The Double Secret, Ren\u00e9 Magritte\u2019in en \u00e7arp\u0131c\u0131 eserlerinden biri olarak, yaln\u0131zca s\u00fcrrealist bir imge sunmaz; ayn\u0131 zamanda \u00f6znenin yap\u0131sal b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lan g\u00fc\u00e7l\u00fc bir sahne kurar. Tabloda yar\u0131lm\u0131\u015f bir beden, mekanik bir i\u00e7 yap\u0131 ve bedenden kopmu\u015f bir y\u00fcz par\u00e7as\u0131 g\u00f6r\u00fcr\u00fcz. Bu g\u00f6r\u00fcnt\u00fc ilk bak\u0131\u015fta fiziksel bir par\u00e7alanma gibi alg\u0131lansa da, Jacques Lacan\u2019\u0131n psikanalitik kuram\u0131 a\u00e7\u0131s\u0131ndan \u00f6znenin do\u011fas\u0131na dair derin bir temsildir.<\/p>\n\n\n\n
Lacan\u2019a g\u00f6re \u00f6zne, kendisiyle tam anlam\u0131yla \u00f6zde\u015f bir b\u00fct\u00fcn de\u011fildir; aksine, dilin ve sembolik d\u00fczenin i\u00e7ine do\u011fdu\u011fu andan itibaren b\u00f6l\u00fcnm\u00fc\u015f bir yap\u0131 kazan\u0131r. Bu durumu \u015fu \u015fekilde ifade eder: \u201c\u00d6zne, bir g\u00f6steren taraf\u0131ndan ba\u015fka bir g\u00f6steren i\u00e7in temsil edilir.\u201d<\/strong> Bu ifade, \u00f6znenin hi\u00e7bir zaman sabit, kendine kapal\u0131 ve b\u00fct\u00fcn bir \u201cben\u201d olamayaca\u011f\u0131n\u0131 ortaya koyar. The Double Secret\u2019teki fig\u00fcr de tam olarak bu b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fc somutla\u015ft\u0131r\u0131r: y\u00fcz\u00fc ve g\u00f6vdesi par\u00e7alanm\u0131\u015f olan bu varl\u0131k, \u00f6znenin zaten ba\u015ftan itibaren eksik ve tamamlanmam\u0131\u015f oldu\u011funu g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n\n\n Tablonun merkezinde yer alan bo\u015fluk, Lacan\u2019\u0131n \u201ceksiklik\u201d (manque) kavram\u0131n\u0131n do\u011frudan g\u00f6rsel kar\u015f\u0131l\u0131\u011f\u0131d\u0131r. Lacan\u2019\u0131n ifadesiyle: \u201cArzu, eksikli\u011fin arzusudur.\u201d<\/strong> \u0130nsan, eksik oldu\u011fu i\u00e7in arzular; arzu etti\u011fi \u015fey ise bu eksikli\u011fi tamamlayacakm\u0131\u015f gibi g\u00f6r\u00fcn\u00fcr, fakat hi\u00e7bir zaman bunu ger\u00e7ekten ba\u015faramaz. The Double Secret\u2019te bedenden kopmu\u015f olan y\u00fcz par\u00e7as\u0131 bu noktada belirleyici bir rol oynar: \u00f6zneye ait olan fakat ondan ayr\u0131lm\u0131\u015f bu par\u00e7a, hem kaybedilmi\u015f bir b\u00fct\u00fcnl\u00fc\u011f\u00fcn izini ta\u015f\u0131r hem de ula\u015f\u0131lamayan bir tamamlanm\u0131\u015fl\u0131k vaadi sunar.<\/p>\n\n\n\n Bu kopmu\u015f par\u00e7a, Lacan\u2019\u0131n \u201cobjet petit a\u201d olarak adland\u0131rd\u0131\u011f\u0131, arzunun nedeni olan nesneyle birlikte d\u00fc\u015f\u00fcn\u00fclebilir. Bu nesne hi\u00e7bir zaman tam olarak elde edilemez; \u00e7\u00fcnk\u00fc o, kayb\u0131n kendisinin izidir. Lacan\u2019\u0131n bir di\u011fer \u00f6nemli \u00f6nermesi de bunu destekler: \u201cArzu, \u00d6teki\u2019nin arzusudur.\u201d<\/strong> Yani \u00f6zne neyi arzulad\u0131\u011f\u0131n\u0131 kendi ba\u015f\u0131na belirlemez; arzu, her zaman dil, k\u00fclt\u00fcr ve ba\u015fkalar\u0131 arac\u0131l\u0131\u011f\u0131yla kurulur. Bu ba\u011flamda The Double Secret\u2019teki kopmu\u015f par\u00e7a, \u00f6znenin kendi par\u00e7as\u0131 olmas\u0131na ra\u011fmen ondan ayr\u0131 durur ve tam da bu nedenle arzu edilir h\u00e2le gelir. Arzu edilen \u015fey, asl\u0131nda hi\u00e7bir zaman geri kazan\u0131lamayacak olan bir eksikli\u011fin etraf\u0131nda d\u00f6ner.<\/p>\n\n\n\n Fig\u00fcr\u00fcn i\u00e7 k\u0131sm\u0131n\u0131n mekanik bir yap\u0131 olarak resmedilmesi ise Lacan\u2019\u0131n \u015fu \u00f6nermesiyle do\u011frudan ili\u015fkilendirilebilir: \u201cBilin\u00e7d\u0131\u015f\u0131 dil gibi yap\u0131lanm\u0131\u015ft\u0131r.\u201d<\/strong> \u0130nsan \u00f6znesi, y\u00fczeyde sand\u0131\u011f\u0131m\u0131z gibi do\u011fal ve b\u00fct\u00fcnl\u00fckl\u00fc bir varl\u0131k de\u011fildir; aksine, i\u00e7 yap\u0131s\u0131 dilsel ve sembolik bir d\u00fczen taraf\u0131ndan \u015fekillendirilir. Magritte\u2019in organik bir i\u00e7 yap\u0131 yerine mekanik bir sistem resmetmesi, insan\u0131n \u00f6z\u00fcnde bir \u201cdo\u011fa\u201d de\u011fil, bir \u201cyap\u0131\u201d oldu\u011funu ima eder. Bu da \u00f6znenin i\u00e7 d\u00fcnyas\u0131n\u0131n bile kendisine ait saf bir \u00f6z de\u011fil, dil taraf\u0131ndan kurulmu\u015f bir sistem oldu\u011funu g\u00f6sterir.<\/p>\n\n\n\n Son olarak The Double Secret, Lacan\u2019\u0131n \u201cayna evresi\u201d kavram\u0131yla birlikte de okunabilir. Ayna evresinde \u00e7ocuk kendisini ilk kez b\u00fct\u00fcn bir imge olarak alg\u0131lar ve bu b\u00fct\u00fcnl\u00fc\u011fe inan\u0131r; ancak bu b\u00fct\u00fcnl\u00fck bir yan\u0131lsamadan ibarettir. Ger\u00e7ekte \u00f6zne hi\u00e7bir zaman tam de\u011fildir. Magritte\u2019in par\u00e7alanm\u0131\u015f bedeni, bu yan\u0131lsaman\u0131n tersine \u00e7evrilmi\u015f h\u00e2li gibidir: burada b\u00fct\u00fcnl\u00fck de\u011fil, do\u011frudan par\u00e7alanm\u0131\u015fl\u0131k g\u00f6r\u00fcn\u00fcr k\u0131l\u0131nm\u0131\u015ft\u0131r. B\u00f6ylece tablo, \u00f6znenin ba\u015ftan itibaren eksik oldu\u011funu ve b\u00fct\u00fcnl\u00fc\u011f\u00fcn sonradan kurulan bir fantezi oldu\u011funu a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r.<\/p>\n\n\n\n Bu y\u00fczden\u00a0The Double Secret\u2019e bakt\u0131\u011f\u0131m\u0131zda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u015fey basit bir par\u00e7alanm\u0131\u015f beden de\u011fil. Daha \u00e7ok, insan\u0131n hi\u00e7bir zaman tam olamayan yap\u0131s\u0131. Eksiklik burada bir kusur gibi de\u011fil; tam tersine, \u00f6znenin kendisini m\u00fcmk\u00fcn k\u0131lan \u015fey. Arzu da bu eksikli\u011fin etraf\u0131nda d\u00f6n\u00fcp duruyor onu kapatmaya \u00e7al\u0131\u015f\u0131yor ama asl\u0131nda onu s\u00fcrekli yeniden \u00fcretiyor. Magritte\u2019in fig\u00fcr\u00fc bu y\u00fczden tamamlanmay\u0131 bekleyen bir beden de\u011fil; zaten ba\u015ftan itibaren eksik olan ve tam da bu eksiklikle var olan bir \u00f6zne.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n \n\n\n<\/p>\n The Double Secret, Ren\u00e9 Magritte\u2019in en \u00e7arp\u0131c\u0131 eserlerinden biri olarak, yaln\u0131zca s\u00fcrrealist bir g\u00f6r\u00fcnt\u00fc sunmaz; ayn\u0131 zamanda \u00f6znenin yap\u0131sal b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lar. Tabloda yar\u0131lm\u0131\u015f bir beden, mekanik bir i\u00e7 yap\u0131 ve bedenden kopmu\u015f bir y\u00fcz par\u00e7as\u0131 g\u00f6r\u00fcr\u00fcz. Bu g\u00f6r\u00fcnt\u00fc, ilk bak\u0131\u015fta fiziksel bir par\u00e7alanma gibi alg\u0131lansa da asl\u0131nda Jacques Lacan\u2019\u0131n psikanalitik kuram\u0131 a\u00e7\u0131s\u0131ndan \u00f6znenin do\u011fas\u0131na dair g\u00fc\u00e7l\u00fc bir metafor sunar.<\/p> \n\n\n\n<\/p>\n \n\n\n\n<\/p>\n \n\n\n<\/p>\n\n\n <\/p>","protected":false},"excerpt":{"rendered":" The Double Secret, Ren\u00e9 Magritte\u2019in en \u00e7arp\u0131c\u0131 eserlerinden biri olarak, yaln\u0131zca s\u00fcrrealist bir imge sunmaz; ayn\u0131 zamanda \u00f6znenin yap\u0131sal b\u00f6l\u00fcnm\u00fc\u015fl\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lan g\u00fc\u00e7l\u00fc bir sahne kurar. Tabloda yar\u0131lm\u0131\u015f bir beden, mekanik bir i\u00e7 yap\u0131 ve bedenden kopmu\u015f bir y\u00fcz par\u00e7as\u0131 g\u00f6r\u00fcr\u00fcz. Bu g\u00f6r\u00fcnt\u00fc ilk bak\u0131\u015fta fiziksel bir par\u00e7alanma gibi alg\u0131lansa da, Jacques Lacan\u2019\u0131n psikanalitik kuram\u0131 a\u00e7\u0131s\u0131ndan \u00f6znenin […]<\/p>\n","protected":false},"author":1,"featured_media":5870,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,20],"tags":[],"class_list":["post-5869","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-genel","category-psikanaliz"],"yoast_head":"\n
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