Sevgili \u00d6\u011frenciler,<\/strong><\/p>\n Bug\u00fcnk\u00fc konu\u015fmamda T\u00fcrk\u00e7e\u2019nin \u00e2\u015f\u0131\u011f\u0131 olan Nihad S\u00e2mi Banarl\u0131\u2019n\u0131n \u00fcslubu konusunu\u00a0 ele alaca\u011f\u0131m. Medeniyetimizin ve T\u00fcrk\u00e7e\u2019mizin inceliklerine hayran olan Banarl\u0131, T\u00fcrk\u00e7e\u2019ye olan sayg\u0131s\u0131n\u0131n bir sonucu olarak y\u00fcksek bir \u00fcsl\u00fbp d\u00fczeyine ula\u015fm\u0131\u015ft\u0131. Onun yaz\u0131lar\u0131nda T\u00fcrk\u00e7e\u2019mizi hem ke\u015ffeder, hem ya\u015far\u0131z: Onu okurken hem T\u00fcrk\u00e7e\u2019nin g\u00fczelliklerini \u00f6\u011frenir, hem g\u00fczel T\u00fcrk\u00e7e\u2019nin \u00f6rneklerini tadar\u0131z.<\/p>\n \u00dcslup konusu, bilindi\u011fi gibi ihm\u00e2l edilmi\u015f bir konudur. \u00dcsl\u00fbp sahibi pek \u00e7ok \u015fairimiz, yazar\u0131m\u0131z, d\u00fc\u015f\u00fcn\u00fcr\u00fcm\u00fcz oldu\u011fu halde, bu b\u00fcy\u00fck sanatk\u00e2rlar\u0131n yaratt\u0131\u011f\u0131 g\u00fczellikleri anlamam\u0131za, ya\u015famam\u0131za, takdir etmemize yard\u0131mc\u0131 olacak \u00fcsl\u00fbp ara\u015ft\u0131rmalar\u0131m\u0131z \u00e7ok azd\u0131r.<\/p>\n Daha konu\u015fmam\u0131n ba\u015f\u0131nda, \u00fcsl\u00fbp ara\u015ft\u0131rmalar\u0131n\u0131n azl\u0131\u011f\u0131ndan \u015fik\u00e2yetim, Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbuyla ilgili birazdan verece\u011fim bilgilerle yak\u0131ndan ilgilidir. Yurdumuzda \u00e7ok zaman \u00fcsl\u00fbptan bahsedilirken, bir yazar\u0131n birka\u00e7 dil ve anlat\u0131m \u00f6zelli\u011fine temas etmekle yetinilir. Dilinin sade yahut a\u011f\u0131r, yal\u0131n yahut sanatl\u0131, ahenkli yahut ahenksiz oldu\u011fu belirtilir, yazara has baz\u0131 edeb\u00ee \u00f6zelliklere dikkat \u00e7ekilir. Bu i\u015f yap\u0131l\u0131rken \u00e7ok zaman, ne eski T\u00fcrk-\u0130sl\u00e2m bel\u00e2gat\u0131n\u0131n birikiminden, ne yeni Bat\u0131 retori\u011finin veya \u00fcsl\u00fbp biliminin y\u00f6ntemlerinden yararlan\u0131l\u0131r. Sonu\u00e7ta s\u00f6z konusu edilen yazar\u0131n dilinin sade, ahenkli oldu\u011fu, edeb\u00ee sanatlar\u0131 ba\u015far\u0131yla kulland\u0131\u011f\u0131 vb. s\u00f6ylenir. Bu yakla\u015f\u0131m, \u015f\u00fcphesiz bize bir \u015feyler\u00a0 \u00f6\u011fretmekle birlikte bir \u00fcsl\u00fbbu tan\u0131mam\u0131za yetmez.<\/p>\n Bir s\u00f6z ustas\u0131 olan Banarl\u0131\u2019n\u0131n bizi T\u00fcrk\u00e7e\u2019nin g\u00fczelliklerine ula\u015ft\u0131ran \u00fcsl\u00fbbundan s\u00f6z a\u00e7arken, al\u0131\u015f\u0131lagelmi\u015f olan bu dar yolda y\u00fcr\u00fcmek yerine, konumu, \u00fcsl\u00fbp biliminin imk\u00e2nlar\u0131ndan yararlanarak sunmay\u0131 d\u00fc\u015f\u00fcnd\u00fcm. Bu k\u0131sa konu\u015fmamda size, Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbunun g\u00f6z al\u0131c\u0131 b\u00fct\u00fcn g\u00fczelliklerini, b\u00fct\u00fcn incelikleriyle sunamayaca\u011f\u0131m\u0131 daha ba\u015ftan s\u00f6ylemeliyim. Ama, Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbunu ileride, bir b\u00fct\u00fcn halinde ortaya koymak isteyecek siz edebiyat \u00f6\u011frencilerine k\u00fc\u00e7\u00fck bir yol haritas\u0131 sunaca\u011f\u0131m\u0131 da haber vermeliyim. Bu yol haritas\u0131n\u0131 verirken de Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbunun baz\u0131 temel niteliklerinden de\u00a0 s\u00f6z edece\u011fim.<\/p>\n T\u00fcrk Dil Kurumu\u2019nun T\u00fcrk\u00e7e s\u00f6zl\u00fc\u011f\u00fcnde, \u00fcsl\u00fbp \u201cSanat\u00e7\u0131n\u0131n g\u00f6r\u00fc\u015f, duyu\u015f, anlay\u0131\u015f ve anlat\u0131\u015ftaki \u00f6zelli\u011fi veya bir t\u00fcr\u00fcn, bir \u00e7a\u011f\u0131n kendine \u00f6zg\u00fc anlat\u0131\u015f bi\u00e7imi.\u201d tarz\u0131nda\u00a0 tan\u0131mlanm\u0131\u015ft\u0131r. Bu tan\u0131m, \u00fcsl\u00fbbun do\u011fru ama dar bir tan\u0131m\u0131d\u0131r. Bundan dolay\u0131 \u00fcsl\u00fbbun daha \u00e7a\u011fda\u015f bir tan\u0131m\u0131ndan yola \u00e7\u0131kmam\u0131z gerekecektir:<\/p>\n Bir \u00fcsl\u00fbp bilimci olan Pierre Guiraud\u2019nun \u00fcsl\u00fbp tan\u0131m\u0131 ise \u015f\u00f6yledir: \u201c\u00dcsl\u00fbp, konu\u015fan \u00f6znenin yahut yazar\u0131n mizac\u0131 ve niyeti ile belirlenmi\u015f ifade (expression) vas\u0131talar\u0131n\u0131n se\u00e7imiyle bi\u00e7imlenmi\u015f bir ifade (\u00e9nonc\u00e9) tarz\u0131d\u0131r<\/strong> (aspect \/\u00a0g\u00f6r\u00fcn\u00fcm, k\u0131l\u0131k).\u201d Bu a\u011f\u0131r tan\u0131m\u0131n tam anla\u015f\u0131labilmesi i\u00e7in, tan\u0131m\u0131n dayand\u0131\u011f\u0131 \u201cifade\u201d, \u201ctarz\u201d, \u201ckonu\u015fan \u00f6zne\u201d, \u201cmiza\u00e7\u201d ve \u201cniyet\u201d kavramlar\u0131n\u0131n tek tek a\u00e7\u0131klanmas\u0131ndan vazge\u00e7emeyiz.<\/p>\n 1) \u0130fade (expression): \u00dcsl\u00fbbun tan\u0131m\u0131, ifade kelimesinin dar yahut geni\u015f anlam\u0131nda\u00a0 d\u00fc\u015f\u00fcn\u00fclmesine g\u00f6re de\u011fi\u015fmektedir:<\/p>\n a)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fade kavram\u0131, gelene\u011fimizde oldu\u011fu gibi, yazar\u0131n sanat\u0131<\/strong> anlam\u0131nda kullan\u0131labilir. Bu durumda, \u00fcsl\u00fbp, yazar\u0131n\u00a0bilin\u00e7li olarak kulland\u0131\u011f\u0131 edeb\u00ee, estetik ifade vas\u0131talar\u0131 anlam\u0131na gelir.<\/p>\n b)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fade kavram\u0131, yazar\u0131n mizac\u0131<\/strong> anlam\u0131nda kullan\u0131labilir. Bu durumunda yazar\u0131n \u015fuur d\u0131\u015f\u0131 e\u011filimleri anlam\u0131na gelir.<\/p>\n c)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fade kavram\u0131, eserlerin b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc<\/strong> anlatmak i\u00e7in kullan\u0131labilir. Bu durumda,\u00a0 yazar\u0131n eserlerini de\u011fil, yazar\u0131n eserlerinin b\u00fct\u00fcnl\u00fc\u011f\u00fc i\u00e7inde ortaya \u00e7\u0131kan tutumunu ifade eder.<\/p>\n 2) \u0130fade vas\u0131talar\u0131<\/strong>, yazar\u0131n kulland\u0131\u011f\u0131 ba\u015fl\u0131ca malzeme anlam\u0131na gelir. Bir ressam\u0131n kur\u015fun kalem, renkli kalem, sulu boya, ya\u011fl\u0131 boya kullanmas\u0131,\u00a0sanat\u0131n\u0131 nas\u0131l\u00a0belirlerse bir yazar\u0131n \u00fcslubunu da kulland\u0131\u011f\u0131 vas\u0131talar ve malzeme belirler. Yazarlar ve \u015fairler,\u00a0 \u00fc\u00e7 t\u00fcrl\u00fc\u00a0 ifade vas\u0131tas\u0131 kullan\u0131r:<\/p>\n a)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gramer yap\u0131lar\u0131<\/strong> (Les structures grammaticale): Sesler, bi\u00e7imler, kelimeler, yap\u0131 (constructions) ifade vas\u0131talar\u0131n\u0131n ba\u015f\u0131nda yer al\u0131r. Bir \u00fcsl\u00fbp ara\u015ft\u0131rmas\u0131, yazar\u0131n gramer yap\u0131lar\u0131 kar\u015f\u0131s\u0131nda ald\u0131\u011f\u0131 \u00f6zel tavr\u0131n tespitini zorunlu k\u0131lar. Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbunun temel e\u011filimlerinden birisi, gramer yap\u0131lar\u0131ndan \u015fuurlu olarak yararlanmas\u0131d\u0131r. Yahya Kemal\u2019in \u015fiire uygulad\u0131\u011f\u0131 m\u0131sra i\u015f\u00e7ili\u011fi kavram\u0131n\u0131, Banarl\u0131, nesre uygulam\u0131\u015ft\u0131r. C\u00fcmleleri, ritmik ve \u00f6l\u00e7\u00fcl\u00fcd\u00fcr. Bilindi\u011fi gibi Banarl\u0131, nesir ustalar\u0131m\u0131z\u0131n eserlerindeki aruza uyan ifadeleri ara\u015ft\u0131r\u0131r ve okuyucular\u0131n\u0131n \u00f6n\u00fcne sererdi. Aruzun sesinin T\u00fcrk nesrine de yans\u0131d\u0131\u011f\u0131n\u0131 bilenlerdendi. Kendi nesirlerinde\u00a0hep bu tarih\u00ee sesten yararland\u0131.<\/p>\n b)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kompozisyonun olu\u015fturulmas\u0131:<\/strong> \u0130kinci ifade vas\u0131tas\u0131, anlat\u0131 t\u00fcrleri<\/strong>dir. Yazar, bir metin \u00fcrettti\u011finde bu metin, d\u00f6rt ana anlat\u0131m\u00a0bi\u00e7iminden (forme)\u00a0birisi i\u00e7inde yer al\u0131r. Ancak, pratikte, bu d\u00f6rt\u00a0bi\u00e7im, daima bir kar\u0131\u015f\u0131m olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Bu kar\u0131\u015f\u0131m\u0131n olu\u015fturulma tarz\u0131, \u00fcsl\u00fbbu da belirler.\u00a0 Bundan dolay\u0131, Anlat\u0131 (discours) tipolojisi a\u00e7\u0131s\u0131ndan yazar\u0131n tercihlerinin tespit edilmesi ve hangi anlat\u0131m\u00a0bi\u00e7imlerinde ba\u015far\u0131l\u0131 oldu\u011funun ara\u015ft\u0131r\u0131lmas\u0131 gerekir. Ba\u015fl\u0131ca anlat\u0131 bi\u00e7imleri bilindi\u011fi gibi \u015funlard\u0131r: A\u00e7\u0131klay\u0131c\u0131 metinler<\/strong> (explicatif<\/strong>), tasvir\u00ee metinler<\/strong> (descriptif<\/strong>), muhakeme metinleri<\/strong> ( argumentatif<\/strong>), tahkiye\/hik\u00e2yeleme<\/strong> metinleri<\/strong> (narratif<\/strong>).\u00a0 Banarl\u0131\u2019n\u0131n metinlerinin genel olarak\u00a0 a\u00e7\u0131klama (explicatif<\/strong>) ve muhakeme ( argumentatif<\/strong>) metinleri oldu\u011fu g\u00f6r\u00fclmektedir. A\u00e7\u0131klama ve muhakeme metinleri, \u00e7ok zaman realist, polemik, lirik ve hitab\u00ee bir \u00fcslupla birlikte y\u00fcr\u00fcmektedir. Banarl\u0131 metinlerini d\u00fczenlerken(dispositio), genellikle z\u0131tl\u0131k, il\u00e2ve, paralelizm ve simetri<\/strong> (\u201cantith\u00e8se, ench\u00e2ssement, parall\u00e9lisme, sym\u00e9trie\u201d) gibi kompozisyon tekniklerinden yararlan\u0131r.<\/p>\n c)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u00fct\u00fcnl\u00fc\u011f\u00fc i\u00e7inde d\u00fc\u015f\u00fcnce<\/strong>: \u0130fade vas\u0131talar\u0131ndan \u00fc\u00e7\u00fcnc\u00fcs\u00fc yazar\u0131n felsefesi ve temel g\u00f6r\u00fc\u015fleridir. Yazar\u0131n ele ald\u0131\u011f\u0131 temler, d\u00fcnya g\u00f6r\u00fc\u015f\u00fc, felsef\u00ee tercihleri, \u00fcsl\u00fbbunu belirleyen temel vas\u0131talard\u0131r.<\/p>\n 3) \u0130fadenin Niteli\u011fi<\/strong> (la nature de l\u2019expression):\u00a0\u00a0 \u00c7a\u011fda\u015f \u00fcsl\u00fbp bilimi, \u00fcsl\u00fbp de\u011ferleri<\/strong> denilen \u015feyi de hesaba katmaktad\u0131r: \u00dcsl\u00fbp de\u011ferleri, \u00fcsl\u00fbbun dilbilime has bildiri\u015fim (communication) teorisi i\u00e7inde de\u011ferlendirilmesi sonucunda tespit edilir: Bilindi\u011fi gibi ileti\u015fim teorisi, alt\u0131 temel unsura dayan\u0131r: \u0130leti\u015fimin ger\u00e7ekle\u015febilmesi i\u00e7in, bir s\u00f6z s\u00f6yleyenin, bir dinleyenin ve bir de bir mesaj\u0131n olmas\u0131 gerekir. Ayr\u0131ca \u00fc\u00e7 de yard\u0131mc\u0131 unsura gerek vard\u0131r: Bunlar da nesne, kanal ve koddur. Bu alt\u0131 unsur dilin alt\u0131 farkl\u0131 g\u00f6rev (fonksiyon)\u00a0 yapmas\u0131n\u0131 sa\u011flar. Bu teoriden \u00f6nce, dilin sadece bir anla\u015fma arac\u0131 oldu\u011funu san\u0131yorduk. Bu teoriden sonra dilin alt\u0131 g\u00f6revi oldu\u011funu \u00f6\u011frendik: Bu g\u00f6revler \u015funlard\u0131r: 1) Dili, kendimizi ifade etmek, kendi duygular\u0131m\u0131z\u0131 dile getirmek i\u00e7in kullanabiliriz. Bu, dilin kendini ifade etme g\u00f6revidir. Dili, bu g\u00f6revinde kullan\u0131rsan\u0131z, \u00fcsl\u00fbbunuza birinci \u015fah\u0131s hakim olacakt\u0131r. 2) Dili, kendi d\u0131\u015f\u0131m\u0131zdaki d\u00fcnyay\u0131, nesneleri ve bilgileri\u00a0 ifade etmek i\u00e7in kullanabiliriz. Bu, dilin haber fonksiyonudur, haber kipleri dedi\u011fimiz \u015fey de asl\u0131nda budur. Dili bu ikinci g\u00f6reviyle kullan\u0131rsan\u0131z, nesnel, objektif bir \u00fcslup kullanm\u0131\u015f olursunuz. 3) Dili, kar\u015f\u0131m\u0131zdakini etkilemek, harekete getirmek i\u00e7in de kullanabiliriz. Bu, dilin etkileme fonksiyonudur. Bu durumda \u00fcsl\u00fbbunuz, bir hitabet \u00fcsl\u00fbbu olacak, emir ve istek kipleri kullanacaks\u0131n\u0131z. 4) Dili, kar\u015f\u0131n\u0131zdakiyle ileti\u015fim kurmak i\u00e7in de kullanabiliriz. Bu,\u00a0 dilin alg\u0131lama fonksiyonudur. Bu durumda \u00fcnlem c\u00fcmleleri kullanacaks\u0131n\u0131z. 5) Dili, kar\u015f\u0131n\u0131zdaki ile anla\u015fmak i\u00e7in kullanabilirsiniz. Anla\u015famad\u0131\u011f\u0131n\u0131z noktalarda, dili yine dil ile a\u00e7\u0131klars\u0131n\u0131z. Bu ise dilin \u00fcst dil fonksiyonudur. Bu durumda, \u00fcsl\u00fbbunuza e\u015f anlaml\u0131lar hakim olacak ve didaktik bir \u00f6zellik kazanacakt\u0131r. 6) Nihayet dili, estetik ama\u00e7larla kullanabilirsiniz. Bir mesaj, sade bir dille de verilebilir, s\u00fcsl\u00fc bir dille de. Bu, dilin estetik fonksiyonudur. Bu durumda \u00fcsl\u00fbbunuza s\u00f6z sanatlar\u0131 hakim olacakt\u0131r.<\/p>\n B\u00fct\u00fcn bunlardan \u00e7\u0131karaca\u011f\u0131m\u0131z sonu\u00e7 \u015fudur: Dil, sand\u0131\u011f\u0131m\u0131z gibi sadece bir anlat\u0131m arac\u0131 de\u011fildir, biraz \u00f6nce g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi onun farkl\u0131 alt\u0131 g\u00f6revi vard\u0131r. B\u00fct\u00fcn yazar ve \u015fairler, birer dil ustas\u0131 olduklar\u0131ndan dilin bu alt\u0131 fonksiyonundan yararlan\u0131rlar. \u00dcsl\u00fbp, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde dile dayan\u0131r. Dilin alt\u0131 fonksiyonu, dil a\u00e7\u0131s\u0131ndan, alt\u0131 tip \u00fcsl\u00fbp yarat\u0131r. Bunlar, kar\u0131\u015f\u0131m halinde de kullan\u0131ld\u0131klar\u0131ndan\u00a0 pek \u00e7ok \u00fcsl\u00fbp \u00e7e\u015fidinin ortaya \u00e7\u0131kmas\u0131n\u0131 sa\u011flarlar.<\/p>\n Dil, konu\u015fan \u00f6znenin niyeti\u00a0 ve dinleyici \u00fczerinde b\u0131rakt\u0131\u011f\u0131 etkiler a\u00e7\u0131lar\u0131ndan incelendi\u011finde, farkl\u0131 \u00fcsl\u00fbp de\u011ferleri g\u00f6sterir:<\/p>\n a)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kavramsal de\u011ferler<\/strong>: Bunlar, bir \u00fcsl\u00fbbun a\u00e7\u0131k, mant\u0131k\u00ee, do\u011fru, olmas\u0131 gibi \u00f6zellikleridir. Muhakeme metinlerinde,\u00a0 t\u00fcmevar\u0131m<\/strong> (induction), t\u00fcmdengelim<\/strong> (deduction), and\u0131rma \/ m\u00fcmaselet<\/strong> (anologie) gibi istidlal<\/strong> (raisonnement) \u015fekilleri ile ak\u0131ld\u0131\u015f\u0131 \/ abes<\/strong> (absurde), kar\u015f\u0131t \/ mukabil<\/strong> (opposition), akis ve k\u0131yas<\/strong> (syllogisme) gibi ak\u0131l y\u00fcr\u00fctme\u00a0 yollar\u0131ndan yararlan\u0131l\u0131r. Metnin i\u00e7 d\u00fczenini \u00e7ok zaman bunlar kurar. Bu ak\u0131l y\u00fcr\u00fctme tarzlar\u0131n\u0131n de\u011ferleri ayn\u0131 de\u011fildir, her birinin olumlu ve olumsuz y\u00f6nleri vard\u0131r. Bir metinde ileri s\u00fcr\u00fclen fikirlerin de\u011feri ile kullan\u0131lan ak\u0131l y\u00fcr\u00fctme yolu aras\u0131nda tam bir ili\u015fki s\u00f6z konusudur. Yazar\u0131n \u00fcsl\u00fbbunu belirleyen \u015feylerden birisi de se\u00e7ti\u011fi ve kulland\u0131\u011f\u0131 ak\u0131l y\u00fcr\u00fctme tarz\u0131d\u0131r. Bir\u00e7ok edeb\u00ee sanat, do\u011frudan ak\u0131l y\u00fcr\u00fctme tarz\u0131na ba\u011fl\u0131d\u0131r.\u00a0 Bu noktaya Bat\u0131 retorik\u00e7ileri kadar T\u00fcrk ve \u0130sl\u00e2m bel\u00e2gat\u00e7ileri de dikkat etmi\u015f ve metinleri ak\u0131l y\u00fcr\u00fctme a\u00e7\u0131s\u0131ndan sa\u011flaml\u0131klar\u0131na g\u00f6re alt\u0131 t\u00fcr halinde derecelendirmi\u015flerdir. Bunlar, burhan, cedel, hitabe, muhayyel\u00e2t, safsata ve mugalata<\/strong>d\u0131r. Ak\u0131l y\u00fcr\u00fctme a\u00e7\u0131s\u0131ndan en sa\u011flam metinler, burhan, en zay\u0131flar\u0131 ise safsata ve mugalatad\u0131r. Bu alt\u0131 t\u00fcr\u00fcn be\u015fi mant\u0131\u011fa, muhayyelat\u00a0 ise ilm-i beyana yani fig\u00fcr ve trop teorisine aittir. Didaktik bir yazar olarak Banarl\u0131\u2019n\u0131n s\u0131k olarak ba\u015f vurdu\u011fu muhakeme yollar\u0131, t\u00fcmevar\u0131m, t\u00fcmdengelim, and\u0131rma ve kar\u015f\u0131tl\u0131kt\u0131r\u00a0“oppozisyon”. O, k\u0131yas gibi a\u011f\u0131r\u00a0ak\u0131l y\u00fcr\u00fctme\u00a0tarzlar\u0131n\u0131 yaz\u0131lar\u0131nda kullanmam\u0131\u015ft\u0131r. Belagat\u00e7ilerin tasnifini esas ald\u0131\u011f\u0131m\u0131zda, Banarl\u0131\u2019n\u0131n yaz\u0131lar\u0131 cedel <\/strong>ve hitabet<\/strong> derecelerinde yer al\u0131r. Yazar\u0131n burhan gibi a\u011f\u0131r, yahut mugalata gibi sa\u011fl\u0131ks\u0131z d\u00fc\u015f\u00fcnme yollar\u0131na ba\u015fvurmad\u0131\u011f\u0131 g\u00f6r\u00fclmektedir.<\/p>\n b) <\/strong>\u0130fade de\u011ferleri: <\/strong>Bir \u00fcsl\u00fbp, resm\u00ee dili, g\u00fcnl\u00fck dili, aile dilini, leh\u00e7eyi, a\u011f\u0131zlar\u0131, edeb\u00ee ekolleri yans\u0131tabilir. Banarl\u0131’n\u0131n dili,\u00a0klasik\u00a0edebiyat\u0131m\u0131z\u0131n ses \u00f6zelliklerine a\u00e7\u0131kt\u0131r. \u00c7a\u011fda\u015flar\u0131n\u0131n \u00e7o\u011fundan bu niteli\u011fiyle ayr\u0131l\u0131r. <\/strong><\/p>\n c)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130zlenim De\u011ferleri: <\/strong>\u00dcsl\u00fbbun okuyucu odakl\u0131 olarak, okuyucuya g\u00f6re de\u011ferlendirilmesidir. Bu durumda metin, okuyucu \u00fczerinde b\u0131rakt\u0131\u011f\u0131 duygu tesirine g\u00f6re adland\u0131r\u0131l\u0131r. G\u00fcn\u00fcm\u00fczde t\u00fcr kavram\u0131 yerini, eserleri duygu seviyelerine g\u00f6re derecelendiren Ton tespiti, \u201ctonland\u0131rma-tonalit\u00e9\u201d kavram\u0131na b\u0131rakm\u0131\u015ft\u0131r. Bu yakla\u015f\u0131m,\u00a0 g\u00fclmekten a\u011flamaya kadar uzanan insan duygular\u0131n\u0131n tonlar\u0131n\u0131n bu iki kutup aras\u0131nda uzayan \u00e7izgiye yerle\u015ftirilmesinden ibarettir. B\u00fct\u00fcn eserler, tonland\u0131rma a\u00e7\u0131s\u0131ndan bu iki s\u0131n\u0131r aras\u0131ndaki \u00e7izgide yerini bulur.\u00a0Bu tonlar, \u00a0g\u00fclme kutbuna\u00a0veya a\u011flama kutbuna\u00a0yak\u0131nl\u0131klar\u0131na ve uzakl\u0131klar\u0131na\u00a0 g\u00f6re bir ad al\u0131rlar: Bucolique (Alay), Burlesque (kaba g\u00fcld\u00fcr\u00fc), Comique (komik), Didactique (didaktik), Dramatique (dramatik), Elejiaque (i\u00e7li, h\u00fcz\u00fcnl\u00fc), Emphatique (tumturakl\u0131, duygu abart\u0131l\u0131), \u00e9pique (destani), heroicomique (g\u00fcld\u00fcr\u00fcc\u00fc kahramanl\u0131k), lyrique (lirik), oratoire (hitab\u00ee), path\u00e9tique (dokunakl\u0131), pol\u00e9mique (kalem kavgas\u0131), satirique (toplumsal yergi). Banarl\u0131\u2019n\u0131n eserlerinin\u00a0\u00a0 didaktik, polemik, lirik ve hit\u00e2b\u00ee<\/strong> tonlar ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Bu tonlar, Banarl\u0131\u2019n\u0131n \u00fcslubunun temel belirleyicileri durumundad\u0131rlar.<\/p>\n 4) \u0130fadenin Kayna\u011f\u0131: \u00dcsl\u00fbbu ifadenin kayna\u011f\u0131na g\u00f6re de de\u011ferlendirmek gerekir:<\/p>\n a)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fadenin psiko-fiziyolojik kaynaklar\u0131na g\u00f6re \u00fcslup tespiti yap\u0131labilir: Miza\u00e7 \u00fcsluplar\u0131, cinsiyet \u00fcsl\u00fbplar\u0131, ya\u015f \u00fcsl\u00fbplar\u0131, yumu\u015fak \u00fcsl\u00fbplar, h\u0131r\u00e7\u0131n \u00fcsl\u00fbplar, mel\u00e2nkolik \u00fcsl\u00fbplar gibi.<\/p>\n b)\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fadenin sosyal tabakalara, mesleklere g\u00f6re s\u0131n\u0131fland\u0131r\u0131lmas\u0131 yap\u0131labilir: Ayd\u0131n \u00fcsl\u00fbbu, k\u00f6yl\u00fc \u00fcsl\u00fbbu gibi.<\/p>\n c)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fadenin y\u00fcklendi\u011fi g\u00f6reve g\u00f6re s\u0131n\u0131fland\u0131r\u0131lmas\u0131 yap\u0131labilir. Resm\u00ee, edeb\u00ee, hukuk\u00ee, siyas\u00ee, \u015fifah\u00ee \u00fcsl\u00fbplar gibi.<\/p>\n 5) \u0130fadenin g\u00f6r\u00fcn\u00fcm\u00fcne, k\u0131l\u0131\u011f\u0131na (aspect) g\u00f6re de\u00a0\u00fcslup belirlenebilir: \u0130fadenin niteli\u011fi<\/strong> ile ifadenin kaynaklar\u0131<\/strong> birle\u015ferek yeni \u00fcsl\u00fbp formlar\u0131 olu\u015fturur. Bize tamamen tasvir\u00ee\u00a0 olan \u00fcslup tan\u0131mlar\u0131 getirirler:<\/p>\n a)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0130fade formlar\u0131<\/strong>: Bir \u00fcslup, icaz (veciz) ve \u0131tnaba (s\u00f6z\u00fc uzatma) dayanabilir, mecazl\u0131, alegorik vs. olabilir.<\/p>\n b)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 D\u00fc\u015f\u00fcncenin, ifadenin kayna\u011f\u0131na g\u00f6re<\/strong> \u00fcsl\u00fbp tespit edilebilir: Bu durumda, ne\u015feli, rahat, h\u00fcz\u00fcnl\u00fc, enerjik \u00fcsl\u00fbplardan bahsederiz.<\/p>\n c)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Konu\u015fan \u00f6znenin dil tercihlerine <\/strong>g\u00f6re \u00fcsluplar\u0131 s\u0131n\u0131fland\u0131rabiliriz. Bu durumda \u00fcsl\u00fbbun eski (arkaik), yeni (neolojik), \u015fair\u00e2ne\u00a0 vb. olu\u015fu \u00fczerinde durmam\u0131z gerekir.<\/p>\n Bilindi\u011fi gibi \u00fcsl\u00fbp ger\u00e7eklik (reel) kar\u015f\u0131s\u0131nda al\u0131nan tavra g\u00f6re<\/strong> de s\u0131n\u0131fland\u0131r\u0131lmaktad\u0131r: \u00dcsl\u00fbp, \u00fctopik \u201cutopie\u201d bir tutumdan, bir idealle\u015ftirmeden \u201cid\u00e9alisation\u201d, bir bi\u00e7imlendirmeden \u201cstylisation\u201d, bir ger\u00e7ek\u00e7ilikten \u201cr\u00e9alisme\u201d, bir abartma e\u011filiminden “grossissement”, yahut g\u00fcl\u00fcn\u00e7le\u015ftirme e\u011filiminden \u201ccaricature\u201d do\u011fabilir. Banarl\u0131\u2019n\u0131n genel ve ferd\u00ee \u00fcsl\u00fbbu ger\u00e7eklik kar\u015f\u0131s\u0131nda bir\u00a0 idealle\u015ftirme, bi\u00e7imlendirme ve ger\u00e7ek\u00e7ilik<\/strong> \u201cid\u00e9alisation, stylisation ve r\u00e9alisme\u201d \u00fcsl\u00fbbudur.<\/p>\n Banarl\u0131\u2019n\u0131n eserlerine metinler aras\u0131 (intertextualit\u00e9) ili\u015fkiler a\u00e7\u0131s\u0131ndan bak\u0131ld\u0131\u011f\u0131nda, edebiyat tarihinden sohbet, deneme ve makalelerine kadar b\u00fct\u00fcn yaz\u0131lar\u0131nda olduk\u00e7a s\u0131k olarak \u015fair ve yazarlar\u0131n eserlerinden al\u0131nt\u0131lar yap\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. Sadece parodiye yer vermemi\u015f, bunun d\u0131\u015f\u0131ndaki, her t\u00fcrl\u00fc metinler aras\u0131 ili\u015fki tekni\u011finden yararlanm\u0131\u015ft\u0131r.<\/p>\n Sonu\u00e7 olarak \u015fu h\u00fckm\u00fc verebiliriz: Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbbunu belirleyen\u00a0bi\u00e7imler (genre), a\u00e7\u0131klama<\/strong> (explication) ve muhakeme<\/strong> ( argumentation<\/strong>) bi\u00e7imleridir. Onun \u00fcsl\u00fbbunu her \u015feyden \u00f6nce bu\u00a0bi\u00e7imlerin nitelikleri belirlemi\u015ftir. Bu\u00a0bi\u00e7imler didaktik, polemik, lirik ve hit\u00e2b\u00ee<\/strong> tonlar vas\u0131tas\u0131yla i\u015flenmi\u015ftir. Banarl\u0131\u2019n\u0131n ger\u00e7eklik kar\u015f\u0131s\u0131nda ald\u0131\u011f\u0131 tavra g\u00f6re \u00fcsl\u00fbbu, bir\u00a0 idealle\u015ftirme, bi\u00e7imlendirme ve ger\u00e7e\u011fi yans\u0131tma<\/strong> \u201cid\u00e9alisation, stylisation ve r\u00e9alisme\u201d \u00fcsl\u00fbbudur.<\/p>\n Banarl\u0131, bir yaz\u0131s\u0131nda \u015f\u00f6yle der: \u201c\u015eu f\u00e2n\u00ee d\u00fcny\u00e2 sa\u00e2detleri i\u00e7inde hi\u00e7bir \u015fey, az\u00eez T\u00fcrk \u00e7ocuklar\u0131na T\u00fcrk dilini \u00f6\u011fretmek kadar g\u00fczel hizmet de\u011fildir. <\/strong><\/p>\n Vatan \u00e7ocuklar\u0131na bir milletin yaratt\u0131\u011f\u0131 ve ya\u015fatt\u0131\u011f\u0131 dili, b\u00fct\u00fcn g\u00fczellikleri, incelikleri, y\u00fccelikleri ve g\u00fczel sesiyle \u00f6\u011fretmek…<\/strong><\/p>\n Onlar\u0131, b\u00f6yle bir dilin sihirli if\u00e2delerine y\u00fckselterek; her an, daha \u00e7ok duyan, d\u00fc\u015f\u00fcnen, anlayan ve yaratan insanlar olarak yeti\u015ftirmek…<\/strong><\/p>\n Dilin b\u00f6ylesine t\u0131ls\u0131ml\u0131 v\u00e2s\u0131ta oldu\u011funu bilmek ve b\u00fct\u00fcn bunlar\u0131, bilerek, severek yapmak…\u201d<\/strong><\/p>\n Banarl\u0131\u2019n\u0131n b\u00fct\u00fcn fikr\u00ee ve edeb\u00ee faaliyetlerinin hareket noktas\u0131, bu d\u00fc\u015f\u00fcncelerdir. Yazd\u0131\u011f\u0131 monografiler, makaleler, edebiyat tarihi, kompozisyon kitaplar\u0131, denemeler, sohbet yaz\u0131lar\u0131, birer nehir gibi bu temel amac\u0131n okyanusuna d\u00f6k\u00fcl\u00fcr. Banarl\u0131, bir sanat\u00e7\u0131dan \u00e7ok bir e\u011fiticidir. Ancak e\u011fitirken sanat\u00e7\u0131d\u0131r. Bundan dolay\u0131 ilm\u00ee yaz\u0131lar\u0131nda da edeb\u00ee yaz\u0131lar\u0131nda da bir T\u00fcrk\u00e7e ustas\u0131, bir T\u00fcrk\u00e7e g\u00f6n\u00fcll\u00fcs\u00fc, bir\u00a0\u00fcsl\u00fbp ustas\u0131d\u0131r.\u00a0 Bu, bir\u00e7oklar\u0131n\u0131n yapt\u0131\u011f\u0131 ve bir\u00e7oklar\u0131n\u0131n sand\u0131\u011f\u0131 gibi edebiyattan bahsederken edebiyat yapt\u0131\u011f\u0131 anlam\u0131na gelmez: \u0130lm\u00ee yaz\u0131lar da, edeb\u00ee yaz\u0131lar da bir dil\u00a0bilinci ve anlat\u0131m bilgisini gerekli k\u0131lar. Yurdumuzda, bu konuda, olduk\u00e7a yanl\u0131\u015f bir anlay\u0131\u015f yayg\u0131nla\u015fm\u0131\u015ft\u0131r: \u00dcsl\u00fbbun sadece sanatk\u00e2rlarda bulundu\u011fu, onlara has bir nitelik oldu\u011fu d\u00fc\u015f\u00fcn\u00fcl\u00fcr. Bunun sonucu olarak, sadece sanat\u00e7\u0131lar\u0131n \u00fcsluplar\u0131ndan bahsedilir. Asl\u0131nda bu, ferd\u00ee \u00fcslup<\/strong>tur. Bunun yan\u0131nda ve bundan \u00f6nce, bunu da kapsayan, her yaz\u0131 yazan\u0131n ve konu\u015fan\u0131n kurallar\u0131na uymak zorunda oldu\u011fu bir de genel \u00fcslup<\/strong> vard\u0131r. Genel \u00fcslup, ana dilin bilgisine ve anlat\u0131m bilgisine dayan\u0131r. Genel \u00fcslup elde edilmeden ferd\u00ee \u00fcsluptan s\u00f6z edilemez. Ferd\u00ee \u00fcslubun de\u011feri genel \u00fcsluba hakimiyetten ve onu geni\u015fletme kudretini g\u00f6stermekten ibarettir.\u00a0 T\u00fcrk ve \u0130sl\u00e2m d\u00fcnyas\u0131nda Bel\u00e2gat<\/strong> ilmi, Bat\u0131 d\u00fcnyas\u0131nda Retorik<\/strong> ilmi i\u015fte bunu \u00f6\u011fretir. Banarl\u0131 ilm\u00ee yaz\u0131lar\u0131nda genel \u00fcsl\u00fbba, edeb\u00ee yaz\u0131lar\u0131nda ferd\u00ee \u00fcsluba sahip olabilmi\u015f ender yazarlar\u0131m\u0131zdand\u0131r. Banarl\u0131\u2019n\u0131n \u00fcsl\u00fbp sevgisinin temelinde T\u00fcrk\u00e7e sevgisi vard\u0131r.<\/p>\n Bilindi\u011fi gibi,\u00a0 Bat\u0131l\u0131lar, retori\u011fi \u201cicat (inventio), tanzim (dispositio), \u00fcsl\u00fbp (elocutio), haf\u0131za (memoria), hareket (actio)\u201d olarak be\u015f b\u00f6l\u00fcm halinde s\u0131n\u0131fland\u0131r\u0131rlard\u0131. Bunlar eski retori\u011fin temel elementleriydi. Genel \u00fcsl\u00fbbu, sade, orta ve s\u00fcsl\u00fc \u00fcsl\u00fbp olmak \u00fczere \u00fc\u00e7e ay\u0131r\u0131rlard\u0131. Bu ay\u0131r\u0131m \u00fcsl\u00fbbu en genel \u00e7izgileriyle ay\u0131rma te\u015febb\u00fcs\u00fcyd\u00fc. Yunanl\u0131lara g\u00f6re, sade \u00fcslup, Atinal\u0131lar\u0131n \u00fcsl\u00fbbuydu, s\u00fcsl\u00fc \u00fcsl\u00fbp ise Asyal\u0131lar\u0131n \u00fcsl\u00fbbuydu. Bir de bunun kar\u0131\u015f\u0131m\u0131 vard\u0131 ki orta \u00fcsl\u00fbp ad\u0131n\u0131 al\u0131yordu. Sade, orta ve s\u00fcsl\u00fc \u00fcsl\u00fbplar\u0131n k\u00f6t\u00fc kullan\u0131lmas\u0131ndan da kuru, gev\u015fek ve \u015fi\u015fkin \u00fcsluplar\u0131n do\u011fdu\u011fu kabul ediliyordu. Sade \u00fcsl\u00fbbun e\u011fitimde, orta \u00fcsl\u00fbbun dinleyeni memnun etmede, s\u00fcsl\u00fc \u00fcsl\u00fbbun dinleyeni harekete ge\u00e7irmede etkili oldu\u011fu d\u00fc\u015f\u00fcn\u00fcl\u00fcyordu. \u0130yi bir \u00fcsl\u00fbbun ba\u015fl\u0131ca nitelikleri \u015funlar olmal\u0131yd\u0131: 1) Do\u011fruluk, 2) A\u00e7\u0131kl\u0131k, 3) Zaman ve mek\u00e2na uygunluk (Mukteza-y\u0131 hal), 4) S\u00fcsleme.<\/p>\n Bu ilkeler, kaynaklar\u0131n\u0131n ortak olmas\u0131ndan dolay\u0131, T\u00fcrk-\u0130sl\u00e2m bel\u00e2gatinde de vard\u0131r. Belagat\u00e7ilerimiz, s\u00f6z\u00fcn her \u015feyden \u00f6nce a\u00e7\u0131k olmas\u0131n\u0131 \u201cfasih\u201d olmas\u0131n\u0131 istiyorlard\u0131. S\u00f6z a\u00e7\u0131kl\u0131\u011f\u0131n\u0131 yani fesahati de \u015f\u00f6yle tan\u0131ml\u0131yorlard\u0131: S\u00f6z\u00fcn a\u00e7\u0131kl\u0131\u011f\u0131, s\u00f6z\u00fcn ses ve anlam olarak anla\u015f\u0131l\u0131r olmas\u0131d\u0131r. Ayr\u0131ca, s\u00f6z, dil kurallar\u0131na ve dil ustalar\u0131n\u0131n tercihlerine uygun olursa, a\u00e7\u0131kt\u0131r. Bug\u00fcn dil bilimi bu tespiti, dil normuna uygunluk olarak tan\u0131mlamaktad\u0131r. Yine bel\u00e2gat\u00e7ilere g\u00f6re halk\u0131n anlad\u0131\u011f\u0131, ayd\u0131nlar\u0131n takd\u00eer etti\u011fi s\u00f6z a\u00e7\u0131kt\u0131r. S\u00f6z\u00fcn arkaik yahut neolojik olmas\u0131 yani \u00e7ok eski ve \u00e7ok yeni olmas\u0131, s\u00f6z\u00fcn a\u00e7\u0131k olmas\u0131n\u0131 engeller. G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, bel\u00e2gat\u00e7iler, a\u00e7\u0131k s\u00f6z\u00fcn \u00e7ok ayd\u0131nl\u0131k bir tan\u0131m\u0131n\u0131 yapm\u0131\u015flard\u0131r. Banarl\u0131\u2019n\u0131n dil anlay\u0131\u015f\u0131 ve genel \u00fcsl\u00fbbu bu tan\u0131ma tamamen uymaktad\u0131r. Banarl\u0131, dil yaz\u0131lar\u0131nda \u0131srarla iki \u015fey \u00fcst\u00fcnde durur. Bunlardan birincisi halk\u0131n kelimelere verdi\u011fi ses, di\u011feri halk\u0131n onlara y\u00fckledi\u011fi anlam. O, fikr\u00ee eserlerinde halk normunu\u00a0 savunmu\u015f, yaz\u0131lar\u0131nda da bu fikrine ba\u011fl\u0131 kalm\u0131\u015ft\u0131r.<\/p>\n \u00dcsl\u00fbp, d\u00f6rt psikolojik ger\u00e7ekli\u011fe dayan\u0131r: Bunlar, zihin g\u00fcc\u00fc, duygu, hayal g\u00fcc\u00fc ve olgunla\u015fm\u0131\u015f bir zevktir. Banarl\u0131, hayran oldu\u011fumuz nesirlerini i\u015fte bunlarla \u00f6rd\u00fc. <\/strong><\/p>\n Manisa,16\/Aral\u0131k\/ 2004<\/p>\n","protected":false},"excerpt":{"rendered":" Nihad S\u00e2mi Banarl\u0131\u2019n\u0131n \u00dcsl\u00fbbu \u00dczerine Bir Sohbet Sevgili \u00d6\u011frenciler, Bug\u00fcnk\u00fc konu\u015fmamda T\u00fcrk\u00e7e\u2019nin \u00e2\u015f\u0131\u011f\u0131 olan Nihad S\u00e2mi Banarl\u0131\u2019n\u0131n \u00fcslubu konusunu\u00a0 ele alaca\u011f\u0131m. Medeniyetimizin ve T\u00fcrk\u00e7e\u2019mizin inceliklerine hayran olan Banarl\u0131, T\u00fcrk\u00e7e\u2019ye olan sayg\u0131s\u0131n\u0131n bir sonucu olarak y\u00fcksek bir \u00fcsl\u00fbp d\u00fczeyine ula\u015fm\u0131\u015ft\u0131. Onun yaz\u0131lar\u0131nda T\u00fcrk\u00e7e\u2019mizi hem ke\u015ffeder, hem ya\u015far\u0131z: Onu okurken hem T\u00fcrk\u00e7e\u2019nin g\u00fczelliklerini \u00f6\u011frenir, hem g\u00fczel T\u00fcrk\u00e7e\u2019nin […]<\/p>\n","protected":false},"author":3968,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-412","post","type-post","status-publish","format-standard","hentry","category-yazarlarimiz"],"_links":{"self":[{"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/3968"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=412"}],"version-history":[{"count":1,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/412\/revisions"}],"predecessor-version":[{"id":413,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/412\/revisions\/413"}],"wp:attachment":[{"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ege-edebiyat.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}