{"id":23077,"date":"2023-10-27T23:23:39","date_gmt":"2023-10-27T20:23:39","guid":{"rendered":"https:\/\/candname.com\/tr\/?p=23077"},"modified":"2023-10-27T23:38:53","modified_gmt":"2023-10-27T20:38:53","slug":"efemera-ile-kent-kulturel-mirasi-baglaminda-hakkari-kartpostallari-2","status":"publish","type":"post","link":"https:\/\/candname.com\/tr\/?p=23077","title":{"rendered":"Efemera \u0130le Kent K\u00fclt\u00fcrel Miras\u0131 Ba\u011flam\u0131nda Hakk\u00e2ri Kartpostallar\u0131"},"content":{"rendered":"

Efemera \u0130le Kent K\u00fclt\u00fcrel Miras\u0131 Ba\u011flam\u0131nda Hakk\u00e2ri Kartpostallar\u0131[*]<\/a>
\n<\/strong>Ad\u0131yaman, M. (2023). Efemera ile Kent K\u00fclt\u00fcrel Miras\u0131 Ba\u011flam\u0131nda Hakk\u00e2ri Kartpostallar\u0131, The Journal of Mesopotamian Studies, <\/em>8 (3), ss. \u2026-\u2026, DOI: 10.35859\/jms.2023.1251790.<\/p>\n

Murat ADIYAMAN<\/strong>
\nHakkari \u00dcniversitesi, \u00c7\u00f6lemerik MYO, \u00a0muratsemsur@gmail.com<\/a>, Orcid: 0000-0001-5701-7485<\/p>\n

\u00d6Z<\/strong><\/p>\n

Toplumlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 gidermek i\u00e7in kulland\u0131klar\u0131 bir efemera unsuru olan kartpostallar ge\u00e7mi\u015fte foto\u011fraf\u0131n yan\u0131nda yayg\u0131n turistik \u00f6\u011felerden biri olmas\u0131na ra\u011fmen g\u00fcn\u00fcm\u00fczde neredeyse kaybolan bir kutlama rit\u00fcelidir. G\u00f6rsel bir ileti\u015fim sanat\u0131 olarak kabul edilen kartpostallarda kent manzaras\u0131 d\u0131\u015f\u0131nda sosyal ya\u015fam, meslek, k\u0131yafet gibi imgelerle i\u015flenmi\u015ftir. \u00c7al\u0131\u015fmada birer bilgi kayna\u011f\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kan kartpostallar \u00fczerinden nitel bir ara\u015ft\u0131rma tekni\u011fi olan dok\u00fcman incelemesiyle derinlemesine bir analiz ger\u00e7ekle\u015ftirilmi\u015ftir. \u00c7al\u0131\u015fman\u0131n evrenini Hakk\u00e2ri il ve il\u00e7elerine ait kartpostallar\u0131 olu\u015fturmaktad\u0131r. De\u011ferlendirilen kartpostallar\u0131n kentsel ve y\u00f6resel imge i\u00e7eriklerine g\u00f6re tasniflenerek incelenmesine \u00f6zen g\u00f6sterilmi\u015ftir. Ayr\u0131ca kartpostallar g\u00f6stergebilimsel bir y\u00f6ntemle \u00e7\u00f6z\u00fcmlenmi\u015ftir. \u00c7al\u0131\u015fman\u0131n amac\u0131 efemerayla kentin folklorunu, ekonomik, k\u00fclt\u00fcrel ve sosyal durumunu do\u011frudan veya dolayl\u0131 olarak yans\u0131tan k\u00fclt\u00fcrel miras\u0131na y\u00f6nelik elde edilen veriler \u00fczerinden de\u011ferlendirilmesidir. Ayr\u0131ca bu \u00e7al\u0131\u015fmayla kartpostallarla ilgili eser \u00fcreterek korunmaya de\u011fer bulunan k\u00fclt\u00fcrel miras\u0131n yeni nesillere aktar\u0131lmas\u0131na katk\u0131 sa\u011flanmas\u0131 ama\u00e7lanmaktad\u0131r.<\/p>\n

Anahtar Kelimeler:<\/strong> Efemera, Hakk\u00e2ri, kartpostal, g\u00f6stergebilim, k\u00fclt\u00fcrel miras<\/em><\/p>\n

Di Peywenda Efemera \u00fb M\u00eerata \u00c7anda Bajar\u00ee de Kartpostal\u00ean Hekar\u00eey\u00ea
\n<\/strong>KURTE<\/strong><\/p>\n

Kartpostal\u00ean ku civakan ji bo p\u00eadiv\u00eey\u00ean ragihandin\u00ea bi kar an\u00eene h\u00eamaneke efemera ne \u00fb ber\u00ee li k\u00ealeka fotografan h\u00eamaneke t\u00fbr\u00ees\u00eek b\u00fbn l\u00ea \u00eero hema b\u00eaje li ber windab\u00fbne ne. \u00a0Di kartpostal\u00ean ku wek\u00ee hunereke d\u00eetbar a ragihandin\u00ea t\u00eane qeb\u00fblkirin de, ligel d\u00eemen\u00ean bajar\u00ee, h\u00eamay\u00ean wek\u00ee jiyana civak\u00ee, meslek, cil\u00fbberg hatine n\u00ee\u015fandan. Di v\u00ea xebat\u00eam de li ser kartpostal\u00ean ku wek\u00ee \u00e7avkan\u00eeya zanyar\u00eeyan derdikevin p\u00ea\u015fber\u00ee me, bi vekol\u00eena belgeyan ku yek ji tekn\u00eek\u00ean l\u00eakol\u00eena tesw\u00eer\u00ee ye, anal\u00eezek hat\u00eeye p\u00eakan\u00eenm. Me hewl daye ku kartpostal\u00ean mijar\u00ea li gor naverok\u00ean xwe y\u00ean bajar\u00ee \u00fb her\u00eam\u00ee ve b\u00eane senifandin \u00fb vekol\u00een. Armanca vekol\u00een\u00ea ew e ku m\u00eerata \u00e7and\u00ee ya bajar\u00ee ya ku bi r\u00eaya efemeray\u00ea folklora bajar\u00ee \u00fb rew\u015fa bajar\u00ee ya abor\u00ee, \u00e7and\u00ee \u00fb civak\u00ee ve rasterast an j\u00ee nerasterast t\u00ea n\u00ee\u015fandan bi daney\u00ean hatine bidestxistin ve b\u00eane nirxandin. Herwisa bi v\u00ea xebat\u00ea ve hewl hatiye day\u00een ku m\u00eerata \u00e7and\u00ee ya ku bi r\u00eaya kartpostalan ve t\u00eate hilberandin ji bo nif\u015f\u00ean n\u00fb b\u00ea derbaskirin.<\/p>\n

Peyv\u00ean Sereke:\u00a0 <\/strong>Efemera, Hekar\u00ee, kartpostal, sem\u00eeyoloj\u00ee, m\u00eerata \u00e7and\u00ee<\/em><\/p>\n

Hakkari Postcards in the Context of Ephemera and Urban Culturel Heritage<\/strong>
\nABSTRACT<\/strong><\/p>\n

Postcards, which are an element of ephemera used by societies to satisfy their communication needs, are a festive ritual that has almost disappeared today, although in the past it was one of the common tourist items, along with photography. Postcards, which were accepted as a visual communication art, were processed with imagery such as social life, occupation and clothing, in addition to the urban landscape. The postcards, which serve as the source of information in the study, were subjected to in-depth analysis using document analysis, a qualitative research technique. The main subject of the study is the postcards of Hakkari province and its districts. Care was taken to classify the analysed postcards according to their urban and local pictorial content. Moreover, the postcards were analysed with a semiotic method. The aim of the study is to evaluate the folkloric, economic, cultural and social situation of the city through ephemera, using data on the cultural heritage of the city, which is reflected directly or indirectly. In addition, with this study, it is aimed to contribute to the transfer of cultural heritage, which is worth preserving, to new generations by producing works related to postcards.<\/p>\n

Keywords:<\/strong> Ephemera, Hakk\u00e2ri, postcard, semiotics, cultural heritage<\/em><\/p>\n

Extended Summary<\/strong><\/h4>\n

Ephemera is all the fragmentary materials of daily life that are created randomly for short-term purposes, are not produced for any accumulation purposes, are both official and unofficial documents, whose usefulness varies, whose real value is understood over time. Throughout history, societies have tried many oral or written ways to meet their communication needs. Looking at the history of communication, postcards are one of the written tools that societies try to meet their communication needs. Although it is agreed on the view that postcards have a 180-year history, the past of this tradition can actually be taken to an earlier date. So, it can be said that the existence of postcards that an Ephemera dates back to the congratulations written on papyrus used in ancient Egypt. By the development of technology, the increase in the use of visuals, particularly photography, has increased the purpose and diversity of postcards, and this has brought about a perceptual strengthening of communication. People do it with signs while conveying feelings, thoughts, memories, ideas, information or whatever they want to share with each other. All signs are codes and are transmitted to other people by understanding and codes through a cognitive process. While the sign, code and meaning and their transfer all constitute the subject of semiotics, its purpose is to perceive the meaning, to explain how the meaning is formed and to ensure that the meaning is one hundred percent.<\/p>\n

Ferdinand de Saussure and Charles Sanders Peirce enabled semiotics to gain a scientific character and become one of the research methods. Roland Barthes, who came after Saussure and Pierce in the following process, opened the way for the development of semiotics by removing the narrow limits of linguistics. He argued that semiotics is not a part of linguistics, but on the contrary, that linguistics is a part of semiotics. In addition to the concepts of signifier and signified in Saussure’s semiotic analysis, Barthes suggested that there are two wholes, denotation and connotation, in the interpretation of signs. The literal meaning of a signifier is the first reflection that occurs in the human mind, while the connotation refers to the basic message that can be changed from culture to culture in the subjective situation and to be given through signs. Ferdinand de Saussure and Charles Sanders Peirce enabled semiotics to gain a scientific character and become one of the research methods. Roland Barthes, who came after Saussure and Pierce in the following process, opened the way for the development of semiotics by removing the narrow limits of linguistics. He argued that semiotics is not a part of linguistics, but on the contrary, that linguistics is a part of semiotics. Barthes argued that besides the concepts of signifier and signified in Saussure’s semiotic analysis, there are two wholes in the interpretation of signs, namely denotation and connotation. The literal meaning of a signifier is the first reflection that occurs in the human mind, while the connotation refers to the basic message that can be changed from culture to culture in the subjective situation and is intended to be given through signs.<\/p>\n

The study also includes the analysis of Hakkari postcards, which are an example of ephemera, with the qualitative research method within the scope of semiotics. The data on the cultural heritage that directly or indirectly reflect the religious, economic, cultural and social mentality of the city’s folklore will be examined. With the establishment of the Republic, Hakkari became a small frontier province of Turkey. Because of its geopolitical position, it has taken its place far below the national average and even in the last place in terms of socioeconomic status. Although it has untouched nature and cultural richness, it has not been able to get the necessary benefit from tourism. Due to its location in a mountainous region, the undeveloped transportation network and its border with two countries, it has become a closed city that lives its wealth in itself. In the scope of the study, 77 postcards belonging to Hakkari were reached. Some of the postcards were taken from second-hand booksellers, some from social media posts, and some from the archive of photographer Enver \u00d6zkahraman. First of all, postcards were classified. On the back of 44 postcards, the owner of the work is indicated by saying painter, photographer or photo. It has been determined that all of the 44 cards whose names are mentioned belong to Enver \u00d6zkahraman. Although there is no information about the owner of the work on the other 33 cards, information about the printing house is given.<\/p>\n

Among the Hakkari postcards obtained during the study, postcards 33, 38, 39 and 57 were selected by purposive sampling method in order to adhere to the main purpose of the study. The messages carried by the postcards, which were created from visuals aiming to celebrate the touristic promotion of the city or special days and occasions such as New Year’s Eve and holidays, were analyzed semiotically.\u00a0Postcards 1,25,27 and 35 were selected by purposive sampling method. The details of clothing in the postcards, which are examined condignly, reveal important implications about the folkloric and cultural heritage of the region.\u00a0Hakkari postcards change their functions according to the period they were printed and used, and they were generally produced for the purpose of touristic promotion of the city and celebration of special days.<\/p>\n

As a result of the examination of Hakkari postcards, it has been determined that most of them do not give semantically related information about Hakkari. However, considering the semiotic analysis method of Barthes, many data about Hakkari have been obtained when the documents in hand are examined in terms of denotation and connotation. The subject and clothes in the photographs, especially on the postcards, have enabled us to reach much more information about Hakkari than is seen. While there is no explanatory text about the clothing of the local people on the postcards, thanks to the myths in the photograph used by the postcard maker, a lot of information about the cultural heritage has been reached.<\/p>\n

 <\/p>\n

The historical and cultural heritages that constitute the identity of the societies are the traditions in question. Playing an important role in transferring cultural heritage to new generations, the Postcard maker has achieved this with the photographs it uses in its contents. Furthermore, the artist, who is not satisfied with this, has also created a field for examining the changes in cultural heritage. On the other hand, these cards represented the cultural identity of the city in the regions they reached. Cum the globalization brought about by technological development, urban identities or cultural heritage are transformed. The conservation of this cultural legacy, which is impossible to renew in case of extinction, can be achieved with protected objects. In line with the findings obtained in the study, it was concluded that ephemera varieties should be widely archived and used more as a source in social sciences.<\/p>\n

Giri\u015f<\/h4>\n

K\u0131sa s\u00fcreli ama\u00e7(lar) i\u00e7in d\u00fczensiz olarak olu\u015fturulan, biriktirmek amac\u0131yla \u00fcretilmeyen, resmi veya gayri resmi evrak h\u00fckm\u00fcnde olup yararl\u0131l\u0131\u011f\u0131 de\u011fi\u015fken olan, ger\u00e7ek de\u011ferleri zamanla anla\u015f\u0131lan, g\u00fcnl\u00fck ya\u015faman\u0131n b\u00f6l\u00fck p\u00f6r\u00e7\u00fck materyallerinin tamam\u0131na efemera (ephemera) denir. Bu t\u00fcrden ge\u00e7ici belgelerde \u00e7o\u011funlukla bireysel toplama \u00e7abalar\u0131 ile kar\u015f\u0131m\u0131za \u00e7\u0131kan efemeralara \u00f6rnek olarak gazete n\u00fcshalar\u0131, okul karneleri, diplomalar, fi\u015fler, otob\u00fcs, sinema ve tiyatro biletleri, \u015fans oyunlar\u0131 kuponlar\u0131, bro\u015f\u00fcrler, banka dekontlar\u0131, mektuplar, restoran men\u00fcleri, tapu veya noter senetleri, cips ve sak\u0131zlardan \u00e7\u0131kan kartlar, kartpostallar, sigara paketleri, posterler, d\u00fc\u011f\u00fcn\/ni\u015fan davetiyeleri, kartvizit benzeri g\u00fcndelik ya\u015fam\u0131n ayr\u0131nt\u0131lar\u0131n\u0131 belgeleyen materyaller verilebilir. 16. y\u00fczy\u0131ldan ba\u015flayarak g\u00fcndeme gelen, bilhassa bilimsel ara\u015ft\u0131rma paradigmas\u0131n\u0131n yenilenmesiyle devaml\u0131 artan bir ehemmiyet kazanan efemera bilhassa g\u00fcnl\u00fck ya\u015fam\u0131n detaylar\u0131n\u0131 belgeleyen, k\u00fclt\u00fcr tarihi ve k\u00fclt\u00fcrel miras \u00e7al\u0131\u015fmalar\u0131nda kullan\u0131labilecek g\u00fc\u00e7l\u00fc arg\u00fcmanlara sahiptir (Somer & Keskin, 2012: 437). Bireyler istemli ya da istemsizce anlamak, anlat\u0131lmak ve anla\u015f\u0131lmak ister. Anlam\u0131 sa\u011flayan ise g\u00f6stergelerdir. G\u00f6stergeler birer koddur ve bili\u015fsel bir s\u00fcre\u00e7le anla\u015f\u0131l\u0131r ve yine kodlarla ba\u015fkas\u0131na iletilir. G\u00f6sterge, kod ve anlam ile ger\u00e7ekle\u015ftirilen aktar\u0131m ve s\u00fcre\u00e7 g\u00f6stergebilimin konusudur. Kartpostallar, \u201cg\u00f6rsel bir ileti\u015fim sanat\u0131\u201d olarak kabul edilmektedir. Kartpostallar, ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6rsel mesajlarla \u00fclke s\u0131n\u0131rlar\u0131n\u0131 a\u015farak uluslararas\u0131 platformda o \u00fclkeyi temsil eden k\u00fclt\u00fcrel miras aktar\u0131c\u0131lar\u0131d\u0131r (Kasapo\u011flu Akyol, 2017:56). Bar\u0131nd\u0131rd\u0131\u011f\u0131 anlamsal derinlik a\u00e7\u0131s\u0131ndan kartpostallar sadece manzara ve fiziksel g\u00f6r\u00fcnt\u00fclerin varl\u0131\u011f\u0131n\u0131 tan\u0131mlamak i\u00e7in kullan\u0131lmamaktad\u0131r. Nitekim kartpostallar ait oldu\u011fu b\u00f6lgenin maddi ve manevi de\u011ferlerinin bir\u00e7o\u011funu yans\u0131t\u0131r.<\/p>\n

Toplumlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 kar\u015f\u0131lamak i\u00e7in kulland\u0131klar\u0131 bir efemera unsuru olan kartpostallar, foto\u011fraf\u0131n yan\u0131nda, yayg\u0131n turistik \u00f6\u011felerden olup g\u00fcn\u00fcm\u00fczde kaybolan bir kutlama rit\u00fcelinin ana \u00f6\u011feleridir. Kartpostallar, kent manzaralar\u0131na ilaveten kentin sosyal ya\u015fam\u0131, meslekleri, k\u0131yafetleri ile hem d\u00f6nemin politik, toplumsal, ekonomik ve k\u00fclt\u00fcrel durumlar\u0131n\u0131 hem de ge\u00e7mi\u015f alg\u0131s\u0131n\u0131n anla\u015f\u0131lmas\u0131 bak\u0131m\u0131mdan \u00e7ok \u00f6nemli bilgi kayna\u011f\u0131 olabilecek \u00f6zelliklere sahiptir. Kartpostallar\u0131n i\u015flevi zamanla bu ihtiya\u00e7lar\u0131 kar\u015f\u0131laman\u0131n d\u0131\u015f\u0131na \u00e7\u0131km\u0131\u015ft\u0131r. Nitekim \u00f6zellikle sava\u015f d\u00f6nemlerinde di\u011fer pek \u00e7ok ileti\u015fim arac\u0131 gibi kartpostallar da propagandan\u0131n bir arac\u0131 haline gelmi\u015ftir (Polat, 2012:258). \u00d6rne\u011fin I. D\u00fcnya Sava\u015f\u0131 y\u0131llar\u0131nda \u00f6zellikle Bat\u0131l\u0131 devletler taraf\u0131ndan kartpostallar \u00e7e\u015fitli \u015fekillerde propaganda malzemesi olarak kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n

K\u00fclt\u00fcrel miras yaln\u0131zca be\u015f duyu organ\u0131m\u0131zla alg\u0131lad\u0131\u011f\u0131m\u0131z somut nesnelerle m\u00fcnhas\u0131r de\u011fildir. Bu miras\u0131n bi\u00e7imlenmesine katk\u0131 sa\u011flayan soyut unsurlar da vard\u0131r. \u00c7al\u0131\u015fmada nitel ara\u015ft\u0131rma y\u00f6ntemiyle \u00e7er\u00e7evesinde dok\u00fcman incelemesine ba\u015fvurulacakt\u0131r. \u00c7al\u0131\u015fman\u0131n dok\u00fcmanlar\u0131n\u0131 Zap Havzas\u0131\u2019n\u0131n merkezi konumundaki Hakkari\u2019nin il ve il\u00e7elerine ait kartpostallar olu\u015fturmaktad\u0131r. Hakk\u00e2ri kartpostallar\u0131n\u0131n g\u00f6stergebilim kapsam\u0131nda \u00e7\u00f6z\u00fcmlemeleri yap\u0131lacak, kentin k\u00fclt\u00fcrel miras\u0131 incelenerek folkloruna ait dini, ekonomik, k\u00fclt\u00fcrel ve sosyal zihniyeti do\u011frudan veya dolayl\u0131 yans\u0131tan k\u00fclt\u00fcrel mirasa dair veriler incelenecektir. T\u00fcrkiye\u2019de \u00fczerinde az say\u0131da bilimsel \u00e7al\u0131\u015fma yap\u0131lm\u0131\u015f g\u00f6rsel ileti\u015fim arac\u0131 olan kartpostal ile ilgili eser \u00fcreterek insanl\u0131\u011f\u0131n toplumsal haf\u0131zas\u0131n\u0131n ebedile\u015ftirilmesine b\u00fcy\u00fck katk\u0131s\u0131 oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen Efemeralar\u0131n, insanl\u0131\u011f\u0131n ortak mal\u0131 ve korunmaya de\u011fer bulunan k\u00fclt\u00fcrel miras birikiminin sonraki nesillere aktar\u0131lmas\u0131, ge\u00e7mi\u015fte oldu\u011fu gibi gelecekte de katk\u0131 sa\u011flayaca\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclmektedir.<\/p>\n

1.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Efemera Olarak Kartpostal<\/h4>\n

Efemera etimolojik olarak Yunanca epi (bir) ile hemera (g\u00fcn) s\u00f6zc\u00fcklerinin \u00e7o\u011fulu olarak \u201cbir g\u00fcnden fazla dayanmayan veya g\u00fcnl\u00fck ate\u015f\u201d anlam\u0131nda 14. y\u00fczy\u0131l\u0131n sonlar\u0131na kadar t\u0131bbi bir terim olarak kullan\u0131lm\u0131\u015ft\u0131r. 16. y\u00fczy\u0131l sonlar\u0131nda ise \u201cbir g\u00fcnde solan \u00e7i\u00e7ek\u201d veya \u201ck\u0131sa \u00f6m\u00fcrl\u00fc b\u00f6cekleri\u201d tan\u0131mlamak amac\u0131yla kullan\u0131lm\u0131\u015ft\u0131r. 18. y\u00fczy\u0131l sonlar\u0131na gelindi\u011finde ise k\u0131sa s\u00fcreli ilgi \u00e7eken ki\u015fi veya nesneler i\u00e7in de kullan\u0131lan bu kavram g\u00fcn\u00fcm\u00fczde, g\u00fcndelik ya\u015fama ait, k\u0131sa bir s\u00fcrede var olan, kullan\u0131lan, be\u011fenilen ya da yararlan\u0131lan hacimsiz k\u0131sa vadeli ve ge\u00e7ici nesneleri isimlendirmek i\u00e7in kullan\u0131l\u0131yor (Somer & Keskin, 2012:442). G\u00fcndelik hayat\u0131n i\u00e7inde kullan, at olarak g\u00f6r\u00fclen veya \u0131v\u0131r z\u0131v\u0131r olarak nitelendirilen, \u00fczerlerinde yaz\u0131l\u0131 ve g\u00f6rsel bilgiler bar\u0131nd\u0131ran materyallerin tamam\u0131 efemera olarak ifade edilmektedir. Efemeralar geli\u015fen teknolojik de\u011fi\u015fikliklerle t\u00fcr ve say\u0131lar\u0131 gittik\u00e7e azalmakta ya da dijital olarak \u00fcretilmektedirler.<\/p>\n

Farkl\u0131 t\u00fcr ve i\u00e7erikteki \u00e7e\u015fitli malzemelere verilen ortak bir isim olan efemera \u015fimdiye kadar genellikle bireysel toplama gayretlerine konu olan g\u00fcndelik ya\u015fam\u0131n ayr\u0131nt\u0131lar\u0131n\u0131 belgeleyen materyalleri i\u015faret etmi\u015ftir. Bu t\u00fcrden materyaller, k\u0131sa s\u00fcreli bir ama\u00e7lar i\u00e7in d\u00fczensiz olarak bas\u0131lan se\u00e7im fasik\u00fclleri, el ilanlar\u0131, saklamak amac\u0131yla \u00fcretilmeyen antetli zarflar, kartvizitler, \u00e7ikolata, cips ve sak\u0131zlardan \u00e7\u0131kan kartlar, k\u0131sa vadeli bir ama\u00e7 i\u00e7in \u00fcretilen tan\u0131t\u0131m bro\u015f\u00fcrleri, otob\u00fcs, sinema, piyango ve m\u00fcze giri\u015f biletleri, u\u00e7ak uyar\u0131 kartlar\u0131, sigara paketleri, resmi veya gayri resmi belge h\u00fckm\u00fcnde olan okul diplomalar\u0131, tapu senetleri, fatura, karneler, makbuz, banka dekontlar\u0131, yararl\u0131l\u0131\u011f\u0131 de\u011fi\u015fken olan mektuplar, re\u00e7ete, prospekt\u00fcs, kullanma talimatlar\u0131, lokanta men\u00fcleri, genelgeler, koleksiyoncular taraf\u0131ndan m\u00fcdevven malzemesi olarak da de\u011ferlendirilebilen kartpostallar, pullar, posterler, rozetler, sinema afi\u015fleri gibi k\u0131sa \u00f6m\u00fcrl\u00fc olan ge\u00e7ici belgeler \u015feklinde s\u0131ralanabilir (Babacan, 2014). Ba\u015flang\u0131\u00e7ta k\u0131sa \u00f6m\u00fcrl\u00fc bitki ve b\u00f6cekleri, ileriki\u00a0 zamanlarda ise k\u0131sa s\u00fcreli ilgi \u00e7eken nesne veya ki\u015fileri tan\u0131mlamakta kullan\u0131lan efemera tan\u0131m\u0131n\u0131n b\u00f6ylesine sade ve k\u0131sa olmamas\u0131 gerekti\u011fi, bunun \u00f6tesinde olduk\u00e7a karma\u015f\u0131k bir olgu oldu\u011fu poster, kartpostal, pul, kibrit kutusu, davetiye gibi g\u00fcnl\u00fck hayat\u0131n par\u00e7as\u0131 olan objeler, her ne kadar bireyin hayat\u0131nda kullan at i\u015flevi g\u00f6rseler de asl\u0131nda, sosyal, fen ve g\u00fczel sanatlar gibi bir\u00e7ok disipline kaynakl\u0131k ederek k\u00fclt\u00fcrel belle\u011fe ayna tutan nesneler olarak tan\u0131mlanabilir (\u00c7ak\u0131r, 2020:313). Bu bak\u0131mdan efemeralar arkeologlar\u0131n toprak ve su alt\u0131ndan \u00e7\u0131kard\u0131klar\u0131 ve maddi-manevi anlamda tarih\u00ee de\u011fer ta\u015f\u0131yan \u00e7\u00f6mlekten, tabletten ya da heykelden farks\u0131z de\u011fildirler.<\/p>\n

Yirminci y\u00fczy\u0131l\u0131n son yar\u0131s\u0131ndan itibaren \u00f6zellikle bilimsel ara\u015ft\u0131rma \u00e7al\u0131\u015fmalar\u0131ndaki paradigman\u0131n de\u011fi\u015fmesi, \u00e7al\u0131\u015fmalar\u0131n eksiksiz olarak tamamlanmas\u0131 i\u00e7in farkl\u0131 kaynaklardan desteklenmesi aray\u0131\u015f\u0131n\u0131n bir sonucu olarak 16. yy\u2019den itibaren g\u00fcndeme gelen efemeran\u0131n \u00f6neminin peyderpey artmas\u0131n\u0131 sa\u011flam\u0131\u015ft\u0131r. G\u00fcndelik ya\u015fam\u0131n pratiklerini belgeleyen k\u0131sa s\u00fcreli, ge\u00e7ici belgeler olarak tabir edilen efemera belgeler ayn\u0131 zamanda insanl\u0131\u011f\u0131n kolektif sosyal haf\u0131zas\u0131na ve ya\u015fama ait bilgiler i\u00e7ermesi nedeniyle g\u00fcn\u00fcm\u00fczde sosyal bilim ara\u015ft\u0131rmalar\u0131nda faydalan\u0131lan bir kaynak olmas\u0131n\u0131 sa\u011flad\u0131 (Kaya, 2015:8). \u0130nsanl\u0131\u011f\u0131n belgesel miras\u0131 i\u00e7erisinde say\u0131lan se\u00e7kin kaynaklar aras\u0131nda yer alan ve insanl\u0131\u011f\u0131n toplumsal belle\u011finin ebedile\u015ftirilmesine b\u00fcy\u00fck katk\u0131 sunan efemera belgeler, k\u00fclt\u00fcrel ve tarihsel \u00e7al\u0131\u015fmalara \u0131\u015f\u0131k tutmakla beraber k\u00fclt\u00fcrel miras\u0131n gelecek ku\u015faklara aktar\u0131lmas\u0131n\u0131 da sa\u011flamaktad\u0131r (Babacan, 2014). Efemeralar, ehemmiyetsiz gibi g\u00f6r\u00fcnmekle birlikte \u00e7ok say\u0131da b\u00fcy\u00fck eserlerin do\u011fmas\u0131na, tarihi ger\u00e7ekliklerle \u00f6r\u00fcl\u00fc vesikalar\u0131n g\u00fcn y\u00fcz\u00fcne \u00e7\u0131kmas\u0131na, bir foto\u011fraf karesinde mahfuz an veya olay\u0131n canlanmas\u0131na vesile olmak gibi farkl\u0131 fonksiyonlar\u0131yla ait oldu\u011fu zaman\u0131n sosyal, k\u00fclt\u00fcrel ve ekonomik yap\u0131s\u0131na ili\u015fkin m\u00fchim bilgiler vermektedir. Bunun yan\u0131 s\u0131ra di\u011fer kaynaklarda yer almayan bir\u00e7ok bilgiyi ihtiva etmesi a\u00e7\u0131s\u0131ndan k\u00fclt\u00fcr tarihi \u00e7al\u0131\u015fmalar\u0131nda m\u00fchim kaynaklardan biri olma vasf\u0131na sahip olmu\u015ftur (\u015eahin, 2020:359).<\/p>\n

Tarihsel olarak bak\u0131ld\u0131\u011f\u0131nda efemera insanl\u0131k tarihinin k\u00fclt\u00fcrel belle\u011fi olarak derlenip, d\u00fczenlenip sakland\u0131ktan sonra eri\u015fime a\u00e7an bilgi birimleri aras\u0131nda yer alan ar\u015fivciler, k\u00fct\u00fcphaneciler ve m\u00fczeciler hatta koleksiyoncular taraf\u0131ndan kendi mesleki birikimleri, ama\u00e7lar\u0131 ve ihtiya\u00e7lar\u0131yla bi\u00e7imlenerek \u00e7e\u015fitli tan\u0131mlamalar\u0131 yap\u0131larak koleksiyonlar\u0131 olu\u015fturulmaya erken d\u00f6nemde ba\u015flanm\u0131\u015ft\u0131r. Efemeran\u0131n ar\u015fivlenmeye de\u011fer g\u00f6r\u00fclmesi ve koleksiyon haline getirilmesi 16. yy. dayanmaktad\u0131r. 17. Y\u00fczy\u0131lda John Bagford (1650\u20131715), John Selden (1584\u20131654) ve Samuel Pepys (1633\u20131703) gibi kimi koleksiyoncular taraf\u0131ndan el ilanlar\u0131 benzeri materyaller toplanm\u0131\u015ft\u0131r. 19. Y\u00fczy\u0131l ba\u015flar\u0131nda ise Sarah Bankes (1823\u20131904) ve Baron Anselm Salomon von Rothschild (1803\u20131874) kartvizitleri toplamaya ba\u015flam\u0131\u015flard\u0131r. 20. y\u00fczy\u0131lda da Sir Ambrose Heal (1872\u20131959) ve John Johnson (1841\u20131917) (Somer & Keskin, 2012:438) gibi daha pek \u00e7ok ar\u015fivci ve koleksiyoncu farkl\u0131 efemera t\u00fcrlerini toplam\u0131\u015flard\u0131r. B\u00f6ylece sistematik ve d\u00fczenli bir yakla\u015f\u0131mla efemeralar toplanarak koleksiyon malzemesi halini ald\u0131<\/p>\n

\u00d6zellikle ulusal ve halk k\u00fct\u00fcphanelerin sosyal hayat, \u00f6rf ve adetler, pop\u00fcler k\u00fclt\u00fcr, toplumun ilgilendi\u011fi ulusal ve uluslararas\u0131 olaylar ve konularla ilgili efemeralar\u0131 toplad\u0131klar\u0131 bilinmektedir. Avustralya\u2019da kamu ve \u00f6zel k\u00fct\u00fcphaneleri efemeralar\u0131 daha aktif bi\u00e7imde toplamay\u0131 hayata ge\u00e7irmi\u015ftir. Kanada, efemeraya \u00f6nemli bir ar\u015fiv dok\u00fcman\u0131\/malzemesi muamelesi g\u00f6sterilmesinde aktif bir yakla\u015f\u0131m ortaya koyarak spesifik efemera fonlar\u0131n\u0131n olu\u015fturulmas\u0131 gerekti\u011fi savunulmu\u015ftur. The Archives Association of British Columbia taraf\u0131ndan ar\u015fivsel uygulamalar i\u00e7in 1988 y\u0131l\u0131nda \u201ca Manual for Small Archives\u201d (K\u00fc\u00e7\u00fck ar\u015fivler i\u00e7in el kitab\u0131) eseri yay\u0131mlanm\u0131\u015ft\u0131r (Somer & Keskin, 2012:441). Ancak T\u00fcrkiye\u2019de bu alana hen\u00fcz gereken ilginin g\u00f6sterilmedi\u011fi s\u00f6ylenebilir.<\/p>\n

\u0130nsanl\u0131\u011f\u0131n tarihsel s\u00fcre\u00e7te en fazla gereksinim duydu\u011fu ihtiya\u00e7lardan birisi de haberle\u015fme olmu\u015f ve bunu geli\u015ftirmek i\u00e7in teknolojiyi kullanarak ileti\u015fim alanlar\u0131n\u0131 geni\u015fletmi\u015ftir. \u0130leti\u015fim tarihine bak\u0131ld\u0131\u011f\u0131nda toplumlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 gidermek i\u00e7in kulland\u0131klar\u0131 yaz\u0131l\u0131 ileti\u015fim ara\u00e7lar\u0131ndan birisinin de kartpostallar oldu\u011fu g\u00f6r\u00fclmektedir (Kasap, 2022:50). \u0130nce bir karton veya kal\u0131n bir dikd\u00f6rtgen k\u00e2\u011f\u0131d\u0131n \u00fczerine mesaj yaz\u0131larak, di\u011fer y\u00fcz\u00fcnde g\u00f6rsel bulunan, zarfl\u0131 veya zarfs\u0131z olarak postalanabilen bir kitle ileti\u015fim arac\u0131 olan kartpostal s\u00f6zc\u00fck olarak T\u00fcrk\u00e7eye Frans\u0131zcadan (carte postale) ge\u00e7mi\u015ftir Bir efemera olan kartpostallar\u0131n her ne kadar 180 y\u0131ll\u0131k bir ge\u00e7mi\u015fe sahip oldu\u011fu g\u00f6r\u00fc\u015f\u00fc kabul edilse de asl\u0131nda bu gelene\u011fin mazisi antik M\u0131s\u0131r\u2019da kullan\u0131lan papir\u00fcs \u00fczerine yaz\u0131lan tebriklere kadar g\u00f6t\u00fcr\u00fclebilir. Avrupa\u2019da ise 15. yy. ba\u015flar\u0131nda tahta par\u00e7alar \u00fczerine boyamalarla yap\u0131lan tebrik mesajlar\u0131 bu gelene\u011fin ilk \u00f6rnekleri kabul edilir (Sungur, 2011:830). \u0130ngiliz edebiyat\u00e7\u0131 Theodore Edward Hook taraf\u0131ndan karton \u00fczerine \u00e7izimi bulunan Londra\u2019dan 1840 y\u0131l\u0131nda g\u00f6nderilen mesaj ilk kartpostal \u00f6rne\u011fi olarak kabul edilmektedir. \u00a0Avrupa\u2019da kartpostal kullan\u0131m\u0131n\u0131n 1860\u2019l\u0131 y\u0131llardan itibaren yayg\u0131nl\u0131k kazanmaya ba\u015flamas\u0131yla 1869\u2019da Avusturya\u2019da, 1870\u2019te Almanya ve \u0130ngiltere\u2019de, 1871-1873 y\u0131llar\u0131 aras\u0131nda Kanada\u2019da, 1872\u2019de Fransa ile beraber Avrupa\u2019n\u0131n \u00f6teki \u00fclkelerinde de kartpostallar\u0131 resmi olarak kullan\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r (\u00d6ztun\u00e7, 2020:544). D\u00fcnya genelinde h\u0131zl\u0131 bir \u015fekilde yayg\u0131nla\u015fmas\u0131 1893 y\u0131l\u0131nda Chicago D\u00fcnya Sergisiyle ba\u015flam\u0131\u015f, Amerika\u00a0Birle\u015fik Devletleri\u00a0H\u00fck\u00fcmeti, sergi sonras\u0131nda ABD Posta Te\u015fkilat\u0131 (USPS) vas\u0131tas\u0131yla, yay\u0131nc\u0131lara ilk defa 1 centlik kartpostal (Penny Postcard) bas\u0131m izni vermi\u015ftir. Osmanl\u0131 \u0130mparatorlu\u011fu\u2019nda yayg\u0131nla\u015fmas\u0131 ise Avusturyal\u0131 Max Fruchterman\u2018\u0131n 1895 y\u0131l\u0131nda Breslau\u2018da \u0130stanbul\u2019la ilgili kartpostallar\u0131 bast\u0131rmaya karar vermesiyle ba\u015flam\u0131\u015ft\u0131r (Sungur, 2011:846). Osmanl\u0131 topraklar\u0131nda Avrupa\u2019daki gibi kartpostallar h\u0131zl\u0131 yayg\u0131nla\u015fmam\u0131\u015ft\u0131r.<\/p>\n

\u0130leti\u015fim tarihine bak\u0131ld\u0131\u011f\u0131nda kartpostallar\u0131n ilk i\u015flevinin seyahat edilen co\u011frafi konumdan g\u00f6nderilen nesneler ya da g\u00fcne ve duruma ba\u011fl\u0131 olan tebrik konular\u0131n\u0131 akla getirse de zamanla daha b\u00fcy\u00fck bir g\u00f6rev y\u00fcklenerek kullan\u0131lan g\u00f6rseller sayesinde insanlar \u00fclkelerin tarihleri, co\u011frafyalar\u0131, ekonomileri, do\u011fal g\u00fczellikleri, sosyal hayatlar\u0131, \u00fcnl\u00fc ki\u015fileri, somut ve somut olmayan k\u00fclt\u00fcrel miras unsurlar\u0131n\u0131 g\u00f6rme ve \u00f6\u011frenme imk\u00e2n\u0131 elde ederek \u00fclkelerin sanat ve k\u00fclt\u00fcrlerini d\u00fcnyaya tan\u0131tma vazifesini \u00fcstlenmi\u015f b\u00f6ylece g\u00f6rsel bir imge durumuna gelmi\u015ftir (Kasap, 2022:47). B\u00f6ylece kartpostallar sadece bir ileti\u015fim arac\u0131 olmakla kalmam\u0131\u015f ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6rsel mesajlardaki; t\u00f6ren, festival, ayaklanmalar, siyasal faaliyet gibi sosyal olaylar\u0131n, kentlerin, kimliklerin, mesleklerin gibi toplumsal olgulara ait k\u00fcll\u00ee say\u0131da t\u00fcrl\u00fc izler ta\u015f\u0131yarak kay\u0131tlanmas\u0131n\u0131 sa\u011flayan belgeler olarak \u00fclke s\u0131n\u0131rlar\u0131n\u0131 a\u015farak uluslararas\u0131 platformda bir ulusun kimlik kart\u0131 olarak g\u00f6r\u00fclmektedir.<\/p>\n

\u0130nsanlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 gidermek i\u00e7in yaz\u0131l\u0131 ve g\u00f6rsel olarak kullan\u0131lan kartpostallar zamanla yeni ve farkl\u0131 i\u015flevler de kazand\u0131. \u00d6zellikle sava\u015f d\u00f6nemlerinde di\u011fer pek \u00e7ok ileti\u015fim arac\u0131 gibi kartpostallar da propagandan\u0131n bir arac\u0131 olarak s\u0131kl\u0131kla kullan\u0131ld\u0131. En etkili olarak Birinci ve \u0130kinci D\u00fcnya Sava\u015flar\u0131 d\u00f6nemlerinde kullan\u0131lmakla beraber Bat\u0131’dakinin aksine Osmanl\u0131 co\u011frafyas\u0131ndaki kullan\u0131m\u0131 bir hayli k\u0131s\u0131tl\u0131 olmu\u015ftur. I. D\u00fcnya Sava\u015f\u0131 y\u0131llar\u0131nda \u00f6zellikle Bat\u0131l\u0131 devletler taraf\u0131ndan \u00e7e\u015fitli \u015fekillerde propaganda malzemesi olarak kullan\u0131lm\u0131\u015ft\u0131r (Polat, 2012:254). Osmanl\u0131 Devleti\u2019nin ise bu yo\u011fun propaganda faaliyetlerinde nispeten geride kald\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclebilir. M\u00fcd\u00e2faa-i Milliye Cemiyeti\u2019nden Sofya sefiri Fethi Bey\u2019e g\u00f6nderilen 26 Temmuz 1916 tarihli yaz\u0131da; \u201cVatan\u0131m\u0131zda ecnebi propagandalar\u0131n\u0131n bir v\u00e2s\u0131tas\u0131 da kartpostallar ve matb\u00fb (bas\u0131l\u0131) resimler oldu\u011fu ve bu propagandaya hi\u00e7 olmazsa i\u015ftirak edecek derecede olsun mill\u00ee kartpostallar\u0131m\u0131z ve resimlerimiz bulunmad\u0131\u011f\u0131 ma’l\u00fbm-\u0131 \u00e2l\u00eeleridir.\u201d c\u00fcmleleri propaganda ama\u00e7l\u0131 \u00fcretilen kartpostal ve afi\u015fler noktas\u0131nda ne kadar yetersiz olundu\u011funu g\u00f6zler \u00f6n\u00fcne sermektedir (\u00d6ztun\u00e7, 2020:547). I. D\u00fcnya Sava\u015f\u0131nda Nazizm, Fa\u015fizm ve Kom\u00fcnizm gibi siyasal ideolojilerinin birbirleriyle y\u00fcr\u00fctt\u00fckleri \u00fcst\u00fcnl\u00fck yar\u0131\u015f\u0131nda propagandan\u0131n siyasal s\u00f6ylemlerdeki i\u015flevi daha da etkili bir bi\u00e7imde devam etmi\u015ftir. Kartpostallar propaganda yapma, bir mesaj iletme i\u015flevlerinin haricinde ayr\u0131ca \u00fclkelerin k\u00fclt\u00fcrel miraslar\u0131n\u0131 d\u00fcnyaya tan\u0131tma i\u015flevini \u00fcstlenmi\u015ftir. Kartpostallar ait oldu\u011fu \u00fclkenin adeta sessiz ulaklar\u0131, el\u00e7ileri olarak \u00fclkelerinin sahip oldu\u011fu maddi ve manevi de\u011ferlerini yans\u0131tm\u0131\u015ft\u0131r. B\u00f6ylece \u00fcretim amac\u0131n\u0131n \u00e7ok daha \u00f6tesine ula\u015fm\u0131\u015ft\u0131r.<\/p>\n

Teknolojinin geli\u015fmesiyle beraber g\u00f6rsellerin bilhassa da foto\u011fraflar\u0131n kullan\u0131lmas\u0131n\u0131n artmas\u0131, ileti\u015fimin alg\u0131sal olarak g\u00fc\u00e7lenmesini de yan\u0131nda getirmi\u015f kartpostallar\u0131n ama\u00e7 ve \u00e7e\u015fitlilikleri art\u0131rm\u0131\u015ft\u0131r. Modern kartpostallar, \u00e7e\u015fitli evrensel ve \u00f6zel temalardan yararlanan \u00e7e\u015fitli geleneksel ve yeni g\u00f6r\u00fcnt\u00fclerle \u00e7ok \u00e7e\u015fitli t\u00fcrlere d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Bu t\u00fcrler genel olarak d\u00f6rt grupta toplanabilir. Bunlardan Manzara kartpostallar\u0131 (View Cards); \u015fehrin genel g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc yans\u0131tan g\u00f6rsellere sahip olduklar\u0131 gibi, zamanla de\u011fi\u015fen ya da harfiyen ortadan kalkan yap\u0131, cadde, an\u0131t vb. kentsel \u00f6\u011felere ili\u015fkin g\u00f6r\u00fcnt\u00fcleri de sunarlar. Tebrik kartpostallar\u0131 (Greeting Cards); \u00f6n y\u00fcz\u00fcnde amaca uygun g\u00f6rsellerin bulundu\u011fu ve insanlar\u0131n y\u0131lba\u015f\u0131, dini bayramlar veya rit\u00fcellerde, ya\u015f g\u00fcn\u00fc ve benzeri \u00f6zel g\u00fcnlerde duygular\u0131n\u0131 payla\u015fma amac\u0131yla birbirlerine g\u00f6nderdikleri kartlard\u0131r. Tarihi Kartpostallar (Historical Cards); \u00fclkelerin sava\u015f, ge\u00e7it t\u00f6reni, merasimler, siyasi olaylar gibi m\u00fchim baz\u0131 tarihi olaylar\u0131n\u0131 i\u00e7eren veya propaganda faaliyetleri i\u00e7in bas\u0131lan kartlard\u0131r. Sanatsal Kartpostallar (Artistic Cards); \u00fcnl\u00fc ressamlar veya foto\u011fraf\u00e7\u0131lar taraf\u0131ndan \u00f6zg\u00fcn olarak bas\u0131lan kartlard\u0131r (Sungur, 2011:846). Foto\u011fraf\u0131n yayg\u0131nla\u015fmas\u0131yla beraber resimli kartpostallar\u0131n \u00fcretimi daha erken bir zamanda durdu. G\u00fcn\u00fcm\u00fczde ressam\u0131n ya\u015fad\u0131\u011f\u0131 zamana ba\u011fl\u0131 olarak bu t\u00fcr kartpostallar nadir olarak bulunuyor ve koleksiyoncular i\u00e7in nispeten pop\u00fcler hale gelmi\u015flerdir.<\/p>\n

Kartpostallar\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131, d\u00fcnyadaki geli\u015fimi, foto\u011fraf ile bu gelene\u011fin bulu\u015fmas\u0131, yay\u0131mlama \u015fekilleri, tasar\u0131m a\u015famas\u0131nda kullan\u0131lan y\u00f6ntem ve teknikler, \u00f6zel g\u00fcn, mek\u00e2n ve ki\u015filerden ta\u015f\u0131d\u0131\u011f\u0131 izler, ya\u015fant\u0131lar, arka y\u00fcz\u00fcndeki metinler vas\u0131tas\u0131yla yo\u011fun duygular i\u00e7ermekte olup ula\u015ft\u0131\u011f\u0131 ki\u015filere a\u00e7\u0131k ve gizli mesajlar vermektedir. Kartpostal zaman i\u00e7erisinde y\u0131lba\u015f\u0131, bayram ve do\u011fum g\u00fcn\u00fc gibi \u00f6zel g\u00fcn tebrikleri kutlamalar\u0131na arac\u0131l\u0131k etmekle beraber ba\u015fka fonksiyonlar da kazanm\u0131\u015ft\u0131r. Farkl\u0131 sebeplerden dolay\u0131 birbirinden uzak mesafelerde kalanlar aras\u0131nda ileti\u015fim kurma g\u00f6revi \u00fcstlenmi\u015ftir. \u00a0\u00d6rne\u011fin asker oca\u011f\u0131ndan g\u00f6nderilen kartpostallar \u00f6zlemlere arac\u0131l\u0131k etmi\u015ftir. 20. yy. ba\u015flar\u0131ndan itibaren \u00f6zellikle dini bayramlar olan ramazan ve kurban bayramlar\u0131n\u0131n kutlama yayg\u0131n y\u00f6ntemi olarak kullan\u0131ld\u0131 (Yal\u00e7\u0131n \u00c7elik, 2019:8). Tarihin izlerini bir foto\u011fraf karesinde saklayan, hat\u0131ralar\u0131n canl\u0131 \u015fahitleri olarak bir zaman\u0131n ruhunu, k\u00fclt\u00fcrel miras\u0131n\u0131, bilgisini bar\u0131nd\u0131ran yak\u0131n tarihe \u0131\u015f\u0131k tutmalar\u0131 hasebiyle belgesel de\u011fer ta\u015f\u0131yan bir obje olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yorlar. Y\u0131llarca vazge\u00e7ilmez tebrik ara\u00e7lar\u0131 olmu\u015f kartpostallar g\u00fcn\u00fcm\u00fczde teknolojik geli\u015fmelere yenik d\u00fc\u015ferek, yiten bir kutlama rit\u00fceli ve de\u011ferlerimiz aras\u0131nda yer almaya ba\u015fla<\/a>d\u0131.<\/p>\n

2.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 G\u00f6stergebilimsel Analiz Y\u00f6ntemi ve Roland Barthes<\/h4>\n

Her insanda duygu ve d\u00fc\u015f\u00fcncelerini di\u011fer insanlara anlatma iste\u011finin yan\u0131nda istemli ya da istemsiz olarak anlat\u0131lma ve anla\u015f\u0131lma iste\u011fi vard\u0131r. Di\u011fer insanlarla payla\u015f\u0131lmak istenen duygu, d\u00fc\u015f\u00fcnce, an\u0131, fikir, bilgi ya da payla\u015f\u0131lmak istenen ne varsa onlar\u0131n di\u011fer insanlara iletilmesi g\u00f6stergelerle yap\u0131l\u0131r. Bu bak\u0131mdan t\u00fcm g\u00f6stergeler birer koddur ve bili\u015fsel bir s\u00fcre\u00e7 ile anla\u015f\u0131larak ve yine kodlarla di\u011fer insanlara aktar\u0131l\u0131r. G\u00f6stergebilim (semiyotik veya semiyoloji) ise, anlam ve s\u00fcre\u00e7lerini sistematik olarak inceleyen bir bilim alan\u0131d\u0131r. G\u00f6sterge, kod ve anlam ile bunlar\u0131n aktar\u0131m\u0131n\u0131n tamam\u0131 g\u00f6stergebilimin konusunu olu\u015ftururken anlam\u0131 alg\u0131lamak, anlam\u0131n nas\u0131l olu\u015ftu\u011funu a\u00e7\u0131klamak ve anlam\u0131n y\u00fczde y\u00fcz olmas\u0131n\u0131 sa\u011flamak ise amac\u0131n\u0131 olu\u015fturur (Bahad\u0131ro\u011flu, 2018). Yayg\u0131n kullan\u0131lan ismiyle semiyoloji (semiotic) g\u00f6stergebilim tan\u0131m olarak g\u00f6stergelerin \u00fcretilmesi, yorumlanmas\u0131n\u0131 veya i\u015faretleri anlama s\u00fcre\u00e7lerini kapsayan b\u00fct\u00fcn etkenlerin sistematik incelenmesine dayanan bir bilim dal\u0131d\u0131r. Ferdinand de Saussure\u2019\u00fcn Cenevre \u00dcniversitesi\u2019nde okuttu\u011fu ders notlar\u0131ndan olu\u015fturulan Genel Dilbilim Dersleri kitab\u0131nda (Course de linguistique generale) dilin \u201cbir g\u00f6stergeler dizgesi\u201d oldu\u011funa i\u015faret ederek g\u00f6stergelerin toplumun i\u00e7indeki ya\u015fam\u0131n\u0131 inceleyerek g\u00f6stergebilimi, dilsel ve dil d\u0131\u015f\u0131 g\u00f6stergelerin meydana getirdi\u011fi anlamlar\u0131 ile anlam tabakalar\u0131n\u0131 irdeleyen bilim dal\u0131 olarak tan\u0131mlamaktad\u0131r (S\u00f6nmez, 2012:2). G\u00f6stergebilimin bilimsel bir mahiyet kazan\u0131p ara\u015ft\u0131rma y\u00f6ntemleri aras\u0131na girmesini, ayn\u0131 d\u00f6nemde birbirinden habersiz olarak dilbilim alan\u0131nda \u00e7al\u0131\u015fmalar y\u00fcr\u00fcten \u0130svi\u00e7reli Ferdinand de Saussure ile ABD’li Charles Sanders Peirce sa\u011flam\u0131\u015ft\u0131r. Ferdinand Saussure\u2019e g\u00f6re dilsel yap\u0131lar\u0131n temelini g\u00f6sterge olarak kabul ederek \u201cbir kavramla bir i\u015fitim imgesini birle\u015ftiren \u00f6\u011fe\u201d olarak tan\u0131mlar (Koz, 2020:2). \u0130\u015fitim imgesi ya da sesler b\u00fct\u00fcn\u00fcn bir kavramla birle\u015ferek dil g\u00f6stergesini meydana getirdi\u011fini ifade eder. Bunu karma\u015f\u0131k bir b\u00fct\u00fcn olarak tan\u0131mlar ve g\u00f6stergenin iki unsurdan olu\u015ftu\u011funu belirtir. \u0130\u015fitim imgesini g\u00f6steren, kavram\u0131 ise g\u00f6sterilen olarak adland\u0131r\u0131r. Bunlar\u0131n d\u0131\u015fsal herhangi bir nesneden ba\u011f\u0131ms\u0131z oldu\u011funu ve toplumsal anla\u015fmalara dayand\u0131\u011f\u0131n\u0131 ifade eder. Charles S. Peirce b\u00fct\u00fcn olgular\u0131 i\u00e7eren mant\u0131kla yak\u0131ndan ilgili bir g\u00f6stergeler kuram\u0131 tasarlam\u0131\u015f g\u00f6stergeleri, F. Saussure\u2019nin ikili kar\u015f\u0131tl\u0131klar\u0131 bi\u00e7iminde de\u011fil de \u00fc\u00e7l\u00fckler olarak tan\u0131mlam\u0131\u015ft\u0131r. Bunlar g\u00f6sterge, nesne ve yorumlayan \u00fc\u00e7l\u00fcs\u00fcd\u00fcr. Bir \u00f6tekisi ise g\u00f6r\u00fcnt\u00fcsel g\u00f6sterge, belirti ve simge \u00fc\u00e7l\u00fcs\u00fcd\u00fcr (\u00dcnal M. F., 2016:392). Saussure ve Peirce’in dilbilimi kavramlar\u0131 ile do\u011fu\u015funu duyurdu\u011fu semiyotik (g\u00f6stergebilim) ilk ba\u015flarda dil bilimi i\u00e7erisinde dar bir alanda etkisini g\u00f6stermekte ve ger\u00e7ek manada bir g\u00f6stergebilimsel analizlerin yap\u0131lmas\u0131na imk\u00e2n vermemekteydi. \u0130lerleyen s\u00fcre\u00e7te Saussure ve Pierce\u2019in ard\u0131ndan gelen Frans\u0131z dilbilimci Roland Barthes, g\u00f6stergebilimi dil biliminin dar s\u0131n\u0131rlar\u0131ndan \u00e7\u0131kararak geli\u015fmesinin \u00f6n\u00fcn\u00fc a\u00e7t\u0131. G\u00f6stergebilimin dil biliminin bir par\u00e7as\u0131 de\u011fil, bunun aksini yani dil bilimin g\u00f6stergebilimin bir par\u00e7as\u0131 oldu\u011funu ileri s\u00fcrd\u00fc. Barthes ortaya koydu\u011fu \u00e7al\u0131\u015fmalar ile g\u00f6stergebilimin dar kal\u0131plar\u0131ndan s\u0131yr\u0131lmas\u0131n\u0131 sa\u011flayarak, daha anla\u015f\u0131l\u0131r bir hale getirerek bilimsel incelemelerde bir ara\u015ft\u0131rma y\u00f6ntemi olarak \u00f6n plana gelmesini sa\u011flad\u0131 (\u00c7ak\u0131, Nazi Almanyas\u0131 Etkisindeki \u0130talyan Sosyal Cumhuriyeti’nin Propaganda Posterleri \u00dczerine \u0130nceleme, 2018:258). \u00a020. y\u00fczy\u0131l son yar\u0131s\u0131nda ortaya \u00e7\u0131kan bu bilim dal\u0131 g\u00f6stergenin ilk etapta herkes taraf\u0131ndan anla\u015f\u0131lmayan gizli olan yanlar\u0131n\u0131 ortaya \u00e7\u0131karmay\u0131, anlam\u0131n olu\u015fmas\u0131, katmanlar\u0131n\u0131 saptamak gibi \u00e7ok farkl\u0131 boyutlarda kendi yakla\u015f\u0131m\u0131 i\u00e7inde tahlil ederek incelemeyi ama\u00e7lamaktad\u0131r.<\/p>\n

Roland Barthes, insan ya\u015fam\u0131nda bulunan her \u015feyde bir g\u00f6sterge de\u011ferinin var oldu\u011funu ve bu g\u00f6stergelerin anlaml\u0131 bir metin i\u00e7erisinde neyi anlamland\u0131rd\u0131\u011f\u0131n\u0131 g\u00f6stergebilimin ortaya koyabilece\u011fini ifade eder. Barthes, Saussure’n\u00fcn g\u00f6stergebilim analizinde bulunan g\u00f6steren ve g\u00f6sterilen kavramlar\u0131n\u0131n yan\u0131nda, g\u00f6stergelerin anlamland\u0131r\u0131lmas\u0131nda d\u00fczanlam (denotation) ile yananlam (connotation) olmak \u00fczere iki b\u00fct\u00fcn\u00fcn var oldu\u011funu \u00f6ne s\u00fcrm\u00fc\u015ft\u00fcr (\u00c7ak\u0131, Birinci D\u00fcnya Sava\u015f\u0131\u2019nda Propaganda Ama\u00e7l\u0131 Kullan\u0131lan Posterlerin Korku \u00c7ekicili\u011fi Ba\u011flam\u0131nda \u0130ncelenmesi: B\u00fcy\u00fck Britanya \u00d6rne\u011fi, 2018:120). Bir g\u00f6sterenin d\u00fcz anlam\u0131 insan zihninde olu\u015fan ilk yans\u0131mas\u0131 olan, herkes taraf\u0131ndan kabul g\u00f6ren, genel de\u011fi\u015fmeyen, evrensel anlam\u0131n\u0131 kapsamaktad\u0131r. Ger\u00e7ekli\u011fi ifade eden d\u00fcz anlam g\u00f6sterilenin objektif \u015fekilde kavranmas\u0131yla meydana gelir. Yan anlam ise \u00f6znel durumda k\u00fclt\u00fcrden k\u00fclt\u00fcre de\u011fi\u015febilen, g\u00f6stergeler arac\u0131l\u0131\u011f\u0131yla verilmek istenen temel mesaj\u0131 ifade etmektedir. K\u00fclt\u00fcr\u00fcn in\u015fa etti\u011fi \u00f6znel ger\u00e7eklikler b\u00fct\u00fcn\u00fc olan yan anlam\u0131n do\u011fru okunabilmesi i\u00e7in \u00fcretildi\u011fi k\u00fclt\u00fcr\u00fcn \u00f6zelliklerinin iyi bilinmesi gerekmektedir. D\u00fcz anlam insanlar taraf\u0131ndan do\u011fru, nesnel ve yasa olarak kabul edilmektedir. Yan anlam ise bireyin sahip oldu\u011fu k\u00fclt\u00fcr i\u00e7erisinde olu\u015fturdu\u011fu ve k\u00fclt\u00fcrden k\u00fclt\u00fcre de\u011fi\u015fiklikler arz edebilen tan\u0131mlar\u0131 ifade etmektedir. Di\u011fer bir ifadeyle d\u00fcz anlam g\u00f6stereni, yananlam ise g\u00f6sterileni tan\u0131mlamaktad\u0131r. Misal siyah bir kedi g\u00f6rmek d\u00fcz anlam boyutunda bir hayvan\u0131, yan anlam boyutunda ise sahip oldu\u011fu k\u00fclt\u00fcre g\u00f6re \u015fanss\u0131zl\u0131\u011f\u0131 ifade edebilir. Yan anlam\u0131n k\u00fclt\u00fcr i\u00e7erisinde \u015fekillendi\u011fini ileri s\u00fcren Barthes g\u00fcnl\u00fck ya\u015famda kullan\u0131lan her metan\u0131n bir g\u00f6sterge de\u011feri oldu\u011funu ifade eder (\u00c7ak\u0131, Nazi Almanyas\u0131 Etkisindeki \u0130talyan Sosyal Cumhuriyeti’nin Propaganda Posterleri \u00dczerine \u0130nceleme, 2018:258) . B\u00f6ylece verilmek istenen mesaj (g\u00f6sterilen) giyilen k\u0131yafetten, kullan\u0131lan t\u00fcm g\u00fcnl\u00fck e\u015fyalara kadar her madde i\u00e7ine gizlenebilmektedir. Barthes\u2019e g\u00f6re g\u00f6stergebilimin ikincil d\u00fczeninde mitler oldu\u011funu ve yan anlam\u0131n olu\u015fumunda \u00f6nemli rollerinin oldu\u011funu ifade eder. K\u00fclt\u00fcr i\u00e7erisinde olu\u015fturulan \u00f6znel k\u00fclt\u00fcre ait olgular\u0131n ifadesi olan mitler, zamanla toplumsal de\u011fi\u015fimle de\u011fi\u015febilmektedirler. Bir k\u00fclt\u00fcr i\u00e7erisinde \u00fcretilen bir mit orada do\u011fru de\u011fer olarak kabul edilirken, ba\u015fka bir k\u00fclt\u00fcr\u00fcn mitinde do\u011fru olarak kabul edilmeyebilir (\u00c7ak\u0131, \u0130ran-Irak Sava\u015f\u0131\u2019nda Kullan\u0131lan \u0130ran Propaganda Posterlerinin G\u00f6stergebilimsel Analizi, 2018:23). Di\u011fer bir ifadeyle mitler toplumlar\u0131n i\u00e7erisinde olu\u015fan k\u00fclt\u00fcrel de\u011ferlerin temelinde bulunan kal\u0131p kan\u0131lar\u0131d\u0131r. \u00d6rne\u011fin, erke\u011fin ailenin ge\u00e7imini sa\u011flamada mecbur olmas\u0131, kad\u0131nlar\u0131n ev i\u015flerini yap\u0131p, \u00e7ocuk b\u00fcy\u00fctmesi gibi. Barthes, g\u00f6stergebilimsel analizlerinde g\u00f6steren ve g\u00f6sterilen aras\u0131ndaki anlam s\u00fcre\u00e7lerini daha iyi yorumlamak i\u00e7in \u00fc\u00e7 temel kavram\u0131n (d\u00fczanlam, yananlam, mit) yan\u0131 s\u0131ra metafor (e\u011frileme\/metaphor) ve metonimi (du\u0308zde\u011fi\u015fmece\/metonymy) kavramlar\u0131ndan da yararlanm\u0131\u015ft\u0131r (Ataman Yengin, 2012:16). Barthes’\u0131n \u00e7al\u0131\u015fmalar\u0131nda kulland\u0131\u011f\u0131 metafor di\u011fer ismiyle e\u011fretileme kavram\u0131 iki nesne aras\u0131ndaki bir ili\u015fki benzerli\u011finin olu\u015fturulmas\u0131d\u0131r. Daha basit bir ifadeyle soyut olan bir kavram\u0131 anlatmak ve kolay tan\u0131mlamak i\u00e7in somut nesnelerin kullan\u0131lmas\u0131n\u0131 ifade eder. Konu edilen iki nesne aras\u0131nda normalde bulunmayan ili\u015fki; ak\u0131l ve d\u00fc\u015f g\u00fcc\u00fcyle bir metafor arac\u0131l\u0131\u011f\u0131yla yarat\u0131l\u0131r. Terazinin adaleti, beyaz g\u00fcvercinin bar\u0131\u015f kavram\u0131n\u0131 temsil etmesi buna \u00f6rnek olarak verilebilir. Metonim ise k\u00fc\u00e7\u00fck bir par\u00e7an\u0131n b\u00fct\u00fcn\u00fcn tamam\u0131n\u0131 temsil etmesidir. Bir par\u00e7an\u0131n geni\u015fleyerek b\u00fct\u00fcn\u00fc veya b\u00fct\u00fcn\u00fcn daralarak par\u00e7ay\u0131 temsil etmesidir. Bir kurum yerine onun sahip oldu\u011fu bir mek\u00e2n\u0131n onu temsil etmesi buna \u00f6rnek olarak verilebilir. \u00d6rne\u011fin \u201cBeyaz Saray herhangi bir \u015fey s\u00f6ylemiyor\u201d denildi\u011finde \u201cBeyaz Saray\u201d ifadesiyle ABD h\u00fck\u00fcmeti kastedilmektedir (Cangiz, 2016:17).<\/p>\n

3.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hakk\u00e2ri Kartpostallar\u0131n\u0131n G\u00f6stergebilimsel Analizi<\/h4>\n

Hakkari ili Zap Havzas\u0131\u2019n\u0131n merkezinde yer almaktad\u0131r. Bu havzaya ismini veren Zap Nehri, Van ilinin Ba\u015fkale il\u00e7esinin kuzeyinde bulunan Mengene ve Yi\u011fit (Haravil) da\u011flar\u0131ndan do\u011far ve Hakk\u00e2ri il s\u0131n\u0131rlar\u0131 i\u00e7erisinden ge\u00e7tikten sonra Irak\u2019ta Dicle Nehri ile birle\u015fir. Geni\u015f bir co\u011frafi alan olu\u015fturan Zap Havzas\u0131 Hakk\u00e2ri ile Irak\u2019\u0131n Duhok b\u00f6lgelerini tamamen kapsamaktad\u0131r. \u0130nsanl\u0131\u011f\u0131n eski yerle\u015fim yerlerinden biri olan bu havza Urartu\u2019dan Asur\u2019a, Med\u2019ten Pers\u2019e, Roma\u2019dan \u0130slam\u2019a \u00e7ok \u00f6nemli k\u00fclt\u00fcr ve uygarl\u0131klara ev sahipli\u011fi yapm\u0131\u015ft\u0131r. B\u00f6lgede \u0130slam, H\u0131ristiyanl\u0131k, Zerd\u00fc\u015ftl\u00fck ve Yahudilik gibi \u00e7e\u015fitli dinler ya\u015fam\u0131\u015ft\u0131r. Hakkari ismi Arap, Osmanl\u0131 ve di\u011fer b\u00f6lge halklar\u0131 taraf\u0131ndan Hekari olarak telaffuz edilmektedir. Tarihte \u00e7ok geni\u015f bir co\u011frafyaya tekab\u00fcl eden Hakk\u00e2ri b\u00f6lgesi \u0130slami kaynaklara g\u00f6re; g\u00fcneyde Musul (Ninova), kuzeyde Van G\u00f6l\u00fc k\u0131y\u0131lar\u0131, bat\u0131da Cizre ile do\u011fuda Urmiye G\u00f6l\u00fc\u2019n\u00fcn bat\u0131 k\u0131y\u0131lar\u0131na kadar olan da\u011fl\u0131k b\u00f6lgeyi i\u00e7ermektedir. Buna mukabil Culem\u00earg (\u00c7\u00f6lemerik) ismi ise b\u00f6lgenin merkezi olan \u015fimdiki Hakk\u00e2ri \u015fehir merkezi i\u00e7in kullan\u0131lmaktayd\u0131. Farkl\u0131 medeniyet ve k\u00fclt\u00fcrlerin etkile\u015fim halinde oldu\u011fu b\u00f6lgede 8. y\u00fczy\u0131l\u0131n ortalar\u0131ndan itibaren kurulan ve 19. y\u00fczy\u0131l\u0131n ortalar\u0131na kadar varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren Hakk\u00e2ri Beyli\u011fi d\u00f6neminde k\u00fclt\u00fcr ve medeniyet alan\u0131nda bir\u00e7ok hizmetlerde bulunulmu\u015f, b\u00f6lgede \u00e7ok y\u00f6nl\u00fc bir geli\u015fme ve ilerleme kaydedilmi\u015f, hay\u0131r kurumlar\u0131, kilise, cami, medrese, mescit, han, hamam, k\u00f6pr\u00fc in\u015fa edilmi\u015ftir (Kaplan, Tarihte Hakkari,\u015eemdinan,Bahdinan ve Nehri, 2014:6). Birinci D\u00fcnya Sava\u015f\u0131\u2019nda Ruslar\u0131n i\u015fgaline u\u011frayan Hakk\u00e2ri b\u00f6lgesi b\u00fcy\u00fck bir y\u0131k\u0131ma u\u011fram\u0131\u015f \u00fc\u00e7 y\u0131l boyunca insans\u0131z kalm\u0131\u015ft\u0131r. Sava\u015f bitiminde Musul sorunundan dolay\u0131 s\u0131n\u0131rlar\u0131n saptanmas\u0131 uzun bir s\u00fcre s\u00fcr\u00fcncemede kald\u0131ktan sonra 1926 y\u0131l\u0131nda imzalanan Ankara Antla\u015fmas\u0131yla T\u00fcrkiye\u2019ye d\u00e2hil edilmi\u015ftir. T\u00fcrkiye\u2019nin Irak ve \u0130ran\u2019a s\u0131n\u0131r\u0131n\u0131 te\u015fkil eden b\u00f6lge 20 May\u0131s 1933 tarihinde Van iline ba\u011fl\u0131 bir il\u00e7e, 4 Ocak 1936 da ise il stat\u00fcs\u00fcne ge\u00e7irilmi\u015ftir (Kaplan, Hakkari Tarihi, 2015:36). Cumhuriyetin kurulu\u015f d\u00f6neminde bir serhat vilayeti olan ilin Beyt\u00fc\u015f\u015febap, Gevar (Y\u00fcksekova), \u015eemdinan (\u015eemdinli), Uludere, \u00c7ukurca il\u00e7eleri bulunmakla beraber tarihsel s\u00fcre\u00e7te idari yap\u0131s\u0131nda ve s\u0131n\u0131rlar\u0131nda de\u011fi\u015fimler meydana gelmi\u015ftir. Beyt\u00fc\u015f\u015febap ve Uludere il\u00e7eleri m\u00fclki idare s\u0131n\u0131rlar\u0131ndan \u00e7\u0131km\u0131\u015f, Derecik ise il\u00e7e stat\u00fcs\u00fcne getirilmi\u015ftir. Cumhuriyet d\u00f6neminde yap\u0131lan n\u00fcfus say\u0131mlar\u0131nda farkl\u0131 bilgiler de topland\u0131\u011f\u0131ndan iller hakk\u0131nda bir\u00e7ok sosyal konunun tespitine yard\u0131mc\u0131 olmaktad\u0131r. 1927 y\u0131l\u0131nda yap\u0131lan genel n\u00fcfus sonu\u00e7lar\u0131nda Hakkari\u2019de konu\u015fulan diller olarak T\u00fcrk\u00e7e, K\u00fcrt\u00e7e, Arap\u00e7a, \u00c7erkezce, Yahudice, Tatarca dilleri tespit edilmi\u015ftir (Erdo\u011fan & \u015eehito\u011flu, 2019:39). Bu veriler \u0131\u015f\u0131\u011f\u0131nda b\u00f6lgenin \u00e7ok k\u00fclt\u00fcrl\u00fc bir yap\u0131da oldu\u011fu s\u00f6ylenebilir. G\u00fcn\u00fcm\u00fczde bu \u00e7e\u015fitlili\u011fini koruyamamas\u0131n\u0131n yan\u0131 s\u0131ra sosyo ekonomik geli\u015fmi\u015flik d\u00fczeyinin de di\u011fer illere oranla \u00e7ok d\u00fc\u015f\u00fck oldu\u011fu s\u00f6ylenebilir. \u015eehir Cumhuriyetin kurulmas\u0131 ile beraber T\u00fcrkiye\u2019nin k\u00fc\u00e7\u00fck bir serhat vilayeti konumuna gelmi\u015ftir. Jeopolitik konumu itibariyle sosyoekonomik a\u00e7\u0131dan T\u00fcrkiye ortalamas\u0131n\u0131n \u00e7ok alt\u0131nda hatta son s\u0131ralarda yerini alm\u0131\u015ft\u0131r. Her ne kadar bakir do\u011fas\u0131 ve k\u00fclt\u00fcrel zenginli\u011fi var olsa bile \u00f6zellikle turizmden gerekli istifadeyi elde edememi\u015ftir.\u00a0 Da\u011fl\u0131k bir b\u00f6lgede bulunmas\u0131 ula\u015f\u0131m a\u011f\u0131n\u0131n geli\u015fmemi\u015f olmas\u0131 ve iki \u00fclkeye s\u0131n\u0131r olmas\u0131 hasebiyle kendi i\u00e7inde zenginli\u011fini ya\u015fayan kapal\u0131 bir kent konumunda olmu\u015ftur.<\/p>\n

Ara\u015ft\u0131rma kapsam\u0131nda Hakkari\u2019ye ait olan 77 adet kartpostala ula\u015f\u0131lm\u0131\u015ft\u0131r. Kartpostallar\u0131n bir k\u0131sm\u0131 sahaflardan, bir k\u0131sm\u0131 sosyal medya hesaplar\u0131ndaki payla\u015f\u0131mlardan, bir k\u0131sm\u0131 da foto\u011fraf sanat\u00e7\u0131s\u0131 Enver \u00d6zkahraman\u2019\u0131n ar\u015fivinden al\u0131nm\u0131\u015ft\u0131r. \u00d6ncelikle kartpostallar\u0131n s\u0131n\u0131fland\u0131rmas\u0131 yap\u0131lm\u0131\u015ft\u0131r. 44 adet kartpostal\u0131n arkas\u0131nda ressam, foto\u011fraf\u00e7\u0131 veya foto denilerek eserin sahibi belirtilmi\u015ftir. \u0130sim belirtilen 44 kart\u0131n tamam\u0131n\u0131n Enver \u00d6zkahraman\u2019a ait oldu\u011fu saptanm\u0131\u015ft\u0131r. Di\u011fer 33 kartta eser sahibi hakk\u0131nda bilgi bulunmamakla beraber matbaa bilgileri verilmi\u015ftir. Eserlerdeki g\u00f6rsellerin 71 adeti renkli 6 adeti siyah beyaz olarak bas\u0131lm\u0131\u015ft\u0131r. Sadece 20 adet eserin \u00f6n y\u00fcz\u00fcnde ait oldu\u011fu yere\/b\u00f6lgeye ait bilgi mevcuttur. 12 adet kart\u0131n \u00f6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 vard\u0131r. Kartlar\u0131n 13 tanesi karma (kolaj), 2 tanesi (insans\u0131z) manzara, 7 tanesi kent manzaras\u0131, 10 tanesi ya\u015faml\u0131 manzara, 2 tanesi \u00f6zel g\u00fcn, 18 tanesi portre, 22 tanesi sosyal ya\u015fam ve 3 tanesi de farkl\u0131 y\u0131llara ait tekrar bask\u0131 olarak grupland\u0131r\u0131lm\u0131\u015ft\u0131r. 39 adet kartpostal\u0131n arka y\u00fcz\u00fcnde hi\u00e7bir bilgi yok iken, 4 tanesinde bilgi bulunan alan karart\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Ara\u015ft\u0131rma kapsam\u0131nda elde edilen Hakk\u00e2ri kartpostallar\u0131ndan, \u00e7al\u0131\u015fman\u0131n ana amac\u0131na ba\u011fl\u0131 kalmak i\u00e7in, ama\u00e7sal \u00f6rneklem y\u00f6ntemi ile 33,38,39 ve 57 numaral\u0131 kartpostallar se\u00e7ilmi\u015ftir. \u00a0Derinlemesine ara\u015ft\u0131rma yapmam\u0131za olanak tan\u0131mas\u0131 i\u00e7in Ama\u00e7sal \u00f6rneklem ile se\u00e7ilen bu kartpostallar Roland Barthes \u2018in g\u00f6stergebilimsel y\u00f6ntemine g\u00f6re incelenecektir. Kentin turistik tan\u0131t\u0131m\u0131 veya y\u0131lba\u015f\u0131, bayram gibi \u00f6zel g\u00fcn ve durumlar\u0131 kutlamay\u0131 ama\u00e7layan g\u00f6rsellerden olu\u015fturulan kartpostallar\u0131n ta\u015f\u0131d\u0131\u011f\u0131 mesajlar g\u00f6stergebilimsel olarak analiz edilecektir.<\/p>\n

Ama\u00e7sal \u00f6rneklem ile se\u00e7ilen 33 nolu kartpostal \u00fc\u00e7 ayr\u0131 foto\u011fraftan olu\u015fmaktad\u0131r. Bunlardan ilkinde kart\u0131n \u00f6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 ile beraber Hakk\u00e2ri yaz\u0131s\u0131 bulunmaktad\u0131r. Kart\u0131n arka y\u00fcz\u00fcndeki a\u00e7\u0131klama k\u0131sm\u0131nda \u201c\u015fehirden g\u00f6r\u00fcn\u00fc\u015fler, Hakk\u00e2ri\/T\u00fcrkiye\u201d a\u00e7\u0131klamas\u0131 bulunmaktad\u0131r. D\u00fcz anlamsal olarak bak\u0131ld\u0131\u011f\u0131nda birinci foto\u011frafta karl\u0131 da\u011flar\u0131n ete\u011finde bir g\u00f6l manzaras\u0131n\u0131n \u00f6n\u00fcnde s\u0131rt \u00e7antal\u0131 bir erkek bulunmaktad\u0131r. \u0130kincisinde foto\u011fraf bir \u015fehir merkezinin genel g\u00f6r\u00fcnt\u00fcs\u00fcnden bir kesiti kapsamaktad\u0131r. \u00dc\u00e7\u00fcnc\u00fcs\u00fcnde ise foto\u011fraf y\u00f6resel k\u0131yafetler giymi\u015f s\u0131ral\u0131 k\u0131z \u00e7ocuklar\u0131 ve arkalar\u0131nda s\u0131ralanan kad\u0131nlar ile kenarda duran birka\u00e7 erke\u011fi yans\u0131tmaktad\u0131r. \u00a0D\u00fcz anlamsal olarak kent yerle\u015fimi, do\u011fal g\u00fczellikler ile sosyal ya\u015fama dair anlamlar vermektedir. Yan anlamsal olarak bak\u0131ld\u0131\u011f\u0131nda birinci g\u00f6rsel bir gezgini imgelemekte ve gezginin deneyimleyece\u011fi karl\u0131 da\u011flar\u0131n oldu\u011fu bir do\u011fal g\u00fczelli\u011fi g\u00f6stermektedir. \u0130kinci g\u00f6rselde ise \u015fehrin da\u011flarla \u00e7evrili bir co\u011frafyaya kuruldu\u011funu, da\u011f\u0131n\u0131k binalar ile k\u00fc\u00e7\u00fck oldu\u011funu g\u00f6stermektedir. \u00dc\u00e7\u00fcnc\u00fc g\u00f6rselin yan anlamsal olarak neyi tan\u0131mlad\u0131\u011f\u0131n\u0131 tam olarak anlamak i\u00e7in Barthes \u2019in de belirti\u011fi gibi okurun veya bakan\u0131n kendi deneyimleri, tutumlar\u0131 ve duygular\u0131 vas\u0131tas\u0131yla anlamland\u0131rmas\u0131 m\u00fcmk\u00fcn olabilmektedir.<\/p>\n

38 numaral\u0131 olarak tasniflenen kartpostal tek bir foto\u011fraftan meydana gelmektedir. Kartpostal\u0131n \u00f6n y\u00fcz\u00fcnde herhangi bir metinsel a\u00e7\u0131klama bulunmamaktad\u0131r. Arka y\u00fczde bas\u0131m yeri bilgisi ile eser sahibi olarak \u201cfoto: Enver \u00d6zkahraman\u201d yazmakta ve karalanm\u0131\u015f bir alan bulunmaktad\u0131r[\u2020]<\/a>. D\u00fcz anlamsal olarak turistik veya \u00f6zel g\u00fcnleri temsil etmek amac\u0131yla haz\u0131rland\u0131\u011f\u0131 anla\u015f\u0131lmaktad\u0131r. Kartpostalda yolda renkli \u00e7ar\u015faflar giyen kad\u0131nlar\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc sunulmaktad\u0131r. Yan anlamsal olarak g\u00f6r\u00fcnt\u00fcy\u00fc anlamland\u0131rmak ancak g\u00f6renin k\u00fclt\u00fcrel deneyimi taraf\u0131ndan belirlenebilir. 39 numaral\u0131 kartpostal tek foto\u011fraftan olu\u015fmaktad\u0131r. Kartpostal\u0131n \u00f6n y\u00fcz\u00fcnde herhangi bir metinsel a\u00e7\u0131klama bulunmamaktad\u0131r. Kartpostal\u0131n arka y\u00fcz\u00fcnde \u201cAnadolu Ya\u015fant\u0131s\u0131\u201d alt taraf\u0131nda \u00fczeri karalanm\u0131\u015f bir metin ile bas\u0131m yeri bilgisi ile eser sahibi olarak \u201cfoto: Enver \u00d6zkahraman\u201d yazmaktad\u0131r. D\u00fcz anlamsal olarak g\u00f6rselin nereyi ve neyi temsil etti\u011fi veya ne mesaj vermek istedi\u011fi tam anla\u015f\u0131lmamaktad\u0131r. Da\u011fl\u0131k bir co\u011frafyada \u00f6n tarafta y\u00f6resel k\u0131yafetler giymi\u015f k\u00fc\u00e7\u00fck k\u0131zlar arkalar\u0131nda ayn\u0131 y\u00f6resel k\u0131yafetlerden giymi\u015f kad\u0131nlar dizilmi\u015f olarak y\u00fcr\u00fcmektedir. Yan anlamsal olarak kad\u0131nlar\u0131n y\u00fcr\u00fcy\u00fc\u015f\u00fc ile olu\u015fturduklar\u0131 g\u00f6r\u00fcnt\u00fcn\u00fcn anlam\u0131 yal\u0131n anlam\u0131n\u0131n d\u0131\u015f\u0131nda sahip oldu\u011fu k\u00fclt\u00fcr ile kazand\u0131\u011f\u0131 anlamd\u0131r. Eser sahibi olan Enver \u00d6zkahraman kartpostal\u0131 sosyal medya hesab\u0131ndan 1970 y\u0131l\u0131na ait oldu\u011funu belirterek payla\u015fm\u0131\u015ft\u0131r. Payla\u015f\u0131lan kartpostala yap\u0131lan yorumlardan birisinde bir kullan\u0131c\u0131 foto\u011fraf\u0131n babas\u0131n\u0131n sa\u011fd\u0131\u00e7l\u0131\u011f\u0131n\u0131 yapt\u0131\u011f\u0131 Ahmet A\u015fkan\u2019a ait d\u00fc\u011f\u00fcne ait oldu\u011fu, en \u00f6ndeki \u201cberb\u00fcklerin\u201d amca k\u0131zlar\u0131, \u201cHizark\u201d\u00a0giyen bayanlar\u0131n \u00f6n\u00fcndeki \u00e7ocu\u011fun kendisi oldu\u011funu belirtmi\u015ftir (\u00d6zkahraman, 2019). Gelin alma merasiminde kad\u0131nlar\u0131n giydi\u011fi renkli \u00e7ar\u015faflara, \u201cHizark\u201d, gelinin \u00f6n\u00fcnde y\u00fcr\u00fcyen k\u0131z \u00e7ocuklar\u0131na veya kad\u0131nlara da \u201cberb\u00fck\u201d denildi\u011fi anla\u015f\u0131lmaktad\u0131r.<\/p>\n

57 numaral\u0131 olarak tasniflenen kartpostal \u00fc\u00e7 ayr\u0131 foto\u011fraf kolaj\u0131 olarak haz\u0131rlanm\u0131\u015ft\u0131r. D\u00fcz anlamsal olarak incelendi\u011finde birinci foto\u011fraf \u015fehir merkezinin genel g\u00f6r\u00fcnt\u00fcs\u00fc, ikinci foto\u011fraf k\u0131\u015f\u0131n arka fonda da\u011f, \u00f6n tarafta farkl\u0131 renklerde \u00e7ar\u015faflar giyip dizilmi\u015f kad\u0131nlar\u0131n g\u00f6r\u00fcnt\u00fcs\u00fc, \u00fc\u00e7\u00fcnc\u00fc foto\u011fraf ise insans\u0131z karl\u0131 da\u011flar\u0131n ve g\u00f6l\u00fcn oldu\u011fu bir manzara g\u00f6r\u00fcnt\u00fcs\u00fc bulunmaktad\u0131r. Kart\u0131n \u00f6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 ve yan\u0131nda Hakk\u00e2ri yaz\u0131s\u0131 bulunmaktad\u0131r. Kart\u0131n arka y\u00fcz\u00fcndeki a\u00e7\u0131klamada \u201cgenel g\u00f6r\u00fcn\u00fcm, d\u00fc\u011f\u00fcn alay\u0131, temmuz ay\u0131nda Cilo Da\u011flar\u0131nda Sat G\u00f6l\u00fc \u2013Hakk\u00e2ri\/T\u00fcrkiye\u201d a\u00e7\u0131klamas\u0131 bulunmaktad\u0131r. Yan anlamsal olarak incelendi\u011finde birinci foto\u011fraf\u0131n da\u011f\u0131n\u0131k bir \u015fehir plan\u0131na sahip k\u00fc\u00e7\u00fck bir kentin \u015fehir merkezinin genel g\u00f6r\u00fcnt\u00fcs\u00fc i\u00e7erdi\u011fi anla\u015f\u0131lmaktad\u0131r.\u00a0 \u0130kinci foto\u011fraf\u0131n da\u011fl\u0131k bir co\u011frafyadaki k\u0131\u015f mevsimine ait oldu\u011fu, renkli \u00e7ar\u015fafl\u0131 kad\u0131nlar\u0131n tek s\u0131ra olarak y\u00fcr\u00fcd\u00fc\u011f\u00fc g\u00f6r\u00fcnt\u00fcn\u00fcn \u00f6tesinde anlam \u00e7\u0131karmak i\u00e7in k\u00fclt\u00fcrel alt yap\u0131ya sahip olmak gerekmektedir. \u00dc\u00e7\u00fcnc\u00fc foto\u011fraf\u0131n ise da\u011fl\u0131k bir co\u011frafyan\u0131n y\u00fcksek kesimlerinde kar\u0131n yan\u0131nda, g\u00f6l kenar\u0131nda a\u00e7an \u00e7i\u00e7eklerden adeta bir g\u00fcnde d\u00f6rt mevsimin ya\u015fand\u0131\u011f\u0131 bir lokasyon oldu\u011fu anla\u015f\u0131lmaktad\u0131r.<\/p>\n

\u00d6rneklem olarak se\u00e7ilen 33, 38, 39 ve 57 nolu Hakk\u00e2ri kartpostallar\u0131 y\u00f6reye ait k\u00fclt\u00fcrel deneyimi olan okur veya bakan taraf\u0131ndan yan anlamsal olarak anlamland\u0131r\u0131ld\u0131\u011f\u0131nda g\u00f6rsellerdeki sosyal ya\u015fam\u0131n d\u00fc\u011f\u00fcn merasimine ait oldu\u011fu ve gelin alma rit\u00fcelinin foto\u011frafland\u0131\u011f\u0131 anla\u015f\u0131lmaktad\u0131r. Toplumlar\u0131n temelini aile olu\u015fturur ve bunun kurulmas\u0131nda bir\u00e7ok gelenek rol oynamaktad\u0131r. Bu gelenekler evlilik merasimleri kapsam\u0131nda \u00e7e\u015fitli uygulamalara haiz olmu\u015f ve nesiller boyunca \u00fcretilerek devam etmi\u015ftir (Akg\u00fcn, 2020:48). D\u00fcnyan\u0131n bir\u00e7ok yerinde oldu\u011fu gibi Hakkari\u2019de de d\u00fc\u011f\u00fcn merasimi gelene\u011fi bir s\u00fcre\u00e7 niteli\u011findedir. Tarihsel s\u00fcre\u00e7 i\u00e7erisinde toplumsal ya\u015famda meydana gelen yeniliklere ba\u011fl\u0131 olarak birtak\u0131m de\u011fi\u015fimler olmas\u0131na kar\u015f\u0131n d\u00fc\u011f\u00fcn merasimindeki bir\u00e7ok durumda s\u00fcreklilik s\u00f6z konusudur. Hakkari\u2019de d\u00fc\u011f\u00fcn t\u00f6renleri ba\u015f\u0131ndan itibaren ana hatlar\u0131yla; k\u0131z isteme, s\u00f6z kesme (desteser), ba\u015fl\u0131k kesme (nextvebir), \u015feker k\u0131rma (\u015fekir\u015fkandin), ni\u015fanlanma, k\u0131na g\u00f6t\u00fcrme (xenabirin), damad\u0131n k\u0131nas\u0131 (destxenakirina zava), d\u00fc\u011f\u00fcn, sa\u011fd\u0131\u00e7 kahvalt\u0131s\u0131 (sert\u00ea\u015fta birazava), gelin alma, kap\u0131 arkas\u0131, gelinin damat evine geli\u015fi, nikah, mehir, \u015ferbet, \u00e7eyiz \u00fcst\u00fc (sers\u00eani) s\u0131ralamas\u0131yla yap\u0131lmaktad\u0131r. G\u00fcn\u00fcm\u00fczde bu uygulamalardan baz\u0131lar\u0131 uygulanmamaktad\u0131r. Hakkari\u2019de d\u00fc\u011f\u00fcn sahibi aileler d\u00fc\u011f\u00fcn merasimine b\u00fct\u00fcn akraba, dost ve k\u00f6yl\u00fclerini davet ederler. Nispeten kalabal\u0131k olarak yap\u0131lan d\u00fc\u011f\u00fcnlerde hem erkekler hem de kad\u0131nlar en g\u00fczel k\u0131yafetlerini giyerler. Zengin ve renkli bir k\u0131yafet k\u00fclt\u00fcr\u00fc vard\u0131r. Hayat\u0131n ge\u00e7i\u015f d\u00f6nemlerinden biri olan evlenme merasimlerinin bir b\u00f6l\u00fcm\u00fc de gelin alma gelene\u011fidir. Gelin alma veya gelini baba evinden \u00e7\u0131karma evlenecek olan k\u0131z\u0131n babas\u0131n\u0131n evinden \u00f6zel bir t\u00f6renle al\u0131narak g\u00fcvey evine g\u00f6t\u00fcr\u00fclmesidir. Gelin evine gidi\u015f veya d\u00f6n\u00fc\u015f d\u00f6nemin imkanlar\u0131na veya gelin evinin g\u00fcvey evine olan mesafesine ba\u011fl\u0131 olarak yaya, at veya ara\u00e7 ile yap\u0131l\u0131r. Yolculuk esnas\u0131nda da birtak\u0131m rit\u00fceller vard\u0131r. Gelin almaya \u00f6zellikle b\u00fcy\u00fck bir kalabal\u0131k halinde gidilir ki d\u00fc\u011f\u00fcn\u00fcn \u015fan\u0131na yak\u0131\u015f\u0131r bir t\u00f6ren olsun. Hakkari\u2019de k\u0131z evinden gelin alma merasimine konvoy halinde gidilir ve bir\u00e7ok rit\u00fcel ger\u00e7ekle\u015ftirilir. \u00d6nde erkekler, arkada s\u0131ra s\u0131ra dizilmi\u015f gen\u00e7 k\u0131zlar ve kad\u0131nlar t\u00fcrk\u00fc (stran\/ narink) s\u00f6yleyerek gelinin evine gider ve yine t\u00fcrk\u00fclerle oradan ayr\u0131l\u0131r (Yal\u00e7\u0131n, Hakkari Folkloru, 2010). Bu rit\u00fcelde kad\u0131nlar\u0131n giydi\u011fi k\u0131yafetlerin \u00f6zelli\u011fi ve \u00f6zg\u00fcnl\u00fc\u011f\u00fc, y\u00fcr\u00fcrken belli bir d\u00fczene g\u00f6re s\u0131ralanmalar\u0131 bilinmekle beraber Hakk\u00e2ri kartpostallar\u0131nda kullan\u0131lan foto\u011fraflarda g\u00f6r\u00fcnmektedir.<\/p>\n

Ama\u00e7sal \u00f6rneklem ile se\u00e7ilen di\u011fer d\u00f6rt karttan 1 nolu kartpostal d\u00fcz anlamsal olarak s\u00fcvari bir erke\u011fi tan\u0131mlamaktad\u0131r. Kart\u0131n \u00f6n ve arka y\u00fczlerinde a\u00e7\u0131klay\u0131c\u0131 metin bulunmamaktad\u0131r[\u2021]<\/a>. Yan anlamsal olarak incelendi\u011finde at\u0131n \u00fcst\u00fcndeki erke\u011fin \u00fczerinde \u201c\u015fel \u00fb \u015fepik\u201d olarak isimlendirilen erkek k\u0131yafetinin oldu\u011fu g\u00f6r\u00fcnmektedir. Yine 35 nolu kartpostal be\u015f ayr\u0131 foto\u011fraftan kolaj olarak tasarlanm\u0131\u015ft\u0131r. \u00d6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 ve Hakk\u00e2ri ifadesi mevcuttur. Kart\u0131n arka y\u00fcz\u00fcnde bulunan a\u00e7\u0131klamada \u201c\u015fehirden muhtelif g\u00f6r\u00fcn\u00fc\u015fler, Hakk\u00e2ri \/T\u00fcrkiye\u201d bulunmaktad\u0131r. D\u00fcz anlamsal olarak bak\u0131ld\u0131\u011f\u0131nda erkek k\u0131yafeti hakk\u0131nda bir imge olu\u015fmaktad\u0131r. Yan anlamsal olarak incelendi\u011finde birinci foto\u011frafta \u201c\u015fel \u00fb \u015fepik\u201d denilen k\u0131yafeti giymi\u015f erkek bir \u00e7ocu\u011fu anla\u015f\u0131lmaktad\u0131r. 25 nolu kartpostal ise iki ayr\u0131 foto\u011fraftan olu\u015fmaktad\u0131r. Birinci foto\u011fraf bir da\u011f\u0131n ete\u011fine kurulmu\u015f kent merkezini g\u00f6sterirken ikinci foto\u011frafta ise y\u00f6resel k\u0131yafetli bir kad\u0131n bulunmaktad\u0131r. \u00d6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 ve Hakk\u00e2ri ifadesi mevcuttur. Arka y\u00fcz\u00fcnde ise yaln\u0131zca \u201cHakk\u00e2ri, T\u00fcrkiye\u201d a\u00e7\u0131klamas\u0131 bulunmaktad\u0131r. Yan anlamsal olarak foto\u011fraf incelendi\u011finde ikinci foto\u011fraftaki kad\u0131n\u0131n \u201ckiras fistan\u201d olarak isimlendirilen k\u0131yafeti giydi\u011fi anla\u015f\u0131lmaktad\u0131r. 27 nolu kartpostal ise d\u00f6rt ayr\u0131 foto\u011fraftan kolaj olarak tasarlanm\u0131\u015ft\u0131r. Birinci foto\u011fraf yaz mevsiminde kent merkezini, ikinci foto\u011fraf y\u00f6resel k\u0131yafetler giymi\u015f k\u0131z ve erkek \u00e7ocu\u011funu, \u00fc\u00e7\u00fcnc\u00fc foto\u011fraf bir sazl\u0131k \u00e7i\u00e7e\u011fini, d\u00f6rd\u00fcnc\u00fc foto\u011fraf ise k\u0131\u015f mevsiminde kent merkezini g\u00f6stermektedir. Kartpostal\u0131n \u00f6n y\u00fcz\u00fcnde T\u00fcrkiye Cumhuriyeti bayra\u011f\u0131 bulunmakta nereye ait oldu\u011funu belirten k\u0131s\u0131m beyaz bir kutu \u015feklinde bo\u015f olarak g\u00f6r\u00fcnmektedir. Muhtemelen matbaa hatas\u0131 y\u00fcz\u00fcnden metin bask\u0131s\u0131 tamamlanmam\u0131\u015ft\u0131r. Kart\u0131n arka y\u00fcz\u00fcnde \u201cY\u00fcksekova\u2019dan g\u00f6r\u00fcnt\u00fcler, Y\u00fcksekova\u201d a\u00e7\u0131klamas\u0131 bulunmaktad\u0131r. Kartpostal d\u00fcz anlamsal olarak incelendi\u011finde turistik ama\u00e7l\u0131 karma g\u00f6rsellerden olu\u015fmaktad\u0131r. Yan anlamsal olarak incelendi\u011finde iki nolu foto\u011frafta bulunan erkek \u00e7ocu\u011funun \u00fczerinde \u201c\u015fel \u00fb \u015fepik\u201d denen y\u00f6resel k\u0131yafet, k\u0131z \u00e7ocu\u011funun \u00fczerinde \u201ckiras fistan\u201d olarak isimlendirilen y\u00f6resel k\u0131yafet giydi\u011fi anla\u015f\u0131lmaktad\u0131r.<\/p>\n

Yan anlamsal olarak incelenen kartpostallarda giyim ku\u015fama ait verilen ayr\u0131nt\u0131lar b\u00f6lgenin folklorik ve k\u00fclt\u00fcrel miras\u0131 hakk\u0131nda \u00f6nemli \u00e7\u0131kar\u0131mlar ortaya koymaktad\u0131r. Tarih boyunca her toplum ki\u015filerin v\u00fccudunu d\u0131\u015f etkilerden korumak i\u00e7in ya\u015fad\u0131\u011f\u0131 co\u011frafyaya, g\u00fcnl\u00fck i\u015ferine, de\u011ferlerine, \u00f6rf ve adetlerine g\u00f6re farkl\u0131 bi\u00e7im ve \u015fekillerde bir giyim k\u00fclt\u00fcr\u00fc olu\u015fturmu\u015ftur. \u0130nsanlar\u0131n ya\u015fad\u0131\u011f\u0131 b\u00f6lgeye \u00f6zg\u00fc olan bu elbiseler y\u00f6resel k\u0131yafetler olarak tan\u0131mlanmaktad\u0131r (\u00dcnal & Utkun Aktener, 2018:127). Ya\u015fam ko\u015fullar\u0131n\u0131n de\u011fi\u015fmesiyle g\u00fcn\u00fcm\u00fczde bir\u00e7ok y\u00f6rede mahall\u00ee k\u0131yafetler sadece halk oyunlar\u0131 m\u00fcsabaka veya etkinliklerinde giyilse de Hakkari\u2019de yayg\u0131n olarak giyilmektedir. Ya\u015fam ko\u015fullar\u0131n\u0131n de\u011fi\u015fmesi giyim ku\u015fam\u0131n da de\u011fi\u015fmesine sebep olmaktad\u0131r. Yak\u0131n zamana kadar kent merkezlerinde yo\u011fun olarak erkekler ceket, pantolon, g\u00f6mlek giymekle beraber \u00f6zellikle k\u0131rsal b\u00f6lgelerde erkeklerin temel giyim ku\u015fam\u0131 \u201c\u015f\u00eal \u00fb \u015fepik\u201d ve \u201cberg\u00fcz\u2019 dir (Yal\u00e7\u0131n, Hakkari Folkloru, 2015). \u201c\u015eel \u00fb \u015fepik\u201d iki par\u00e7adan olu\u015fan geleneksel ara\u00e7larla \u00fcretilen erkek k\u0131yafetidir. \u201c\u015eel\u201d, tiftik ke\u00e7isinden elde edilen kuma\u015ftan yap\u0131lan ve kemer olarak el \u00f6rmesi olan u\u00e7kur (dox\u00een) ge\u00e7irilen bir \u00e7e\u015fit \u015falvard\u0131r. \u201c\u015eepik\u201d ise ayn\u0131 t\u00fcr ve renk kuma\u015ftan dikilen uzun kollu h\u00e2kim yakal\u0131 g\u00f6mlektir. Dokumada kullan\u0131lan kuma\u015f\u0131n ba\u015flang\u0131\u00e7 tarihi bilinmemekle beraber Bitlis Beyi \u015eeref Han\u2019a ait \u015eerefnamede bulunan minyat\u00fcr resimlerindeki \u201c\u015fel \u00fb \u015fepik\u201d li ile ilgili g\u00f6rseller bu sanat\u0131n varl\u0131\u011f\u0131n\u0131 15. y\u00fczy\u0131l \u00f6ncesine g\u00f6t\u00fcrmektedir (\u00d6zt\u00fcrk, 2021:513). \u201c\u015eel \u00fb \u015fepik\u201d daha \u00e7ok g\u00fcnl\u00fck k\u0131yafet iken \u201cBerg\u00fcz\u201d daha \u00f6zel g\u00fcn k\u0131yafetidir. \u201c\u015eel \u00fb \u015fepik\u201d pa\u00e7alar\u0131 dar iken \u201cberg\u00fcz\u201d pa\u00e7alar\u0131 d\u00fczd\u00fcr. Genellikle ikisinin de \u00fczerine kemer veya ku\u015fak g\u00f6revi g\u00f6ren ve en az 6-7 metre uzunlu\u011fundaki bir bezden yap\u0131lan \u015eutik (ku\u015fak) tak\u0131l\u0131r. \u201c\u015eutik\u201d k\u0131yafetin ayr\u0131lmaz bir par\u00e7as\u0131 olmakla beraber ayn\u0131 renkten yap\u0131lmaz. \u201cBerg\u00fcz\u201dde ku\u015fak olarak \u00e7o\u011funlukla el dokumas\u0131 olan \u201cPi\u015ftb\u00eang\u201d kullan\u0131l\u0131r.<\/p>\n

Modern toplum ya\u015fant\u0131s\u0131n\u0131n yayg\u0131nla\u015fmas\u0131, kullan\u0131m kolayl\u0131\u011f\u0131 benzeri pek \u00e7ok neden eski \u00f6nemini kaybetmeye ba\u015flamakla beraber g\u00fcn\u00fcm\u00fczde Hakkari\u2019de yayg\u0131n olarak kad\u0131nlar geleneksel olan \u201ckiras fistan\u201d giymektedirler. \u201cK\u0131ras\u201d; renkli ve parlak kuma\u015flardan tek par\u00e7a olarak boyundan ayak bileklerine kadar uzanan yandan diki\u015fli entari veya g\u00f6mlektir. Geleneksel olarak kollar\u0131 bir metreye varan uzant\u0131lar\u0131 bulunur. \u00c7o\u011funlukla dirse\u011fin yukar\u0131s\u0131na ba\u011flanan bu uzun kol par\u00e7as\u0131na \u201clewend\u00ee\u201d denir. \u201cFistan\u201d ise \u201ck\u0131ras\u201d \u00fczerine giyilen \u00f6n\u00fc a\u00e7\u0131k boyundan ayak bileklerine kadar uzanan giysidir (Yal\u00e7\u0131n, Hakkari Folkloru, 2015). Gelenekler zaman i\u00e7erisinde olu\u015farak geli\u015fen ve \u015fekillenerek toplumlar\u0131n ya\u015famlar\u0131na y\u00f6n veren \u00f6nemli kavramlard\u0131r. Toplumun tarihsel birikimi i\u00e7erisinde \u015fekillenen dinamik bir kavram olsa da devaml\u0131\u011f\u0131yla gelece\u011fe ta\u015f\u0131nan bir aland\u0131r. Bu bak\u0131mdan toplumlar\u0131n kendi milli kimliklerini ve izlerini olu\u015fturarak onlar\u0131n gelece\u011fe aktar\u0131lmas\u0131n\u0131 sa\u011flarlar<\/p>\n

Sonu\u00e7<\/h4>\n

\u0130nsanlar\u0131n yerle\u015fik hayata ge\u00e7i\u015f yapt\u0131\u011f\u0131 mekanlar olarak kar\u015f\u0131m\u0131za \u00e7\u0131kan kentler insanl\u0131\u011f\u0131n tarihsel geli\u015fiminin \u00f6nemli eserlerinden birisidir. Bir mek\u00e2na yerle\u015ferek olu\u015fturduklar\u0131 kentler toplumsal bir belle\u011fin olu\u015fmas\u0131n\u0131 sa\u011flayarak k\u00fclt\u00fcrel bir miras olu\u015fturmu\u015ftur. \u0130nsanlar, \u00f6zellikle k\u0131sa vadeli ihtiya\u00e7lar\u0131n\u0131 gidermek i\u00e7in farkl\u0131 t\u00fcrlerde efemeralar \u00fcretmi\u015flerdir. Hayat\u0131n bir\u00e7ok alan\u0131nda \u00fcretilmi\u015f olan efemeralar\u0131n bir k\u0131sm\u0131 kaybolmu\u015f iken bir bir k\u0131sm\u0131 i\u00e7erikleri ile g\u00fcn\u00fcm\u00fcz\u00fc ayd\u0131nlatmay\u0131 ba\u015farmaktad\u0131r. \u00a0Bu sayede bilin\u00e7li veya bilin\u00e7siz olarak bir\u00e7ok farkl\u0131 yolla \u00fcretilmi\u015f olan efemeralar ait oldu\u011fu mek\u00e2n\u0131n k\u00fclt\u00fcrel birikiminin aktar\u0131lmas\u0131n\u0131 sa\u011flam\u0131\u015flard\u0131r.<\/p>\n

Toplumlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 kar\u015f\u0131lamak i\u00e7in kulland\u0131\u011f\u0131 kartpostallar g\u00f6rsel ileti\u015fim ara\u00e7lar\u0131 olarak kabul edilmektedirler. \u00c7al\u0131\u015fma kapsam\u0131nda efemaran\u0131n kaybolmaya ba\u015flam\u0131\u015f rit\u00fcellerinden birisi olan kartpostallar incelenmi\u015ftir. Bas\u0131ld\u0131\u011f\u0131 ve kullan\u0131ld\u0131\u011f\u0131 d\u00f6neme g\u00f6re i\u015flevleri de\u011fi\u015fen kartpostallardan olan Hakk\u00e2ri kartpostallar\u0131 genel olarak kentin turistik tan\u0131t\u0131m\u0131 ve \u00f6zel g\u00fcnlerin kutlanmas\u0131 amac\u0131yla \u00fcretilmi\u015flerdir. Elde edilen Hakk\u00e2ri kartpostallar\u0131 incelenmi\u015f bir\u00e7o\u011funun do\u011frudan anlamsal olarak Hakkari\u2019ye ait bilgi vermedi\u011fi g\u00f6r\u00fclm\u00fc\u015ft\u00fcr. Fakat Frans\u0131z dilbilimci Roland Barthes\u2019in g\u00f6stergebilimi dil biliminin dar s\u0131n\u0131rlar\u0131 i\u00e7erisinden \u00e7\u0131kararak ortaya koydu\u011fu g\u00f6stergebilimsel analiz metodu dikkate al\u0131nd\u0131\u011f\u0131nda eldeki dok\u00fcmanlar d\u00fcz anlam ve yan anlamsal olarak incelendi\u011finde Hakk\u00e2ri ile ilgili bir\u00e7ok veri elde edilmi\u015ftir. \u00d6zellikle kartpostallarda foto\u011fraftaki konu ve k\u0131yafetler Hakk\u00e2ri hakk\u0131nda g\u00f6r\u00fcnenden \u00e7ok daha fazla bilgiye ula\u015fmam\u0131z\u0131 sa\u011flam\u0131\u015ft\u0131r. Maddi k\u00fclt\u00fcr\u00fcn ana \u00f6\u011felerinden birisi de giyim ku\u015fam tercihleridir. Kartpostallarda y\u00f6re insan\u0131n\u0131n giyim ku\u015fam\u0131 hakk\u0131nda hi\u00e7bir a\u00e7\u0131klay\u0131c\u0131 metin bulunmazken kartpostal \u00fcreticisinin kulland\u0131\u011f\u0131 foto\u011fraftaki mitler sayesinde k\u00fclt\u00fcrel mirasa ait bir\u00e7ok bilgiye ula\u015f\u0131lm\u0131\u015ft\u0131r. K\u00fclt\u00fcrel miras\u0131n somut olmayan \u00f6rneklerinden d\u00fc\u011f\u00fcn rit\u00fceline ait bir\u00e7ok bilgiye ula\u015f\u0131lm\u0131\u015ft\u0131r. Yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalar ile g\u00f6stergebilimi s\u0131n\u0131rlar\u0131n\u0131 de\u011fi\u015ftiren Barthes\u2019in savundu\u011fu gibi bir\u00e7ok mesaj\u0131n tam olarak anla\u015f\u0131labilmesi okurun veya bakan\u0131n kendi deneyimleri, tutumlar\u0131 ve duygular\u0131 vas\u0131tas\u0131yla anlamland\u0131rmas\u0131 m\u00fcmk\u00fcn olabilmektedir. Hakkari kartpostallar\u0131ndaki gizli kalm\u0131\u015f veriler her insan\u0131n belle\u011finde farkl\u0131l\u0131klar olu\u015fturularak \u00e7\u00f6z\u00fcmlenebilmi\u015ftir. B\u00f6ylece k\u00fclt\u00fcr\u00fcn in\u015fa etti\u011fi \u00f6znel ger\u00e7eklikler b\u00fct\u00fcn\u00fc olan yan anlam\u0131n do\u011fru okunabilmesi i\u00e7in \u00fcretildi\u011fi k\u00fclt\u00fcr\u00fcn \u00f6zelliklerinin iyi bilinmesi gerekti\u011fi varsay\u0131m\u0131 do\u011frulanm\u0131\u015f olmaktad\u0131r.<\/p>\n

Toplumlar\u0131n tarihsel ve k\u00fclt\u00fcrel miraslar\u0131 olan bu gelenekler toplumlar\u0131n kimli\u011fini meydana getirmi\u015ftir. Kartpostal \u00fcreticisi i\u00e7eriklerde kulland\u0131\u011f\u0131 foto\u011fraflar ile k\u00fclt\u00fcrel miras\u0131n yeni ku\u015faklara aktar\u0131lmas\u0131nda b\u00fcy\u00fck rol oynam\u0131\u015ft\u0131r. Ayr\u0131ca k\u00fclt\u00fcrel mirastaki de\u011fi\u015fimleri inceleme alan\u0131 da yaratm\u0131\u015ft\u0131r. Di\u011fer bir yandan s\u00f6z konusu kartlar ula\u015ft\u0131klar\u0131 b\u00f6lgelerde kentin k\u00fclt\u00fcrel kimli\u011fini temsil etmi\u015flerdir. \u00a0Teknolojik geli\u015fmenin getirdi\u011fi k\u00fcreselle\u015fme ile kent kimlikleri veya k\u00fclt\u00fcrel miras de\u011fi\u015fime d\u00f6n\u00fc\u015f\u00fcme u\u011framaktad\u0131r. Yok olmas\u0131 durumunda yenilenmesi imk\u00e2ns\u0131z olan bu k\u00fclt\u00fcrel miras\u0131n korunmas\u0131 korunan nesneler ile sa\u011flanabilir. \u00c7al\u0131\u015fmada elde edilen bulgular \u0131\u015f\u0131\u011f\u0131nda efamaralar t\u00fcrlerinin yayg\u0131n olarak ar\u015fivlenmesi gerekti\u011fi sosyal bilimlerde kaynak olarak daha \u00e7ok kullan\u0131lmas\u0131 gerekti\u011fi sonucuna ula\u015f\u0131lm\u0131\u015ft\u0131r.<\/p>\n

Kaynak\u00e7a<\/strong><\/h4>\n

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\u00a0________________-<\/strong><\/p>\n

<\/a>*Bu \u00e7al\u0131\u015fma 11.05.2022 tarihinde Zaho \u00dcniversitesi b\u00fcnyesinde d\u00fczenlenen The 6th International Scientific Conference\u2018da bildiri olarak sunulan \u201cExamining Cultural Heritage With Efemera: Example of Hakk\u00e2ri Postcards\u201d yeniden d\u00fczenlenip geli\u015ftirilmesiyle olu\u015fturulmu\u015ftur.<\/p>\n

[\u2020]<\/a> Eser sahibi olan Enver \u00d6zkahraman karart\u0131lm\u0131\u015f b\u00f6l\u00fcm i\u00e7in bas\u0131m evi taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131n\u0131 belirtmi\u015ftir. Bas\u0131mevi taraf\u0131ndan siyasi i\u00e7erikli metinlerin yaz\u0131ld\u0131\u011f\u0131n\u0131 ve \u00fclkenin siyasi atmosferinde ya\u015fanan de\u011fi\u015fimlerden dolay\u0131 bas\u0131mevi taraf\u0131ndan metinlerin \u00fczeri karart\u0131ld\u0131\u011f\u0131n\u0131 belirtmi\u015ftir. Bu durumun bir\u00e7ok kartpostal i\u00e7in olu\u015ftu\u011funu ifade etmi\u015ftir.<\/p>\n

[\u2021]<\/a> Enver \u00d6zkahraman\u2019la yap\u0131lan g\u00f6r\u00fc\u015fmede kartpostallar\u0131n kendisine ait oldu\u011funu belirtmi\u015ftir. \u00dclkenin i\u00e7erisinde bulundu\u011fu siyasi atmosferden dolay\u0131 a\u00e7\u0131klay\u0131c\u0131 metinlerin yaz\u0131lmad\u0131\u011f\u0131n\u0131 ifade etmi\u015ftir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Toplumlar\u0131n ileti\u015fim ihtiya\u00e7lar\u0131n\u0131 gidermek i\u00e7in kulland\u0131klar\u0131 bir efemera unsuru olan kartpostallar ge\u00e7mi\u015fte foto\u011fraf\u0131n yan\u0131nda yayg\u0131n turistik \u00f6\u011felerden biri olmas\u0131na ra\u011fmen g\u00fcn\u00fcm\u00fczde neredeyse kaybolan bir kutlama rit\u00fcelidir. G\u00f6rsel bir ileti\u015fim sanat\u0131 olarak kabul edilen kartpostallarda kent manzaras\u0131 d\u0131\u015f\u0131nda sosyal ya\u015fam, meslek, k\u0131yafet gibi imgelerle i\u015flenmi\u015ftir. \u00c7al\u0131\u015fmada birer bilgi kayna\u011f\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kan kartpostallar \u00fczerinden nitel bir ara\u015ft\u0131rma tekni\u011fi olan dok\u00fcman incelemesiyle derinlemesine bir analiz ger\u00e7ekle\u015ftirilmi\u015ftir. \u00c7al\u0131\u015fman\u0131n evrenini Hakk\u00e2ri il ve il\u00e7elerine ait kartpostallar\u0131 olu\u015fturmaktad\u0131r. De\u011ferlendirilen kartpostallar\u0131n kentsel ve y\u00f6resel imge i\u00e7eriklerine g\u00f6re tasniflenerek incelenmesine \u00f6zen g\u00f6sterilmi\u015ftir. Ayr\u0131ca kartpostallar g\u00f6stergebilimsel bir y\u00f6ntemle \u00e7\u00f6z\u00fcmlenmi\u015ftir. \u00c7al\u0131\u015fman\u0131n amac\u0131 efemerayla kentin folklorunu, ekonomik, k\u00fclt\u00fcrel ve sosyal durumunu do\u011frudan veya dolayl\u0131 olarak yans\u0131tan k\u00fclt\u00fcrel miras\u0131na y\u00f6nelik elde edilen veriler \u00fczerinden de\u011ferlendirilmesidir. Ayr\u0131ca bu \u00e7al\u0131\u015fmayla kartpostallarla ilgili eser \u00fcreterek korunmaya de\u011fer bulunan k\u00fclt\u00fcrel miras\u0131n yeni nesillere aktar\u0131lmas\u0131na katk\u0131 sa\u011flanmas\u0131 ama\u00e7lanmaktad\u0131r.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1084],"tags":[3215,6196,3379,6301,6294,5884,6295,6300,1616,6197],"class_list":["post-23077","post","type-post","status-publish","format-standard","","category-arastirma","tag-akademik","tag-akademik-makale","tag-arastirma","tag-bilimsel","tag-efemera","tag-hakkari","tag-kartpostal","tag-makale","tag-manset","tag-murat-adiyaman"],"_links":{"self":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts\/23077","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23077"}],"version-history":[{"count":0,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=\/wp\/v2\/posts\/23077\/revisions"}],"wp:attachment":[{"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=23077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/candname.com\/tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=23077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}