u015f\u00fcne ili\u015fkin bir sahnedir bu ve \u00e7ocuk pencereden d\u00fc\u015ferken hemen pencerenin kenar\u0131nda onu izleyen ceylan durmaktad\u0131r. (Bu sahne adam\u0131n bir canland\u0131rmas\u0131 gibi durur \u00f6nce, ama bence bu sahne ile Trier bize bir ipucu vermektedir. \u00c7\u00fcnk\u00fc bu sahneden biraz ve kad\u0131n\u0131n klitorisini makasla kesmesinden hemen \u00f6nce Trier bizi yine prolog sahnesine g\u00f6t\u00fcr\u00fcr ve kad\u0131n\u0131n kocas\u0131yla sevi\u015firken \u00e7ocu\u011fun uyand\u0131\u011f\u0131n\u0131 ve yata\u011f\u0131ndan indi\u011fini g\u00f6rd\u00fc\u011f\u00fcn\u00fc g\u00f6sterir bize. \u0130lk bak\u0131\u015fta bu sahne kad\u0131n\u0131n vicdan azab\u0131n\u0131n bilincine oynad\u0131\u011f\u0131 bir oyunmu\u015f gibi g\u00f6r\u00fcnebilir izleyiciye. Ama d\u00f6n\u00fcp prolog sahnesine bak\u0131nca g\u00f6r\u00fcr\u00fcz ki, ger\u00e7ekten de \u00e7ocuk yata\u011f\u0131ndan indikten sonra kad\u0131n\u0131n g\u00f6r\u00fc\u015f a\u00e7\u0131s\u0131na giriyor ve kad\u0131n da \u00e7ocu\u011fu g\u00f6r\u00fcyordur. Muhtemelen kad\u0131n \u00e7ocu\u011fun pencereden d\u00fc\u015febilece\u011fine ihtimal vermemi\u015f ve \u2018i\u015fine\u2019 devam etmi\u015ftir.) Bu sahnenin biraz ard\u0131ndan ceylan-tilki-karga s\u0131ras\u0131yla arzu endam ederler ve adam kad\u0131n\u0131n \u2018\u00fc\u00e7 dilenci geldi\u011finde biri \u00f6lmek zorunda\u2019 s\u00f6z\u00fcn\u00fc teyit edercesine, kargan\u0131n getirdi\u011fi \u0130ngiliz anahtar\u0131 ile aya\u011f\u0131ndaki ta\u015f\u0131 s\u00f6ker ve kad\u0131n\u0131 \u00f6ld\u00fcr\u00fcr. Ancak, \u00fc\u00e7 dilencinin i\u015flevi bitmi\u015f de\u011fildir, t\u0131pk\u0131 filmin a\u00e7\u0131l\u0131\u015f sahnesinde kar\u015f\u0131m\u0131za \u00e7\u0131kt\u0131klar\u0131 gibi filmin epilog sahnesinde de \u2018k\u0131yametten\u2019 arta kalan adama olanca sevimlilikleriyle g\u00fcl\u00fcmsemektedirler.<\/p>\n

Benim iddiam odur ki, Trier Ceylan-Tilki-Karga ya da onlara verdi\u011fi adlar ile Ist\u0131rap-Ac\u0131-Umutsuzluk \u00fc\u00e7lemeleri ile H\u0131ristiyanl\u0131\u011f\u0131n Teslis inanc\u0131na ve onun kutsal \u00fc\u00e7lemesine, Baba-O\u011ful-Kutsal Ruh\u2019a g\u00f6nderme yap\u0131yor ve Zerd\u00fc\u015ft\u2019ten beklenmesi gerekti\u011fi gibi Kutsal \u00dc\u00e7l\u00fc\u2019y\u00fc yeniden yorumluyor. H\u0131ristiyanl\u0131\u011f\u0131n Teslis inanc\u0131na g\u00f6re Baba, O\u011ful ve Kutsal Ruh Tanr\u0131n\u0131n \u00fc\u00e7 g\u00f6r\u00fcng\u00fcs\u00fcd\u00fcr ve \u00fc\u00e7\u00fc de Tanr\u0131y\u0131 temsil ederler. Baba yarat\u0131c\u0131 Tanr\u0131d\u0131r, O\u011ful onun insanl\u0131\u011fa g\u00f6nderdi\u011fi \u0130sa, Kutsal Ruh\u2019ta yarat\u0131c\u0131 Tanr\u0131n\u0131n insan\u0131n (H\u0131ristiyan\u2019\u0131n) ruhuna \u00fcfledi\u011fi esanst\u0131r. Trier Kutsal \u00dc\u00e7l\u00fc\u2019y\u00fc \u00fc\u00e7 dilenci diye niteleyerek Nietzsche\u2019nin d\u00fc\u015f\u00fcncesinin do\u011fas\u0131na uygun olarak H\u0131ristiyanl\u0131\u011f\u0131n ac\u0131 \u00e7eken insan\u0131n duygular\u0131n\u0131 s\u00f6m\u00fcrd\u00fc\u011f\u00fcn\u00fc vurguluyor kan\u0131mca. \u00d6te yandan kad\u0131n\u0131n \u2018\u00fc\u00e7 dilenci geldi\u011finde biri \u00f6lmek zorunda\u2019 \u00f6nermesi benim hem \u00fc\u00e7 dilencinin Kutsal \u00dc\u00e7l\u00fc\u2019y\u00fc temsil etti\u011fi iddiam\u0131 destekler hem de filmde resmedilenin k\u0131yamet oldu\u011fu iddiam\u0131. \u00c7\u00fcnk\u00fc H\u0131ristiyanl\u0131\u011f\u0131n Teslis inanc\u0131na g\u00f6re \u0130sa Mesih insanl\u0131\u011f\u0131n ba\u015f\u0131na musallat olan Deccal\u2019\u0131 \u00f6ld\u00fcrmek i\u00e7in k\u0131yamet koptu\u011funda kurtar\u0131c\u0131 olarak tekrar d\u00fcnyaya gelecek, Baba, O\u011ful ve Kutsal Ruh d\u00fcnyada tekrar k\u0131yamet g\u00fcn\u00fcnde bulu\u015facaklard\u0131r.<\/p>\n

Ancak bu ne kad\u0131n\u0131n Deccal oldu\u011fu ne de kad\u0131n\u0131 \u00f6ld\u00fcren adam\u0131n \u0130sa Mesih oldu\u011fu anlam\u0131na gelir, elbette e\u011fer Trier\u2019in Kutsal \u00dc\u00e7l\u00fc yorumunu do\u011fru kavrar isek. Trier filmde kutsal \u00fc\u00e7l\u00fc\u011f\u00fcn bir de\u011fil iki yorumunu yapar. Birinci yorum kad\u0131n\u0131n yorumudur. Buna g\u00f6re do\u011fa (d\u00fcnya) g\u00fc\u00e7l\u00fc ile g\u00fc\u00e7s\u00fcz\u00fcn de\u011fil, iyi ile k\u00f6t\u00fcn\u00fcn m\u00fccadelesine tan\u0131kl\u0131k etmektedir. Kad\u0131n zay\u0131f do\u011fas\u0131 gere\u011fi (\u2018bedenlerini kontrol edememektedirler\u2019 der kad\u0131n) k\u00f6t\u00fcd\u00fcr, \u015feytan\u0131 temsil eder. Ancak do\u011fa evrenin g\u00f6ksel yasas\u0131na tabiidir ve bu g\u00f6ksel yasa \u00fc\u00e7 dilenciyi (\u00fc\u00e7 tak\u0131my\u0131ld\u0131z\u0131n\u0131) bulu\u015fturdu\u011funda iyi ile k\u00f6t\u00fc, Deccal ile \u0130sa Mesih son bir sava\u015f verecek, ikisinden biri \u00f6lecektir.<\/p>\n

Trier\u2019in Kutsal \u00dc\u00e7l\u00fc yorumu ise kad\u0131n\u0131n bu bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n ele\u015ftirisidir, ki filmin afi\u015findeki ters d\u00f6nm\u00fc\u015f kad\u0131n simgesi-Ven\u00fcs de bu noktan\u0131n alt\u0131n\u0131 \u00e7izer. Kad\u0131n H\u0131ristiyanl\u0131k kar\u015f\u0131t\u0131 bir doktrini benimsiyor g\u00f6r\u00fcnse de, b\u00fct\u00fcn yapt\u0131\u011f\u0131 asl\u0131nda do\u011fadaki g\u00fc\u00e7l\u00fc-g\u00fc\u00e7s\u00fcz m\u00fccadelesini ahlaki alan\u0131n i\u00e7ine \u00e7eken H\u0131ristiyanl\u0131k d\u00fc\u015f\u00fcncesini son ucuna kadar g\u00f6t\u00fcrmektir \u2013 k\u0131yamette buradan do\u011far zaten. Trier\u2019in yorumu ise do\u011fay\u0131 ahlaki alan\u0131n d\u0131\u015f\u0131na \u00e7ekmeye y\u00f6nelik bir \u00e7abad\u0131r: Kutsal \u00dc\u00e7l\u00fc ne H\u0131ristiyanl\u0131\u011f\u0131n Kutsal \u00dc\u00e7l\u00fcs\u00fc ne de kad\u0131n\u0131n \u00fc\u00e7 dilencisi gibi g\u00f6ksel bir yasad\u0131r, bizatihi do\u011fan\u0131n kendisidir. Yarat\u0131c\u0131 tanr\u0131y\u0131 ceylanla temsil eder Trier, do\u011fan\u0131n en estetik bulunan hayvanlar\u0131ndan biriyle. Der ki, ceylan\u0131 rahminde bir ceninle resmederek, do\u011fan\u0131n yarat\u0131c\u0131 tanr\u0131s\u0131 H\u0131ristiyanl\u0131\u011f\u0131n tanr\u0131s\u0131 gibi bir \u0131st\u0131rap tanr\u0131s\u0131 de\u011fildir, yarat\u0131c\u0131 \u0131st\u0131rap vermez; \u0131st\u0131rab\u0131 deneyimleyen bizzat yarat\u0131c\u0131n\u0131n kendisidir ve yarat\u0131c\u0131l\u0131k ba\u015fkas\u0131na ac\u0131 vermek de\u011fil \u0131st\u0131rab\u0131ndan \u2018g\u00fczel\u2019 yaratma sanat\u0131d\u0131r. Kutsal \u00dc\u00e7l\u00fc\u011f\u00fcn O\u011flunu, yani H\u0131ristiyan \u0130sa\u2019y\u0131 (insan) tilki ile temsil eder Trier ve t\u0131pk\u0131 Nietzsche\u2019nin ac\u0131s\u0131ndan zevk alan patetik insan\u0131 gibi bu tilki de karn\u0131n\u0131 yarm\u0131\u015f ba\u011f\u0131rsaklar\u0131n\u0131 de\u015fmektedir hi\u00e7 ac\u0131 \u00e7ekiyor g\u00f6r\u00fcnmeden. Dahas\u0131 t\u0131pk\u0131 insan gibi konu\u015fur tilki, metafizik bir yasay\u0131 dile getirmez ama H\u0131ristiyan gibi, do\u011fa yasas\u0131n\u0131n alt\u0131n\u0131 \u00e7izer: \u2018kaos h\u00fck\u00fcm s\u00fcrmektedir.\u2019 (Cannes Film Festivali s\u0131ras\u0131nda \u00e7ok ilgi g\u00f6ren bu tilkinin maketlerini sat\u0131\u015fa sunan Trier\u2019in bu maketlerden birine Katolik di\u011ferine Protestan ad\u0131n\u0131 vermesi de tilki ile H\u0131ristiyan\u2019\u0131 kastetti\u011finin bir di\u011fer kan\u0131t\u0131d\u0131r. Ayr\u0131ca Trier\u2019in insan\u0131 temsil etmek i\u00e7in kurnazl\u0131\u011f\u0131yla tan\u0131nan bir hayvan\u0131 tercih etmesi de \u00e7ok manidard\u0131r, zira Nietzsche\u2019de s\u0131k s\u0131k insan\u0131n kurnazl\u0131\u011f\u0131na, hatta do\u011fan\u0131n en kurnaz hayvan\u0131 oldu\u011funa vurgu yapar. Bir \u00f6rne\u011fi i\u00e7in bak\u0131n\u0131z \u0130yinin ve K\u00f6t\u00fcn\u00fcn \u00d6tesinde, 291. Aforizma.) Kutsal \u00dc\u00e7l\u00fc\u2019n\u00fcn Kutsal Ruh\u2019unu kar\u015f\u0131layan karga (malum karga uzun ya\u015fayan bir hayvand\u0131r ve pop\u00fcler bak\u0131\u015f taraf\u0131ndan u\u011fursuz diye nitelenir) ile ise Trier ac\u0131s\u0131ndan d\u00fcnyaya umutsuz bir g\u00f6zl\u00fckle bakan insan\u0131n ruh haline vurgu yapmaktad\u0131r. Ama Nietzsche\u2019nin de vurgulad\u0131\u011f\u0131 gibi, umutsuzluk ayn\u0131 zamanda insan\u0131n hayatta kalmay\u0131 bor\u00e7lu oldu\u011fu ruh hali oldu\u011fu i\u00e7in karga \u00f6nce adam\u0131n onca denemesine ra\u011fmen \u00f6lmeyecek, sonra en umutsuz an\u0131nda adama \u0130ngiliz anahtar\u0131n\u0131 getirerek, hayatta kalmas\u0131n\u0131 sa\u011flayacakt\u0131r.<\/p>\n

\u00dc\u00e7 dilencinin, yani Baba, O\u011ful ve Kutsal Ruh\u2019un g\u00f6ksel bir yasa de\u011fil do\u011fan\u0131n yasas\u0131 oldu\u011funu ortaya \u00e7\u0131kard\u0131\u011f\u0131m\u0131zda filmde \u00e7iftin \u00e7ocuklar\u0131n\u0131n neyi temsil etti\u011fi sorusuna da cevap veririz. Benim kanaatim odur ki, \u00e7ocuk \u0130sa Mesih\u2019i, yani k\u0131yamet g\u00fcn\u00fcnde d\u00fcnyaya d\u00f6n\u00fcp Deccal\u2019in hakk\u0131ndan gelmesi umulan kurtar\u0131c\u0131y\u0131 temsil ediyor. Ancak bu \u0130sa H\u0131ristiyanl\u0131\u011f\u0131n \u0130sa Mesih\u2019i de\u011fil, Nietzsche\u2019nin Der Antichrist\u2019te resmetti\u011fi Nas\u0131ra\u2019l\u0131 \u0130sa\u2019d\u0131r (Nas\u0131ra \u0130sa\u2019n\u0131n \u00e7ocuklu\u011funun ge\u00e7ti\u011fi \u0130srail\u2019de bir kasabad\u0131r). Nietzsche i\u00e7in \u0130sa peygamber ya da Mesih de\u011fil, h\u0131n\u00e7 bilincinin ilk ele\u015ftirilerinden birisini yapm\u0131\u015f ve Yahudi rahiplere ba\u015fkald\u0131rm\u0131\u015f pasifist bir anar\u015fisttir. Ancak kusursuz bir h\u0131n\u00e7 ele\u015ftirisi de\u011fildir sonu\u00e7ta Nas\u0131ra\u2019l\u0131 \u0130sa\u2019n\u0131n ki, \u00e7\u00fcnk\u00fc yine metafizik bir evrene dayan\u0131r ele\u015ftirisi. (Bu noktada Nietzsche\u2019nin Yahudilere ili\u015fkin ele\u015ftirisini Anti-Semitizm olarak yorumlayabilecek olanlara hat\u0131rlatmakta fayda var. H\u0131n\u00e7 bilincini ke\u015ffeden Yahudi Irk\u0131 de\u011fildir, Zerd\u00fc\u015ft\u2019t\u00fcr. Musevilik H\u0131ristiyanl\u0131\u011fa giden yolu a\u00e7mas\u0131 ve elbette siyasal iktidara eklenmesi itibar\u0131 ile Nietzsche\u2019nin ele\u015ftirisinin hedefidir). Kan\u0131mca \u00e7iftin \u00e7ocuklar\u0131 Nick Nas\u0131ra\u2019l\u0131 \u0130sa\u2019n\u0131n 2000 y\u0131l sonraki tasviridir. Ancak bu son Nas\u0131ra\u2019l\u0131 \u0130sa insanl\u0131\u011f\u0131n ba\u015f\u0131na musallat olan Deccal\u2019\u0131, yani h\u0131n\u00e7 bilincini \u00f6ld\u00fcrmeyi b\u0131rak\u0131n, daha y\u00fcr\u00fcmeyi \u00f6\u011frenir \u00f6\u011frenmez kendini \u00f6ld\u00fcrecektir. \u00c7\u00fcnk\u00fc i\u00e7ine do\u011fdu\u011fu d\u00fcnya \u0130sa\u2019n\u0131n arkas\u0131nda b\u0131rakt\u0131\u011f\u0131 d\u00fcnya de\u011fildir art\u0131k, insan arzular\u0131n\u0131 kontrol etmek i\u00e7in \u00e7\u0131kt\u0131\u011f\u0131 yolda arzular\u0131na yenilmi\u015f (babas\u0131 ile annesi), h\u0131n\u00e7 bilinci alm\u0131\u015f y\u00fcr\u00fcm\u00fc\u015f, \u00f6\u011fretisi (Baba-O\u011ful-Kutsal Ruh) dogmatikle\u015fmi\u015ftir. Bu y\u00fczden \u00e7ocuk Baba-O\u011ful-Kutsal Ruh\u2019u simgeleyen \u00fc\u00e7 bibloyu yere yuvarlayacak, r\u00fczgar\u0131n (do\u011fan\u0131n) a\u00e7t\u0131\u011f\u0131 pencereden a\u015fa\u011f\u0131 atlayacak, onu \u00e7a\u011f\u0131ran do\u011faya d\u00f6necek, yarat\u0131c\u0131 do\u011fa (Ceylan) h\u00fcz\u00fcnle arkas\u0131ndan bakacakt\u0131r.<\/p>\n

\u015eimdi gelelim filmin kritik epilog sahnesine ve bu sahnede temsil edilen Antichrist\u2019in verdi\u011fi mesaja. Filmin kapan\u0131\u015f sahnesinde kar\u0131s\u0131n\u0131 \u00f6ld\u00fcrd\u00fckten sonra sakat ve g\u00fc\u00e7s\u00fcz bir halde ormanda y\u00f6n\u00fcn\u00fc kaybetmi\u015f g\u00f6r\u00fcnen adam\u0131 g\u00f6r\u00fcr\u00fcz. Ac\u0131km\u0131\u015f karn\u0131n\u0131 b\u00f6\u011f\u00fcrtlenle doyururken, \u00f6nce \u00fc\u00e7 dilenci tak\u0131l\u0131r g\u00f6z\u00fcne, sonra muhtemelen kendisine benzeyen erkeklerce \u00f6ld\u00fcr\u00fclm\u00fc\u015f y\u00fczlerini g\u00f6remedi\u011fimiz y\u00fczlerce kad\u0131n mezarlar\u0131ndan kalk\u0131p bir \u00f6zg\u00fcrle\u015fme vurgusuyla adam\u0131n etraf\u0131n\u0131 sararlar. Bununla \u015funu s\u00f6ylemek istedi\u011fini d\u00fc\u015f\u00fcn\u00fcyorum Trier\u2019in, -yeni yarat\u0131c\u0131 Antichrist\u2019in- k\u0131yametten arda kalan insana (insanl\u0131\u011fa): H\u0131nc\u0131na yenildin, ya\u015fatmak i\u00e7in u\u011fra\u015ft\u0131\u011f\u0131n kar\u0131n\u0131 kendi ellerinle \u00f6ld\u00fcrd\u00fcn. Kibirlenemeyeceksin art\u0131k, ama kendini su\u00e7lu da hissetme, bak senin \u00f6ld\u00fcrd\u00fc\u011f\u00fcn kad\u0131nlar\u0131 \u00f6zg\u00fcrle\u015ftiriyorum. Art\u0131k yarat\u0131c\u0131y\u0131, ac\u0131n\u0131n sebebini ve umudu (umutsuzlu\u011fu) g\u00f6kte aray\u0131p kendini de do\u011fay\u0131 da su\u00e7lama, bunlar\u0131n do\u011fan\u0131n bir par\u00e7as\u0131 oldu\u011funu g\u00f6r ve anla.<\/p>\n

Fark\u0131nday\u0131m, katil adam\u0131n cezaland\u0131r\u0131lmas\u0131n\u0131 bekleyen izleyiciyi tatmin etmeyebilir bu son, ama i\u015fte mesele de kimseyi su\u00e7lamadan h\u0131n\u00e7 bilincinin bir ele\u015ftirisini yapmakt\u0131r Trier i\u00e7in, Nietzsche\u2019nin Zerd\u00fc\u015ft\u2019\u00fcnden de beklenece\u011fi gibi. \u00d6te yandan seyirci hakl\u0131 olarak neden erke\u011fin ayakta kal\u0131p kad\u0131n\u0131n \u00f6ld\u00fc\u011f\u00fcn\u00fc, bunun kad\u0131na ili\u015fkin bir ele\u015ftiri olup olmad\u0131\u011f\u0131n\u0131 sormal\u0131d\u0131r. Kad\u0131n\u0131n \u00f6lmesi erke\u011fin ayakta kalmas\u0131 ahlaki bir ele\u015ftiri de\u011fil, Nietzscheci bir saptamad\u0131r. Ne ayakta kalan adam g\u00fc\u00e7l\u00fc ve iyi, ne de \u00f6len kad\u0131n g\u00fc\u00e7s\u00fcz ve k\u00f6t\u00fcd\u00fcr. Nietzsche\u2019nin \u00f6nermesine paralel olarak, kad\u0131n\u0131n onca i\u015fkencesine ra\u011fmen ayakta kalan adam ac\u0131ya dayan\u0131kl\u0131 oland\u0131r. \u00d6te yandan kad\u0131n\u0131n ac\u0131ya kar\u015f\u0131 dayan\u0131kl\u0131 olmamas\u0131 kad\u0131n cinsine y\u00f6nelik seksist bir ele\u015ftiri de\u011fildir, t\u0131pk\u0131 kibirli entelekt\u00fcel erkek ele\u015ftirisinin erkek cinsine y\u00f6nelik bir ele\u015ftiri olmad\u0131\u011f\u0131 gibi. Ele\u015ftirinin odak noktas\u0131 g\u00fc\u00e7l\u00fc ile g\u00fc\u00e7s\u00fcz\u00fc su\u00e7suz ve su\u00e7lu olarak kodlayan ve g\u00fc\u00e7l\u00fcy\u00fc daha g\u00fc\u00e7l\u00fc, g\u00fc\u00e7s\u00fcz\u00fc daha g\u00fc\u00e7s\u00fcz yapan k\u00fclt\u00fcr ve bu k\u00fclt\u00fcr\u00fcn dayand\u0131\u011f\u0131 h\u0131n\u00e7 bilincidir. Kad\u0131nla erke\u011fin pay\u0131na d\u00fc\u015fen ele\u015ftiri sahip olduklar\u0131 bilincin su\u00e7suzlu\u011fundan emin olmalar\u0131d\u0131r, ne pahas\u0131na olursa olsun kibirlenmek i\u00e7in d\u00fcnyay\u0131 yorumlayan bilin\u00e7lerinin.<\/p>\n

\u0130zleyici Trier\u2019in h\u0131n\u00e7 analizini ve bu analizi ba\u011flad\u0131\u011f\u0131 sonu be\u011fenir ya da be\u011fenmez, ama ortada \u00e7ok net bir ger\u00e7ek vard\u0131r. Antichrist\u2019te Trier yorumlanmas\u0131 zor bir filozofu \u00e7ok ba\u015far\u0131l\u0131 bir \u015fekilde sinema perdesine aktarm\u0131\u015f, insan\u0131n trajedisi \u00fczerine destans\u0131 bir film \u00e7\u0131karm\u0131\u015ft\u0131r ortaya. \u00d6vg\u00fclerin en b\u00fcy\u00fc\u011f\u00fcn\u00fc hak ederken, benim h\u0131n\u00e7 bilincinin bir ele\u015ftirisini yap\u0131yor dedi\u011fim Trier\u2019in kad\u0131n d\u00fc\u015fmanl\u0131\u011f\u0131yla, h\u0131n\u00e7 ele\u015ftirisiyle asla yan yana gelmemesi gereken bir su\u00e7lamayla ele\u015ftirilmesi \u00fczerinde durulmas\u0131 gereken bir mesele. Gelin Nietzsche\u2019nin h\u0131n\u00e7 bilincinin ele\u015ftirisinden hareketle Trier\u2019in neden kad\u0131n d\u00fc\u015fman\u0131 ilan edildi\u011fine ili\u015fkin birka\u00e7 saptama ile bitirelim yaz\u0131m\u0131z\u0131.<\/p>\n

Nietzsche\u2019nin h\u0131n\u00e7 bilinci analizi der ki, kibirli insan bilinci kendi t\u00fcr\u00fcn\u00fcn ac\u0131 \u00e7ekmesi kar\u015f\u0131s\u0131nda, yani zay\u0131fla kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda tiksinir (Filmin Cannes\u2019daki ilk g\u00f6steriminde en az d\u00f6rt ki\u015finin bay\u0131ld\u0131\u011f\u0131 s\u00f6yleniyor). E\u011fer insan kibrini s\u0131n\u0131fsal pozisyonuna bor\u00e7lu ise, yani bilinci zay\u0131fl\u0131k hissinden \u00f6zg\u00fcrse ve dolay\u0131s\u0131yla su\u00e7suzlu\u011fundan eminse bu tiksintiden ka\u00e7ar (Toplumsal hiyerar\u015finin en \u00fcst s\u0131n\u0131f\u0131 bu y\u00fczden zay\u0131flara g\u00f6r\u00fcnmeden ya\u015farlar). Ama e\u011fer insan\u0131n kibri ya s\u0131n\u0131fsal pozisyonu ya da ba\u015fka sebeplerden dolay\u0131 zay\u0131fl\u0131k ve su\u00e7luluk duygusundan \u00f6zg\u00fcr de\u011filse, kendi t\u00fcr\u00fcn\u00fcn ac\u0131 \u00e7ekmesiyle kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda bilin\u00e7 bu tiksintiyi su\u00e7lulu\u011funun bir i\u015fareti olarak yorumlar (malum su\u00e7luluk duygusu da insanda mide bulant\u0131s\u0131na sebep olur) ve su\u00e7land\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcr. Bu durumda h\u0131n\u00e7 bilinci tiksintiden ka\u00e7mak i\u00e7in bildi\u011fi tek yolla, yani ba\u015fkas\u0131n\u0131 su\u00e7layarak, de\u011fersizle\u015ftirerek reaksiyon g\u00f6sterir; bizim \u00f6rne\u011fimizde, y\u00f6netmeni. Filmin ne anlatt\u0131\u011f\u0131 \u00f6nemli de\u011fildir bu seyirci i\u00e7in, \u00f6nemli olan bir kad\u0131na i\u015fkence ediliyor olmas\u0131 ve bu yolla izleyiciye su\u00e7lulu\u011funun hat\u0131rlat\u0131lmas\u0131d\u0131r. Dedik ya \u00f6nc\u00fc sanat ele\u015ftirmeye \u00f6nce izleyicisinden ba\u015flar diye, Trier de bu ele\u015ftirinin kurban\u0131 olur. Ne gere\u011fi vard\u0131r \u015fimdi seyircinin su\u00e7lulu\u011funu hat\u0131rlamas\u0131n\u0131n, sen izleyicinin h\u0131n\u00e7 duygular\u0131n\u0131 bo\u015faltaca\u011f\u0131 bir hikaye anlat ve \u2018ger\u00e7ek\u2019 su\u00e7lular\u0131 cezaland\u0131rsana. Bunu yapm\u0131yorsan demek ki su\u00e7lu sensin, hem de en az\u0131l\u0131s\u0131ndan. Ama i\u015fte Trier\u2019i fa\u015fist ilan edenlerin \u2018su\u00e7lu\u2019 olmalar\u0131n\u0131n verdi\u011fi panik duygusuyla atlad\u0131klar\u0131 \u00e7ok \u00f6nemli bir nokta vard\u0131r: anlamadan su\u00e7lamak ele\u015ftirinin de\u011fil, fa\u015fizmin d\u00f6l yata\u011f\u0131 h\u0131n\u00e7 bilincinin karakteridir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Trier\u2019in Zerd\u00fc\u015ft\u2019\u00fc Nietzsche\u2019nin H\u0131ristiyanl\u0131\u011f\u0131 ve H\u0131ristiyan\u2019\u0131 m\u00fcmk\u00fcn k\u0131lan h\u0131n\u00e7 bilinci analizini bir kez kavrad\u0131\u011f\u0131m\u0131zda Trier\u2019in Antichrist\u2019inin \u00fczerindeki t\u00fcm sis perdesi kalkar. Trier\u2019in hikayesini anlatt\u0131\u011f\u0131 kad\u0131nla erkek san\u0131labilece\u011fi gibi Adem ile Havva de\u011fildir, hele kad\u0131n Deccal hi\u00e7. \u00d6te yandan, Trier s\u0131radan bir kibirli erkek-\u2018su\u00e7lu\u2019 kad\u0131n ili\u015fkisini de anlatm\u0131yordur filmde. Film H\u0131ristiyanl\u0131\u011f\u0131n ba\u015flang\u0131c\u0131ndaki efendi\u2013k\u00f6le, yani rahip-k\u00f6le ili\u015fkisinin […]<\/p>\n","protected":false},"author":2168,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-291","post","type-post","status-publish","format-standard","hentry","category-turkce-makaleler"],"_links":{"self":[{"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/posts\/291","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/users\/2168"}],"replies":[{"embeddable":true,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=291"}],"version-history":[{"count":2,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/posts\/291\/revisions"}],"predecessor-version":[{"id":293,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=\/wp\/v2\/posts\/291\/revisions\/293"}],"wp:attachment":[{"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=291"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=291"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yasamaevet.noblogs.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=291"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}