Sanat Mozaik

[Terraluna]

Figaro'nun Dugunu 'nun (Le nozze di Figaro) Cherubino'su, Cezayir'deki Italyan Kiz'in (L'Italiana in Algeri) Isabella'si Ispanyol mezzosoprano Teresa Berganza'nin dogum gunu (16 Mart 1936)

[Terraluna]

1909 yilinda Nobel Edebiyat Odulunu kazanan ilk kadin, efsane ve masallara dayanan yapitlarin Isvecli yazari Selma Lagerlof’un olum yildonumu (16 Mart 1940)

“Bir zamanlar bir cocuk vardi, adi Nils Holgersson’du. Guney Isvecli fakir bir ciftcinin ogluydu. Uzun boylu, sari sacli, iri yapiliydi. Fazla bir ise yaramayan bir cocuktu, en sevdigi seyler ise yemek yemek ve uyumakti. En cok da ortaligi karistirmaktan zevk alirdi.Bir pazar sabahi kiliseye giden anne babasi onu evde yalniz basina birakti. Onlar donene kadar bir dinsel ogut okuyup ezberlemesi gerekiyordu. Nils okumaya basladi, ancak kafasi bir sey almiyordu, zaten kısa bir sure sonra da uykuya daldi. Uyandiginda, annesinin buyuk demir sandiginin kapaginin acik oldugunu gordu, sandigin kenarinda ata biner gibi minnacik sisman bir cuce oturuyordu. Nils buldugu kucuk bir agla usulca cuceye yaklasti, ani bir hamleyle agi ustune atip onu yakaladi. Cuce kendisini serbest birakmasi icin Nils’e yalvardi, ailesine bir suru iyilik yaptigini soyleyip para teklif etti. Cocuk buna razi oldu, ancak sisman cuce agdan henuz yari yariya kurtulmusken verdigi sozden dolayi pisman olunca agi tekrar kapatti. Tam o sirada suratina korkunc bir tokat yedi, tokatin tesiriyle de adeta yerinden uctu ve basini duvara carpip oldugu yere yigilip kaldi. Bayilmisti. Kendine geldiginde, oda ona garip bir degisiklige ugramis gibi geldi: daha buyuk ve daha yuksekti, sanki butun cisimler olaganustu buyumustu. Daha once birkac adimda ulastigi masaya ulasabilmesi icin simdi eskisinden on misli daha fazla adim atmasi gerekmisti. Bir sandalyenin uzerine, ancak sandalyenin bacagina guclukle tirmanarak cikabildi. Sonunda masanin uzerine ulastiginda, orada bulunan bir aynaya gozu takildi. Birden aynanin icinden bir baska cucenin kendine baktigini gordu.”



“Once there was a boy. He was, let us say, something like fourteen years old; long. He wasn't good for much, that boy. His chief delight was to eat and sleep, and after that he liked best to make mischief.It was a Sunday morning and the boy's parents were getting ready for church.The boy read and nodded and fought against drowsiness. But somehow he fell asleep. He did not know whether he had slept a short while or a long while; but he was awakened by hearing a slight noise back of him. Now the boy saw distinctly – in the glass – that the chest-lid was open. He could not understand how this had happened, for his mother had closed the chest before she went. She never would have left that precious chest open with only him here. At the first moment the boy hadn't the least idea as to what he should do with his catch; but he was only careful to swing the snare backward and forward, to prevent the elf from getting a foothold and clambering up.The elf began to speak, and begged, oh! so pitifully, for his freedom. He had brought them good luck these many years, he said, and deserved better treatment. Now, if the boy would set him free, he would give him an old penny, a silver spoon, and a gold coin, as big as the case on his father's silver watch.The boy didn't think that this was much of an offer; but it so happened that after he had got the elf into his power, he was afraid of him. He felt that he had entered into an agreement with something weird and uncanny; something which did not belong to his world; and he was only too glad to rid himself of the horrid creature.”

[Terraluna]

Italyan yonetmen Bernardo Bertolucci'nin dogum gunu (16 Mart 1941)



"Film yonetmeni bir bakima rontgenci gibidir. Kamera sanki anne babanin yatak odasinin anahtar deligi, onları gozetliyorsun, sucluluk duyuyorsun ama yine de bakmadan edemiyorsun. / Un regista è come un guardone, un voyeur. È come se la macchina da presa fosse il buco della serratura della porta dei tuoi genitori. E tu li spii, non puoi farne a meno."



(Bernardo, sair babasi Attilio Bertolucci ile)

[Terraluna]

Amerikali fantezi ve bilim kurgu yazari Margaret Weis’in dogum gunu (16 Mart 1948)

"Karanlik istila edebilirdi ama umudu hicbir zaman yok edemezdi. Bir tek mum veya daha fazlasi alevlenip sonebilirdi ama eski mumlardan yenileri yanacakti. Iste boyle tutusurdu umudun alevi hep, gelen gune kadar karanligi aydinlatarak."



“The darkness might conquer, but it could never extinguish hope. And though one candle, or many, might flicker and die, new candles would be lit from the old. Thus hope’s flame always burns, lighting the darkness until the coming of day.”


"Umut gercekleri reddetmektir. Umut, yuk beygirinin onunde sallanip, atin ona ulasmak icin nafile cabayla surekli yurumesini saglayan havuctan baska bir sey degil."



“Hope is the denial of reality. It is the carrot dangled before the draft horse to keep him plodding along in a vain attempt to reach it."

[Terraluna]

Amerikali genc yetiskin ve cocuk romanlari yazari Alice Hoffman'in dogum gunu (16 Mart 1952)

"Bazen ask, tek kapisi olmayan bir ev gibidir; Yildizlarla dolu bir gokyuzu gibi tek bir tane goremezsiniz."



"Sometimes love is like a house without any doors. It's a sky filled with so many stars it's impossible to see a single one."

[Terraluna]

Michelangelo Antonioni’nin yonettigi, David Hemmings, Vanessa Redgrave ve Sarah Miles’in rol aldigi drama-gizem-gerilim Cinayeti Gordum (Blowup) 16 Mart 1967’de Londra’da gosterime girdi.

[Terraluna]

Isvecli sair Gunnar Ekelof’un olum yildonumu (16 Mart 1968)



Bir dunyadir her insan
Onlara hukmeden kralin zatina karsi yurutulen
kasvetli bir isyandaki
kor yaratiklarla donanmis bir dunyadir her insan.
Her bir ruhta binlerce ruh hapsolmus,
her bir dunyada binlerce dunya gizli
ve bu kor, bu alttaki dunyalar
gercek ve canlidirlar, tamamlanmamis olsalar bile
benim gercek oldugum kadar gercektirler. Ve biz
icimizdeki binlerce olasiligin krallari ve kontlari
tebaaya mensubuz gene de, hapsedilmis ruhlariz
daha buyuk bir yaratikta, ki O’nun benligiyle varligi
ustamizi anladigimiz kadar az anliyor ustasini.
Onların olumunden ve sevdasindan
oturudur bizim duygularimizin bir renk tonu almasi.
Gecer gibi bir buyuk vapur
otede, ufkun altinda, durur orada
aksam isiltisi gibi. – Ve orada oldugunu
sahilde bize bir dalga ulasmadan once bilmiyoruz daha,
once bir dalga, sonra bir tane daha ve niceleri daha
carpar ve cagildar her sey yeniden
ayni olana dek. – Gene de farklidir her sey.
Insanlar gitti, bazi olasiliklar serbest kaldi
dediginde bize bir sey,
iste boyle kavrar garip bir huzurluk biz golgeleri.



Everyone is a world, peopled
by blind beings in dark commotion
against the self the king who rules them.
In every soul thousands of souls are trapped,
in every world thousands of worlds are hidden
and these blind, these underworlds
are real and living, though incomplete,
as true as I am real. And we kings
and princes of the thousand possibilities in us
are ourselves servants, trapped
in some greater creature, whose self and being
we grasp as little as our own superior
his superior. Our own feelings have taken
the color of their love and death.
As when a mighty steamship passes
far out, under the horizon, lying
in the evening glitter- - And we don’t know about it
until the swell reaches us on the shore,
first one, then another, and then many
which strike and boom until everything has become
as before. – Yet everything is different.
So we shades are troubled by a strange unease
When something tells us that others have gone ahead,
That some of the possibilities have been released.

[Terraluna]

Illinois’li rock grubu REO Speedwagon, 7 studyo albumu You Can Tune a Piano, but You Can't Tuna Fish’i 16 Mart 1978’de Epic Records etiketiyle piyasaya surdu.