{"id":97,"date":"2025-05-18T23:17:46","date_gmt":"2025-05-18T20:17:46","guid":{"rendered":"https:\/\/uniteankara.com\/2025\/05\/18\/sanatta-igrenc-beden\/"},"modified":"2026-07-26T13:00:43","modified_gmt":"2026-07-26T10:00:43","slug":"sanatta-igrenc-beden","status":"publish","type":"post","link":"https:\/\/uniteankara.com\/en\/sanatta-igrenc-beden\/","title":{"rendered":"Sanatta abject (i\u011fren\u00e7) beden \u00fczerine"},"content":{"rendered":"
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Yazar : Ay\u00e7a G\u00fcne\u015f<\/p>\n

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Abject kelimesinin T\u00fcrk\u00e7e\u2019de bir\u00e7ok kar\u015f\u0131l\u0131\u011f\u0131 vard\u0131r. Bunlar; k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcr\u00fcc\u00fc, adi, berbat (bir durum), son derecede k\u00f6t\u00fc, rezil, a\u015fa\u011f\u0131l\u0131k, al\u00e7alt\u0131c\u0131, kendini k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcren, gururdan yoksun, sefil, umutsuz, peri\u015fan, i\u011fren\u00e7, de\u011fersiz, utand\u0131ran ve haysiyetsizdir. \u0130\u011fren\u00e7 olan, \u00f6zne-ki\u015fiyi kendisinin d\u0131\u015f\u0131nda kalan, kendisini koruma s\u0131n\u0131r\u0131d\u0131r. Bedenin i\u00e7inde bulundu\u011fu konum, ben ve d\u0131\u015f etkenler aras\u0131nda olu\u015fmu\u015f olan bu s\u0131n\u0131r, bedeni d\u0131\u015far\u0131dan gelecek i\u011fren\u00e7 olan \u2018\u015feyler\u2019den korur. Bedenin d\u0131\u015far\u0131ya att\u0131\u011f\u0131 ka\u00e7\u0131n\u0131lmaz i\u011fren\u00e7likler d\u0131\u015fk\u0131, kan, idrar, kusmuk vb. \u00f6zne-bedenden d\u0131\u015far\u0131ya \u00e7\u0131kmas\u0131yla ili\u015fkilidir (KL, 2016).<\/p>\n

\u0130\u011fren\u00e7 olan \u015fey, bedenin i\u00e7erisindeyken i\u011fren\u00e7 olarak de\u011ferlendirilemezken d\u0131\u015far\u0131s\u0131 ile bulu\u015ftu\u011funda art\u0131k a\u015fa\u011f\u0131, rezil, de\u011fersiz ve i\u011fren\u00e7 olmu\u015ftur. \u0130nsan\u0131n do\u011fdu an ile i\u011fren\u00e7lik aras\u0131ndaki ba\u011f, i\u00e7-d\u0131\u015f ile ili\u015fkilendirilebilir. \u0130\u00e7 ve d\u0131\u015f ili\u015fkisi sadece bedenden ya da \u00f6zneden \u00e7\u0131kan \u015feylerle ilgili olmas\u0131n\u0131n yan\u0131 s\u0131ra ya\u015fam i\u00e7erisindeki konumlamalarla da ili\u015fkilidir. Ki\u015finin kendisi, \u015feyler, bak\u0131\u015f a\u00e7\u0131lar\u0131 ve g\u00f6rsellik unsurlar\u0131 i\u00e7-d\u0131\u015f ili\u015fkisinde d\u0131\u015far\u0131da kalanlard\u0131r. Kristeva, bedenlerdeki i\u011fren\u00e7, sefil olma durumunu sadece bedenlerin d\u0131\u015far\u0131dan maruz kald\u0131\u011f\u0131 \u015feylerle (nesne) de\u011fil, be\u015f duyu ile alg\u0131lanamayan durum ve hal i\u00e7in de kullanm\u0131\u015ft\u0131r. \u0130\u011frenme i\u00e7erisinde d\u0131\u015far\u0131ya at\u0131lan v\u00fccut at\u0131klar\u0131n\u0131n i\u011fren\u00e7li\u011finden ba\u015fka, \u00f6znenin kar\u015f\u0131la\u015ft\u0131\u011f\u0131 \u015feyi nas\u0131l konumland\u0131rd\u0131\u011f\u0131 ya da toplum taraf\u0131ndan nas\u0131l konumland\u0131\u011f\u0131 ile ilgilidir. Bedenin i\u00e7indeki \u00f6zne, maruz kald\u0131\u011f\u0131 \u015fey ile kar\u015f\u0131la\u015ft\u0131rma yap\u0131p kendisini i\u00e7eride, maruz kald\u0131\u011f\u0131 \u015feyi d\u0131\u015far\u0131da b\u0131rak\u0131yorsa bu Abject\u2019in kendisidir. Julia Kristeva\u2019ya g\u00f6re \u2018i\u011fren\u00e7\u2019: o i\u011fren\u00e7 olan \u015fey ile arada kurulan bir keskinlik, utan\u00e7 verici olandan korunma halidir (Kristeva, 2018, s.13).<\/p>\n

Kristeva, bir \u015feyden tiksinme veya onu i\u011fren\u00e7 bulma halinin en temel ve arkaik bi\u00e7iminin yiyeceklerden geldi\u011fini belirtir. Bunun temel sebeplerinden birisi, i\u011frenme d\u00fcrt\u00fcs\u00fcn\u00fcn i\u00e7-d\u0131\u015f ili\u015fkisinden kaynaklan\u0131r. Ki\u015fi ile i\u011fren\u00e7 olan \u015fey aras\u0131ndaki ba\u011f\u0131n olu\u015fup sindirilmemesi ya da olu\u015fan ba\u011f\u0131n d\u0131\u015far\u0131 at\u0131lmas\u0131ndan olu\u015fan \u201cben istemem\u201d veya \u201cben \u00f6yle olmam\u201d ili\u015fkisini meydana getirir (Kristeva, 2018, s. 14). \u0130lk olarak yiyecekten ba\u015flayan tiksinti hali: d\u0131\u015far\u0131dan i\u00e7eriye al\u0131nacak ve bir s\u00fcre sonra tekrar d\u0131\u015far\u0131 at\u0131lacak olmas\u0131 ile \u00f6teki olma halide bireyde i\u011frenme d\u00fcrt\u00fcs\u00fcn\u00fc tetikler. <\/p>\n

Sanatta, Abject ile birlikte sert ele\u015ftiri ve ironi gibi kavramlar da beraberinde gelmektedir. Bedenin toplumsal olarak bast\u0131rd\u0131\u011f\u0131 ve bir \u015fekilde sistem d\u0131\u015f\u0131na itilen kad\u0131nlar\u0131n kendilerini ifade etme ve eylemsel dillerini olu\u015fturmalar\u0131nda performans \u00f6nemli bir sanat arac\u0131 olmu\u015ftur. \u00c7o\u011fu ikinci dalga feminist sanat\u00e7\u0131lar, post yap\u0131salc\u0131 hareketlerin e\u015fli\u011finde, kad\u0131n bedenin toplumsal \u00f6\u011fretilerde eksik kald\u0131\u011f\u0131n\u0131 vurgulayarak \u201ceksiklik Abject\u2019li\u011fini\u201d irdelerler (Akkol, 2018, s. 1355-1356).<\/p>\n<\/div>\n

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Judy Chicago ve Miriam Schapiro. Kad\u0131n Evi. 1972.<\/figcaption><\/figure>\n
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Judy Chicago ve Miriam Schapiro, California Sanat Enstit\u00fcs\u00fc b\u00fcnyesinde bulunan bir feminist sanat okulu kurmu\u015flard\u0131r. Bu sanat okulunda ortaya \u00e7\u0131kan ilk projelerden biri \u201cKad\u0131n Evi\u201ddir. Ev, \u201cba\u015fkalar\u0131n\u0131 de\u011fil, biz kendimizi nas\u0131l bir evde mutlu ederiz\u201d yakla\u015f\u0131m\u0131 ile ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Sanat\u00e7\u0131lar, \u00f6zel olarak yemek odas\u0131, dolaplar, tuvalet ve banyo tasar\u0131m\u0131 yapm\u0131\u015f ve in\u015fa etmi\u015flerdir. Bunlardan en \u00f6nemlilerinden biri Chicago\u2019nun tasarlad\u0131\u011f\u0131 \u201c\u00c2det Tuvaleti\u201d olmu\u015ftur. Kullan\u0131lmam\u0131\u015f pedlerle dolu alanlar ve kullan\u0131lm\u0131\u015f pedlerle ta\u015fm\u0131\u015f olan bir \u00e7\u00f6p kovas\u0131 vard\u0131r. Bu tuvalette, kad\u0131n bedeninin do\u011fal yollarla ger\u00e7ekle\u015ftirdi\u011fi regl kan\u0131 ile toplum aras\u0131nda olu\u015fan Abject ili\u015fkiye g\u00f6ndermeler yap\u0131lmaktad\u0131r.<\/p>\n

Kad\u0131n bedenini ve Abject ile olan ba\u011f\u0131 kullanan sanat\u00e7\u0131lardan biri Orlan olmu\u015ftur. Orlan ise kendi sanat\u0131n\u0131 \u201cbedensel, \u015fehvet, cinsel ve d\u00fcnyevi\u201d anlamlar\u0131na gelen \u201cCarnal Art\u201d olarak adland\u0131rmaktad\u0131r. Orlan, sanat\u0131 ve kendi yapt\u0131\u011f\u0131 sanat\u0131n\u0131 \u201csanat yapmak pis bir i\u015ftir, ama biri \u00e7\u0131k\u0131p bunu yapmak zorunda\u201d diye de\u011ferlendirir (Akman, 2005). Carnal Art, erkek iktidar\u0131n\u0131n i\u00e7indeki g\u00fczellik anlay\u0131\u015f\u0131 ya da modern toplumlardaki g\u00fczellik alg\u0131lar\u0131n\u0131n aksi y\u00f6n\u00fcnde bir dizi beden ve y\u00fcz ameliyatlar\u0131ndan olu\u015fmaktad\u0131r. Toplum i\u00e7in \u201cg\u00fczelli\u011fe kavu\u015fmak\u201d ad\u0131na yap\u0131lan ameliyatlar\u0131n tam aksine Orlan, bedeninde ve y\u00fcz\u00fcnde istenmeyen y\u00f6nde de\u011fi\u015fiklikler yapmaktad\u0131r. Bir ameliyat\u0131ndan sonra anestezi ile birlikte hasta rol\u00fcne b\u00fcr\u00fcnd\u00fc\u011f\u00fcn\u00fc fark eder ve bu ameliyatlarla olu\u015fan bir dizi performans ger\u00e7ekle\u015ftirir.<\/p>\n<\/div>\n

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Orlan. 5. Estetik Ameliyat G\u00f6sterisi. 1991, (performans foto\u011fraf\u0131).<\/figcaption><\/figure>\n
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Orlan, se\u00e7ti\u011fi kad\u0131n imgeleri ile bir dizi ameliyat ge\u00e7irmi\u015f olup bedenin imk\u00e2nlar\u0131n\u0131 sonuna kadar zorlam\u0131\u015ft\u0131r. Orlan, adeta \u201cameliyat tiyatrosu\u201d denebilecek bir \u015fekilde ameliyatlara doktorlar\u0131n uygulamalar\u0131 d\u0131\u015f\u0131nda senaryolar\u0131yla birlikte d\u00e2hil olmaktad\u0131r. Bedenine uygulanan de\u011fi\u015fiklikleri ve ameliyattan arda kalan bedeninin ya da beden par\u00e7alar\u0131n\u0131 da sanat arac\u0131\u011f\u0131 ile izleyiciyle bulu\u015fturmaktad\u0131r. Orlan, bedeninin de\u011fi\u015ftirilmesi tamamen kendi y\u00f6nlendirmeleri ile ger\u00e7ekle\u015fir. H\u00e2kimiyet tamamen sanat\u00e7\u0131ya aittir. Sanat\u00e7\u0131 ayn\u0131 zamanda beden at\u0131klar\u0131 ya da sans\u00fcrs\u00fcz ger\u00e7ekle\u015fen ameliyat g\u00f6r\u00fcnt\u00fcleri ve kontrolden \u00e7\u0131kt\u0131\u011f\u0131nda \u201ci\u011fren\u00e7\u201d olan kad\u0131n bedeni yakla\u015f\u0131mlar\u0131nda izleyiciye bir ironi sunmaktad\u0131r. Bunun sebebi, se\u00e7ti\u011fi farkl\u0131 zamanlara ait olan \u201cg\u00fczellik\u201d par\u00e7alar\u0131n\u0131 da birle\u015ftirerek kendi bedenine uygulatmas\u0131d\u0131r. \u00d6rne\u011fin farkl\u0131 zamanlarda g\u00fczel say\u0131lan bir kad\u0131n duda\u011f\u0131 g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc kendine uygulat\u0131r. Ya da bamba\u015fka bir zamanda ve co\u011frafya g\u00fczel olan elmac\u0131k yanaklar\u0131n\u0131 kendine yapt\u0131rmaktad\u0131r. <\/p>\n

Abject olan di\u011fer bedenler ise tart\u0131\u015fmas\u0131z sistemin d\u0131\u015f\u0131nda kalanlard\u0131r. \u201cUcube\u201d, \u201chilkat garibesi\u201d, \u201ckusurlu\u201d ve \u201c\u00f6teki\u201d derken asl\u0131nda belirli bir kesimin yapm\u0131\u015f oldu\u011fu s\u0131n\u0131fland\u0131rma demek yanl\u0131\u015f olmayacakt\u0131r. Foucault \u201canormal\u201d olanlar\u0131 olu\u015fturan \u00f6\u011felerin tan\u0131mlamas\u0131n\u0131 yapm\u0131\u015ft\u0131r. Bunlar; insan ucube, \u0131slah edilmesi gereken bireylerdir (Artun, 2018, s. 139).<\/p>\n<\/div>\n

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Shigeko Kubota. Vajina Resmi. 1965. (Performans).<\/figcaption><\/figure>\n
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Kad\u0131n bedeninin kontrol\u00fc ve Yves Klein\u2019\u0131n performanslar\u0131na kar\u015f\u0131l\u0131k verme olarak okunan \u201cVajina Resmi<\/em>\u201d adl\u0131 performans\u0131 ger\u00e7ekle\u015ftiren Shigeko Kubota, kad\u0131n bedenin \u00f6zerkli\u011finin yan\u0131 s\u0131ra bedenin \u00fcretkenli\u011fine de g\u00f6ndermeler yapm\u0131\u015ft\u0131r. Tam olarak cinsel organlar\u0131n\u0131 kullanmam\u0131\u015f i\u00e7 \u00e7ama\u015f\u0131rlar\u0131na ba\u011flad\u0131\u011f\u0131 bir f\u0131r\u00e7a kullanm\u0131\u015ft\u0131r (Hopkins, 2018, s. 121). Kubota bu performansla birlikte beden par\u00e7alar\u0131n\u0131n toplum i\u00e7indeki hiyerar\u015fisine g\u00f6nderme yapmaktad\u0131r. \u00d6rne\u011fin, bir kad\u0131n ellerini kullanarak bir yemek yapt\u0131\u011f\u0131nda g\u00f6r\u00fclmek istenen bir eyleme d\u00f6n\u00fc\u015f\u00fcrken, cinsel organlar\u0131n\u0131 kullanarak ya da temsil ederek eril toplumlarca kabul g\u00f6rmeyecek ve hatta i\u011fren\u00e7 olacak bir eylem ger\u00e7ekle\u015ftirmi\u015f olur.<\/p>\n

Stark, \u201cOto Portre\u201d adl\u0131 i\u015finde, kendi i\u00e7in tasarlad\u0131\u011f\u0131 korseyi takmaktad\u0131r ve farkl\u0131 bi\u00e7imlere sahip olan, ipe benzer aksesuarlarla bedenini s\u0131k\u0131 bir bi\u00e7imde sarmaktad\u0131r. Yapt\u0131\u011f\u0131 tasar\u0131mlar ile birlikte bedeninin olu\u015fturdu\u011fu k\u0131vr\u0131mlarla oynamakta, \u00e7\u0131plak kad\u0131n bedenini bir \u201chaz\u201d nesnesinden \u00f6teye ta\u015f\u0131yarak deneysel beden g\u00f6r\u00fcn\u00fcmleri elde etmektedir. \u0130zleyici Stark\u2019\u0131n deneysellik ta\u015f\u0131yan foto\u011fraflar\u0131na bakt\u0131\u011f\u0131nda \u00e7ekici bir kad\u0131n bedeni mi g\u00f6recek yoksa onu itici mi bulacak, sanat\u00e7\u0131 bunlarla ilgilenmez. Tasarlad\u0131\u011f\u0131 korseler ile bedenini \u015fekillendirir ama ayn\u0131 zamanda o \u015fekli bozmaktad\u0131r. \u00c7\u00fcnk\u00fc Stark, bedeninin sahip oldu\u011fu k\u0131vr\u0131mlar\u0131 daha da g\u00f6r\u00fcn\u00fcr hale getirmektedir. Sanat\u00e7\u0131n\u0131n kendi bedenine istedi\u011fi gibi y\u00f6n vermesiyle ortaya \u00e7\u0131kan g\u00f6r\u00fcnt\u00fc olduk\u00e7a dinamiktir ve izleyici ile g\u00fc\u00e7l\u00fc bir ba\u011f kurmaktad\u0131r.<\/p>\n<\/div>\n

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Michaela Stark. Oto Portre. 2023 (Foto\u011fraf).<\/figcaption><\/figure>\n
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Kad\u0131n bedenindeki bu k\u0131vr\u0131mlar\u0131, g\u00fczel olarak de\u011ferlendiren eril be\u011feni, bunlar a\u015f\u0131r\u0131ya ka\u00e7arsa bu sefer itici olarak g\u00f6recektir. Ama ayn\u0131 zamanda itici oldu\u011fu iddia edilen \u015fi\u015fman kad\u0131n bedeni ile kar\u015f\u0131la\u015f\u0131ld\u0131\u011f\u0131nda \u201conun gibi\u201d olmad\u0131klar\u0131 i\u00e7in bir rahatlama ger\u00e7ekle\u015fecektir. Bu durum da Abject olarak ileri s\u00fcr\u00fclebilir.<\/p>\n

Harrell\u2019\u0131n resminde \u00e7imlere uzanm\u0131\u015f olan bir kad\u0131n yer almaktad\u0131r. Resimde sol tarafta yer alan fig\u00fcr kendisidir. Panelde, \u00f6zenle \u00f6r\u00fclen sa\u00e7lar\u0131, mor pel\u00fc\u015flere dolanm\u0131\u015f ve adeta peri gibi onu \u0131s\u0131tan ki\u015fi annesidir. Harrell\u2019\u0131n \u00e7al\u0131\u015fmas\u0131 huzurlu bir izlenim verse de bir yandan da sanat tarihi boyunca erkekler taraf\u0131ndan resmedilen, uzanan \u00e7\u0131plak kad\u0131nlara ithaf edilmektedir. Sanat\u00e7\u0131, eril be\u011feni otoriteleri taraf\u0131ndan \u201ckusursuz\u201d olarak yarat\u0131lmaya \u00e7al\u0131\u015fan kad\u0131n imgelerini y\u0131kmaktad\u0131r.<\/p>\n

\u201cD\u00fcrer kusursuz n\u00fc\u2019n\u00fcn, y\u00fcz\u00fcn bir kad\u0131ndan, g\u00f6\u011f\u00fcslerin ba\u015fka bir kad\u0131ndan, bacaklar\u0131n \u00fc\u00e7\u00fcnc\u00fc bir ki\u015fiden, omuzlar\u0131n d\u00f6rd\u00fcnc\u00fc bir v\u00fccuttan, ellerin be\u015finciden, vb. al\u0131narak yap\u0131labilece\u011fine inan\u0131yordu\u201d (Berger, 2016, s. 62). <\/p>\n<\/div>\n

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Kezia Harrell. Bliss: Americana Hot Momma. 2021. (Panel \u00fczerine ya\u011fl\u0131 boya, 10\u2019 x 6\u2019).<\/figcaption><\/figure>\n
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B\u00f6ylece elde edilen beden, insan\u0131 g\u00f6rkemli hale getirecek ve \u201ckusursuz\u201d olacakt\u0131. Modern d\u00f6neme kadar, Avrupa\u2019da ressamlar ve resimleri izleyen ve sat\u0131n alan ki\u015filer erkekti. Resimlerdeki \u201ckusursuz\u201d nesne olarak bi\u00e7imlendirilenler de kad\u0131nd\u0131. Bu beden resimlendirmeleri g\u00fcn\u00fcm\u00fcze kadar kad\u0131nlar\u0131n bilin\u00e7lerine \u015fekil vermi\u015ftir (Berger, 2016, s. 63). Tahakk\u00fcm alt\u0131nda, di\u011fer bireyler taraf\u0131ndan \u015fekillendirilmeye maruz kalmak da Abject olarak ifade edilebilir.<\/p>\n

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\u0130\u011fren\u00e7 olan, d\u00fc\u015fm\u00fc\u015f nesne ise radikal olarak bir d\u0131\u015flanm\u0131\u015ft\u0131r, beni anlam\u0131n \u00e7\u00f6kt\u00fc\u011f\u00fc yere do\u011fru s\u00fcr\u00fckler. Efendisiyle \u00f6zde\u015fle\u015fen bir \u201cben\u201d, yani bir \u00fcst ben onu a\u00e7\u0131k\u00e7a d\u0131\u015far\u0131ya defetmi\u015ftir. \u0130\u011fren\u00e7 d\u0131\u015far\u0131s\u0131d\u0131r, oyun kurallar\u0131n\u0131 kabul etmiyor gibi g\u00f6z\u00fckt\u00fc\u011f\u00fc b\u00fct\u00fcn\u00fcn d\u0131\u015f\u0131nda yer al\u0131r (Kristeva, 2018, s. 14).<\/em><\/p>\n<\/blockquote>\n

Bu ba\u011flamda d\u0131\u015far\u0131da kalan \u015feyler, yine \u00f6teki olan d\u0131\u015flanm\u0131\u015fa at\u0131fta bulunmaktad\u0131r. Bireysel olarak deneyimleme a\u00e7\u0131s\u0131ndan Abject, ki\u015finin i\u00e7inde bulundu\u011fu toplumsal konum, sahip oldu\u011fu gelenek ve k\u00fclt\u00fcrel farkl\u0131l\u0131klar, din gibi etkenlerle de\u011fi\u015fiklik g\u00f6sterebilir. \u00d6z\u00fc (beni) kaplayan beden ise \u00f6teki olan tan\u0131mlamalarla anlam bulmaktad\u0131r. Habitusun yani oyunun d\u0131\u015f\u0131nda kalan ya da norm ve kurallara kar\u015f\u0131 gelen beden ise d\u0131\u015far\u0131da kalacak yani tam anlam\u0131yla \u00f6teki olacakt\u0131r.<\/p>\n

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Kaynak\u00e7a:<\/strong><\/p>\n

Akkol, N. (2018). Abject Art Olarak Kad\u0131n Bedeni Ve Performans Sanat\u0131ndaki K\u0131\u015fk\u0131rt\u0131c\u0131l\u0131\u011f\u0131. Ulak Bilge, 6\/29, s. 1349 \u2013 1361 <\/p>\n

Artun, Ali. (2018). \u00c7a\u011fda\u015f Sanat ve K\u00fclt\u00fcralizm. Ali Artun (ED.). \u00c7a\u011fda\u015f Sanat ve K\u00fclt\u00fcralizm, s. 17 – 46. \u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131<\/p>\n

Berger, John. (2016). G\u00f6rme Bi\u00e7imleri. (Y. Salman, \u00c7ev.). \u0130stanbul: Metis Yay\u0131nlar\u0131<\/p>\n

Hopkins, David. (2018). Modern Sanattan Sonra 1945-2017. (F. Candil Erdo\u011fan, \u00c7ev.). \u0130stanbul: Hayalperest Yay\u0131nevi<\/p>\n

Kristeva, Julia. (2018). Korkunun G\u00fc\u00e7leri \u0130\u011fren\u00e7lik \u00dczerine Deneme. (N. Tutal, \u00c7ev.). \u0130stanbul: Ayr\u0131nt\u0131 Yay\u0131nlar\u0131<\/p>\n

\u0130zinsiz G\u00f6steri. Orlan. 5. Estetik Ameliyat G\u00f6sterisi. 1991. Eri\u015fim: 28.11.2023. https:\/\/www.izinsizgosteri.net\/asalsayi37\/Kubilay.Akman_37.html<\/a> Kaos GL. Eri\u015fim: 18.09.2023.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Yazar : Ay\u00e7a G\u00fcne\u015f Abject kelimesinin T\u00fcrk\u00e7e\u2019de bir\u00e7ok kar\u015f\u0131l\u0131\u011f\u0131 vard\u0131r. Bunlar; k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcr\u00fcc\u00fc, adi, berbat (bir durum), son derecede k\u00f6t\u00fc, rezil, a\u015fa\u011f\u0131l\u0131k, al\u00e7alt\u0131c\u0131, kendini k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcren, gururdan yoksun, sefil, umutsuz, peri\u015fan, i\u011fren\u00e7, de\u011fersiz, utand\u0131ran ve haysiyetsizdir. \u0130\u011fren\u00e7 olan, \u00f6zne-ki\u015fiyi kendisinin d\u0131\u015f\u0131nda kalan, kendisini koruma s\u0131n\u0131r\u0131d\u0131r. Bedenin i\u00e7inde bulundu\u011fu konum, ben ve d\u0131\u015f etkenler aras\u0131nda olu\u015fmu\u015f […]<\/p>\n","protected":false},"author":283014126,"featured_media":455,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"Yazar : Ay\u00e7a G\u00fcne\u015fAbject kelimesinin T\u00fcrk\u00e7e\u2019de bir\u00e7ok kar\u015f\u0131l\u0131\u011f\u0131 vard\u0131r. Bunlar; k\u00fc\u00e7\u00fck d\u00fc\u015f\u00fcr\u00fcc\u00fc, adi, berbat (bir durum), son derecede k\u00f6t\u00fc, rezil\u2026","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"{title}\n\n{excerpt}\n\n{url}","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false,"jetpack_post_was_ever_published":false},"categories":[1381],"tags":[],"class_list":["post-97","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kuram-deneme"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/phlqwB-1z","jetpack_featured_media_url":"https:\/\/i0.wp.com\/uniteankara.com\/wp-content\/uploads\/2026\/07\/IMG_0096.gif?fit=400%2C221&ssl=1","_links":{"self":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/97","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/users\/283014126"}],"replies":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/comments?post=97"}],"version-history":[{"count":1,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/97\/revisions"}],"predecessor-version":[{"id":459,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/posts\/97\/revisions\/459"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/media\/455"}],"wp:attachment":[{"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/media?parent=97"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/categories?post=97"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uniteankara.com\/en\/wp-json\/wp\/v2\/tags?post=97"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}