Küçük İskender’in “Berlin” adlı şiirinde iğrençlik ekseninde postmodern gotik ve grotesk estetiği
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Date
2021-02-22
Authors
Doğan, Mine Nihan
Journal Title
Journal ISSN
Volume Title
Publisher
Bursa Uludağ Üniversitesi
Abstract
Türk Yeraltı şiirinin travmatik, Beatnik-Marjinal şairi küçük İskender’in (1964-2019) alt kültürün egemenliğini anlatan “Berlin” adlı şiiri, Bu Defa Çok Fena (2011) adlı şiir kitabında yer alır. “Küçük” sıfatının küçük /k/ ile başlamasını isteyen şair, herkesin kendisini büyük gördüğü yazın dünyasında kendini küçük harflerle ifade etmeyi seçer. Küçük İskender’in psikolojik travmalarından doğan imgeleri ve iğrençlik eksenindeki gotik ve grotesk estetiği “Berlin” adlı postmodern şiirinde yinelenen ikonografik birer motiftir. Şair, Amerika’daki Beat kuşağından etkilenerek menşei Beyoğlu olan Beatnik-Marjinal “Berlin” şiirinde bir tabu olarak görülen duvarının yıkıldığı Berlin şehriyle Freud’un “özdeşleşme” kavramı çerçevesinde imgeler kurgular. Bu çalışmada “Berlin” şiiri Romantik edebiyatın “yüce”, Freud’un “tekinsiz”, Kristeva’nın “iğrenç” ve Bataille’ın “biçimsiz” kavramları başta olmak üzere çeşitli görüşler etrafında gelişen iğrençlik, gotik ve grotesk estetik bağlamında incelenecektir.
The poem “Berlin”, which tells about the dominance of subculture, by the traumatic, Beatnik-Marginal poet of Turkish Underground poetry, küçük İskender (1964-2019), is included in his poetry book Bu Defa Çok Fena (2011). The poet, who wants the adjective “small” to start with small /k/ in Turkish, chooses to express himself with lowercase letters in the literary world where everyone considers himself capitalized. Images of küçük İskender born from his psychological traumas and his gothic and grotesque aesthetics on the axis of disgusting are iconographic motifs repeated in the postmodern poem “Berlin”. In the Beatnik-Marginal poem “Berlin”, whose origin is Beyoğlu, influenced by the Beat generation in America, the poet fictionalizes images within the framework of Freud’s concept of “identification” with the city of Berlin, whose wall is seen as a taboo. In this study, “Berlin” poetry will be examined in the context of disgusting, gothic and grotesque aesthetics that developed around various views, especially the concepts of Romantic literature, Freud’s “uncanny”, Kristeva’s “disgusting” and Bataille’s “formless”.
The poem “Berlin”, which tells about the dominance of subculture, by the traumatic, Beatnik-Marginal poet of Turkish Underground poetry, küçük İskender (1964-2019), is included in his poetry book Bu Defa Çok Fena (2011). The poet, who wants the adjective “small” to start with small /k/ in Turkish, chooses to express himself with lowercase letters in the literary world where everyone considers himself capitalized. Images of küçük İskender born from his psychological traumas and his gothic and grotesque aesthetics on the axis of disgusting are iconographic motifs repeated in the postmodern poem “Berlin”. In the Beatnik-Marginal poem “Berlin”, whose origin is Beyoğlu, influenced by the Beat generation in America, the poet fictionalizes images within the framework of Freud’s concept of “identification” with the city of Berlin, whose wall is seen as a taboo. In this study, “Berlin” poetry will be examined in the context of disgusting, gothic and grotesque aesthetics that developed around various views, especially the concepts of Romantic literature, Freud’s “uncanny”, Kristeva’s “disgusting” and Bataille’s “formless”.
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Keywords
Küçük İskender, Gotik-grotesk, İğrençlik, Beatnik-marjinal, Psikolojik travma, Gothic-grotesque, Abjection, Beatnic-marginal, Psychological trauma
Citation
Doğan, M. N. (2021). "Küçük İskender’in “Berlin” adlı şiirinde iğrençlik ekseninde postmodern gotik ve grotesk estetiği". Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, 22(41), 1273-1307.