Erkeklik, modern toplumda yaln\u0131zca bir kimlik de\u011fil, sistematik olarak \u00fcretilen bir iktidar formudur. Bu form, kendini en a\u00e7\u0131k bi\u00e7imde estetikte ele verir\u2014ama bu estetik, \u00f6zg\u00fcrle\u015ftirici de\u011fil, disipline edicidir. Burada sanat, \u00e7o\u011fu zaman hakikatin a\u00e7\u0131\u011fa \u00e7\u0131kma alan\u0131 olmaktan ziyade, egemenli\u011fin g\u00f6rsel rejimine indirgenir.<\/p>\n
Michel Foucault\u2019nun kavramsalla\u015ft\u0131rd\u0131\u011f\u0131 bi\u00e7imiyle iktidar, yaln\u0131zca bask\u0131 uygulamaz; ayn\u0131 zamanda bedenleri, arzular\u0131 ve hatta hayal g\u00fcc\u00fcn\u00fc \u015fekillendirir. Erkeklik de tam olarak bu noktada devreye girer: yaln\u0131zca nas\u0131l davran\u0131laca\u011f\u0131n\u0131 de\u011fil, nas\u0131l g\u00f6r\u00fcnece\u011fini ve hatta nas\u0131l hissedilece\u011fini kodlar. Sertlik, b\u00fcy\u00fckl\u00fck, dayan\u0131kl\u0131l\u0131k\u2014bunlar biyolojik ger\u00e7ekler de\u011fil, politik olarak te\u015fvik edilmi\u015f estetik normlard\u0131r.<\/p>\n
Bu normlar\u0131n en \u00e7\u0131plak hali, an\u0131tsal yap\u0131larda ortaya \u00e7\u0131kar. Devasa lider heykelleri, g\u00f6ky\u00fcz\u00fcn\u00fc yaran beton yap\u0131lar, insan \u00f6l\u00e7e\u011fini k\u00fc\u00e7\u00fclten meydanlar\u2026 Bunlar yaln\u0131zca mimari tercihler de\u011fildir. Bunlar, iktidar\u0131n kendini do\u011falla\u015ft\u0131rma stratejileridir. \u00c7\u00fcnk\u00fc b\u00fcy\u00fckl\u00fck, tart\u0131\u015f\u0131lmazl\u0131k hissi \u00fcretir. Bir \u015fey ne kadar b\u00fcy\u00fckse, o kadar sorgulanamaz g\u00f6r\u00fcn\u00fcr.<\/p>\n
Friedrich Nietzsche\u2019nin g\u00fc\u00e7 istenci kavram\u0131 \u00e7o\u011fu zaman yanl\u0131\u015f anla\u015f\u0131l\u0131r: mesele yaln\u0131zca g\u00fc\u00e7 istemek de\u011fil, g\u00fcc\u00fc s\u00fcrekli g\u00f6r\u00fcn\u00fcr k\u0131lma zorunlulu\u011fudur. Erkeklik, bu zorunlulu\u011fu estetize eder. G\u00fc\u00e7, yaln\u0131zca uygulanmaz; sergilenir, b\u00fcy\u00fct\u00fcl\u00fcr, tekrar tekrar sahnelenir. Bu y\u00fczden erkeklik, \u00e7o\u011fu zaman inceli\u011fe de\u011fil, abart\u0131ya yaslan\u0131r.<\/p>\n
Burada kritik bir \u00e7eli\u015fki ortaya \u00e7\u0131kar: sanat, do\u011fas\u0131 gere\u011fi belirsizli\u011fe ve \u00e7o\u011fullu\u011fa a\u00e7\u0131kt\u0131r; oysa hegemonik erkeklik, belirsizli\u011fi tehdit olarak alg\u0131lar. \u00c7\u00fcnk\u00fc belirsizlik, kontrol\u00fcn s\u0131n\u0131rlar\u0131n\u0131 \u00e7\u00f6zer. Bu y\u00fczden erkeklik, sanat\u0131 ya ara\u00e7salla\u015ft\u0131r\u0131r ya da onu etkisizle\u015ftirir. Estetik, \u00f6zg\u00fcrle\u015fmenin de\u011fil, itaatin dili haline getirilir.<\/p>\n
Judith Butler\u2019\u0131n performativite yakla\u015f\u0131m\u0131 burada keskin bir te\u015fhis sunar: erkeklik, tekrar eden bir performanst\u0131r. Ama bu performans n\u00f6tr de\u011fildir; \u00f6d\u00fcller ve cezalarla desteklenen bir normlar sistemidir. \u201cKaba\u201d ya da \u201ciktidarc\u0131\u201d erkeklik, do\u011falla\u015ft\u0131r\u0131ld\u0131\u011f\u0131 i\u00e7in g\u00f6r\u00fcnmez hale gelir\u2014oysa asl\u0131nda s\u00fcrekli yeniden \u00fcretilen bir rold\u00fcr.<\/p>\n
Bu \u00fcretimin en \u00e7arp\u0131c\u0131 y\u00f6n\u00fc, erkekli\u011fin kendini s\u00fcrekli ta\u015fla\u015ft\u0131rma ihtiyac\u0131d\u0131r. Ta\u015f, beton, \u00e7elik\u2026 Bunlar yaln\u0131zca malzeme de\u011fil, birer metafordur. De\u011fi\u015fmezlik iddias\u0131, k\u0131r\u0131lganl\u0131\u011f\u0131 gizleme stratejisidir. \u00c7\u00fcnk\u00fc esneklik, hegemonik erkeklik i\u00e7in tehlikelidir: esnek olan \u015fey y\u00f6n de\u011fi\u015ftirir, d\u00f6n\u00fc\u015f\u00fcr, \u00e7o\u011fal\u0131r. Oysa iktidar, sabitlik ister.<\/p>\n
Bu y\u00fczden erkeklik, \u00e7o\u011fu zaman kendini bir tekillik miti etraf\u0131nda kurar: vazge\u00e7ilmez, tek beden, tek irade. Bu mit, estetik olarak b\u00fcy\u00fct\u00fcl\u00fcr; politik olarak dayat\u0131l\u0131r. Devasa heykeller yaln\u0131zca bir lideri temsil etmez; ayn\u0131 zamanda \u015funu s\u00f6yler: \u201cBa\u015fka bir ihtimal yok.\u201d<\/p>\n
Bu noktada mesele yaln\u0131zca erkekli\u011fin neden \u201ckaba\u201d ya da \u201ciktidarc\u0131\u201d oldu\u011fu de\u011fildir. As\u0131l mesele, bu \u00f6zelliklerin nas\u0131l sistematik olarak \u00f6d\u00fcllendirildi\u011fi, estetize edildi\u011fi ve ka\u00e7\u0131n\u0131lmazm\u0131\u015f gibi sunuldu\u011fudur. Erkeklik, kendini do\u011fa gibi g\u00f6steren bir k\u00fclt\u00fcrel in\u015fad\u0131r\u2014ve tam da bu y\u00fczden en g\u00fc\u00e7l\u00fc oldu\u011fu yer, sorgulanmad\u0131\u011f\u0131 and\u0131r.<\/p>\n
Ancak hi\u00e7bir estetik rejim mutlak de\u011fildir. En devasa an\u0131tlar bile zamanla a\u015f\u0131n\u0131r, en sert yap\u0131lar bile \u00e7atlaklar verir. Bu \u00e7atlaklar yaln\u0131zca fiziksel de\u011fil; ayn\u0131 zamanda anlam d\u00fczeyinde ortaya \u00e7\u0131kar. \u0130nsanlar, kendilerine dayat\u0131lan erkeklik performanslar\u0131n\u0131 yeniden yorumlamaya ba\u015flad\u0131\u011f\u0131nda, o an\u0131tsal yap\u0131lar\u0131n i\u00e7i bo\u015falmaya ba\u015flar. Bir zamanlar hayranl\u0131k uyand\u0131ran formlar, giderek birer al\u0131\u015fkanl\u0131k kal\u0131nt\u0131s\u0131na d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n
Sanat tam da bu noktada geri d\u00f6ner\u2014ama bu kez iktidar\u0131n hizmetinde de\u011fil, onun \u00e7\u00f6z\u00fclmesinin e\u015fi\u011finde. Sanat, erkekli\u011fin bast\u0131rd\u0131\u011f\u0131 her \u015feyi geri \u00e7a\u011f\u0131r\u0131r: k\u0131r\u0131lganl\u0131k, teredd\u00fct, \u00e7o\u011fulluk, y\u00f6ns\u00fczl\u00fck. \u00c7\u00fcnk\u00fc sanat\u0131n g\u00fcc\u00fc, tek bir formu y\u00fcceltmekte de\u011fil, formlar\u0131n ge\u00e7icili\u011fini if\u015fa etmesinde yatar. Bu, estetik bir mesele olman\u0131n \u00f6tesinde politik bir k\u0131r\u0131lmad\u0131r.<\/p>\n
Esneklik burada kilit kavram haline gelir. Esneklik, uzun s\u00fcre erkekli\u011fin kar\u015f\u0131t\u0131 olarak kodland\u0131; oysa asl\u0131nda iktidar\u0131n en \u00e7ok korktu\u011fu \u015feydir. \u00c7\u00fcnk\u00fc esnek olan \u015fey ele ge\u00e7irilemez, sabitlenemez, temsil edilemez. Esneklik, erkekli\u011fi bir an\u0131t olmaktan \u00e7\u0131kar\u0131p bir olu\u015f s\u00fcreci haline getirir. Bu s\u00fcre\u00e7te erkeklik art\u0131k kendini b\u00fcy\u00fctmek zorunda de\u011fildir; aksine kendini \u00e7o\u011faltabilir, da\u011f\u0131tabilir, yeniden kurabilir.<\/p>\n
Belki de bug\u00fcn g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u00e7atlaklar tesad\u00fcf de\u011fil. An\u0131tsal erkekli\u011fin dili h\u00e2l\u00e2 y\u00fcksek sesle konu\u015fuyor olabilir, ama ayn\u0131 anda \u00e7\u00f6z\u00fcl\u00fcyor da. \u0130nsanlar art\u0131k yaln\u0131zca g\u00fc\u00e7l\u00fc g\u00f6r\u00fcnmek istemiyor; anlaml\u0131 olmak istiyor. Yaln\u0131zca egemen olmak de\u011fil, ili\u015fki kurmak istiyor. Bu d\u00f6n\u00fc\u015f\u00fcm yava\u015f, \u00e7eli\u015fkili ve tamamlanmam\u0131\u015f\u2014ama geri d\u00f6nd\u00fcr\u00fclemez bir y\u00f6n ta\u015f\u0131yor.<\/p>\n
E\u011fer bu y\u00f6n derinle\u015firse, gelece\u011fin erkekli\u011fi kendini devasa heykellerde de\u011fil, g\u00fcndelik hayat\u0131n k\u00fc\u00e7\u00fck ama yo\u011fun anlar\u0131nda kuracak. G\u00fcc\u00fcn\u00fc b\u00fcy\u00fckl\u00fckten de\u011fil, duyarl\u0131l\u0131ktan; kal\u0131c\u0131l\u0131ktan de\u011fil, d\u00f6n\u00fc\u015febilirlikten alacak. O zaman an\u0131tlar h\u00e2l\u00e2 ayakta olabilir, ama anlamlar\u0131 \u00e7\u00f6z\u00fclecek. Ve belki ilk kez erkeklik, kendini bir iktidar g\u00f6sterisi olarak de\u011fil, s\u00fcrekli de\u011fi\u015fen bir varolu\u015f prati\u011fi olarak deneyimleyecek.<\/p>","protected":false},"excerpt":{"rendered":"
Power does not only exert coercion; it also shapes bodies, desires and even imagination. This is exactly where masculinity comes into play<\/p>","protected":false},"author":35,"featured_media":285241,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[286],"tags":[289],"class_list":{"0":"post-285240","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-yazarlar","8":"tag-manset"},"_links":{"self":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/285240","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/users\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/comments?post=285240"}],"version-history":[{"count":1,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/285240\/revisions"}],"predecessor-version":[{"id":285242,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/posts\/285240\/revisions\/285242"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/media\/285241"}],"wp:attachment":[{"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/media?parent=285240"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/categories?post=285240"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/halkweb.com.tr\/en\/wp-json\/wp\/v2\/tags?post=285240"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}