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Amerikali yazar, besteci ve gezgin Paul Bowles’un dogum yil donumu (30 Aralik 1910)
“Yine aylar gecmiţ, Col'e gidebilecek parayi hala biriktirememisler. Gumus liralari saklamislar, cunku ucu de Targui'ye asikmis. Huzunleri de surup gidiyormus. Gunun birinde, 'Bizim sonumuz boyle gelecek,' demisler. 'Hep uzgun kalacagiz ve Col'de cay icemeyecegiz. Demek ki hemen gitmeliyiz oraya.Paramýz olmasa da'. Ellerindeki butun paralari birlestirmis, gumus liralari bile katmis, bir caydanlik, bir tepsi ve uc bardak satin almislar, kalaniyla da El Golea'ya otobus bileti almislar. Pek az paralari kalmis. Onu da son kurusuna kadar, kervaniyla guneye giden bir bakamar'a vermisler. Adam buna karsilik onlarin kervanina katilip develere binmelerine izin vermis. Bir aksam, gunesin batmasina yakin, kocaman kumullarin oraya varmislar. 'Iste Col'e geldik,' diye dusunmusler. 'Cayi yapalim.' Ay dogmuţ, butun erkekler uykuya yatmis, bir tek nobetci kalmis. O da develerin yaninda oturuyor, kavalini caliyormuţ." Ismail parmaklarini agzina goturup oynatti. "Utka, Mimuna ve Aysa, ellerinde tepsi, caydanlýk ve bardaklarla, sessizce kervandan uzaklasmislar. Col'un tumunu gorebilmek icin en yuksek kumulu arayacaklarmis. Caylarini da o zaman yapacaklarmis. Uzun sure yurumusler. Utka, 'Yuksek bir kumul goruyorum,' demis. Oraya yuruyup tepesine tirmanmislar. Mimuna, 'Ben surada bir kumul goruyorum, o bizimkinden cok daha yuksek.Oradan ta In Salah'a kadar olan alani gorebiliriz.' demis. Oraya gitmisler ama tepeye tirmandiklarinda Aysa, 'Bakin!' demis, 'Iste en yuksek kumul. Tamanrasseti'i bile gorebiliriz oradan. Targui'nin yasadigi yer orasi!' Gunes dogmus, onlar yurumeyi surdurmusler. Ogle oldugunda ortalik cok fazla sicak olmus ama kumula varmislar, tepeye dogru tirmanmislar, tirmanmislar. Doruga varinca, cok yorgun olduklarini hissetmisler. 'Once biraz dinlenelim, sonra cayi yapariz,' demisler. Uyumadan once tepsiyi caydanligi ve bardaklari ortaya cikarip hazirlamislar. Sonra uzanýp uyumuslar. Daha sonra. ‘Ismail susup Port'a bakti. Gunler sonra oradan baska kervan geciyormuţ, adamin biri en yuksek kumulun tepesinde bir seyler gormus. Ne olduguna bakmak icin oraya tirmanmis. Utka, Mimuna ve Aysa’yý bulmus. Hala orada, uykuya daldiklari andakinden farksiz bicimde yatiyorlarmis. Her uc bardak da.’ ýsmail kendi Cay bardagini havaya kaldirip gosterdi. ‘kumlarla doluymuţ. Iste böyle içmiţler Col’de caylarini.” Esirgeyen Gokyuzu
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“Many months go by, and still they can’t earn enough money to go to the Sahara. They have kept the silver pieces, because all three are in love with the Targui. And they are always sad. One day they say: ‘We are going to finish like this-always sad, without ever having tea in the Sahara-so now we must go anyway, even without money.’ And they put all their money together, even the three silver pieces, and they buy a teapot and a tray and three glasses, and they buy bus tickets to El Golea.And there they have only a little money left, and they give it all to a bachhamar who is taking his caravan south to the Sahara. So he lets them ride with his caravan. And one night, when the sun is going to go down, they come to the great dunes of sand, and they think: ‘Ah, now we are in the Sahara; we are going to make tea.’ The moon comes up, all the men are asleep except the guard. He is sitting with the camels playing his flute.” Smail wriggled his fingers in front of his mouth. “Outka, Mimouna and Aicha go away from the caravan quietly with their tray and their teapot and their glasses. They are going to look for the highest dune so they can see all the Sahara. Then they are going to make tea. They walk a long time. Outka says: ‘I see a high dune,’ and they go to it and climb up to the top. Then Mimouna says: ‘I see a dune over there. It’s much higher and we can see all the way to In Salah from it.’ So they go to it, and it is much higher. But when they get to the top, Aicha says: ‘Look! There’s the highest dune of all. We can see to Tamanrasset. That’s where the Targui lives.’ The sun came up and they kept walking. At noon they were very hot. But they came to the dune and they climbed and climbed. When they got to the top they were very tired and they said: ‘We’ll rest a little and then make tea.’ But first they set out the tray and the teapot and the glasses. Then they lay down and slept. And then” -Smail paused and looked at Port- “Many days later another caravan was passing and a man saw something on top of the highest dune there. And when they went up to see, they found Outka, Mimouna and Aicha; they were still there, lying the same way as when they had gone to sleep.And all three of the glasses,” he held up his own little tea glass, “were full of sand. That was how they had their tea in the Sahara.”
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Fransiz tiyatro, roman ve deneme yazari, sanat tarihcisi Romain Rolland'in olum yil donumu (30 Aralik 1944)
"Ben de Voltaire gibi dusunuyorum: Birkac sinek isirigi, kosan ati durduramaz. / Penso come Voltaire che qualche puntura di mosca non puň rallentare la corsa di un cavallo focoso."Romain Rolland, Beethoven
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"Iyilikten baska bir ustunluk gostergesi tanimiyorum.Karakterin buyuk olmadigi bir yerde, buyuk bir insan yoktur, buyuk bir sanatci bile yoktur, buyuk bir eylem adami yoktur; yalnizca kalabaliklarin ucuz ve kisa alkislarini toplayan, topragindan cikarilmis putlar vardir; zaman hepsini yok edecektir. Basarinin onemi yoktur. Soz konusu olan buyuk olmaktir, buyuk gorunmek degil.”
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“I recognise no sign of superiority in mankind other than goodness.Where the character is not great, there is no great man, there is not even a great artist, nor a great man of action; there are only idols unearthed for the cheap and short-lived applause of the multitude; time will efface them altogether. Outward success matters little. The only thing is to be great, not to appear so.”
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Amerikali sarkici,soz yazari, sair ve gorsel sanatci Patti Smith’in dogum gunu (30 Aralik 1946)
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"Havadaki titresimi hissedebiliyorduk; bir telas duygusu hakimdi ortama.Her sey Ay'la basladi ; ulasilmaz bir siirdi Ay ,ya da bir zamanlar oyleydi.Simdi uzerinde insanlar yuruyordu ,tanrilarin incisinin uzerinde lastik izleri vardi.Belki de zamanin akisini, icinde bulundugumuz on yilin son yazini yasadigimizi fark etmekten kaynaklaniyordu telasimiz.Bazen ellerimi kaldirip durdurmak istiyordum.Ama neyi durdurmak ? Belki de buyumeyi."
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“Yet you could feel a vibration in the air, a sense of hastening. It had started with the moon, inaccessible poem that it was. Now men had walked upon it, rubber treads on a pearl of the gods. Perhaps it was an awareness of time passing, the last summer of the decade. Sometimes I just wanted to raise my hands and stop. But stop what? Maybe just growing up.”
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Kanadali roman yazari Douglas Coupland'in dogum gunu (30 Aralik 1961)
"Derler ki, insan asik oldugunda, gundelik dunyanin yaninda ilerleyen yeni bir paralel evrene girermis. Baska hiç kimsenin giremeyecegi kucuk bir evrenmis bu; iki kisilik bir ulke, ozel, fanus gibi korunakli, hic bitmeyen bir esprinin icinde yasarmiscasina mutlu. Ama bence bu dogru degil. Bence gercek evren, ask bitince patlayarak sacilan tehlike; insanin dunyasi yikilip tutunacak bir dali kalmadiginda ortaya cikan gerceklik. Ben simdi bu gercekligin icindeyim."ť Uc harfli kelime : Ask.
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"People say that when you're in love you enter a new parallel universe that runs alongside our everyday world - a small universe where nothing else can intrude - a republic of two, hypnotic, exclusive and bubbly, like you're living inside a punch line that just won't end. But I don't think this is true. I think that being in love simply makes you feel even more connected to the rest of the species. I’m living in right now."
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19. yuzyilin en buyuk Italyan sairlerinden Giovanni Pascoli'nin dogum yildonumu (31 Aralik 1855)
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Iste aciliyor gece cicekleri
sevdiklerimi andigim saatte.
Kartoplari arasýnda gorundu
aksam kelebekleri.
Bir suredir sustu cigliklar:
Orada, yalnýzca bir tek ev fisildar.
Kanatlar altinda uyur yuvalar
tipki kirpiklerin altindaki gozler gibi.
Acilmis yapraklardan yayiliyor
kokusu kirmizi cileklerin.
Bir isik parliyor orada, salonda.
Ot bitiyor mezarlar uzerinde.
Gec kalmis bir ari vizildiyor
coktan dolmus petekleri gorunce.
Boga grubu yildizlari mavi gokte
civildayarak geziniyor.
Gece boyunca yayiliyor
ruzgarla gelen koku.
Isik suzuluyor merdivenden;
birinci katta parliyor: Sondu…
Ve safak: Yapraklari kapaniyor
biraz boynu bukuk; yeseriyor
islak ve gizli vazoda
bilmem hangi yeni mutluluk.
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Renkleri buyuk bir ustalikla kullanisiyla Picasso ve Kandinsky ile birlikte, modern sanatin en buyuk sanatcilarindan Fransiz Empresyonist ressam Henri Matisse’in dogum yildonumu (31 Aralik 1869)
Lusso calma voluttŕ (Luxury, calm and voluptuousness,1904)
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La gioia di vivere (The joy of living, 1905-1906)
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Odalisca con i pantaloni rossi (Odalisque with Red Trousers, 1922)
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Uruguayli sair, oyun ve kisa oyku yazari Horacio Quiroga’nin dogum yildonumu (31 Aralik 1878)
“Yazarken ne arkadaslarini dusun, ne de oykunun yaratacagi etkiyi. Bir araya getirecegin kahramanlarinin icinde yasadigio kucucuk ortamdan baska ilgini ceken hicbir sey yokmuc gibi anlat oykunu. Oykudeki yasantidan baska bir sey cikmasin ortaya.”
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“Don’t think about your friends or the impression your story will have when you write. Tell your story as if it mattered only to its small group of characters—you could have been one. There is no other way to bring your stories to life.”
“Kahramanlarini elinde tut ve oykunun sonuna kadar tutarli bir sekilde tasi. Kurguladigin yolda onlari baska sekilde gormeye kalkma. Baskalarinin goremedigi ya da gorse bile aldirmayacagi seylerle yolunu saptirma. Okuru aldatma. Oyku, laf kalabaligindan arinmis bir romandir. Oyle olmasa bile, bunu mutlak bir hakikat olarak kabullen.”
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“Take your characters firmly by the hand and lead them to the end of the story, without deviating from the path you have drawn for them. Don’t distract yourself by writing about what your characters cannot see or what is not important for them to see. Don’t abuse the reader. A story is a novel with all the clutter cut out. Take this as an absolute truth, even though it may not be.”
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Ispanyol yazar ve dusunur Miguel de Unamuno’nun olum yildonumu (31 Aralik 1936)
“Peki nedir ask? Aski kim tanimladi? Tanimlanan ask, askliktan cikar.”
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“And what is love? Who has ever defined love? Love once defined would cease to be love.”
-Karim piano calacak, dedi Augusto.
-Piano! Ne ise yarar bu piano?
-Ne ise mi yarar? En hos yani, is denen o lanet seye yaramamasi. Is denen seyden biktim artik.
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-My wife will play the piano, said Augusto.
-The piano! And what's the good of that? asked Liduvina.
-What's the good of it? Why, that's just what constitutes its greatest charm, that there's not a damned bit of good in it. It is of no service, as they say.
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1 Akademi (Kuzularin Sessizligi, 1991), 1 Golden Globe ve 4 BAFTA Odulu sahibi Galli film ve televizyon aktoru Sir (Philip) Anthony Hopkins’in dogum gunu (31 Aralik 1937)
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Ingiliz roman, kisa hikaye, drama, deneme, biyografi ve seyahat yazari Mary Shelley, Frankenstein ya da Modern Prometheus romanini 1 Ocak 1818 tarihinde Londra, Lackington, Hughes, Harding, Mavor, & Jones yayinevi araciligiyla yayinladi.
"Mukemmel bir insan, her zaman sakin ve huzurlu bir akli barindirmali ve asla bu sukuneti bozacak bir tutku ya da gecici istege izin vermemelidir. Bilginin pesinde olmanin bu kuralin disinda oldugunu dusunmuyorum. Kendinizi adadiginiz calismanin sevginizi zayiflatmaya ya da baska alasimlarin karisamadigi su basit zevklerinizi yok etmeye egilimi varsa, o calisma kesinlikle kural disidir, yani, insan aklina uygun degildir."
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"A human being in perfection ought always to preserve a calm and peaceful mind, and never to allow passion or a transitory desire disturb his tranquility. I do not think that the pursuit of knowledge is an exception to this rule. If the study to which you apply yourself has a tendency to weaken your affections, and to destroy your taste for those simple pleasures in which no alloy can possibly mix, then that study is certainly unlawful, that is to say, not befitting the human mind."
Bazi Film Uyarlamalari
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Macar sair Sándor Petőfi’nin dogum yildonumu (1 Ocak 1823)
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Ozgurluk ve sevmek,
Bu ikisi gerek bana!
Askim icin, yasamim
Feda olsun,
Ozgurluk ugruna askim!
Agac olurum eger agacin cicegi isen
Sen ciy isen ben cicek olurum
Ciy olurum eger gunes isigi isen
Sirf birleselim diye.
Ey guzel kiz, sen sevmek isen,
Ben bir yildiz olurum.
Ey guzel kiz, sen cehennem isen;
Olurum birleselim, diye.
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Sarň albero, se sarai suo fiore.
Se tu sarai rugiada io fiore sarň.
Sarň rugiada se tu sarai raggio di sole…
Mi basta che siamo una cosa sola.
Se, fanciulla, tu sarai il paradiso:
Allora io diventerň una stella,
Se, fanciulla, tu sarai l'inferno: (per
Unirci) io sarň dannato.
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Iskoc sosyal antropolog, insanbilimci ve yazar James George Frazer’in dogum yildonumu (1 Ocak 1854)
“Ýlkel insanlar dogaustu varliklarin insandan ustun oldugunu dusunmuyorlardi; cunku tanrilar, insanlarin isteklerini yerine getirmeleri icin korkutulup zorlanabiliyorlardi. Bu dusunce evresinde dunya kocaman bir demokrasi platformu olarak gorulur; ister siradan ister dogaustu olsun butun varliklarin orta derecede bir esitlik temelinde var olduguna inanilir. Fakat bildiklerinin artmasiyla insanoglu doganin buyuklugunu ve kendisinin doga icindeki acizligini acikca kavramayi ogrenir. Fakat caresizliginin farkina varmasi, hayal gucunun evrene yerlestirdigi dogaustu varliklarin gucsuzlugune dair bir inanisi beraberinde getirmez. Aksine, bu varliklarin gucune olan inanci kuvvetlendirir. Cunku dunyanin sabit ve degismez yasalara gore hareket eden kisilerustu guclerden olusan bir sistem oldugu dusuncesi henuz tam olarak zihnini aydinlatmamis veya karartmamistir. Bu dusunceye dair elbette muglak bir hissi vardir ve yalnizca buyu sanatinda degil, gunluk yasantisindaki cogu isinde bu hisse gore hareket eder. Fakat dusuncesi gelismez ve icinde yasadigi dunyayi aciklamaya calistikca dunyayi bilincli bir irade ve sahsi bir varligin kaniti olarak dusunur. Eger kendisini bu kadar zayif ve aciz goruyorsa doganinn devasa mekanizmasini kontrol eden varliklari ne kadar buyuk ve kudretli goruyor olmali! Boylece tanrilara esit oldugu dusuncesi agir agir yok olurken, kimseden yardim almayan gucleriyle yani buyuyle doganin akisini kontrol etme umidini de yitirir ve tanrilari bir zamanlar onlarla paylastigini dusundugu dogaustu guclerin tek kaynagi olarak gormeye baslar. Oyleyse, bilginin ilerlemesiyle dua ve adagin yaninda mesru bir denkleri olarak yer alan buyu ise gitgide arka plana itilir ve karanlik bir sanat seviyesine duser. Artik buyuye, tanrilarin kralliginda hem nafile hem kafirce bir saldiri gozuyle bakilir ve tanrilariyla birlikte nufuzu artan ya da azalan din adamlarinin surekli muhalefetiyle karsilasir. Bu yuzden gec bir donemde din ile batil inanc arasindaki ayrim ortaya cikinca adak ve duanin toplumun dindar ve aydin kesiminin dayanagi, buyunun ise batil inancli ve cahil kesimin siginagi oldugunu goruruz. Fakat daha sonraki bir donemde doga guclerinin sahsi varliklar oldugu dusuncesi doga yasalarinin fark edilmesinin onunu actiginda buyu, dolayli olarak kisisel iradeden bagimsiz zaruri ve sabit bir neden-sonuc akisi dusuncesine dayandigi icin dustugu itibarsiz ve dislanmis konumdan kurtularak yeniden ortaya cikar ve dogadaki nedensel sekanslari inceleyerek dogrudan dogruya bilimin yolunu acar. Simya, kimyaya zemin hazirlar.”
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“By primitive peoples the supernatural agents are not regarded as greatly, if at all, superior to man; for they may be frightened and coerced by him into doing his will. At this stage of thought the world is viewed as a great democracy; all beings in it, whether natural or supernatural, are supposed to stand on a footing of tolerable equality. But with the growth of his knowledge man learns to realise more clearly the vastness of nature and his own littleness and feebleness in presence of it. The recognition of his helplessness does not, however, carry with it a corresponding belief in the impotence of those supernatural beings with which his imagination peoples the universe. On the contrary, it enhances his conception of their power. For the idea of the world as a system of impersonal forces acting in accordance with fixed and invariable laws has not yet fully dawned or darkened upon him. The germ of the idea he certainly has, and he acts upon it, not only in magic art, but in much of the business of daily life. But the idea remains undeveloped, and so far as he attempts to explain the world he lives in, he pictures it as the manifestation of conscious will and personal agency. If then he feels himself to be so frail and slight, how vast and powerful must he deem the beings who control the gigantic machinery of nature! Thus as his old sense of equality with the gods slowly vanishes, he resigns at the same time the hope of directing the course of nature by his own unaided resources, that is, by magic, and looks more and more to the gods as the sole repositories of those supernatural powers which he once claimed to share with them. With the advance of knowledge, therefore, prayer and sacrifice assume the leading place in religious ritual; and magic, which once ranked with them as a legitimate equal, is gradually relegated to the background and sinks to the level of a black art. It is not regarded as an encroachment, at once vain and impious, on the domain of the gods, and as such encounters the steady opposition of the priests, whose reputation and influence rise or fall with those of their gods. Hence, when at a late period the distinction between religion and superstition has emerged, we find that sacrifice and prayer are the resource of the pious and enlightened portion of the community, while magic is the refuge of the superstitious and ignorant. But when, still later, the conception of the elemental forces as personal agents is giving way to the recognition of natural law; then magic, based as it implicitly is on the idea of a necessary and invariable sequence of cause and effect, independent of personal will, reappears from the obscurity and discredit into which it had fallen, and by investigating the causal sequences in nature, directly prepares the way for science. Alchemy leads up to chemistry.”
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Liyakat Nisani sahibi, Ingiliz roman, oyku ve deneme yazari E. M. Forster’in dogum yildonumu (1 Ocak 1879)
“Tahtalar sanki camurdan yapilmis gibidir; halk yuruyen camurlari andirir. Gozun gorebildigi her sey oylesine alcalmis, oylesine tekduzedir ki, Ganj akip gecerken, bir kabuk gibi, pisligi, artiklari supurup topraga sindirecek sanilir. Evler coker, insanlar bogulur, curur, ama kentin ana cizgileri hep yerli yerindedir, orada burada yukselir, alcalir. Alcalmis, ama bir turlu yok edilmeyen bir yasam bicimini andirir.” Hindistan'a Bir Gecit
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“The very wood seems made of mud, the inhabitants of mud moving. So abased, so monotonous, is everything that meets the eye, that when the Ganges comes down it might be expected to wash the excrescence back into the soil. Houses do fall, people are drowned and left rotting, but the general outline of the town persists, swelling here, shrinking there, like some low but indestructible form of life.”
“Hayat diye yazmisti bir dostum kemanla bir konser vermeye benzer oyle bir konser ki muzik aletini icra sirasinda ogrenmek zorundasinizdir.” Manzarali Bir Oda
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“Life' wrote a friend of mine, 'is a public performance on the violin, in which you must learn the instrument as you go along.”
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Amerikali yazar ve gazeteci Ambrose Bierce’in olum yildonumu (1 Ocak 1914)
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“Sorumluluk: Tanri’nin, kaderin, talihin, sansin ya da komsunun omuzlarina kolaylikla kaydirilabilen, takilip cikarilabilir bir yuktur. Astroloji gunlerinde, o yuku bir yildiza bosaltmak adettendi.”
“Astroloji, Avanaklarin yildizlari gormelerini saglama bilimi. Astronominin onceli oldugu hesabiyla astrolojiye kimileri tarafindan derin bir saygi duyulmaktadir.Benzer sekilde, geceleri uyuyan erkek kedinin de,firlayan cizme cekeceginin onceli olarak degerlendirilmeye hakki vardir.” Seytanin Sozlugu
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“Astrology, The science of making the dupe see stars. Astrology is by some held in high respect as the precursor of astronomy. Similarly, the nighthowling tomcat has a just claim to reverential consideration as precursor to the hurtling bootjack.”
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Cavdar Tarlasinda Cocuklar romaniyla taninan Amerikali yazar J. D. Salinger’in dogum yildonumu (1 Ocak 1919)
"Buyuk bir cavdar tarlasinda oyun oynayan cocuklar getiriyorum gozumun onune. Binlerce cocuk, baska kimse yok ortalikta -yetiskin hic kimse, yani- benden baska. Ve cilgin bir ucurumun kenarinda durmusum. Ne yapiyorum, ucuruma yaklasan herkesi yakaliyorum; nereye gittiklerine hic bakmadan kosarlarken, ben bir yerlerden cikiyor, onlari yakaliyorum. Butun gun yalnizca bu isi yapiyorum. Ben, cavdar tarlasinda cocuklari yakalayan biri olmak isterdim. Cilgin bir sey bu, biliyorum, ama ben yalnizca boyle biri olmak isterdim. Biliyorum, bu cilgin bir sey."
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"Io mi immagino sempre tutti questi bambini che giocano a qualcosa in un grande campo di segale e via dicendo. Migliaia di bambini e in giro nessun altro - nessuno di grande, intendo - tranne me, che me ne sto fermo sull'orlo di un precipizio pazzesco. Il mio compito č acchiapparli al volo se si avvicinano troppo, nel senso che se loro si mettono a correre senza guardare dove vanno, io a un certo punto devo saltar fuori e acchiapparli. Non dovrei fare altro tutto il giorno. Sarei soltanto l'acchiappatore nella segale e via dicendo. So che č una pazzia, ma č l'unica cosa che mi piacerebbe veramente fare".
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“Isin gulunc yani; bir yandan boyle palavra sikarken, bir yandan da baska bir sey dusunuyordum. Ben New York'luyumdur. Central Park'taki golu dusunuyordum, su Guney Central Park'taki yapay golu. Gol donup buz tuttugunda, ordeklerin nereye gittigini merak ediyordum. Acaba, biri kamyonla gelip onlari hayvanat bahcesi gibi bir yerlere filan mi goturuyordu, yoksa kendileri mi ucup gidiyorlardi?Ne sansli adamdim. Yani, ayni anda hem bizim Spencer'a palavra SIKIYOR, hem de parktaki ordekleri dusunebiliyordum.”
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“The funny thing is, though, I was sort of thinking of something else while I shot the bull. I live in New York, and I was thinking about the lagoon in Central Park, down near Central Park South. I was wondering if it would be frozen over when I got home, and if it was, where did the ducks go. I was wondering where the ducks went when the lagoon got all icy and frozen over. I wondered if some guy came in a truck and took them away to a zoo or something. Or if they just flew away. I'm lucky, though. I mean I could shoot the old bull to old Spencer and think about those ducks at the same time.”
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“Siir kadar duzyaziyi da severdi, ozellikle de kurmacayi. Gunun herhangi bir saati odama gelir, kitapligimdan bir kitap alip, onunla odasina ya da verandaya seyirtirdi. Nadiren kafami kalditip ne okuduguna bakardim. O gunlerde yazmaya calisiyordum. Cok zor is. Cok soluk benizli is. Ama arada bir bakardim. Bir keresinde onu F. Scott Fitzgerald'in Buruktur Gece'siyle cikarken gordum, bir baska zaman da bana Richard Hughes'un Masum Seyahat'inin konusunu sordu. Soyledim, o da okudu; ama daha sonra ona ne dusundugunu sordugumda tek soylediđi depremin, bir de baslardaki zenci elemanin fena olmadigi oldu. Baska bir gun de odamdan Henry James'in Yurek Burgusu'nu aldi. Bitirdikten sonra bir hafta evdeki kimseyle konusmadi.” J. D. Salinger, Uc Oyku
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“He cared for prose as well as poetry; chiefly fiction. He used to come into my room at any hour of the day and take one of my books down from the case and go off with it to his room or to the porch. I rarely looked up to see what he was reading. In those days I was trying to write. Very tough work. Very pasty-faced work. But once in a while I looked up. One time I saw him walk out with F. Scott Fitzgerald's "Tender is the Night", and another time he asked me what Richard Hughes' "The Innocent Voyage" was about. I told him, and he read it, but the only thing he would say about it, when I asked him later, was that the earthquake was fine, and the colored fella in the beginning. Another day he took from my room and read Henry James' "The Turn of the Screw". When he finished it, for a week he wouldn't talk to anyone in the house.”
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"Just you and me"
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Summer With Monika (1983) Yonetmen: Ingmar Bergman.
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Martin Scorsese kokain bagimliligi ile mucadele ederken Rober De Niro onu ziyaret etti ve kendisini toparlamasi gerektigini soyledi. Daha sonra ona bir boksorun hayati hakkinda olan bu filmi cekmesini onerdi. Scorsese reddetse de De Niro'nun israrina karsi gelemedi ve Raging Bull filmi Scorcese icin bir geri donus oldu. / When Scorsese was at an all-time low due to a near overdose resulting from an addiction to cocaine, De Niro visited him at the hospital & told him that he had to clean himself up & make Raging Bull. De Niro saved Scorsese's life by getting him back into work.
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Martin Scorsese'nin yonettigi 'Casino' (1995) filminde Robert De Niro ve Joe Pesci, unlu col sahnesinin cekiminde, Neveda gunesinden kacip cadira siginmislar.
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Romali sair Publius Ovidius Naso’nun olum yildonumu (2 Ocak MS17)
"Ilkin, suna inan tum gonlunle, elde edebilirsin her kadini; elde edeceksin, sen yeter ki ser aglarini. Olur da kuslar susarsa baharda, yazin da agustos bocekleri Maenalus tazisi arkasina bakmadan kacarsa tavsandan, iste ancak o vakit reddedebilir bir kadin, asiginin sicacik iltifatlarini. Iltifat istemedigine inandigin bir kadin bile, inan ister. Kacamak ask erkegin de hosuna gider, kadinin da: erkek rol yapmada beceriksizdir, kadin arzularini daha iyi saklar. Kur yapma isi siz erkeklere dusmemis olsaydi ilkin, kadin hemen rolunu kapar, oyle bir kur yapardi ki. Yumusacik cayirlarda, disisi bogaya bogurur: daima kisrak kisner toynakli aygira. Daha uysaldir siz erkeklerdeki sehvet, daha az hummali, makul bir siniri vardir erkegin atesinin." Ovidius, Ask Sanati
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"First of all, be quite sure that there isn't a woman who cannot be won, and make up your mind that you will win her. Only you must prepare the ground. Sooner would the birds cease their song in the springtime, or the grasshopper be silent in the summer, or the hare turn and give chase to a hound of Mćnalus, than a woman resist the tender wooing of a youthful lover. Perhaps you think she doesn't want to yield. You're wrong. She wants to. in her heart of hearts. Stolen love is just as sweet to women as it is to us. Man is a poor dissembler; woman is much more skilful in concealing her desire. If all the men agreed that they would never more make the first advance, the women would soon be fawning at our feet."
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Italyan Mannerist ressam Pontormo’nun (Jacopo Carucci) olum yildonumu (2 Ocak 1557)
Ritratto di una Signora in rosso (Portrait of a lady in red dress, 1533)
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Amerikali yazar Charles Willeford’un dogum yildonumu (2 Ocak 1919)
“Kotuluk de hersey gibi zamana ayak uydurmali, ustelik ben Dorian Gray gibi yuzyil sonu amator sanat meraklilarindan degilim. Profesyonelim ben, hem penceremde gorunen yakici Florida gunesi kadar da guncel.” Yanik Portakal
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“Evil, like everything else, should keep pace with the times, and I'm not a turn of the century dilettante like Dorian Gray. I'm a professional, and as contemporary as the glaring Florida sun outside my window.”
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Birbirimizi Oyle Cok Sevmistik ki (C'eravamo tanto amati - We All Loved Each Other So Much, 1974) Elide Catenacci’si Italyan aktris Giovanna Ralli’nin dogum gunu (2 Ocak 1935)
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1 Akademi Odulu (Jerry Maguire, 1995), 1 SAG Odulu sahibi Amerikali aktor Cuba Gooding, Jr'in dogum gunu (2 Ocak 1968)
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Amerikali yazar ve biyokimyaci Isaac Asimov'un olum yil donumu 6 Nisan 1992)
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"Ne olacakti bundan sonra? Galaksi Imparatorluklari mi? Bir dunyadan milyonlarcasina tasinan gunahlar ve cilginliklar mi? Her gucluk ve her sikinti korkunc bir sekilde buyuyecek miydi? Bir tek dunyadan bir anlam cikarabilen bir kisi olmamisken Galaksiden kim bir anlam yaratabilecekti? Insanlarla kaynayan bir Galakside kim egilimleri okuyabilip gelecegi gorebilecekti?" Intikam Tanricasi
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"What would there be now? Galactic empires? All the sins and follies graduated from one world to millions? Every woe and every difficulty horribly magnified?Who would be able to make sense out of a Galaxy, when no one had ever made sense out of a single world? Who would learn to read the trends and foresee the future in a whole Galaxy teeming with humanity?"
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Man Booker Odullu (1972) Ingiliz yazar ve sanat elestirmeni John Berger’in olum yildonumu (2 Ocak 2017)
“Tutuldugu kadina yanasirken Zeus’un boga, satir, kartal, kugu kiliklarina girmesi, yalnizca sasirtidan yararlanma amaci gutmezdi: kadinin karsisina (garip mitlerin terimleriyle) bir yabanci suretiyle cikmakti istegi. Sizi tutkuyla isteyen, butun ozelliklerinizle gercekten yalnizca sizi istedigine inandiran biri, burunebileceginiz butun benliklerden simdiki gercek benliginize bir bildiri getiriyordur. Bu bildiriyi alma hevesi, yasaminizin anlami kadar gucludur nerdeyse. Kisinin kendini tanima istegi, meraktan kat kat ustundur. Karsinizdaki bir yabanci olmalidir ki simdiki benliginizle onu daha iyi taniyin, o da sizi tanidikca bilinmeyen olasi benliginizin ustundeki perdeyi soyle bir aralasin. Yabanci olmali evet. Ama aranizda ayni olcude gizemli bir yakinligin kurulmasi da sart, yoksa bilinmeyen benliginizi aciga cikarmak yerine bilmediklerinizle bilinmeyenlerinizi temsil etmekten oteye gidemez. Yakinlik ve yabancilik. Iste bu celiskiden, bu dusten her kadinin dus gucunde ya besledigi ya da acliktan oldurdugu yuce erotik tanri dogacaktir.”
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“When Zeus, in order to approach a woman he had fallen in love with, disguised himself as a bull, a satyr, an eagle, a swan, it was not only to gain the advantage of surprise: it was to encounter her (within the terms of those strange myths) as a stranger. The stranger who desires you and convinces you that it is truly you in all your particularity whom he desires, brings a message from all that you might be, to you as you actually are. Impatience to receive that message will be almost as strong as your sense of life itself. The desire to know oneself surpasses curiosity. But he must be a stranger, for the better you, as you actually are, know him, and likewise the better he knows you, the less he can reveal to you of your unknown but possible self. He must be a stranger. But equally he must be mysteriously intimate with you, for otherwise instead of revealing your unknown self, he simply represents all those who are unknowable to you and for whom you are unknowable. The intimate and the stranger. From this contradiction in terms, this dream, is born the great erotic god which every woman in her imagination either feeds or starves to death.”
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“Mutlulugun esrarli bir yani yoktur. Mutsuz insanlar birbirlerine benzer. Uzun zaman once acilmis bazi yaralar, gerceklesmemis bazi dilekler, ayaklar altina alinmis gururlar, retle - daha da kotusu ilgisizlikle - karsilanan ask kivilcimlari, onlara yapisip kalir; yada kendileri onlara yapisir. Dolayisiyla her gunlerini dunun bulutlari altinda yasarlar. Mutlu insan ise arkasina donup bakmaz. Ileriye de bakmaz. Boyle bir kisi anda yasar.” Jed Rubenfeld, Bir Cinayetin Psikanalizi
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“There is no mystery to happiness. Unhappy men are all alike. Some wound they suffered long ago, some wish denied, some blow to pride, some kindling spark of love put out by scorn -- or worse, indifference -- cleaves to them, or they to it, and so they live each day within a shroud of yesterdays. The happy man dies not look back. He doesn't look ahead. He lives in the present.”
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"Ne sacmalik su Ask denen sey!" dedi Ogrenci, yuruyup giderken. "Mantigin tirnagi bile olamaz, cunku hic bir seyi kanitlamaya yaramiyor ve insana hep gerceklesmeyecek seylerden bahsediyor ve insani gercek olmayan seylere inandiriyor. Hatta, gayet ise yaramaz bir sey, Felsefe'ye geri donecegim. Metafizik ogrenecegim." Bunlari soyleyerek odasina dondu, buyuk tozlu bir kitap cekip cikardi ve okumaya basladi." Oscar Wilde, Mutlu Prens
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"What a silly thing Love is," said the Student as he walked away. "It is not half as useful as Logic, for it does not prove anything, and it is always telling one of things that are not going to happen, and making one believe things that are not true. In fact, it is quite unpractical, and, as in this age to be practical is everything, I shall go back to Philosophy and study Metaphysics." So he returned to his room and pulled out a great dusty book, and began to read."
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“Suskunlugun siyah okyanusundaki cam fanuslu bir dalgic gibi yasiyordu insan, kendini dis dunyaya baglayan halatin kopmus oldugunu ve o sessiz derinlikten hicbir zaman yukari cekilmeyecegini ayrimsayan bir dalgic gibi hatta. Yapacak, duyacak, gorecek hicbir sey yoktu, her yerde ve surekli hiclikle cevriliydi insan, boyuttan ve zamandan tumuyle yoksun boslukla. “ Stefan Zweig, Satranc
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“One lived like a diver in his bell in the black ocean of this silence - like a diver, too, who is dimly aware that the cable to safety has already snapped and that he never will be raised from the soundless depths. There was nothing to do, nothing to hear, nothing to see; about me; everywhere and without interruption, there was nothingness, emptiness without space or time.“
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Netflix, Kathy Bates'li Dis****ted'in 2.sezon fragmanini yayinladi.
https://youtu.be/sY1OLXlGlOs?t=1
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Broad Green Pictures ve Netflix, Step Sisters'in fragmanini yayinladi.
https://youtu.be/qMXO6Up6pvE?t=1
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Netflix,The End of the F***ing World'un fragmanini yayinladi.
https://youtu.be/w9auUZN5KGA?t=1
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Universal Pictures, Fifty Shades Freed'in fragmanini yayinladi.
https://youtu.be/HScv5n-QTnA?t=1
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B-Reel Films ve Dancing Camel Films, Alicia Vikander, Eva Green, Charlotte Rampling'in rol aldigi drama Euphoria'nin uluslararasi posterini yayinladi.
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