Postmodernizm ak\u0131m\u0131n\u0131n i\u00e7inde ad\u0131 ge\u00e7en bir ba\u015fka Frans\u0131z d\u00fc\u015f\u00fcn\u00fcr Jean Baudrillard<\/strong> \u2019d\u0131r (1929-2007). Baudrillard, kendi a\u011fz\u0131y\u00adla postmodern bir d\u00fc\u015f\u00fcn\u00fcr oldu\u011funu s\u00f6ylemese de \u201cpost-modernizmin en b\u00fcy\u00fck rahibi\u201d olarak g\u00f6sterilmektedir. Ona g\u00f6re ta\u00adrihsel a\u00e7\u0131dan i\u00e7inde bulundu\u011fumuz d\u00f6nem, sim\u00fclasyon veya taklit \u00e7a\u011f\u0131d\u0131r. Baudrillard, toplumun kitlele\u015fti\u011fi bu \u00e7a\u011fda, ideolojilerin bitti\u011fi, anlam\u0131n yakalanmad\u0131\u011f\u0131, t\u00fcketime dayal\u0131 bir hiperger\u00e7eklik ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 ileri s\u00fcrmektedir.<\/p>\n Baudrillard, \u201cg\u00fcn\u00fcm\u00fcz postmodern d\u00fcnyas\u0131n\u0131n ger\u00e7ek bir toplumdan ziyade, sembollerle imajlar\u0131n, ger\u00e7ek ve somut olan\u0131n yerini ald\u0131\u011f\u0131 sanal bir ger\u00e7eklik oldu\u011funu g\u00f6stermek amac\u0131yla ge\u00adli\u015ftirmi\u015f oldu\u011fu bir kavramd\u0131r. Bizim bug\u00fcn, mal ve hizmetlerden ziyade sembollerle imajlar\u0131 al\u0131p satt\u0131\u011f\u0131m\u0131z\u0131, ger\u00e7ek bir tak\u0131m maddi ihtiya\u00e7lar\u0131 kar\u015f\u0131lamaktan \u00e7ok ihtiya\u00e7larla arzular\u0131n psikolojik tat\u00adminini sa\u011flamaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z\u0131 bildirir.”\u00a0<\/sup> Baudrillard, bu imajlar\u0131n ve sembollerin yay\u0131lmas\u0131nda modan\u0131n-\u00f6zelde giyim alan\u0131nda olup di\u011fer t\u00fcketim nesnelerine de de\u011fer kazand\u0131rmas\u0131 bak\u0131m\u0131ndan- et\u00adkili oldu\u011funu s\u00f6yler. Ona g\u00f6re moda, t\u00fcketim \u00fczerindeki etkisini televizyon, reklam gibi cam\u2019\/g\u00f6r\u00fcnt\u00fc kanallar\u0131 arac\u0131l\u0131\u011f\u0131yla sa\u011flar ve yayar.<\/p>\n Jean Baudrillard<\/strong>\u00a0‘a g\u00f6re postmodern toplum, toplumun ge\u00e7irdi\u011fi \u00fc\u00e7 sim\u00fclakran\u0131n (sim\u00fclasyon) \u00e7a\u011f\u0131n\u0131n son evresidir. Sim\u00fclakra nes\u00adnelerin ya da olaylar\u0131n yeniden \u00fcretilmesi olarak d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde, insan\u0131n kulland\u0131\u011f\u0131 sembollerle, bu evrelerdeki farkl\u0131l\u0131\u011f\u0131 g\u00f6sterir. Modern tarihin i\u00e7inde, toplumun anlam \u00fcretimi olarak de\u011ferlen\u00addirebilece\u011fimiz sim\u00fclakra d\u00f6nemleri: \u201cTiyatronun do\u011fu\u015fu, moda, barok sanat vb yenilikler ayn\u0131 zamanda birer i\u015faret a\u011f\u0131d\u0131r ve bunlar feodalitenin do\u011fal i\u015faretlerinin yerini almaya ba\u015flam\u0131\u015flard\u0131r. Jean Baudrillard \u2019a g\u00f6re bu de\u011fi\u015fim ile beraber Birinci Sim\u00fclakra \u00c7a\u011f\u0131na girilmi\u015ftir… \u0130kinci Sim\u00fclakra \u00c7a\u011f\u0131 ise sanayi devrimi ile ortaya \u00e7\u0131k\u00adm\u0131\u015ft\u0131r. Sanayi Devrimi, nesnelerin neredeyse sonsuz say\u0131da yeni\u00adden \u00fcretilebilirli\u011fi demektir; nesneler, bu \u00fcretim s\u00fcreci (akan \u015ferit, otomasyon, robotik vb) i\u00e7inde t\u0131pk\u0131s\u0131n\u0131n ayn\u0131s\u0131 olarak \u00fcretilmeye ba\u015flanm\u0131\u015ft\u0131r. \u00dc\u00e7\u00fcnc\u00fc Simularca D\u00fczeninde ise, \u00fcretimin yerine onun taklidi olan model ge\u00e7mi\u015ftir. Yani metadan i\u015farete ya da sem\u00adbole do\u011fru bir kayma s\u00fcreci ortaya \u00e7\u0131km\u0131\u015ft\u0131r.\u201d<\/p>\n Kapitalizmin \u00fcretime y\u00f6nelik ideolojik g\u00f6r\u00fcn\u00fcm\u00fc belli bir a\u015famadan sonra t\u00fcketim sekt\u00f6r\u00fcne endeksli bir mahiyete b\u00fcr\u00fcn\u00adm\u00fc\u015ft\u00fcr. \u00dcretimi had safhaya ula\u015ft\u0131ran unsurlar 19. y\u00fczy\u0131ldan 20. y\u00fczy\u0131l\u0131n ilk yar\u0131s\u0131na kadar (boyunca) devam eden sanayile\u015fme ve \u00fcretimdeki iktisadi rasyonelliktir (ara\u00e7sal diyebiliriz). \u00dcretimdeki doygunluk 20. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131ndan itibaren de\u011fi\u015fmeye ba\u015f\u00adlam\u0131\u015f, toplumsal alanda egemen k\u00fclt\u00fcr \u00e7al\u0131\u015fma\/\u00fcretme alan\u0131ndan t\u00fcketme alan\u0131na kaym\u0131\u015ft\u0131r diyebiliriz.<\/p>\n Yeni toplumsall\u0131kta, \u201cHar\u00adcama, Haz, Hesaps\u0131zl\u0131k (\u2018\u015fimdi al\u0131n, sonra \u00f6deyin\u2019) temalar\u0131 \u2018p\u00fc\u00adriten\u2019 Tasarruf, \u00c7al\u0131\u015fma ve Malvarl\u0131\u011f\u0131 temalar\u0131n\u0131n yerine ge\u00e7er.\u201d\u00a0 B\u00f6ylece toplumsall\u0131\u011f\u0131n kendisinde ve akt\u00f6rlerde bir rol de\u011fi\u015fimi de ger\u00e7ekle\u015fmi\u015ftir. S\u00f6zgelimi; s\u0131n\u0131f temelli toplumsal analiz ve politik eylemsellik \u00fcretim toplumunda, merkezi bir konumda dururken; t\u00fcketim toplumunun sim\u00fclasyonlar\u0131nda kapitalist nesne t\u00fcm de\u00ad\u011fer g\u00f6stergelerini (g\u00f6sterge ekonomi politi\u011fi) de i\u00e7ine alan bir hale b\u00fcr\u00fcn\u00fcr. Bu y\u00fczden t\u00fcketim toplumu, herkesi ba\u011f\u0131ms\u0131z-yaln\u0131z- bir t\u00fcketici kimli\u011finde olu\u015fturdu\u011fu i\u00e7in, s\u0131n\u0131f gibi ortak bir toplumsal\/ politik hareket olu\u015fmas\u0131n\u0131n imk\u00e2ns\u0131zla\u015ft\u0131\u011f\u0131 bir toplumsall\u0131k ya da Baudrillard \u2018\u0131n deyi\u015fiyle toplumsal\u0131n sonu\/kitlenin do\u011fu\u015fudur.<\/p>\n B\u00f6ylelikle, toplumsall\u0131\u011f\u0131n sonunda yani t\u00fcketim toplumunda s\u0131n\u0131f, ideoloji ve di\u011fer \u00fcst kimlik belirlenimleri gibi insanlar\u0131n an\u00adlam d\u00fcnyalar\u0131n\u0131 olu\u015fturan kavramlar\u0131n anlams\u0131zla\u015ft\u0131\u011f\u0131n\u0131 (\u00f6zellikle t\u00fcketim ekonomisinin nesnesine d\u00f6n\u00fc\u015ft\u00fcr\u00fclemiyorsa) s\u00f6yleyebiliriz. Ger\u00e7ekli\u011fin yitirildi\u011fi ya da sim\u00fclasyonlarla s\u00fcrekli yeniden olu\u015fturuldu\u011fu bir ortamda sabit bir de\u011fer oda\u011f\u0131nda\/etraf\u0131nda bulunmak m\u00fcmk\u00fcn g\u00f6r\u00fcnmemektedir. <\/a>Ger\u00e7e\u011fin yerine hiperger\u00e7ekli\u011fin, a\u015f\u0131r\u0131 ger\u00e7ekli\u011fin, kopyalar\u0131n, sim\u00fclasyonlar\u0131n ge\u00e7ti\u011fi t\u00fc\u00adketim toplumunda her \u015fey TV ekran\u0131ndan yans\u0131t\u0131lan veya Disneyland gibi e\u011flence merkezlerinde olu\u015fturulan bir ger\u00e7eklik duygusu verir.\u00a0<\/sup><\/a> \u0130\u015fte burada Baudrillard \u201cbiz, hayat\u0131n TV i\u00e7inde ve TV’nin hayat i\u00e7inde kayboldu\u011fu bir \u00e7a\u011fda ya\u015f\u0131yoruz,\u201d der.<\/p>\n T\u00fcketim toplumu insan, t\u00fcketerek var olabildi\u011fi i\u00e7in s\u0131k\u0131nt\u0131\u00adl\u0131 bir durumdad\u0131r. Zira t\u00fcketim alan\u0131 d\u00fc\u015f\u00fcn\u00fcld\u00fc\u011f\u00fcnde t\u00fcketim sonsuzlu\u011fu bar\u0131nd\u0131r\u0131rken, bireyin kendi s\u0131n\u0131rl\u0131l\u0131klar\u0131, kapasitesi bu s\u0131k\u0131nt\u0131n\u0131n kayna\u011f\u0131d\u0131r. T\u00fcketici birey, t\u00fcketimde h\u0131z\u0131n\u0131 s\u00fcrekli art\u0131rmak zorundad\u0131r, \u00e7\u00fcnk\u00fc t\u00fcketim nesnelerinin bollu\u011funda ya\u00ad\u015farken, bireyin ger\u00e7ekten var oldu\u011funu g\u00f6sterecek olan ise bireyin ki\u015fisel\/bireysel bir t\u00fcketim tarihi ve \u00e7e\u015fitlili\u011fi koleksiyonu olu\u015fturabilmesidir. Bu a\u00e7\u0131dan birey, m\u00fcmk\u00fcn olan b\u00fct\u00fcn hazlar\u0131 tatma iste\u011fiyle yan\u0131p tutu\u015farak t\u00fcketim sahas\u0131ndaki nesnelerle, deneyim\u00adlerle, e\u011flenmeyle -yani sonu\u00e7ta hazza ula\u015ft\u0131ran t\u00fcketim girdab\u0131n\u00adda- dolan\u0131p durur. Bu birey hi\u00e7bir hazz\u0131 ka\u00e7\u0131rmak istemedi\u011fi i\u00e7in ve herhangi bir \u015feyin haz verip vermedi\u011fini t\u00fcketmeden bilemeye\u00adce\u011fi i\u00e7in t\u00fcketim sahas\u0131nda hi\u00e7bir \u015feyi pas ge\u00e7meden, t\u00fcketerek yol al\u0131r.<\/p>\n Baudrillard \u2018\u0131n deyi\u015fle: \u201cT\u00fcketim insan\u0131 bir \u015feyi, hangi t\u00fcrden olursa olsun bir hazz\u0131 \u201catlama\u201d korkusuyla yat\u0131p kalkar. \u015eu ya da bu tema\u00ads\u0131n, \u015fu ya da bu deneyimin (Kanarya Adalar\u0131nda Noel, Viski \u2019de y\u0131lan bal\u0131\u011f\u0131, Prado, LSD, Japon i\u015fi a\u015fk) size bir \u201cduyu\u201d verip veremeyece\u011fi asla bilinemez. Dolay\u0131s\u0131yla s\u00f6z konusu olan, art\u0131k ne arzu ne de \u201czevk\u201d ya da \u00f6zel e\u011fi\u00adlim, ama yayg\u0131n bir saplant\u0131 haline gelmi\u015f bir merakt\u0131r; e\u011flenme, b\u00fct\u00fcn kendi kendini co\u015fturma, haz alma ya da kendini \u00f6d\u00fcllendirme olanaklar\u0131n\u0131 sonuna kadar zorla\u00adma buyru\u011funun ge\u00e7erli oldu\u011fu \u201cfun-morality”d\\T. T\u00fcketici, insana prestij kazand\u0131ran yani onun varl\u0131\u011f\u0131n\u0131 anlam\u00adland\u0131ran ve onu bir t\u00fcketimden di\u011ferine yollayan t\u00fcketim sistemi i\u00e7indedir.<\/p>\n T\u00fcketim sistemi, t\u00fcketicideki haz duygusunu reklam, moda gibi ara\u00e7larla t\u00fcketime tetikleyici ko\u015fulland\u0131rmalar yarata\u00adrak t\u00fcketim d\u00f6ng\u00fcs\u00fcn\u00fc s\u00fcrekli k\u0131lar. Bu yo\u011fun t\u00fcketim sonucun\u00adda Baudrillard\u2019a g\u00f6re \u201c\u00e7\u00f6p sepeti uygarl\u0131\u011f\u0131\u201d di\u011fer bir deyi\u015fle \u201cd\u0131\u015fk\u0131 k\u00fclt\u00fcr\u00fc\u201d olu\u015fur. Zira t\u00fcketici bireyin do\u011fas\u0131ndaki s\u0131n\u0131rl\u0131l\u0131klar, yeni bir t\u00fcketim i\u00e7in alan a\u00e7\u0131lmas\u0131n\u0131 zorunlu k\u0131lar. B\u00f6ylece her t\u00fcketim asl\u0131nda tamamlanmadan art\u0131k\u2019 haline gelerek \u00e7\u00f6p uygarl\u0131\u011f\u0131n\u0131n iyi\u00adce b\u00fcy\u00fcmesine yol a\u00e7ar. Baudrillard, t\u00fcketici insan\u0131n\u0131n bu t\u00fcketim a\u011f\u0131nda t\u00fcketip att\u0131\u011f\u0131 \u015feyle tan\u0131mlanabilece\u011fini s\u00f6yler: bana f\u0131rlat\u0131p att\u0131\u011f\u0131n \u015feyi s\u00f6yle, sana kim oldu\u011funu s\u00f6yleyeyim!<\/p>\n Neticede, t\u00fcketim toplumu postmodern d\u00f6nemi niteleyen \u00f6nemli kavramlardan biri olarak de\u011ferlendirildi\u011finde, t\u00fcketimi sa\u011flayan haz ve e\u011flence ahlak\u0131 ayn\u0131 zamanda Baudrillard a\u00e7\u0131s\u0131ndan toplumsall\u0131\u011f\u0131 dinamitleyen bir de\u011ferler sisteminin de kayna\u011f\u0131d\u0131r. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda postmodern d\u00fcnyada insan ve toplumu m\u0131\u015f gibi yap\u0131lan\u2019 bir \u015fey semboller ve imajlar\u0131n ger\u00e7ek ve somutun yerini ald\u0131\u011f\u0131 sanal bir ger\u00e7eklik\u201d olarak g\u00f6rebiliriz. <\/sup>B\u00f6ylece in\u00adsan\u0131n, geleneksel, tarihsel devaml\u0131kla y\u0131llar boyu s\u00fcren bir anlam d\u00fcnyas\u0131ndan \u00e7\u0131k\u0131p\/s\u0131yr\u0131l\u0131p g\u00fcndelik \u2018marka\u2019lar diyar\u0131nda varl\u0131k s\u0131\u00adfat\u0131na kavu\u015fan ve etiket ta\u015f\u0131yan birer reklam panosu g\u00f6reviyle ya\u015fa\u00adm\u0131m devam ettirdi\u011fini ileri s\u00fcrebiliriz.<\/p>\n T\u00fcketici, insana prestij kazand\u0131ran yani onun varl\u0131\u011f\u0131n\u0131 anlam\u00adland\u0131ran ve onu bir t\u00fcketimden di\u011ferine yollayan t\u00fcketim sistemi i\u00e7indedir. T\u00fcketim sistemi, t\u00fcketicideki haz duygusunu reklam, moda gibi ara\u00e7larla t\u00fcketime tetikleyici ko\u015fulland\u0131rmalar yarata\u00adrak t\u00fcketim d\u00f6ng\u00fcs\u00fcn\u00fc s\u00fcrekli k\u0131lar. Bu yo\u011fun t\u00fcketim sonucun\u00adda Jean Baudrillard ‘a g\u00f6re \u201c\u00e7\u00f6p sepeti uygarl\u0131\u011f\u0131\u201d di\u011fer bir deyi\u015fle \u201cd\u0131\u015fk\u0131 k\u00fclt\u00fcr\u00fc\u201d olu\u015fur. Zira t\u00fcketici bireyin do\u011fas\u0131ndaki s\u0131n\u0131rl\u0131l\u0131klar, yeni bir t\u00fcketim i\u00e7in alan a\u00e7\u0131lmas\u0131n\u0131 zorunlu k\u0131lar. B\u00f6ylece her t\u00fcketim asl\u0131nda tamamlanmadan art\u0131k\u2019 haline gelerek \u00e7\u00f6p uygarl\u0131\u011f\u0131n\u0131n iyi\u00adce b\u00fcy\u00fcmesine yol a\u00e7ar. Baudrillard, t\u00fcketici insan\u0131n\u0131n bu t\u00fcketim a\u011f\u0131nda t\u00fcketip att\u0131\u011f\u0131 \u015feyle tan\u0131mlanabilece\u011fini s\u00f6yler: bana f\u0131rlat\u0131p att\u0131\u011f\u0131n \u015feyi s\u00f6yle, sana kim oldu\u011funu s\u00f6yleyeyim!<\/p>\n Neticede, t\u00fcketim toplumu postmodern d\u00f6nemi niteleyen \u00f6nemli kavramlardan biri olarak de\u011ferlendirildi\u011finde, t\u00fcketimi sa\u011flayan haz ve e\u011flence ahlak\u0131 ayn\u0131 zamanda Baudrillard a\u00e7\u0131s\u0131ndan toplumsall\u0131\u011f\u0131 dinamitleyen bir de\u011ferler sisteminin de kayna\u011f\u0131d\u0131r. Bu a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda postmodern d\u00fcnyada insan ve toplumu m\u0131\u015f gibi yap\u0131lan’ bir \u015fey semboller ve imajlar\u0131n ger\u00e7ek ve somutun yerini ald\u0131\u011f\u0131 sanal bir ger\u00e7eklik\u201d olarak g\u00f6rebiliriz.\u00a0<\/sup> B\u00f6ylece in\u00adsan\u0131n, geleneksel, tarihsel devaml\u0131kla y\u0131llar boyu s\u00fcren bir anlam d\u00fcnyas\u0131ndan \u00e7\u0131k\u0131p\/s\u0131yr\u0131l\u0131p g\u00fcndelik ‘marka\u2019lar diyar\u0131nda varl\u0131k s\u0131\u00adfat\u0131na kavu\u015fan ve etiket ta\u015f\u0131yan birer reklam panosu g\u00f6reviyle ya\u015fa\u00adm\u0131n\u0131 devam ettirdi\u011fini ileri s\u00fcrebiliriz.<\/p>\n Modernite, Postmodernite ve Bauman, Mehmet E. \u015eim\u015fek, Belge Yay\u0131nlar\u0131<\/p>\n","protected":false},"excerpt":{"rendered":" Jean Baudrillard Postmodernizm ak\u0131m\u0131n\u0131n i\u00e7inde ad\u0131 ge\u00e7en bir ba\u015fka Frans\u0131z d\u00fc\u015f\u00fcn\u00fcr Jean Baudrillard \u2019d\u0131r (1929-2007). Baudrillard, kendi a\u011fz\u0131y\u00adla postmodern bir d\u00fc\u015f\u00fcn\u00fcr oldu\u011funu s\u00f6ylemese de \u201cpost-modernizmin en b\u00fcy\u00fck rahibi\u201d olarak g\u00f6sterilmektedir. Ona g\u00f6re ta\u00adrihsel a\u00e7\u0131dan i\u00e7inde bulundu\u011fumuz d\u00f6nem, sim\u00fclasyon veya taklit \u00e7a\u011f\u0131d\u0131r. Baudrillard, toplumun kitlele\u015fti\u011fi bu \u00e7a\u011fda, ideolojilerin bitti\u011fi, anlam\u0131n yakalanmad\u0131\u011f\u0131, t\u00fcketime dayal\u0131 bir hiperger\u00e7eklik ortaya […]<\/p>\n","protected":false},"author":1,"featured_media":5315,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[266],"tags":[],"class_list":["post-5308","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-felsefesi"],"yoast_head":"\nSim\u00fclasyon \u00c7a\u011f\u0131n\u0131n Son Evresi<\/h3>\n
T\u00fcketim Ekonomisinin Nesnesi<\/h3>\n
Hazz\u0131 Atlama Korkusu<\/h3>\n
\u00c7\u00f6p Sepeti Uygarl\u0131\u011f\u0131<\/h3>\n