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  • Özbek, Meral (2000) "Walter Benjamin'i Okumak I", AÜ Siyasal Bilgiler Fakültesi Dergisi, Sayı: 55 (2) .

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    This study is about the texts, that begin with "Paris, The Capital of Nineteenth Century" Walter Benjamin wrote in Paris after 1935, which stemmed from his almost life-long project Dos Passagen-Werk. The aim of the study is to try to understand these texts by considering the epistemological and methodological dimensions to them. Because, first, Benjamin's historical, political and cultural thought and the way he expresses them is so thoroughly determined by his epistemology and methodology that in order to understand what he is saying it is necessary to concieve how he says it. This necessity is also relevant if we are to learn from his thought to do cultural studies. Thereby this study ends with the below questions: If we want to understand and do research on the cultural world in Turkey, say of the 1990s, which basic phenomena would we choose to do it and under which ideas would we group these phenemona as constellations? And, in editing and processing this body of phenomena, which past period in Turkey would we choose to correspond to the 1990's? Why?

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    Özbek, Meral (2000) “Walter Benjamin'i Okumak I”, AÜ Siyasal Bilgiler Fakültesi Dergisi, sayı: 55 (2).

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    This study is about the texts, that begin with "Paris, The Capital of Nineteenth Century" Walter Benjamin wrote in Paris after 1935, which stemmed from his almost life-long project Dos Passagen-Werk. The aim of the study is to try to understand these texts by considering the epistemological and methodological dimensions to them. Because, first, Benjamin's historical, political and cultural thought and the way he expresses them is so thoroughly determined by his epistemology and methodology that in order to understand what he is saying it is necessary to concieve how he says it. This necessity is also relevant if we are to learn from his thought to do cultural studies. Thereby this study ends with the below questions: If we want to understand and do research on the cultural world in Turkey, say of the 1990s, which basic phenomena would we choose to do it and under which ideas would we group these phenemona as constellations? And, in editing and processing this body of phenomena, which past period in Turkey would we choose to correspond to the 1990's? Why?

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    617 views28 pages

    Özbek, Meral (2000) "Walter Benjamin'i Okumak I", AÜ Siyasal Bilgiler Fakültesi Dergisi, Sayı: 55 (2) .

    Uploaded by

    VolkanYucel
    This study is about the texts, that begin with "Paris, The Capital of Nineteenth Century" Walter Benjamin wrote in Paris after 1935, which stemmed from his almost life-long project Dos Passagen-Werk. The aim of the study is to try to understand these texts by considering the epistemological and methodological dimensions to them. Because, first, Benjamin's historical, political and cultural thought and the way he expresses them is so thoroughly determined by his epistemology and methodology that in order to understand what he is saying it is necessary to concieve how he says it. This necessity is also relevant if we are to learn from his thought to do cultural studies. Thereby this study ends with the below questions: If we want to understand and do research on the cultural world in Turkey, say of the 1990s, which basic phenomena would we choose to do it and under which ideas would we group these phenemona as constellations? And, in editing and processing this body of phenomena, which past period in Turkey would we choose to correspond to the 1990's? Why?

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    WALTER BENJAMIN OKUMAK - 1 Yrd. Dog. Dr. Meral Ozbek Mimar Sinan Oniversitesi Fen ve Edebiyal Fakltesi Ozet Bu caligmanin konusu, Walter Benjamin‘in 1935ten sonra Patis'te yazdifi ve Pasajar Yapin'yla bajJanh olarak yayinlanons metinlerdir. Gaga, “XIX. Yizyshn Bagkenti Paris” basta ‘olmak iizere Benjomin‘in bu metinlerii, ardindaki bigibilimsel ve yéntembilimsel baglam. gizéniinde tuarak okumay! amachyor. Cink, ilkin, Benjamin anlatsinda bilgi ve yéntem uram ile tarisel, siyasal ve kiltirel diignce, et ve kemik gibi igige gegmigtir. Biylece Benjumintin ne dedigini, séyledikleini anlamak igin yontemin anlamak dnemlidi. Bu nem, ikinci olarak, Benjamin‘n kiiltir kuramundan bugin Tarkiye'de kiltdrel caligmalar yapmada yararlanabilmek agsindan da. gecelidir. Calisma biylece gu sorularla nihayetleniyor: Tirkiye'de, diyelim ki 1990'larin kilird dGnyasiry anlamak ve incelemek istersek, hang temel giriimgileri seqmeliyia? Hangi temel fkilerin toparlayseis alunda, hangi gringilert nasil kimelestisiz? Tim bu temel sgoringilerin secimi, islenmesi ve kurgulanmasinda, hangi benzer ges 2S02mi eszamani, cokuruz? Neden? \ Reading Walter Benjamin - 1 Abstract ‘This study is about the texts, that begin with "Paris, The Capital of Nineteenth Century” Walter Benjamin wrote in Paris after 1985, which stemmed from his almost lifelong project Das ascagen-Werk. The aim of the study is to try to understand these texts by considering the epistemological and methodological dimensions to them. Because, first, Benjamin's historical, political and cultural thought and the way he expresses them is so thoroughly determined by his ‘epistemology and methodology that in order to understand what he is saying it is necessary to ‘oncieve how he says it. This necessity is also relevant if we are to lear from his thought to do cultural studies. Thereby this study ends with the below questions: If we want to understand and do research on the cultural world in Turkey, say of the 1990, which basic phenomena would we choose todo it and under which ideas would we group these phenemona as constellations? And, in ‘editing and processing this body of phenomena, which past period in Turkey would we choose to correspond to the 1990's? Why? 70 « Antara Oniversitesi SBF Derg © 55-2 Walter Benjamin Okumak - I "Giizel olan eski seylerden degil, kétii olan yeni seylerden yola akin" B. Brecht. I Bu cahsmanin konusu, Walter Benjamin‘in 1935'ten sonra Paris'te siirgiindeyken yazdigi ve Pasajlar Yapit'yla baglantih olarak yayinlanmug metinlerdir.! Galigmanin amaci, "XIX. Yiizyihn Bagkenti Paris” basta olmak izere Benjamin‘in bu metinlerini, ardindaki bilgibilimsel ve yéntembilimsel baglami gézéniinde tutarak okumay denemektir. Calismanin birinci kismunda Benjamin‘in felsefi ve bilgikuramsal diigiincesinin cercevesi cizilecek; ikinci kisumda ise, bu cerceve dahilinde, Pasajlar Yapitr'ndan kaynaklanmis metinlerin igerigi okunacaktr. Ctinkii, Benjamin‘in anlatisinda bilgi ve yéntem kuramu ile tarihsel, siyasal ve kiiltiirel diigiince, bigim ve 6z olarak et ve kemik gibi icige gecmistir. Béylece Benjamin‘in ne dedigini, sdylediklerini anlamak icin yéntemini anlamak dnemlidir. Bu dnem, aynca, Benjamin‘in kiltiir kuramindan bugiin Tiirkiye'de kiiltiirel cahsmalar yapmada yararlanabilmek agisindan da gecerlidir. Ote yandan Benjamin‘in diisiince biitiiniiné anlamak kolay degildir; giinki cok degisik ve celigkili diigiinsel kaynaklardan beslenmistir. Felsefi diigincesi esas olarak, Yahudi mistisizmi kaynakh bir kurtulug felsefesi ile tarihsel ve diyalektik materyalizmin alagimmdan olugur. Lowy'nin aktardigina gore, bizzat Benjamin kendi diigiincesinden-iki yiizii ama tek bir bast olan mitoloji kahramam gibi- Janus yiizlii diye bahsetmistir (LOWY, 1999: 216). Bu 1 Pasajlar’dan kaynaklanarak yazilan tim bu metinler, Ahmet Cemal'in cevirdi Pasajlar'da (1992) igerilmektedir. Bu caligmada bu metinlerin yer aldygi kaynaklar icin biz. (BENJAMIN, 1992a; 1992; 19933; 1992c; 19924). ‘Meral Gzbek » Wale Benjamin Okumak-16 71 diistinsel alagim, Sorelci ve Bakuninci anarsist siyasal_diigiince, Alman ‘felsefesi_ ve goriingibili Bergsoncu bellek diigiincesi, iri, Alman romantik ve barok edebiyati, dedel dadaa ve gercekiistiicii (avangard) sanat pratigi, Brechtci epik tiyatro ve erken Sovyet sinemasinin etki ve esinlerini de icerir.2 Ancak belki de Benjamini 20. SSRI galt Kersinded en Onenl ltr kuramolarindan bic bazilarina gére en dzgiin olan diisiinsel ve dilsel_bir turabilmis olmasinda yatar.? Ondaki faginsel alagim, derin bir diigiinme, kapsamb bir aragtirma ve eygiz bir yazma tarziyla birarada gider. Benjamin‘in yasarm ve yapitlan arasindaki kogutluk da, onu dzgiin kalan 6nemli bir ézelliktir. Onun melankolisi ve intihari, Angela McRobbie'nin de dedigi gibi, eserlerinin kenarmda verilecek “yasaméykiisel bir not” degildir (McROBBIE, 1998: 176). Etrafina Griilen trajik halenin yasantist ve icinde yasadigi calkantilt dénemle yakindan iliskisi bulunur. 1892'de dojan ve 1940'da zamansiz Olen Benjamin, iki diinya savagt arasi dénemde yazmigtir. Ancak eserlerinin cok az yasarken yayinlarur; ve diisiincesi'nin yayilmast esas 1950'lerden sonradir. ibesinin dzii "dehset™t olan Nazi Almanyasidir. 1933'de Alman vatandashindan atilarak Fransa'ya sirgan giden _Aimanyasidir. 2 Benjamin‘in diigtinsel kaynaklan (ve yapitlarinin kronolojik anlatimint da igeren Szgiin bir galigma) igin bkz. (DEMIRALP, 1999; LUNN, 1995: 216-242; JAMESON, 1997: 67-77; EAGELTON, 1998; LOWY, 1999: 192-217; GURBILEK, 1993; ARENDT, 1979; OSKAY, 1982b). Benjamin‘in Turkge'ye cevrilen yazilari ve tizerine yazalanlar icin bkz. Gairbilek'in derlemesinde "Tiirkcede Benjamin’: 185-187. 3. 1960'larda Almanya‘ yiiztind ihmal etmigtir. Ya da diigiincesinin bu iki boyutu arasindaki iligkinin uzlagmaz. ‘oldugunu diiinenler gikmustr. Léwy ise, Benjamin‘in siyaset felsefesinde, gerck Mesiyanizmin gerekse anargizmin aym neo-romantik koklerden gikip geldigini; Yahudi Mesiyanizmi ile Marxizmin/komiinizmin bileyiminin anargizm dolayrmiyla kuruldugu- ny; onun dilgtincesinde Gtopya, anargizm, mesiyanizm ve devrimin, simyasal olarak iretigint ve nice cme] ciincenin anes Beye! chitin ne acerkon, oldukca ikna edicidir (LOWY, 1999: 215-216, 193-194, 199, 202). Lowy, Benjamis iiginectalagimt gin “simyocikk’; ye _ditgincenindcki imetafik’ ve materyalit doyutlarinn kansimt icin “birlesik kaplar sistemi” benzetmelerini kullarar (LOWY, 193, 225, 229). Benjamin’de dinsel diisiince ile tarihsel materyalizm arasindaki ili mahiyeti Konusunda, bkz. BENJAMIN, 1992d; Szellikle de, “Tarih Kavram Uzerine” 1 ‘Tez. G3). Bu tez ile Benjamin‘in tarihsel olugum alant ve Mesih‘in alant arasndaki iligki sal Fragman” hakkinda, bkz. (DEMIRALP, 1999: 186-191; 4 Adorno'ya gore “tecriibenin &zii (inbegriff, dehsettir. Nesnenin dzneyi, tizerinde bir iz bile burakmadan imha etme tehditinden kaynaklanan bir dehget: Kim ki gerceklige bulastr ve onunla uzlasir, o mahvolacakhr... Yagam canh defildir, gerceklik iginde tecriibe varol (@)maz’. Michael Rutschky araciiryla aktaran (HANSEN, 199: 189). Benjamin, bu

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