Sanat Mozaik

[Terraluna]

Amerikali akademisyen, mimar ve populer yazar Norton Juster’in dogum gunu (2 Haziran 1929)

“Bir zamanlar, zaman denilen sey yoktu,insanlar bu durumdan hic hosnut degillerdi tabi.Yedikleri ogunun gole yemegi mi aksam yemegi mi oldugunu bilmiyorlar,butun trenleri kaciriyorlardi.Gunluk hayatu takip edebilsinler, olmalari gereken yerde vaktinde olabilsinler diye yaratildi zaman.Ellerindeki zamani saymaya baslayip da bir dakikanin 60 saniyeden , bir saatin 60 dakikadan , bir yilin ise 365 gunden oldugunu kesfedince , kullanabileceklerinden cok daha fazlasina sahip olduklarini anladilar. Sonunda da bu kadar fazla olan bir seyin o kadarda degerli olmayacagi sonucuna vardilar, boylece zaman giderek itibarini yitirdi.Insanlar onu savurganca kullanmaya,hatta bosa harcamaya basladilar.” Hayalet Gise



“Once there was no time at all, and people found it very inconvenient. They never knew whether they were eating lunch or dinner, and they were always missing trains. So time was invented to help them keep track of the day and get places when they should. When they began to count all the time that was available, what with 60 seconds in a minute and 60 minutes in an hour and 24 hours in a day and 365 days in a year, it seemed as if there was much more than could ever be used. ‘If there’s so much of it, it couldn’t be very valuable,’ was the general opinion, and it soon fell into disrepute. People wasted it and even gave it away.”

[Terraluna]

Turk ressam Huseyin Avni Lifij’in olum yildonumu (2 Haziran 1927)

Pipolu, kadehli otoportresi 1908 - 1909




Karagun, 1923

[Terraluna]

Jeopolitik ve Uluslararasi Iliskiler konularinda dersler veren Yunan Turkolog Ordinaryus Profesor Dimitri Kicikis’in dogum gunu (2 Haziran 1935)


“Tarih bize Osmanli Imparatorlugunun buyuk Iskenderin milatdan once 4. yuzyilda kurdugu imparatorlugun son manzumesi oldugunu ogretir. Putperest Roma Imparatorlugunda gelisen, daha sonra Bizans adiyla ortadoks hiristiyan imparatorluguna donusen manifesto Osmanli adinda Alevi-Bektasi-Roma Imparatorluguna cevrildi ve 1923’de sona erdi. Batida milliyetci irkci ideoloji 18. yuzyilda ortaya cikana kadar Osmanli, cok dinli, cok kulturluydu. Osmanli imparatorlugunu yasatan farkliliklara saygi duymasiydi. Bu gereklilik somurgeci mantikla karistirllmamali. Bati hicbir zaman imparatorluk kuramamamisti. Osmanli donemi, esitlige dayali tolerans ve saygida zirveye cikmis 2500 yillik uzun imparatorluk kulturunun devam ettigini gosteriyordu."



“History teaches us that the Ottoman Empire was the last manifestation of the Empire of Alexander the Great in the 4th century BC which evolved into the Roman pagan Empire, then into the Christian Orthodox Roman Empire (called also Byzantine) and finally into the Bektashi Roman Empire (called also Ottoman) up to 1923. Before the appearance of a Western ideology called nationalism, at the end of the 18th century, the Empire was multireligious and multinational. Respect of differences was vital to the survival of the Empire this necessity had nothing to do with sentimentality, which contrary to the West had never been imperialistic. Nevertheless, the Ottoman period, i.e. the last phase of this 2500 long Empire, was the most tolerant and the most respectful of equality.”

[Terraluna]

Kanada asilli Amerikali roman yazari Carol Ann Shields'in dogum yildonumu (2 Haziran 1935)

"En siradan yasamlarin bile icine asla girilmeyen, asla soz edilmeyen, yine de eski bir kitabin arasindaki yaprak ornekleri gibi bilince yapismis duran ani odaciklari vardir. Ve yasamin bazi bolumleri vardir ki okunmazlar ozellikle de yuksek sesle." Tas Gunceler



"Not that this scene takes sensory form, not that it even materializes as thought; it is, in fact, undisclosable in its anguish; there are chambers, he knows,in the most ordinary lives that are never entered, let alone adversited and yet they lie pressed against the conciousness like leaf specimens in an old book."




" ‘Kimseyi yeteri kadar sevmiyorum.’

‘Peki ama neden?’

‘Dunyayi daha cok seviyorum.’ Hungur hungur agliyordu simdi.

‘Dunya demekle neyi kastediyorsun?’

‘Her seyi, varligi.’

‘Yani’ dedim, kulaga sacma gelecegini bilerek, ‘daglari, okyanuslari, agaclari falan gibi mi?’

‘Tum bunlari, baska seyleri de."

‘Edebiyat da var,’ dedi. ‘Sonra dil, biliyorsun iste. Sonra dillerin kollari, sonra olu diller, sonra unutulmus olu diller. Sonra Matisse. Sonra Hamlet. Hepsi de o kadar buyuk ki ve hepsini seviyorum. Ve tum kitalari. Hindistan'i. Ozellikle Hindistan gibi gormedigim yerleri. Her ana yoldan ayrilan her camurlu gizli yola bagli her kucuk patikayi. Caliliklari, keciyollarini. Kucuk kasaba meydanlarini. Milyonlarca kasaba meydani olmali. Asla hepsini goremeyecegim, oyleyse ne anlami var?' "



“ ‘I can’t love anyone enough.’

‘Why not?’ ‘I love the world more.’ She was sobbing now.

‘What do you mean, the world?’

‘All of it. Existence.’

‘You mean,’ I said, knowing this would sound stupid, ‘like mountains and oceans and trees and things?’

‘All those things. But the other things too.’

‘There’s literature,” she said. “And language. Well, you know. And branches of languages and dead languages and forgotten dead languages. And Matisse. And Hamlet. It’s all so big, and I love all of it.” And whole continents. India. Especially those places like India that I’ve never seen. Every little trail running off every hidden dirt road branching off from every major trade route. The shrubbery, the footpaths. The little town squares. There must be millions of town squares. I’ll never see them all, so what is the point?’ ”

[Terraluna]

Fransiz filozof, egitimci ve yazar (Émile-Auguste Chartier) Alain'in olum yildonumu (2 Haziran 1951)

"Bugunu dusun; once, dakikadan dakikaya devam eden hayatini dusun; her dakika, onceki dakikayi kovaliyor. Yasadigina gore, demek senin gibi yasamak mumkunmus. Ama, gelecekten korkuyorum, diyorsun. Bilmedigin bir seyden soz ediyorsun. Olaylar hicbir zaman bekledigimiz gibi cikmaz. Bugunku uzuntune gelince, cok guclu oldugu icin azalacagindan emin olabilirsin. Her sey degisir, her sey gecer."



"Pense au présent ; pense à ta vie qui se continue de minute en minute ; ch**ue minute vient après l'autre ; il est donc possible de vivre comme tu vis, puisque tu vis. Mais l'avenir m'effraie, dis-tu. Tu parles de ce que tu ignores. Les événements ne sont jamais ceux que nous attendions ; et quant à ta peine présente, justement parce qu'elle est très vive, tu peux être sûr qu'elle diminuera. Tout change, tout passe."




"Marcus Aurelius, kendi kendine soyle dermis: 'Bugun kendini begenmisin biriyle, bir yalanciyla, haksizlik eden biriyle, can SIKICI bir geveze ile karsilasacagim: Onlarin boyle olusu cahilliklerindendir." Mutlu Olma Sanati,,



"Marc Aurèle: Se dire dès l’aurore : je vais rencontrer un indiscret, un ingrat, un violent, un perfide, un arrogant. Tous leurs défauts leur viennent de ce qu’ils ignorent les biens et les maux."

[Terraluna]

Kadin sair Virginia Woolf’a asik olan Ingiliz kadin sair, roman yazari ve bahce tasarimcisi Vita Sackville-West’in olum yildonumu (2 Haziran 1962)

“Virginia Woolf’a tam anlamiyla hayran kaldim, siz de olsaydiniz hayran kalirdiniz. Onun cazibesi ve kisiligi karsisinda oldukca etkisiz kalirdiniz. Bayan Woolf oldukca sade yine de buyuk bir seyin izlenimini veriyor. O, kelimenin tam anlamiyla dogal biri, ustunde hicbir taki yok, hatta gayet kotu giyimli. Ilk once onun cok siradan oldugunu dusunuyorsunuz, ama sonra bir cesit manevi guzellik size kendini kabul ettiriyor ve onu izlemeyi buyuleyici bulmaya basliyorsunuz. Dun gece daha SIKTI, yani, turuncu yun coraplarini sari ipeklerle degistirmis ama yine de topuklu ayakkabi giyiyordu. Ayni zamanda hem mesafeli hem de insan, bir sey soylemek isteyene kadar sessiz kaliyor, ama soyledigi seyi fevkalade soyluyor.”



“I simply adore Virginia Woolf, and so would you. You would fall quite flat before her charm and personality… Mrs. Woolf is so simple: she does give the impression of something big. She is utterly unaffected: there are no outward adornments — she dresses quite atrociously. At first you think she is plain, then a sort of spiritual beauty imposes itself on you, and you find a fascination in watching her. She was smarter last night, that is to say, the woollen orange stockings were replaced by yellow silk ones, but she still wore the pumps. She is both detached and human, silent till she wants to say something, and then says it supremely well.”

[Terraluna]

The Beatles, 8.studyo albumu Sgt. Pepper's Lonely Hearts Club Band'i 2 Haziran 1967’de Capitol etiketiyle Amerika’da piyasaya surdu. (Ingiltere: 27 Mayis 1967)

[Terraluna]

Turk yazar Orhan Kemal’in olum yildonumu (2 Haziran 1970)

“Kapitalizme henuz tam eklemlenmemis tarimin buyuk toprak sahipleri icin feodal degerlerin yeniden uretilmesi ve surdurulmesinde daha onceliklidir. Topal’in dedesi Resul Aga, oglundan beklentilerini tamamen gelenek uzerine kurar ve oglu (Topal’in babasi) ailenin tarihinde, okumaktan teknik bilgiye kadar genis ve disa acik dunya gorusuyle, iliskileriyle, takipcisi olmadigi icin bir ilerleme olarak degil, ‘sapma’ olarak var olur. Zira ailenin son temsilcisi Topal Eskici’nin somut kosullari, buyuk baba Resul Aga’nin feodal degerlerinin izlendigini ve yasanilan gelismeler karsisinda yenilgiyi gosterir. Cukurova’daki kapitalist tarim iliskilerinin gelismesi, onceki ongoruleri hakli cikarir. Topal’in babasinin ileri gorululugu, zanaata duskunlugu, teknolojiye olan ilgisi, tehcirden sonra da ise yarar. Topal Eskici de babasinin Ermeni arkadaslarindan kunduracilik ogrenmistir. “



“The reproduction and continuing of feudal values have a lot more priority for the big landowners of agriculture, which is yet to be articulated to the capitalizm. Topal’s grandfather Resul Aga establishes all his expectations from his son according to the traditions and his son (Topal’s father) exists in the history of the family as a deviation because of his wide worldly view from education to the technical knowledge. Because the last representative of the family or as the character in the novel Topal Eskici’s physical conditions show that Resul Aga’s feudal values are followed and they have been defeated by the advancements experienced. The development of capitalist agriculture relationships in Chukurova justifies the previous foresights; and actualizes it with various actors. Topal’s father’s foresight, devotion to trade, interest to technology, helps even after the Armenians. Topal Eskici learns to repair the shoes from his father’s Armenian friends.“ The Cobbler and His Sons