{"id":28,"date":"2011-09-22T08:30:17","date_gmt":"2011-09-22T08:30:17","guid":{"rendered":"http:\/\/molekuleredebiyat.com\/hakverdioglu\/?p=28"},"modified":"2020-10-28T12:20:49","modified_gmt":"2020-10-28T12:20:49","slug":"makale","status":"publish","type":"post","link":"https:\/\/molekuleredebiyat.com\/?p=28","title":{"rendered":"CV, EBCED, MAKALELER, KODLAR"},"content":{"rendered":"

http:\/\/www.amasya.edu.tr\/akademik\/fakulteler\/fen-edebiyat-fakultesi\/personel\/akademik-personel.aspx?id=1652<\/a> (AKADEM\u0130K ADRES\u0130M)<\/p>\n

\"\"<\/a><\/p>\n

CV:<\/p>\n

Dr. Metin HAKVERD\u0130O\u011eLU<\/p>\n

Dr. Metin HAKVERD\u0130O\u011eLU<\/p>\n

1969 y\u0131l\u0131nda Amasya\u2019n\u0131n G\u00f6yn\u00fccek il\u00e7esi, Tuzsuz k\u00f6y\u00fcnde do\u011fdu. \u0130lk ve orta\u00f6\u011frenimini Amasya\u2019da  tamamlad\u0131. 1986\u2019da ba\u015flad\u0131\u011f\u0131  Marmara \u00dcniversitesi, Fen-Edebiyat Fak\u00fcltesi, T\u00fcrk Dili ve Edebiyat\u0131  B\u00f6l\u00fcm\u00fcndenki lisans e\u011fitimini 1990 y\u0131l\u0131nda    tamamlad\u0131.
\nHatay, Sinop ve Amasya\u2019da \u00e7e\u015fitli liselerde T\u00fcrk Dili ve Edebiyat\u0131 \u00f6\u011fretmenli\u011fi yapt\u0131. 1995 y\u0131l\u0131nda  Ahmet Yesevi Kazak-T\u00fcrk \u00dcniversitesi, Sosyal Bilimler Enstit\u00fcs\u00fc, T\u00fcrk Dili ve  Edebiyat\u0131 Y\u00fcksek Lisans program\u0131n\u0131 kazand\u0131. Dan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 Prof. Dr. Mustafa \u0130SEN\u2019in yapt\u0131\u011f\u0131 Y\u00fcksek Lisans program\u0131ndan 24.07.1998\u2019de tamamlad\u0131\u011f\u0131 \u201cMihr\u00ee Hatun Divan\u0131 (\u0130nceleme- Metin)\u201d adl\u0131 teziyle mezun oldu.<\/p>\n

Sel\u00e7uk \u00dcniversitesi Fen Edebiyat Fak\u00fcltesi, Sosyal Bilimler Enstit\u00fcs\u00fcnde, Prof. Dr. Ahmet SEVG\u0130 dan\u0131\u015fmal\u0131\u011f\u0131nda ba\u015flad\u0131\u011f\u0131 \u201cL\u00e2le Devri ve Damat \u0130brahim Pa\u015fa\u2019ya Sunulan Kasideler (\u0130nceleme-Metin)\u201d konulu tezini tamamlayarak 06.07.2007 tarihinde doktor unvan\u0131n\u0131 ald\u0131.
\nHalen Amasya \u00dcniversites, Fen Edebiyat Fak\u00fcltesinde, T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm\u00fcnde \u00f6\u011fretim \u00fcyesi olarak g\u00f6rev yapmaktad\u0131r.<\/p>\n

Yazar\u0131n divan edebiyat\u0131, Lale Devri ve Osmanl\u0131 k\u00fclt\u00fcr\u00fc \u00fczerine kitaplar\u0131 ve muhtelif dergilerde yay\u0131mlanm\u0131\u015f bilimsel makaleleri bulunmaktad\u0131r.<\/p>\n

Yay\u0131mlanm\u0131\u015f Kitab\u0131:<\/p>\n

Nev\u015fehirli Damat \u0130brahim Pa\u015fa \u0130\u00e7in Yaz\u0131lan Lale Devri Kasideleri, Sage Yay\u0131nlar\u0131, Ankara 2012, 856 s.<\/p>\n

nigar-i-divani-azmi-bilgin-<\/p>\n

Ebced     Ebced<\/a> EBCEDMAT\u0130KEBCEDMAT\u0130KEBCEDMAT\u0130KEBCEDMAT\u0130KEBCEDMAT\u0130KEBCED<\/span><\/p>\n

MAT\u0130KEBCEDMAT\u0130KEBCEDMAT\u0130K<\/span><\/p>\n

ders notu de\u011fi\u015ftirme dilek\u00e7esige_mi__d_nem_hatalari_i_in<\/a><\/p>\n

\u00dcDS:  ( Metin05.  )  KURAN<\/p>\n

twitter ;<\/p>\n

MHAKVERDOLU 37653765<\/span><\/h2>\n

y\u00f6k tez gir    hakverdioglu@mynet.com\/111111<\/span><\/a><\/p>\n

T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm hakk\u0131nda yaz\u0131<\/a><\/p>\n

\u00d6zge\u00e7mi\u015f-metin-hakverdio\u011flu1<\/a><\/p>\n

CV MET\u0130N HAKVERD\u0130O\u011eLU (AKADEM\u0130K)<\/a><\/p>\n

EL\u0130OT \u0130NG\u0130L\u0130ZCE \u00c7EV\u0130R\u0130YEv<\/a><\/p>\n

YER DEM\u0130R G\u00d6K BAKIR \u015e\u0130\u0130RLER\u0130 SOOOON<\/span><\/a><\/p>\n

SEYY\u0130D VEHB\u0130N\u0130N D\u0130VANINDA EKS\u0130KMAKALE<\/span><\/a><\/p>\n

FUZUL\u0130DE A\u015eK SON \u015eEKL\u0130 HAKEMDEN TURK\u0130H STUD\u0130ES<\/span><\/a><\/p>\n

cv son \u00d6zge\u00e7mi\u015f metin hakverdio\u011flu<\/a><\/p>\n

cv sonDilek\u00e7e<\/a><\/p>\n\n\n\n\n
1 \u00c2te\u015f-i gamda keb\u00e2b old\u0131 ciger d\u00f6ne d\u00f6ne (1)
\nG\u00f6klere \u00e7\u0131kd\u0131 duh\u00e2numla \u015ferer d\u00f6ne d\u00f6ne <\/strong>Duh\u00e2n: duman
\n\u015eerer: k\u0131v\u0131lc\u0131m Gam ate\u015finden ci\u011fer d\u00f6ne d\u00f6ne kebap oldu. Duman\u0131m ile k\u0131v\u0131lc\u0131mlar d\u00f6ne d\u00f6ne g\u00f6klere \u00e7\u0131kt\u0131. <\/em>\u015e\u00e2ir, Fe\\’il\u00e2t\u00fcn Fe\\’il\u00e2t\u00fcn Fe\\’il\u00e2t\u00fcn Fe\\’il\u00fcn kal\u0131b\u0131nda ve d\u00f6ne d\u00f6ne redifli olan bu \u015fiiri, Necati Bey\u2019in divan\u0131ndaki 467. gazeline nazire olarak yazm\u0131\u015ft\u0131r.Mihr\u00ee, bu beyitte tenas\u00fcp sanat\u0131 ile ate\u015fler i\u00e7inde yanan bir ci\u011ferin kebap olu\u015funu g\u00f6zlerde canland\u0131r\u0131r. Fakat kebap olan ci\u011fer sevenin, yani \u015f\u00e2irin ci\u011feridir. Ate\u015f, kebap, ci\u011fer, \u015ferer, d\u00f6ne d\u00f6ne \u00e7\u0131kan duman, bu karma\u015fay\u0131 ve bu tenas\u00fcb\u00fc do\u011furmaktad\u0131r.<\/p>\n

Gam bu beytin anahtar kelimesidir. Bu g\u00f6sterge olmasayd\u0131, rahatl\u0131kla \u015f\u00e2ir, bir piknikte yiyip i\u00e7ip e\u011fleniyor diyebilirdik. Gam, keder ve s\u0131k\u0131nt\u0131n\u0131n ate\u015fi \u015f\u00e2irin ci\u011ferini yakmaktad\u0131r. S\u0131k\u0131nt\u0131 ve dertler ate\u015fe, g\u00f6n\u00fcl ise kebaba benzetilmektedir.<\/p>\n

D\u00f6ne d\u00f6ne g\u00f6stergesi ile kebap g\u00f6stergesi aras\u0131nda d\u00f6nmek fiilinden m\u00fctevellit bir ili\u015fki vard\u0131r: Ci\u011fer kebab\u0131n\u0131n \u015fi\u015fte d\u00f6ne d\u00f6ne yap\u0131ld\u0131\u011f\u0131 a\u015fik\u00e2rd\u0131r. Kebap ile duman aras\u0131nda da bir d\u00f6nme alakas\u0131 mevcuttur; \u015f\u00f6yle ki k\u0131v\u0131lc\u0131mlar ve duman da e\u011fer dikkatle bak\u0131l\u0131rsa d\u00f6ne d\u00f6ne g\u00f6\u011fe do\u011fru y\u00fckselir. D\u00f6nmek ayr\u0131ca tasavvuf\u00ee bir terim olarak \u201cdervi\u015fin i\u00e7indeki her t\u00fcrl\u00fc masiva kirlerini yakarak Rabbine d\u00f6nmesi\u201d \u015feklinde bir anlam da i\u00e7erir. Tasavvufta bu asla d\u00f6n\u00fc\u015f\u00fc anlatan \u015fiirlere \u00f6zel bir ad verilir ki, bu da d\u00f6nmeyle alakal\u0131d\u0131r: devriye.<\/p>\n

Bu gam ve kederin abart\u0131lmas\u0131 i\u00e7in de d\u00f6ne d\u00f6ne tekrar\u0131 kullan\u0131lm\u0131\u015ft\u0131r. G\u00f6klere \u00e7\u0131kma g\u00f6stergesi ayn\u0131 abart\u0131n\u0131n bir tezah\u00fcr\u00fcd\u00fcr. G\u00f6\u011fe yerine g\u00f6klere g\u00f6stergesi kullanmak bu abartma sanat\u0131n\u0131n bir di\u011fer delilidir. Abart\u0131larak anlat\u0131lan bu yanma hadisesi asl\u0131nda somut de\u011fil soyut bir yanmad\u0131r. Yanan g\u00f6n\u00fcld\u00fcr ama somut olan kebap ile anlat\u0131lmaktad\u0131r: Soyutu somutla anlatma.<\/p>\n

Duhan kelimesi ile ah aras\u0131nda \u015f\u00f6yle bir ili\u015fki vard\u0131r: Eski edebiyat\u0131m\u0131za g\u00f6re ah, ci\u011ferden gelen ve duyan\u0131 yakan, \u00fczen bir ate\u015ftir. Ger\u00e7ek anlamda da ah, s\u0131cak bir nefestir ve adeta i\u00e7teki s\u0131k\u0131nt\u0131n\u0131n ate\u015finin d\u0131\u015fa vurumudur. \u0130nsan\u0131n ah\u0131, duman gibi perde perde g\u00f6\u011fe do\u011fru y\u00fckselir. \u015e\u00e2ir, duhan ile ah aras\u0131nda bir iham-\u0131 tenas\u00fcp kurmaktad\u0131r.<\/p>\n

2 C\u00e2n fir\u00e2ku\u00f1la fit\u00eel old\u0131 g\u00f6\u00f1\u00fcl h\u00e2nesine
\nTen hay\u00e2l\u00fc\u00f1le fener old\u0131 yanar d\u00f6ne d\u00f6ne <\/strong><\/p>\n

Fir\u00e2k: ayr\u0131l\u0131k<\/p>\n

Can, ayr\u0131l\u0131k ac\u0131s\u0131n\u0131n ate\u015finin etkisi ile g\u00f6n\u00fcl hanesine fitil oldu. Ten ise hayalinle d\u00f6ne d\u00f6ne yanan fener oldu. <\/em><\/p>\n

Can ve ten te\u015fbih sanat\u0131 ile fener ve fitile benzetilmi\u015ftir. Can ve tenin insan gibi ayr\u0131l\u0131k ac\u0131s\u0131 \u00e7ekmesi ise te\u015fhis sanat\u0131na bir \u00f6rnektir. \u015e\u00e2irin kendi can\u0131n\u0131 ayr\u0131 bir varl\u0131k gibi kabul etmesi tecrit sanat\u0131n\u0131 g\u00f6sterir. Can, sevgilinin ayr\u0131l\u0131\u011f\u0131ndan dolay\u0131, o sevgiliyi g\u00f6n\u00fcl hanesinde bulmak \u00fcmidi ile bir lamba fitiline d\u00f6nm\u00fc\u015ft\u00fcr. Ten ise, fitilin d\u0131\u015f\u0131ndaki fener durumundad\u0131r ve bu fener d\u00f6ne d\u00f6ne yanmaktad\u0131r. Ten, d\u0131\u015f\u0131; can ise i\u00e7i temsil eder. Buradaki yanmadan, dervi\u015fin terk-i d\u00fcnya, terk-i ukba, terk-i terk ile masivaya ait her t\u00fcrl\u00fc \u015feylerden kurtulup fenafillaha ula\u015fmas\u0131 kastedilir. \u201c\u00d6lmeden \u00f6nce \u00f6l\u00fcn\u00fcz\u201d s\u0131rr\u0131 burada tecelli etmektedir. Ancak bu sayede Allah g\u00f6n\u00fclde tecelli edebilecektir. Fitilin boynu b\u00fck\u00fck duru\u015fu da adeta her t\u00fcrl\u00fc d\u00fcnya i\u015finden bir k\u00f6\u015feye \u00e7ekilmi\u015f insan\u0131 g\u00f6z \u00f6n\u00fcnde canland\u0131r\u0131r. Can\u0131n fitil gibi yanmas\u0131 maddi bir g\u00f6r\u00fcnt\u00fc sunarken, \u201ccan\u0131m yand\u0131\u201d deyiminde oldu\u011fu gibi soyut bir anlam da ortadad\u0131r; bu durum tevriye sanat\u0131yla a\u00e7\u0131klanabilir. Tasavvufi anlam\u0131 d\u0131\u015f\u0131nda beyitten \u015fu anlam \u00e7\u0131kar\u0131labilir: G\u00f6n\u00fcl hanesinde sevgiliyi bulabilmek \u00fcmidi ile can fitil, ten de fener oldu. Her ikisi sevgiliyi d\u00f6ne d\u00f6ne aramaktad\u0131r.<\/p>\n

D\u00f6nme fiili yine birka\u00e7 anlam i\u00e7ermektedir: Fener do\u011fal olarak as\u0131ld\u0131\u011f\u0131 yerde sa\u011fa sola d\u00f6ner. Fenerin i\u00e7indeki alev yine d\u00f6ne d\u00f6ne y\u00fckselir. Elinde fener olan ki\u015fi arad\u0131\u011f\u0131 \u015feyi bir ka\u00e7 defa d\u00f6nerek arar \u00f6yle bulur\u2026<\/p>\n

Hayal kelimesi ile fener \u0131\u015f\u0131\u011f\u0131nda insan\u0131n suretinin hayal gibi g\u00f6r\u00fcnmesi aras\u0131nda bir iham-\u0131 tenas\u00fcpten bahsedilebilir. Hatta bu Karag\u00f6z perdesine kadar geni\u015fletilebilir.<\/p>\n

3 H\u00e2k-i p\u00e2yine y\u00fczin s\u00fcrmek i\u00e7\u00fcn \u015fems \u00fc kamer
\nSer-i k\u00fbyu\u00f1a gel\u00fcr \u015f\u00e2m u seher d\u00f6ne d\u00f6ne<\/strong><\/p>\n

H\u00e2k-i p\u00e2y: aya\u011f\u0131n\u0131n topra\u011f\u0131
\n\u015eems \u00fc kamer: g\u00fcne\u015f ve ay
\nSer-i k\u00fby: sevgilinin mahallesinin ba\u015f\u0131
\n\u015eam: ak\u015fam
\nSeher: sabah<\/p>\n

G\u00fcne\u015f ve ay senin aya\u011f\u0131n\u0131n topra\u011f\u0131na y\u00fcz\u00fcn\u00fc s\u00fcrmek i\u00e7in mahallenin ba\u015f\u0131na ak\u015fam, sabah d\u00f6ne d\u00f6ne gelir.<\/em><\/p>\n

Ay ve g\u00fcne\u015f do\u011fal olarak ak\u015fam batarken e\u011filmekte, sabah do\u011farken al\u00e7aktan y\u00fckselmektedir. Bu hareketin, g\u00fcne\u015f ve ay\u0131n sevgilinin aya\u011f\u0131n\u0131n topra\u011f\u0131na y\u00fcz s\u00fcrmesi i\u00e7in oldu\u011funu s\u00f6yleyen \u015f\u00e2ir, g\u00fczel bir h\u00fcsn-i talil \u00f6rne\u011fi vermektedir. Bu hareketin d\u00f6ne d\u00f6ne olmas\u0131 iki anlama gelir: tekrar tekrar bu i\u015f her g\u00fcn olur veya g\u00fcne\u015f ve ay d\u00f6nerek adeta bir Mevlevi gibi sevgiliye yakla\u015fmaktad\u0131r.<\/p>\n

Astronomiye g\u00f6re d\u00fcnya, ay ve g\u00fcne\u015fin d\u00f6nd\u00fc\u011f\u00fc ger\u00e7e\u011fi de bu \u015fekilde dillendirilmi\u015f olmaktad\u0131r. Unutulmamal\u0131d\u0131r ki Mihr\u00ee\u2019nin ya\u015fad\u0131\u011f\u0131 as\u0131rda Avrupa\u2019da insanlar bu d\u00fc\u015f\u00fcnce y\u00fcz\u00fcnden aforoz edilmekteydi. Anadolu\u2019nun k\u00fc\u00e7\u00fck bir \u015fehrinde bu astrolojik ger\u00e7e\u011fin bu kadar a\u00e7\u0131k dile getirilmesi ayr\u0131ca ilgin\u00e7tir.<\/p>\n

G\u00fcne\u015f ve ay\u0131n s\u0131rf sevgilinin mahallesinin topra\u011f\u0131na y\u00fcz s\u00fcrmek i\u00e7in sabah ak\u015fam e\u011filiyor g\u00f6sterilmesi m\u00fcbala\u011fa sanat\u0131n\u0131n bir \u00f6rne\u011fidir. G\u00fcne\u015f ve ay \u00e2\u015f\u0131\u011fa benzetilerek te\u015fhis sanat\u0131 yap\u0131lmaktad\u0131r. \u0130ki \u00e2\u015f\u0131k sevgilinin mahallesine d\u00f6ne d\u00f6ne, tekrar tekrar, her g\u00fcn gitmektedir.<\/p>\n

D\u00fcnya ve d\u00fcnyadaki her \u015fey d\u00f6nmektedir. Mevlevilerin d\u00f6nmesindeki mesaj da budur. Her \u015fey asl\u0131na d\u00f6necektir. 18. y\u00fczy\u0131l \u015fairlerinden Selam\u00ee Efendi ayn\u0131 redifli \u015fiire ilk beyitten Mevlevilik g\u00f6stergesi ile ba\u015flayarak bu \u015fiirlerin her beytinde bu etkinin oldu\u011funu desteklemektedir:<\/p>\n

Mevlev\u00eeyem d\u00f6kerem e\u015fk-i teri d\u00f6ne d\u00f6ne
\n\u00c7\u00fcn felek \u015fulelene dil kameri d\u00f6ne d\u00f6ne (2)<\/p>\n

Edeb\u00ee terminolojide ay Hz. Muhammed\u2019in; g\u00fcne\u015f ise Hz. \u0130sa\u2019n\u0131n sembol\u00fcd\u00fcr. Hakk\u0131n derg\u00e2h\u0131n\u0131 bu iki peygamberin d\u00f6ne d\u00f6ne ziyaret ettikleri anlam\u0131 da beyitte g\u00f6z ard\u0131 edilmemelidir.<\/p>\n

Ayr\u0131ca, \u015fems- kamer; seher- \u015fam aras\u0131nda leff\u00fc ne\u015fr ilgisi de kurulmu\u015ftur. Necat\u00ee ise ayn\u0131 redifli \u015fiirinde ay ile g\u00fcne\u015fi sevgilinin Ka\u2018be\u2019sini tavafa g\u00f6ndermeyi uygun bulmu\u015ftur:<\/p>\n

Ka\u2019be olmasa kapu\u00f1 ay ile g\u00fcn leyl \u00fc neh\u00e2r
\nEylemezlerdi \u1e6dav\u00e2f ol g\u00fczeri d\u00f6ne d\u00f6ne (3)<\/p>\n

4 Ka\u015fu\u00f1a be\u00f1zemek i\u00e7\u00fcn sen\u00fc\u00f1 ey Z\u00fchre-ceb\u00een
\nKend\u2032\u00f6zin tutdu hil\u00e2l itdi kamer d\u00f6ne d\u00f6ne <\/strong><\/p>\n

Z\u00fchre-ceb\u00een: y\u00fcz\u00fc Z\u00fchre y\u0131ld\u0131z\u0131 gibi parlak olan sevgili.
\nKamer: ay<\/p>\n

Ey y\u00fcz\u00fc Z\u00fchre gibi parlak olan sevgili, senin ka\u015f\u0131na benzemek i\u00e7in ay, d\u00f6ne d\u00f6ne kendisini hilal etti.<\/em><\/p>\n

Sevgilinin ka\u015f\u0131n\u0131n g\u00fczelli\u011fi ve inceli\u011fi belirtilirken Divan edebiyat\u0131nda daima hilal benzetmesi yap\u0131l\u0131r. Sevgilinin y\u00fcz\u00fc de parlak olan g\u00f6k cisimlerine benzetilir. Burada sevgilinin y\u00fcz\u00fc Z\u00fchre y\u0131ld\u0131z\u0131na benzetilmi\u015ftir.<\/p>\n

Ka\u015f ise yak\u0131nl\u0131\u011f\u0131n sembol\u00fcd\u00fcr. Ka\u015f yaya benzetilir ve Araplar\u0131n kulland\u0131\u011f\u0131 bir ata s\u00f6z\u00fc ile \u201cyak\u0131nl\u0131k\u201d anlam\u0131 iham-\u0131 tenas\u00fcple hissettirilir. Hz. Peygamberin mira\u00e7ta Allah\u2019a yak\u0131nl\u0131\u011f\u0131 hakk\u0131nda \u201ckab-\u0131 kavseyn\u201d iki yay aras\u0131 tabiri kullan\u0131l\u0131r. \u00c2\u015f\u0131k olan kamer de kendisini yaya benzeterek sevgiliye yak\u0131nl\u0131\u011f\u0131 ummaktad\u0131r.<\/p>\n

Beyitte, do\u011fal olarak g\u00f6kte d\u00f6ne d\u00f6ne incelen ay g\u00fczel bir sebeple inceltilmi\u015ftir: sevgilinin ka\u015f\u0131na benzemek i\u00e7in veya onunla yak\u0131nl\u0131k kurabilmek i\u00e7in. Di\u011fer bir deyi\u015fle \u00e2\u015f\u0131k, sevgiliye kavu\u015famaman\u0131n ac\u0131s\u0131 ile g\u00fcn be g\u00fcn incelip hilal gibi bir hal almakta beli b\u00fck\u00fclmektedir. Sevgilinin kendisine ac\u0131y\u0131p yak\u0131nl\u0131k g\u00f6stermesini beklemektedir.<\/p>\n

\u201cTutmak\u201d kelimesi \u201cay tutulmas\u0131n\u0131\u201d hat\u0131rlatmas\u0131 bak\u0131m\u0131ndan \u00f6zel olarak se\u00e7ilmi\u015ftir. Ay tutulurken de yava\u015f yava\u015f hilale d\u00f6n\u00fc\u015fme s\u00f6z konusu olur.<\/p>\n

D\u00f6ne d\u00f6ne tabiri burada, s\u0131k s\u0131k, y\u0131lda birka\u00e7 kez, y\u00f6r\u00fcngesinde d\u00f6nerek anlamlar\u0131n\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r.<\/p>\n

Hilal, Z\u00fchre, kamer, d\u00f6nme, tutulma gibi kelimelerle \u201cg\u00f6ky\u00fcz\u00fc\u201d etraf\u0131nda bir tenas\u00fcp yap\u0131lmaktad\u0131r. Ay (kamer) yine \u00e2\u015f\u0131\u011fa benzetilerek te\u015fhis sanat\u0131 yap\u0131lm\u0131\u015ft\u0131r. Z\u00fchre y\u0131ld\u0131z\u0131 do\u011fduktan sonra ay\u0131n do\u011fmas\u0131 da ayr\u0131ca bilimsel bir s\u0131ralama olarak belirtilmelidir. \u015e\u00e2ir, en az\u0131ndan \u201cY\u0131ld\u0131zlara Bakmak\u201d hususunda bu g\u00fcnk\u00fc insandan bir ad\u0131m ileridedir.<\/p>\n

5 C\u00e2n c\u00e2n-b\u00e2z\u0131n\u0131 g\u00f6r la\\’l\u00fc\u00f1e iri\u015fmek i\u00e7\u00fcn
\nR\u00eesm\u00e2n-\u0131 ser-i z\u00fclf\u00fc\u00f1den iner d\u00f6ne d\u00f6ne<\/strong><\/p>\n

La\\’l: dudak, k\u0131rm\u0131z\u0131, k\u0131ymetli ta\u015f.
\nRism\u00e2n: ip
\n
\n(Ey sevgili) can cambaz\u0131 (can\u0131yla oynayan, can\u0131n\u0131 tehlikeye atan) senin hayat veren duda\u011f\u0131na eri\u015fmek i\u00e7in g\u00f6r ki nas\u0131l z\u00fclf\u00fcn\u00fcn ipinden d\u00f6ne d\u00f6ne iner.<\/em><\/p>\n

\u00c2\u015f\u0131k te\u015fbih sanat\u0131 ile bir cambaza benzetilmekte ve sevgilinin ipe benzeyen z\u00fclf\u00fcnden hayat kayna\u011f\u0131 olan duda\u011f\u0131na do\u011fru ilerlemektedir. Bu, tehlikeli bir hareket oldu\u011fu i\u00e7in cambaz yani can\u0131 ile oynayan benzetmesi yap\u0131lm\u0131\u015ft\u0131r. \u00c2\u015f\u0131k i\u00e7in tek kurtulu\u015f \u00e2b-\u0131 hayat bah\u015feden sevgilinin duda\u011f\u0131na ula\u015fmakt\u0131r. Bu t\u00e2birin tasavvufi kar\u015f\u0131l\u0131\u011f\u0131 ise, dervi\u015fin kendi varl\u0131\u011f\u0131ndan s\u0131yr\u0131l\u0131p fenafillaha varmas\u0131d\u0131r. \u00c7\u00fcnk\u00fc dudak, edebiyat\u0131m\u0131zda daima nokta, yokluk anlamlar\u0131ndad\u0131r. \u00c2b-\u0131 hayat bir anlamda kendini Allah\u2019ta yok etmeye ba\u011fl\u0131d\u0131r. \u0130\u015fte bu y\u00fczden sevgilinin duda\u011f\u0131 \u00e7ok k\u00fc\u00e7\u00fck veya yok oldu\u011fu i\u00e7in \u00e2b-\u0131 hayatt\u0131r. Burada Hz. \u0130sa\u2019n\u0131n \u00f6p\u00fc\u015f\u00fc ile hayat ba\u011f\u0131\u015flamas\u0131na da bir gizli telmih d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n

Z\u00fclf\u00fcn ip olarak kullan\u0131lmas\u0131 renk y\u00f6n\u00fcnden k\u00fcfr\u00fc temsil eden siyah ile a\u00e7\u0131klanabilir. Yani \u00e2\u015f\u0131k, k\u00fcfr\u00fcn g\u00fcnaha ve d\u00fcnyaya te\u015fvik eden incecik yollar\u0131ndan vahdeti temsil eden sevgilinin duda\u011f\u0131na do\u011fru can\u0131n\u0131 ortaya koyarak ilerlemektedir. Z\u00fclf\u00fcn siyahl\u0131\u011f\u0131na kar\u015f\u0131l\u0131k, duda\u011f\u0131n parlakl\u0131\u011f\u0131 bir tezat te\u015fkil eder.<\/p>\n

Soyut olan \u201ccan\u201d\u0131n somutlanarak cambazla birlikte kullan\u0131lmas\u0131 bir somutlama \u00f6rne\u011fidir.<\/p>\n

Cambazlar da do\u011fal olarak ipten d\u00f6ne d\u00f6ne inerler.
\nB\u00e2k\u00ee, bir y\u00fcz y\u0131l sonra \u00e2\u015f\u0131\u011f\u0131 bu sefer yana\u011f\u0131n parlakl\u0131\u011f\u0131na g\u00f6ndererek tehlikeye atmaktad\u0131r:
\n\u1e6cola\u015faldan ruh\u0131 \u015fem\u2018ine dil-i ser-ge\u015fte
\nYakd\u0131 perv\u00e2ne-\u1e63\u0131fat b\u00e2l \u00fc peri d\u00f6ne d\u00f6ne (4)<\/p>\n

6 D\u00fc\u015feli \u015favk\u0131 hay\u00e2l-i lebin\u00fc\u00f1 Mihr\u00ee dile
\n\u00c2te\u015f-i gamda keb\u00e2b old\u0131 ciger d\u00f6ne d\u00f6ne <\/strong><\/p>\n

\u015eavk: akis
\nLeb: dudak<\/p>\n

Ey Mihr\u00ee, g\u00f6nl\u00fcne yarin duda\u011f\u0131n\u0131n hayalinin yans\u0131mas\u0131 d\u00fc\u015feli, gam ate\u015finde ci\u011fer d\u00f6ne d\u00f6ne kebab oldu. <\/em><\/p>\n

Son m\u0131sra tekrar edilerek redd-i matla yap\u0131lm\u0131\u015ft\u0131r.
\nMihr\u00ee\u2019nin \u201cg\u00f6nl\u00fcne yarin duda\u011f\u0131n\u0131n hayalinin yans\u0131mas\u0131 d\u00fc\u015feli\u201d tabirinden bir ayna telakkisi ortaya \u00e7\u0131kmaktad\u0131r. G\u00f6n\u00fcl bir aynad\u0131r ve onda daima g\u00fczel \u015feyler yans\u0131mal\u0131d\u0131r. G\u00fcnahlar ve nefsan\u00ee duygular\u0131n \u00e7irkefi oray\u0131 kirletir. \u0130nsan tertemiz yarat\u0131lm\u0131\u015ft\u0131r, emaneti yine tertemiz iade etmelidir. G\u00f6nl\u00fcn ger\u00e7ek sahibi Allah\u2019t\u0131r. O halde sevgilinin (Allah\u2019\u0131n) ab-\u0131 hayat bah\u015feden g\u00fczelli\u011fi Mihr\u00ee\u2019nin g\u00f6nl\u00fcne d\u00fc\u015ft\u00fc d\u00fc\u015feli, o, ate\u015fteki kebap gibi yanmaktad\u0131r.<\/p>\n

Beyitte hem mecaz\u00ee a\u015fk hem de \u0130lah\u00ee a\u015fk kastedilebilir. Ayna motifi, uzak bir \u00e7a\u011fr\u0131\u015f\u0131m dahi olsa, Necat\u00ee\u2019nin d\u00f6ne d\u00f6ne \u015fiirindeki \u00e7ar\u015f\u0131da sevgiliyi d\u00f6ne d\u00f6ne g\u00f6zleyen aynalar\u0131 hat\u0131rlat\u0131yor:<\/p>\n

Sen olasan diy\u00fc yir yir a\u1e63\u0131lub \u00e2y\u00eeneler
\nGelene gidene eyler na\u1e93ar\u0131 d\u00f6ne d\u00f6ne(5)<\/p>\n

D\u00f6ne d\u00f6ne redifi yine kebap ile alakal\u0131 olarak kullan\u0131lm\u0131\u015f ve g\u00f6nl\u00fcn \u0131st\u0131raplar i\u00e7inde ac\u0131 \u00e7ekmesini ifade etmi\u015ftir. Sevgilinin duda\u011f\u0131n\u0131n aynen g\u00f6r\u00fcnmesi de\u011fil de hayalinin yans\u0131mas\u0131n\u0131n, \u00e2\u015f\u0131\u011f\u0131n ci\u011ferini kebap etmesi a\u015fk\u0131n harareti ile ilgilidir ve bir m\u00fcbala\u011fad\u0131r.<\/p>\n

Mihr\u00ee Divan\u0131nda 143. gazel olarak yer alan bu \u015fiir her ne kadar nazire olsa bile orijinal bulu\u015flar ile kendine has bir g\u00fczelli\u011fi yakalam\u0131\u015ft\u0131r. Bu gazelin anlam ve ba\u011flam incelemesinden anla\u015f\u0131laca\u011f\u0131 \u00fczere Mihr\u00ee, geni\u015f hayalleri, geni\u015f k\u00fclt\u00fcr\u00fc ve yeni imajlar\u0131 ile b\u00fcy\u00fck \u015f\u00e2ir profili \u00e7izmektedir. Bu \u015fiir naziredir, o halde taklittir demek ger\u00e7e\u011fi yans\u0131tmaz.<\/p>\n

———————————————————–<\/p>\n

Metin Hakverdio\u011flu: Macit Zeren Fen Lisesi- Amasya<\/p>\n

1)Metin Hakverdio\u011flu (1998) Mihr\u00ee H\u00e2tun Divan\u0131 Edisyon-Kritik, Kazak-T\u00fcrk Ahmet Yesevi \u00dcniversitesi. 143. gazel<\/p>\n

2) Metin Hakverdio\u011flu, Selami Divan\u0131 Transkrip \u00c7al\u0131\u015fmas\u0131, (yay\u0131nlanmam\u0131\u015f) 147. gazel<\/p>\n

3) Ali Nihat Tarlan, Necati Bey Divan\u0131, MEB Yay., \u0130stanbul,1997 .472. gazel<\/p>\n

4) Sabahattin K\u00fc\u00e7\u00fck, B\u00e2k\u00ee Divan\u0131, TDK. Yay. Ankara, 1994, 464. gazel<\/p>\n

5) Ali Nihat Tarlan, Necati Bey Divan\u0131, MEB Yay., \u0130stanbul,1997. 472. gazel<\/p>\n

[OpicC:0276]<\/td>\n<\/tr>\n

Metin HAKVERD\u0130O\u011eLU<\/em><\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

http:\/\/www.amasya.edu.tr\/akademik\/fakulteler\/fen-edebiyat-fakultesi\/personel\/akademik-personel.aspx?id=1652 (AKADEM\u0130K ADRES\u0130M) CV: Dr. Metin HAKVERD\u0130O\u011eLU Dr. Metin HAKVERD\u0130O\u011eLU 1969 y\u0131l\u0131nda Amasya\u2019n\u0131n G\u00f6yn\u00fccek il\u00e7esi, Tuzsuz k\u00f6y\u00fcnde do\u011fdu. \u0130lk ve orta\u00f6\u011frenimini Amasya\u2019da  tamamlad\u0131. 1986\u2019da ba\u015flad\u0131\u011f\u0131  Marmara \u00dcniversitesi, Fen-Edebiyat Fak\u00fcltesi, T\u00fcrk Dili ve Edebiyat\u0131  B\u00f6l\u00fcm\u00fcndenki lisans e\u011fitimini 1990 y\u0131l\u0131nda    tamamlad\u0131. Hatay, … Okumaya devam et →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,7,1,5,3],"tags":[6],"class_list":["post-28","post","type-post","status-publish","format-standard","hentry","category-ebced","category-karikatur","category-makalelerim","category-molekuler-edebiyat","category-siirlerim","tag-makale"],"_links":{"self":[{"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/posts\/28","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28"}],"version-history":[{"count":34,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/posts\/28\/revisions"}],"predecessor-version":[{"id":712,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=\/wp\/v2\/posts\/28\/revisions\/712"}],"wp:attachment":[{"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=28"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/molekuleredebiyat.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=28"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}