Publication: Türk halk edebiyatı metinlerinde kutsanan acılar üzerine değerlendirme
Abstract
İnsanın mücadelesi Homo sapiensten bu yana vardır. Homo sapiensin en büyük trajedisi ise dünyaya gelmesiyle beraber kendisiyle beraber getirdiği bir yaratılış acısıyla başlar. Acı, tüm kültürlerde yer alan bir duygudur. Türkçe deyim ve deyişlerde insan, “acı ile yüzleşir”, “acıya katlanır”, “acı çeker”, “acısını belli etmez”, “acısıyla olgunlaşır”, “acısı sayesinde mükâfatlandırılır” ve bazen de “acıyı bal eyler”. İnsan yaşamı boyunca zihinsel ve bedensel olarak çeşitli acılar hisseder ve ait olduğu kültürün izin verdiği kadarıyla sınırlandırıp biçimlendirdiği haliyle acılarını dışa vurur. Acı, bazı toplumlarda ulaşılması gereken bir mertebenin sınama sürecidir. Bazı toplumlarda ise acı çekme, bireyin içsel ve gizli olarak yaşaması gereken, dışarıya göstermemesi gereken bir olgu olarak anlamlandırılır. Bu durumda acılı kişi; delilik, çaresizlik, kabullenme, travma, şiddet, intihar gibi belli süreçlerle yüzleşebilir ya da acı sürecini uzlaşılmış değerler üzerinden yaşayabildiyse de toplumsallaştığı için ödüllendirilir. Örnek olarak, Türk toplumunda olduğu gibi patriarkal düzenin bulunduğu birçok toplumda erkeğin acı çektiğini göstermesi “erkek adamın ağlaması” toplumsal olarak kınanabilen bir durumdur. Patriarkal toplumlarda erkekten güçlü ve sert olması beklenir. Bu toplumlarda erkek örneğin, “karı gibi kahkaha” atmamalı; “karı gibi gülme”meli veya “karı gibi ağlama”malıdır. Bu sözel kalıpların varlığı insanî alana ait temel duyguların eyleme dökülmesinin erkeklerden çok kadınlara hak olarak verildiğini göstermektedir. Ağlamak da gülme ve kahkaha gibi kadına ait eylemler olarak kabul görülmüş; acı duygusunu yaşamak/ yaşayabilmek veya bazı bağlamlarda acıyı özellikle sergilemek kadınların sorumluluk alanına yüklenmiştir. Türk toplumu başta olmak üzere diğer toplumlarda da gelinin baba evinden koca evine gidişinde “ağlatma ritüeli” bulunmaktadır. İnsan, gülmekten ve kahkaha atmaktan ölmeyebilir ama üzüntüden, kalp kırıklığından dolayı ölebilir ve bu olasılık edebiyatta ve sanatın birçok alanında yüzyıllardır işlenen, yüceltilen bir konudur. Sanat, acı ile şekillenmiştir. Halk şairlerimizin ve diğer anlatıların çoğundaki gösterilen kahramanlıklar acıdan doğmuştur. Acı, bu bakımdan çok güçlüdür. Görüldüğü gibi acı, semitik dinlerin ortaya koyduğu mitolojik anlatılardan felsefi metinlere, sanata ve tabii ki şifahi anlatılarda farklı görünümleriyle yer alan bir olgu olmuştur. Homo sapiensten bu yana yaşayan kutsallık olgusu, insanoğlunun nihai hayat amacıdır; uğruna vereceği bir yaşam savaşıdır. Acı, kutsanınca anlamlaşır. Bu noktada kutsallık, acıya giden yolu oluşturmaktadır. Toplumda kişilerin hassas olduğu, rahatsız eden belli konular için bunları protesto etmek amacıyla kullanılan “kutsalıma dokunma” tabiri kullanılır. Zira kutsallık olmadan hayat olmaz. İnsanoğlu hem sevdiği hem de ondan korktuğu durumları kutsala bağlamak; onunla açıklamak ister. Bu nedenle tüm kültürlerde kutsallık önemlidir. Kutsallık hem ilahi hem de kültürel sistemleri oluşturan bir argümandır. Neye kutsal denilip denilemeyeceği konusu sosyal bilimlerde bir problem yaratmıştır. Bu olguların, Türk halk kültürü içerisindeki yerinin belirlenmesi, nedenlerinin açıklanması önemlidir. Tezde ilk olarak duygu kavramı açıklanmış ve daha sonra acı, acının boyutları; acının kutsallığı ve kutsanış biçimleri hakkında bilgi verilerek tezin temel kavramı olan “acının kutsanması”nın içeriksel düzlemi ve sınırları belirlenmiştir. Böylelikle kutsalın dinler tarihi literatüründeki anlamı ile halkbilimsel bakış açısındaki görünümleri ele alınmış, Türk halkının hangi acıları kutsallaştırdığı belirlenerek metin analizine geçilmiştir. İnceleme bölümünde acının kutsallaştırma bağlamlarına göre bir sınıflandırma yapılmıştır. Acı ifadeleri, acının kutsallaştırıldığı bağlamlar üzerinden böyle bir sınıflandırma tercih edilmiştir. Acının kutsanması masal ya da efsanede yer alabileceği gibi bir ritüelde davranış olarak da yer alabilir, bir halk şiirinde de kalıplaşmış bir ifadede gözlemlenebilir. Dildeki ve ifadedeki bu ortaklığın daha net görülebilmesi ve konu odağının kutsal acılardan farklı alanlara dağılmaması için tezde tür temelli bir bölümleme tercih edilmemiştir.
Human struggle has existed since Homo sapiens. The greatest tragedy of Homo sapiens begins with the pain of creation that he brings with him when he is born. Pain is an emotion that exists in all cultures. In Turkish idioms and sayings, a person faces pain, endures pain, suffers, does not show his pain, matures with his pain, is rewarded thanks to his pain and sometimes makes pain into honey. A person feels various mental and physical pain throughout his life and expresses his pain as limited and shaped by the culture he belongs to. Pain is a testing process of a level to be reached in some societies. In some societies, suffering is interpreted as a phenomenon that the individual must experience internally and secretly and not show it to the outside. In this case, the grieving person; He may face certain processes such as madness, despair, acceptance, trauma, violence, suicide, or even if he is able to experience the pain process through agreed values, he is rewarded for being socialized. For example, in many societies where there is a patriarchal order, as in Turkish society, crying by a man, when a man shows that he is in pain, is a socially condemnable situation. In patriarchal societies, men are expected to be strong and tough. In these societies, men should not, for example, laugh like a wife; One should not “laugh like a lady” or “cry like a wife”. The existence of these verbal patterns shows that the expression of basic emotions in the human field is given to women rather than men. Crying, like smiling and laughter, was accepted as female actions; It is the responsibility of women to experience pain or, in some contexts, to specifically display pain. In Turkish society as well as in other societies, there is a making ritual when the bride goes from her father's house to her husband's house. A person may not die from laughing and laughing, but he may die from sadness and heartbreak, and this possibility is a subject that has been discussed and glorified in literature and many fields of art for centuries. Art is shaped by pain. The heroism shown in most of our folk poets and other narratives was born out of pain. Pain is very powerful in this respect. As can be seen, pain has been a phenomenon that takes place in different aspects, from mythological narratives put forward by Semitic religions to philosophical texts, art and, of course, oral narratives. The phenomenon of holiness, which has been alive since Homo sapiens, is the ultimate life purpose of human beings; It is a battle for life that he will fight for. Pain becomes meaningful when it is blessed. At this point, holiness creates the path to suffering. The expression don't touch my sanctity is used in society to protest certain issues that people are sensitive about and that disturb them. Because without holiness there is no life. Human beings attribute both the situations they love and fear to the sacred; He wants to explain it to her. Therefore, holiness is important in all cultures. Sanctity is an argument that constitutes both divine and cultural systems. The issue of what can and cannot be called sacred has created a problem in social sciences. It is important to determine the place of these phenomena in Turkish folk culture and to explain their reasons. In the thesis, first the concept of emotion was explained and then pain, dimensions of pain; By giving information about the sanctity of pain and the forms of sanctification, the content and boundaries of the basic concept of the thesis, the sanctification of pain, have been determined. Thus, the meaning of the sacred in the literature of the history of religions and its appearance from the folklore perspective were discussed, and text analysis was started by determining which pains the Turkish folk society sanctified. In the review section, a classification was made according to the sanctification contexts of pain. Such a classification has been preferred based on expressions of pain and contexts in which pain is sanctified. The sanctification of pain can take place in a fairy tale or legend, it can also take place as a behavior in a ritual, or it can be observed in a stereotyped expression in a folk poem. A genre-based division was not preferred in the thesis in order to see this commonality in language and expression more clearly and to prevent the focus of the subject from being dispersed into areas other than sacred pain.
Human struggle has existed since Homo sapiens. The greatest tragedy of Homo sapiens begins with the pain of creation that he brings with him when he is born. Pain is an emotion that exists in all cultures. In Turkish idioms and sayings, a person faces pain, endures pain, suffers, does not show his pain, matures with his pain, is rewarded thanks to his pain and sometimes makes pain into honey. A person feels various mental and physical pain throughout his life and expresses his pain as limited and shaped by the culture he belongs to. Pain is a testing process of a level to be reached in some societies. In some societies, suffering is interpreted as a phenomenon that the individual must experience internally and secretly and not show it to the outside. In this case, the grieving person; He may face certain processes such as madness, despair, acceptance, trauma, violence, suicide, or even if he is able to experience the pain process through agreed values, he is rewarded for being socialized. For example, in many societies where there is a patriarchal order, as in Turkish society, crying by a man, when a man shows that he is in pain, is a socially condemnable situation. In patriarchal societies, men are expected to be strong and tough. In these societies, men should not, for example, laugh like a wife; One should not “laugh like a lady” or “cry like a wife”. The existence of these verbal patterns shows that the expression of basic emotions in the human field is given to women rather than men. Crying, like smiling and laughter, was accepted as female actions; It is the responsibility of women to experience pain or, in some contexts, to specifically display pain. In Turkish society as well as in other societies, there is a making ritual when the bride goes from her father's house to her husband's house. A person may not die from laughing and laughing, but he may die from sadness and heartbreak, and this possibility is a subject that has been discussed and glorified in literature and many fields of art for centuries. Art is shaped by pain. The heroism shown in most of our folk poets and other narratives was born out of pain. Pain is very powerful in this respect. As can be seen, pain has been a phenomenon that takes place in different aspects, from mythological narratives put forward by Semitic religions to philosophical texts, art and, of course, oral narratives. The phenomenon of holiness, which has been alive since Homo sapiens, is the ultimate life purpose of human beings; It is a battle for life that he will fight for. Pain becomes meaningful when it is blessed. At this point, holiness creates the path to suffering. The expression don't touch my sanctity is used in society to protest certain issues that people are sensitive about and that disturb them. Because without holiness there is no life. Human beings attribute both the situations they love and fear to the sacred; He wants to explain it to her. Therefore, holiness is important in all cultures. Sanctity is an argument that constitutes both divine and cultural systems. The issue of what can and cannot be called sacred has created a problem in social sciences. It is important to determine the place of these phenomena in Turkish folk culture and to explain their reasons. In the thesis, first the concept of emotion was explained and then pain, dimensions of pain; By giving information about the sanctity of pain and the forms of sanctification, the content and boundaries of the basic concept of the thesis, the sanctification of pain, have been determined. Thus, the meaning of the sacred in the literature of the history of religions and its appearance from the folklore perspective were discussed, and text analysis was started by determining which pains the Turkish folk society sanctified. In the review section, a classification was made according to the sanctification contexts of pain. Such a classification has been preferred based on expressions of pain and contexts in which pain is sanctified. The sanctification of pain can take place in a fairy tale or legend, it can also take place as a behavior in a ritual, or it can be observed in a stereotyped expression in a folk poem. A genre-based division was not preferred in the thesis in order to see this commonality in language and expression more clearly and to prevent the focus of the subject from being dispersed into areas other than sacred pain.