Bir harf b\u00fcy\u00fct\u00fcld\u00fc\u011f\u00fcnde ne olur?<\/p>\n\n\n\n
Gramer a\u00e7\u0131s\u0131ndan belirli kurallara ya da bir norma i\u015faret etmenin d\u0131\u015f\u0131nda, hi\u00e7. K\u00fclt\u00fcrel a\u00e7\u0131dan ise fazlas\u0131n\u0131 ifade edebilir. B\u00fcy\u00fck harf, yaln\u0131zca c\u00fcmlenin ba\u015f\u0131n\u0131 de\u011fil, ayn\u0131 zamanda merkezi, ayr\u0131cal\u0131kl\u0131, \u201c\u00f6zel\u201d olan\u0131 belirtir. \u0130simleri b\u00fcy\u00fct\u00fcr, kurumlar\u0131 y\u00fcceltir. \u00d6rne\u011fin, Tanr\u0131\u2019y\u0131 di\u011fer tanr\u0131lardan ay\u0131r\u0131r.<\/p>\n\n\n\n
Dil, g\u00f6r\u00fcn\u00fc\u015fte tarafs\u0131z bir ileti\u015fim arac\u0131 gibi de\u011ferlendirilse de iktidar ili\u015fkilerini, temsiliyetleri, hiyerar\u015fileri ve toplumsal normlar\u0131 i\u00e7inde bar\u0131nd\u0131ran ve yeniden \u00fcreten bir alan. Yaz\u0131 dilindeki en \u201cteknik\u201d gibi g\u00f6r\u00fcnen tercihler bile \u2014\u00f6rne\u011fin \u00f6zel isimlerin b\u00fcy\u00fck harfle yaz\u0131lmas\u0131\u2014 politik bir anlam kazanabilir. \u201cDo\u011fru yaz\u0131m\u201d, \u201cresmi imla\u201d, \u201cmakbul dil\u201d gibi kavramlar merkezi otoritenin ara\u00e7lar\u0131na d\u00f6n\u00fc\u015febilir. <\/p>\n\n\n\n
Baz\u0131 feminist yazarlar, kuir kuramc\u0131lar, dekolonyal akademisyenler ve sanat\u00e7\u0131lar, yaz\u0131 dilindeki otoriter yap\u0131y\u0131 sorgulayarak b\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131 bilin\u00e7li olarak reddediyor. K\u00fc\u00e7\u00fck harf direni\u015fi, bu ele\u015ftirel itirazlar\u0131n somut bir bi\u00e7imi. S\u00f6z konusu itiraz, yaln\u0131zca bir yaz\u0131m tercihi olman\u0131n \u00f6tesinde, ataerkillikten kapitalizme, beyaz \u00fcst\u00fcnl\u00fck\u00e7\u00fcl\u00fc\u011f\u00fcnden s\u00f6m\u00fcrgecili\u011fe kadar uzanan bask\u0131 mekanizmalar\u0131na kar\u015f\u0131 geli\u015ftirilmi\u015f bilin\u00e7li bir kar\u015f\u0131 duru\u015f bi\u00e7imi: harfi k\u00fc\u00e7\u00fclt\u00fcrken sesini y\u00fckseltmek.<\/p>\n\n\n\n
K\u00fc\u00e7\u00fck harf politikas\u0131n\u0131n en bilinen \u00f6nc\u00fcs\u00fc, feminist yazar ve aktivist bell hooks. As\u0131l ad\u0131 Gloria Jean Watkins olan yazar, b\u00fcy\u00fckannesinin ad\u0131ndan esinlenerek olu\u015fturdu\u011fu takma ad\u0131n\u0131 k\u00fc\u00e7\u00fck harfle yazmay\u0131 tercih eder. Amac\u0131 basit ve net: bu yolla okuyucunun dikkatini kendi ki\u015fili\u011finden \u00e7ok eserlerindeki fikirlere ve mesajlara \u00e7ekmek. <\/p>\n\n\n\n
Bu bilin\u00e7li tercih bir\u00e7ok anlam ta\u015f\u0131yor ayn\u0131 anda: kad\u0131nlar\u0131n miras\u0131n\u0131 onurland\u0131rmak, yazar kimli\u011finin merkezili\u011fini azaltmak, metnin i\u00e7eri\u011fini ve d\u00fc\u015f\u00fcnceyi bireysel egonun \u00f6n\u00fcne ge\u00e7irmek. Belki de en \u00f6nemlisi; patriyarkal k\u00fclt\u00fcrde \u201cb\u00fcy\u00fck isim\u201d, \u201cotorite fig\u00fcr\u00fc\u201d ve \u201ckanon\u201d \u00fcretimi gibi kabullere sessizce itiraz etmek.<\/p>\n\n\n\n
Burada, \u201ckim b\u00fcy\u00fct\u00fcl\u00fcyor, kim k\u00fc\u00e7\u00fck b\u0131rak\u0131l\u0131yor?\u201d sorusuyla bir not ekleyelim: \u00f6rne\u011fin; kanon \u00fcretimi, tam da bu b\u00fcy\u00fctme prati\u011fidir: baz\u0131 yazarlar k\u00fclt\u00fcrel haf\u0131zaya \u201cb\u00fcy\u00fck isim\u201d olarak yerle\u015fir, ders kitaplar\u0131na girer, baz\u0131lar\u0131 dipnotta kal\u0131r. Baz\u0131 eserler, t\u00fcrler, hatta deneyimler \u201cevrensel\u201d diye sunulur, baz\u0131lar\u0131 \u201cmarjinal\u201d diye etiketlenir. Feminist ele\u015ftiri, bu se\u00e7imin tarafs\u0131z olmad\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor: kanon yaln\u0131zca estetik, edebi bir liste de\u011fil, g\u00fc\u00e7 da\u011f\u0131l\u0131m\u0131n\u0131n k\u00fclt\u00fcrel kayd\u0131d\u0131r. K\u00fc\u00e7\u00fck harfle yazmak, bu \u00e7er\u00e7evede bir stil tercihi olmaktan \u00e7\u0131k\u0131p bir duru\u015fa d\u00f6n\u00fc\u015f\u00fcr. \u0130sim k\u00fc\u00e7\u00fcl\u00fcrken d\u00fc\u015f\u00fcnce \u00f6ne \u00e7\u0131kar, yazar geri \u00e7ekilirken metin alan kazan\u0131r, \u201cb\u00fcy\u00fck isim\u201d fikrine mesafe konur. <\/p>\n\n\n\n
\u00c7a\u011fda\u015f siyah feminist d\u00fc\u015f\u00fcncenin \u00f6nemli seslerinden, yazar ve aktivist adrienne maree brown da ismini bilin\u00e7li olarak k\u00fc\u00e7\u00fck harflerle yazar. brown’un bu tercihe ili\u015fkin a\u00e7\u0131klamas\u0131, hem ki\u015fisel hem de politiktir: “neyi b\u00fcy\u00fck harfle yazaca\u011f\u0131ma kendim karar vermeyi seviyorum ve k\u00fc\u00e7\u00fck harfler genellikle bana estetik olarak daha ho\u015f geliyor.” <\/p>\n\n\n\n
Bu s\u00f6zlerin arkas\u0131nda g\u00fc\u00e7l\u00fc bir itiraz var: dil kurallar\u0131 ki\u015finin \u00f6z-belirleme hakk\u0131n\u0131n \u00f6n\u00fcne ge\u00e7memeli. Estetik tercih de politik tercih kadar de\u011ferlidir. brown\u2019un yaz\u0131lar\u0131nda s\u0131k\u00e7a kar\u015f\u0131la\u015f\u0131lan bir fikir de bu itirazla uyumlu: mikro d\u00f6n\u00fc\u015f\u00fcmler, b\u00fcy\u00fck devrimler kadar politiktir. <\/p>\n\n\n\n
K\u00fc\u00e7\u00fck harf tercihi, bu mikro-politik alan\u0131n par\u00e7as\u0131 say\u0131labilir. Bi\u00e7imin i\u00e7indeki hiyerar\u015fiyi gev\u015fetmek d\u00fcnyay\u0131 kurma bi\u00e7imini de esnetir. “Haz aktivizmi” kavram\u0131n\u0131n yarat\u0131c\u0131s\u0131 olarak brown, aktivizmin zevkli, ili\u015fki odakl\u0131 ve topluluk\u00e7u olabilece\u011fini savunur. Dilsel tercihler de bu anlay\u0131\u015f\u0131n d\u0131\u015f\u0131nda de\u011fil.<\/p>\n\n\n\n
T\u00fcrkiye’de bu politikan\u0131n \u00f6nc\u00fcs\u00fc, feminist yazar ay\u015fe d\u00fczkan. d\u00fczkan, yaz\u0131lar\u0131nda b\u00fcy\u00fck harf kullanmama tercihini i\u015flevsellik temelinde a\u00e7\u0131kl\u0131yor: \u201cb\u00fcy\u00fck harflerin dilde belirgin bir i\u015flevi yoktur; c\u00fcmlenin ba\u015flang\u0131c\u0131n\u0131 zaten noktadan anlar\u0131z, \u00f6zel isimler de zaten \u00f6zeldir.\u201d d\u00fczkan, ger\u00e7ek\u00fcst\u00fcc\u00fclerin manifestosu ve Almanya’daki K\u0131z\u0131l Ordu Fraksiyonu gibi gruplar\u0131n yaz\u0131m pratiklerine de i\u015faret ederek b\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131 “bir k\u00fclfetten ba\u015fka bir \u015fey de\u011fil” s\u00f6zleriyle tan\u0131ml\u0131yor. Bu a\u00e7\u0131dan ay\u015fe d\u00fczkan\u2019\u0131n k\u00fc\u00e7\u00fck harf tercihi, eril dil normlar\u0131na kar\u015f\u0131 sembolik bir itiraz olarak okunabilir.<\/p>\n\n\n\n
Teknoloji ve sosyal medya ara\u015ft\u0131rmac\u0131s\u0131 danah boyd, ismini bilin\u00e7li olarak k\u00fc\u00e7\u00fck harflerle yazan akademisyenlerden. boyd, bu tercihini hem ki\u015fisel hem de politik nedenlere dayand\u0131r\u0131yor. Dijital \u00e7a\u011fda g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn ya da dijital kimli\u011fin in\u015fas\u0131nda dilsel tercihlerin rol\u00fcn\u00fc ve i\u015fleyi\u015fini yak\u0131ndan bilen biri olarak boyd\u2019un kendi ad\u0131n\u0131 k\u00fc\u00e7\u00fck harfle yazma tercihi, ki\u015fisel otoriteyi yumu\u015fatman\u0131n somut bir yolu.<\/p>\n\n\n\n
\u015eair rupi kaur, k\u00fc\u00e7\u00fck harf tercihini anadili Pencap\u00e7a’ya bir sayg\u0131 duru\u015fu olarak a\u00e7\u0131kl\u0131yor. Pencap\u00e7a yaz\u0131 sistemi, b\u00fcy\u00fck-k\u00fc\u00e7\u00fck harf ayr\u0131m\u0131 i\u00e7ermiyor. kaur’un \u0130ngilizce \u015fiirlerinde k\u00fc\u00e7\u00fck harf kullanmas\u0131, hem k\u00fclt\u00fcrel k\u00f6klere ba\u011fl\u0131l\u0131\u011f\u0131n hem de \u0130ngilizcenin dayatt\u0131\u011f\u0131 yaz\u0131m kurallar\u0131na kar\u015f\u0131 bir duru\u015fun ifadesi. <\/p>\n\n\n\n
kaur, metnin ak\u0131\u015f\u0131n\u0131 e\u015fitlemek ve s\u00fcreklilik hissi yaratmak i\u00e7in \u015fiirlerinde noktalama da kullanmaz. \u015eiir ba\u011f\u0131rmaz, akar, bi\u00e7im i\u00e7erikle uyumlu bir yumu\u015fakl\u0131k \u00fcretir. K\u00fc\u00e7\u00fck harf bu a\u00e7\u0131dan yaln\u0131zca bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015f de\u011fil, estetik bir tercih: hiyerar\u015fi yerine ak\u0131\u015f, dikeylik yerine yatayl\u0131k, ilan etmek yerine payla\u015fmak.<\/p>\n\n\n\n
Kanadal\u0131 akademisyen linda many guns’\u0131n ba\u015fkanl\u0131\u011f\u0131n\u0131 yapt\u0131\u011f\u0131 yerli \u00e7al\u0131\u015fmalar\u0131 k\u00fcrs\u00fcs\u00fc, b\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131 “yerli halklar\u0131n m\u00fccadelesinin tan\u0131nmas\u0131 amac\u0131yla” tamamen terk etme karar\u0131 ald\u0131. Bu karar, bir dilsel tercihin kurumsal d\u00fczeyde kabul g\u00f6rerek dekolonyal bir kar\u015f\u0131 duru\u015fa d\u00f6n\u00fc\u015fmesinin en somut \u00f6rneklerinden biri. <\/p>\n\n\n\n
Kolonyal d\u00fczen, yaln\u0131zca topraklar\u0131 de\u011fil, dili ve yaz\u0131m kurallar\u0131n\u0131 da standartla\u015ft\u0131rarak egemenlik kurar. \u201cDo\u011fru yaz\u0131m\u201d normlar\u0131, merkezi (yani \u00e7o\u011fu zaman beyaz ve Bat\u0131l\u0131) otoritenin, bilgi rejimlerinin dilsel yans\u0131mas\u0131d\u0131r.<\/p>\n\n\n\n
Mount Royal \u00dcniversitesi yetkilileri, dr. linda many guns\u2019a ve k\u00fcrs\u00fcs\u00fcne, kamp\u00fcste ve d\u0131\u015f\u0131nda y\u00fcr\u00fctt\u00fckleri \u00e7al\u0131\u015fmada tam destek verdiklerini a\u00e7\u0131klarken dr. linda many guns’\u0131n ismini k\u00fc\u00e7\u00fck harflerle yazd\u0131. B\u00f6ylece hem bu politik duru\u015fu bizzat uygulayarak onaylad\u0131 hem de kurumsal d\u00fczeyde dil politikalar\u0131n\u0131n tart\u0131\u015fmaya a\u00e7\u0131labilece\u011fini g\u00f6sterdi.<\/p>\n\n\n\n
Ancak bu karar, tepkisiz de kalmad\u0131. \u00dcniversitedeki muhafazakar \u00f6\u011frenci kul\u00fcb\u00fc ba\u015fkan\u0131 Wyatt Claypool uygulamay\u0131 “kasten b\u00f6l\u00fcc\u00fc” olarak nitelendirdi; many guns’\u0131 “kimlik siyaseti ” yapmakla ve \u00e7al\u0131\u015ft\u0131\u011f\u0131 kurumu \u0131rk\u00e7\u0131l\u0131kla itham etmekle su\u00e7lad\u0131. \u00c7\u00f6z\u00fcm\u00fcn “bell hooks gibi radikal bir feministin pratiklerini benimsemek olmad\u0131\u011f\u0131n\u0131” s\u00f6yledi. Bu tepki, dilsel tercihin ana ak\u0131m muhafazakarl\u0131k taraf\u0131ndan nas\u0131l okundu\u011funu da ortaya koyuyor: radikal feminist duru\u015fun, mevcut d\u00fczeni tehdit eden bir unsur olarak alg\u0131lanmas\u0131.<\/p>\n\n\n\n
Bu vaka, k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131n\u0131n bir yaz\u0131m hatas\u0131 ya da \u201cmasum\u201d bir yaz\u0131m tercih olmad\u0131\u011f\u0131n\u0131; aksine, akademik kurumlar\u0131 sorgulamaya, muhafazakar gruplar\u0131 ise tepkiye itebilen, g\u00fc\u00e7l\u00fc ve ayr\u0131\u015ft\u0131r\u0131c\u0131 bir politik simgeye d\u00f6n\u00fc\u015febilece\u011fini g\u00f6steriyor. \u00dcniversitenin “tam destek” a\u00e7\u0131klamas\u0131, bu t\u00fcr bir dilsel direni\u015fin dekolonizasyon politikalarla nas\u0131l eklemlenebildi\u011fini, gelen tepkiler ise bu prati\u011fin h\u00e2l\u00e2 ana ak\u0131m i\u00e7in ne kadar “radikal” ve “kabul edilemez” g\u00f6r\u00fclebildi\u011fini yans\u0131t\u0131yor.<\/p>\n\n\n\n
Kanadal\u0131 akademisyen peter kulchyski de ismini k\u00fc\u00e7\u00fck harflerle yazarak dilbilgisine yaz\u0131lm\u0131\u015f hiyerar\u015fileri reddediyor. Yerli halklar alan\u0131nda yapt\u0131\u011f\u0131 \u00e7al\u0131\u015fmalarla tan\u0131nan kulchyski’nin bu tercihi, linda many guns \u00f6rne\u011finde oldu\u011fu gibi, akademik d\u00fcnyada dilin s\u00f6m\u00fcrgeci miras\u0131na kar\u015f\u0131 bir duru\u015f olarak okunabilir. kulchyski, yerli m\u00fccadeleleri ba\u011flam\u0131nda isim, temsil ve bilgi \u00fcretimi meselelerini tart\u0131\u015f\u0131rken yaz\u0131 pratiklerinin de bu iktidar a\u011flar\u0131ndan ba\u011f\u0131ms\u0131z olmad\u0131\u011f\u0131n\u0131 hat\u0131rlat\u0131r. Bu a\u00e7\u0131dan k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131, sembolik bir e\u015fitleme hareketidir: \u00f6zel\/genel ayr\u0131m\u0131n\u0131 esnetir, \u201cmerkez\u201din g\u00f6rsel \u00fcst\u00fcnl\u00fc\u011f\u00fcn\u00fc azalt\u0131r, isim k\u00fc\u00e7\u00fcl\u00fcrken s\u00f6z yatayla\u015f\u0131r.<\/p>\n\n\n\n
E\u011fitimci ve aktivist jeewan chanicka ise ismini k\u00fc\u00e7\u00fck harflerle yazarak kendini merkezden uzakla\u015ft\u0131rmay\u0131 (decenter) hedefler. Bu tercih, \u00f6zellikle e\u011fitim ve toplumsal adalet alanlar\u0131nda \u00e7al\u0131\u015fanlar i\u00e7in hiyerar\u015fik temsil bi\u00e7imlerine kar\u015f\u0131 \u00f6nemli bir politik duru\u015ftur: bireysel egonun, \u00fczerinde \u00e7al\u0131\u015f\u0131lan toplumsal meselelerin \u00f6n\u00fcne ge\u00e7mesini engellemek. \u00d6zellikle kurumsal a\u00e7\u0131dan, isim b\u00fcy\u00fctmenin g\u00fcc\u00fc ki\u015fide toplad\u0131\u011f\u0131n\u0131, kolektif m\u00fccadelenin ise ki\u015fisel y\u00fcceltmelere de\u011fil, yatay ili\u015fkilere dayand\u0131\u011f\u0131n\u0131 vurgular. <\/p>\n\n\n\n
Daha erken bir \u00f6rnek olarak; \u015fair e. e. cummings de geleneksel olmayan yaz\u0131m tarz\u0131yla tan\u0131n\u0131r. \u015eiirlerinde b\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131 reddeden cummings’in ismi, yay\u0131nc\u0131lar ve okurlar taraf\u0131ndan da k\u00fc\u00e7\u00fck harflerle yaz\u0131lagelmi\u015ftir. cummings\u2019in tipografik deneyleri yaln\u0131zca k\u00fc\u00e7\u00fck harfle s\u0131n\u0131rl\u0131 de\u011fil; s\u00f6zdizimini ve sayfa d\u00fczenini bozarak dilin otoritesini k\u0131rmay\u0131 ama\u00e7lar. Bu prati\u011fi, daha sonra feminist ve kuir estetikte yank\u0131 bulan \u201cbi\u00e7imsel isyan\u201d\u0131n \u00f6nc\u00fcllerinden say\u0131l\u0131r.<\/p>\n\n\n\n
Sivil haklar uzman\u0131 john a. powell ise ismini k\u00fc\u00e7\u00fck harflerle yazarak, insanlar\u0131n “evrenin bir par\u00e7as\u0131 oldu\u011fu, b\u00fcy\u00fck harflerin i\u015faret etti\u011fi gibi onun \u00fczerinde olmad\u0131\u011f\u0131” inanc\u0131n\u0131 yans\u0131t\u0131r. Botanik\u00e7i Robin Wall Kimmerer ise “Braiding Sweetgrass” (Kutsal Otu \u00d6rmek) adl\u0131 eserinde bunun tersini yapm\u0131\u015f, hayvan ve bitki isimlerini b\u00fcy\u00fck harfle yazarak sayg\u0131s\u0131n\u0131 g\u00f6stermi\u015f, insan istisnac\u0131l\u0131\u011f\u0131 varsay\u0131m\u0131n\u0131 sorgulam\u0131\u015ft\u0131r.<\/p>\n\n\n\n
Kuir estetik, meseleyi bi\u00e7imsel bir \u00f6zg\u00fcrl\u00fck alan\u0131na ta\u015f\u0131yor ve k\u00fc\u00e7\u00fck harf daha geni\u015f bir kuir tipografi aray\u0131\u015f\u0131n\u0131n da \u00f6nemli bir par\u00e7as\u0131n\u0131 olu\u015fturuyor. Kuir estetik aray\u0131\u015f\u0131yla \u00e7al\u0131\u015fan baz\u0131 tasar\u0131mc\u0131lar, tipografiyi norm k\u0131r\u0131c\u0131 bir alan olarak de\u011ferlendiriyor. B\u00fcy\u00fck\/k\u00fc\u00e7\u00fck, \u00f6zel\/genel, merkez\/kenar gibi ikilikler zaten kuir d\u00fc\u015f\u00fcncenin sorgulad\u0131\u011f\u0131 kategoriler. Harflerin hiyerar\u015fisini ya da normunu bozmak, kimlik hiyerar\u015fisini bozman\u0131n bir t\u00fcr tipografik akrabas\u0131 gibi. B\u00fcy\u00fck harf, dikey bir yap\u0131 kurar; k\u00fc\u00e7\u00fck harf yatay bir ak\u0131\u015f yarat\u0131r. Biri resmiyeti, di\u011feri samimiyeti \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Biri k\u00fcrs\u00fcden konu\u015fur, di\u011feri yan yana oturur.<\/p>\n\n\n\n
Tasar\u0131mc\u0131 ve e\u011fitimci Paul Soulellis’in ifade etti\u011fi gibi, “kuir tipografi” belirli bir estetikten \u00e7ok, bir tav\u0131r, bir duru\u015f meselesi. Bu aray\u0131\u015f, tipografi end\u00fcstrisinin ve grafik tasar\u0131m disiplininin i\u00e7ine i\u015fleyen “ba\u015far\u0131 mant\u0131\u011f\u0131n\u0131” (bireycilik, kontrol, kesinlik, m\u00fckemmel okunabilirlik, dahiyane yazar miti gibi kapitalist ve hetero-patriyarkal de\u011ferler) ve bunlar\u0131n beslendi\u011fi g\u00fc\u00e7 a\u011flar\u0131n\u0131 (beyaz \u00fcst\u00fcnl\u00fck\u00e7\u00fcl\u00fc\u011f\u00fc, kapitalizm, s\u00f6m\u00fcrgecilik) sorgular.<\/p>\n\n\n\n
Soulellis’in aktard\u0131\u011f\u0131na g\u00f6re, 1960’lar\u0131n e\u015fcinsel kurtulu\u015f hareketi dergilerinden, 70’lerin disko ve hip-hop kul\u00fcp el ilanlar\u0131na, 80’lerin aids krizi s\u0131ras\u0131nda aktivistlerin acil ihtiya\u00e7la \u00fcretti\u011fi fotokopi fanzinlere kadar uzanan bir “yeralt\u0131” yay\u0131nc\u0131l\u0131k gelene\u011fi vard\u0131r. Bu pratiklerin ortak \u00f6zelli\u011fi, d\u00f6nemin ana ak\u0131m, kurumsal ve pahal\u0131 tasar\u0131m ara\u00e7lar\u0131n\u0131n d\u0131\u015f\u0131nda, eldeki basit olanaklarla (daktilo, kolaj, fotokopi) ve aciliyetle \u00fcretilmi\u015f olmalar\u0131. Belki de k\u00fc\u00e7\u00fck harfle yazmak, bu alternatif ve kendin yap (DIY) odakl\u0131 direni\u015f gelene\u011finin g\u00fcn\u00fcm\u00fczdeki bir uzant\u0131s\u0131d\u0131r.<\/p>\n\n\n\n
Bu perspektiften, k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131 \u015fu anlamlara geliyor:<\/p>\n\n\n\n
\u00b7 kapitalist ba\u015far\u0131 mant\u0131\u011f\u0131na direni\u015f:<\/strong> b\u00fcy\u00fck harfin temsil etti\u011fi resmiyet, ciddiyet ve kurumsal g\u00fc\u00e7 diline kar\u015f\u0131 bir duru\u015f. “Ba\u011f\u0131rmadan ifade etme”, samimiyet ve i\u00e7tenlik, resmi dilin dayatt\u0131\u011f\u0131 kal\u0131plar\u0131n d\u0131\u015f\u0131na \u00e7\u0131kma.<\/p>\n\n\n\n \u00b7 hiyerar\u015fisiz ve kapsay\u0131c\u0131 bir dil in\u015fas\u0131:<\/strong> \u00f6zel isimlerin b\u00fcy\u00fck harfle yaz\u0131lmas\u0131 gelene\u011fini reddetmek, dildeki hiyerar\u015fik yap\u0131lar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar ve esnetir. Bu, her t\u00fcrl\u00fc otorite ve hiyerar\u015fiye \u015f\u00fcpheyle yakla\u015fan kuir duru\u015fla do\u011frudan ili\u015fkilidir. <\/p>\n\n\n\n \u00b7 alternatif tarih ve pratiklerle ba\u011f kurmak:<\/strong> Soulellis’in i\u015faret etti\u011fi yeralt\u0131 yay\u0131nc\u0131l\u0131k gelene\u011fi, k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131n\u0131n k\u00f6klerini ana ak\u0131m olmayan, direni\u015f odakl\u0131 pratiklere ba\u011flar.<\/p>\n\n\n\n Baz\u0131 dil bilimciler, yaz\u0131m kurallar\u0131n\u0131n toplumsal cinsiyet e\u015fitsizli\u011fini ve k\u00fclt\u00fcrel hegemonya ili\u015fkilerini yeniden \u00fcretebilece\u011fini savunuyor. B\u00fcy\u00fck harf kullan\u0131m\u0131, tarihsel olarak resmiyetin, otoritenin ve d\u00fczenin simgesi olarak kodlanm\u0131\u015ft\u0131r. Antik Roma’da ta\u015f yaz\u0131tlar, alfabenin o d\u00f6nemki tek formu olan ancak imparatorlu\u011fun g\u00fcc\u00fcn\u00fc ve otoritesini temsil eden b\u00fcy\u00fck harflerle yaz\u0131l\u0131rd\u0131. K\u00fc\u00e7\u00fck harfler ise y\u00fczy\u0131llar sonra geli\u015ftirildi. Matbaan\u0131n yayg\u0131nla\u015fmas\u0131 sonucu b\u00fcy\u00fck harfler c\u00fcmle ba\u015flar\u0131nda ve \u00f6zel isimlerde norm haline gelirken ciddiyet ve sayg\u0131nl\u0131k g\u00f6stergesi olarak da kabul g\u00f6rd\u00fc. <\/p>\n\n\n\n Ele\u015ftirel dil kuram\u0131na g\u00f6re; b\u00fcy\u00fck harf, \u201ctekil ve \u00fcst\u00fcn\u201d olana ayr\u0131cal\u0131k tan\u0131r, yaz\u0131m normlar\u0131 ise k\u00fclt\u00fcrel ve ideolojik de\u011ferleri yeniden \u00fcretir. Baz\u0131 ara\u015ft\u0131rmac\u0131lar, b\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131n bilin\u00e7alt\u0131nda “\u00f6nemli” ile “\u00f6nemsiz”, “b\u00fcy\u00fck” ile “k\u00fc\u00e7\u00fck” aras\u0131nda hiyerar\u015fik bir ayr\u0131m\u0131 peki\u015ftirdi\u011fini \u00f6ne s\u00fcr\u00fcyor. Bu ba\u011flamda k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131, dilin do\u011fal ak\u0131\u015f\u0131na m\u00fcdahale ederek sembolik de\u011ferler kazand\u0131ran bu yapay hiyerar\u015fiyi reddeder ve daha e\u015fitlik\u00e7i bir ifade bi\u00e7imi yaratmay\u0131 hedefler. Standartlar\u0131n mutlakl\u0131\u011f\u0131n\u0131 k\u0131rarak bir anlamda \u201ckurallar\u0131n\u0131z do\u011fal de\u011fil, tarihsel\u201d der.<\/p>\n\n\n\n Dijital k\u00fclt\u00fcrde k\u00fc\u00e7\u00fck harfin yayg\u0131nla\u015fmas\u0131 da tesad\u00fcf de\u011fil. Z ku\u015fa\u011f\u0131 bu prati\u011fi fiilen uyguluyor. 2024’te yay\u0131mlanan bir ara\u015ft\u0131rmaya g\u00f6re, Z ku\u015fa\u011f\u0131 kat\u0131l\u0131mc\u0131lar k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131n\u0131 yaln\u0131zca daha h\u0131zl\u0131 ve samimi de\u011fil, ayn\u0131 zamanda “trend”, “feminen” ve “kuir” buluyor. K\u00fc\u00e7\u00fck harf bir kimlik g\u00f6stergesi, bir aidiyet i\u015fareti haline gelmi\u015f durumda. Otoriteye mesafeli, ama ileti\u015fime a\u00e7\u0131k bir ton.<\/p>\n\n\n\n Dijital ortamda b\u00fcy\u00fck harfler genellikle ba\u011f\u0131rmak, \u00f6fke veya abart\u0131 anlam\u0131na geliyor. K\u00fc\u00e7\u00fck harfler sakinli\u011fi, savunmaya ge\u00e7memeyi ve ger\u00e7ekli\u011fi temsil ediyor. Hatta baz\u0131 yorumcular, bu y\u00fckseli\u015fi \u201cdonald trump gibi siyaset\u00e7ilerin b\u00fcy\u00fck harfleri \u00f6fke ve abart\u0131yla kullanmas\u0131na kar\u015f\u0131 geli\u015fen bir tepki\u201d olarak de\u011ferlendiriyor.<\/p>\n\n\n\n Grafik tasar\u0131m ve tipografide k\u00fc\u00e7\u00fclme ya da minimalle\u015fme e\u011filimi markalarda da g\u00f6zleniyor. Sosyal medyada etkili olan, hatta sosyal medyay\u0131 yaratm\u0131\u015f markalar\u0131n logolar\u0131nda k\u00fc\u00e7\u00fck harf kullanmas\u0131 tesad\u00fcf olmasa gerek. Bir\u00e7ok \u00fcnl\u00fc marka, logosunda k\u00fc\u00e7\u00fclmeye giderek hiyerar\u015fik ve kurumsal g\u00f6r\u00fcn\u00fcm\u00fc azaltmaya, daha samimi ve eri\u015filebilir bir imaj \u00e7izmeye \u00e7al\u0131\u015f\u0131yor. <\/p>\n\n\n\n Billie Eilish, Ariana Grande ve Taylor Swift gibi baz\u0131 sanat\u00e7\u0131lar\u0131n, par\u00e7a ve alb\u00fcm isimlerini k\u00fc\u00e7\u00fck harfle yazmay\u0131 tercih etmesi, bu politikan\u0131n pop\u00fcler k\u00fclt\u00fcrde de kar\u015f\u0131l\u0131k buldu\u011funu g\u00f6steriyor. Ancak ticari alan\u0131n, bu dilsel d\u00f6n\u00fc\u015f\u00fcm\u00fc benimserken k\u00f6kenindeki politik duru\u015fu \u00e7o\u011fu zaman soyutlanm\u0131\u015f bir estetik tercihe indirgedi\u011fini g\u00f6z ard\u0131 etmemek gerekiyor.<\/p>\n\n\n\n Elbette b\u00fcy\u00fck harf tek ba\u015f\u0131na bir bask\u0131 de\u011fil. Mesele teknik do\u011fruluktan \u00e7ok sembolik anlam. B\u00fcy\u00fck harf kullan\u0131m\u0131n\u0131 reddetmek, dilin g\u00f6r\u00fcn\u00fc\u015fte masum kurallar\u0131n\u0131n alt\u0131nda yatan iktidar yap\u0131lar\u0131n\u0131 if\u015fa etmeye ve bunlara kar\u015f\u0131 durmaya y\u00f6nelik bir yakla\u015f\u0131m. <\/p>\n\n\n\n Bu yakla\u015f\u0131m, dilin n\u00f6tr olmad\u0131\u011f\u0131n\u0131, aksine toplumsal g\u00fc\u00e7 ili\u015fkilerini yans\u0131tan ve yeniden \u00fcreten bir alan oldu\u011funu hat\u0131rlat\u0131yor. Jene Gutierrez, bell hooks \u00fczerine yazd\u0131\u011f\u0131 yaz\u0131da \u015funlar\u0131 s\u00f6yl\u00fcyor: “‘Do\u011fru’ dil diye bir \u015fey yoktur, sadece d\u00fc\u015f\u00fcnceli ve \u00f6zenli dil vard\u0131r. Tarihinden beslenen dil. \u015eefkatli dil. D\u0131\u015flamak yerine davet eden dil. En \u00f6nemlisi, geli\u015fen dil.”<\/p>\n\n\n\n \u00d6zellikle feminist ve kuir k\u00fclt\u00fcrde k\u00fc\u00e7\u00fck harf kullan\u0131m\u0131, bu geli\u015fen dilin somut \u00f6rneklerinden biri ve \u201cg\u00fcc\u00fcn bi\u00e7imle sabitlenemeyece\u011fi\u201d fikrini, ince bir itiraz simgesi olarak g\u00f6r\u00fcn\u00fcr k\u0131l\u0131yor. Kurumsal destek g\u00f6rebilen, muhafazakar tepkileri \u00fczerine \u00e7ekebilen, kuir estetikle i\u00e7 i\u00e7e ge\u00e7en, anadil ba\u011flar\u0131yla k\u00f6klenen ve dijital pratiklerle yeni anlamlar kazanan bu geni\u015f yelpaze, yaz\u0131l\u0131 ileti\u015fimin d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc g\u00fcc\u00fcne de i\u015faret ediyor. <\/p>\n\n\n\n kimileri i\u00e7in i\u015flevsel bir kolayl\u0131k, kimileri i\u00e7in politik bir tercih, kimileri i\u00e7in estetik bir ifade bi\u00e7imi, kimileri i\u00e7in k\u00fclt\u00fcrel bir ba\u011fl\u0131l\u0131k, kimileri i\u00e7inse t\u00fcm bunlar\u0131n kesi\u015fimi. nihayetinde dilin nas\u0131l daha e\u015fitlik\u00e7i, kapsay\u0131c\u0131 ve hiyerar\u015filerden ar\u0131nm\u0131\u015f bir bi\u00e7imde kullan\u0131labilece\u011fine dair \u00f6nemli bir tart\u0131\u015fma a\u00e7\u0131yor. bu y\u00f6n\u00fcyle, bir d\u00f6n\u00fc\u015f\u00fcm\u00fcn sessiz ama g\u00fc\u00e7l\u00fc bir par\u00e7as\u0131. bu g\u00fc\u00e7, harfin y\u00fcksekli\u011finde de\u011fil, s\u00f6z\u00fcn i\u00e7eri\u011finde. bir harfi k\u00fc\u00e7\u00fcltmek d\u00fcnyay\u0131 de\u011fi\u015ftirmez ama \u015funu hat\u0131rlatabilir: b\u00fcy\u00fckl\u00fck beyan edilmez, in\u015fa edilir, y\u00fcksek sesle de\u011fil, \u0131srarla. ve bazen en g\u00fc\u00e7l\u00fc c\u00fcmleler, sessiz g\u00f6r\u00fcnen harflerle ba\u015flar.<\/p>","protected":false},"excerpt":{"rendered":" Bir harf b\u00fcy\u00fct\u00fcld\u00fc\u011f\u00fcnde ne olur? Gramer a\u00e7\u0131s\u0131ndan belirli kurallara ya da bir norma i\u015faret etmenin d\u0131\u015f\u0131nda, hi\u00e7. K\u00fclt\u00fcrel a\u00e7\u0131dan ise fazlas\u0131n\u0131 ifade edebilir. B\u00fcy\u00fck harf, yaln\u0131zca c\u00fcmlenin ba\u015f\u0131n\u0131 de\u011fil, ayn\u0131 zamanda merkezi, ayr\u0131cal\u0131kl\u0131, \u201c\u00f6zel\u201d olan\u0131 belirtir. \u0130simleri b\u00fcy\u00fct\u00fcr, kurumlar\u0131 y\u00fcceltir. \u00d6rne\u011fin, Tanr\u0131\u2019y\u0131 di\u011fer tanr\u0131lardan ay\u0131r\u0131r. Dil, g\u00f6r\u00fcn\u00fc\u015fte tarafs\u0131z bir ileti\u015fim arac\u0131 gibi de\u011ferlendirilse de iktidar…<\/p>","protected":false},"author":5,"featured_media":11877,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_eb_attr":"","inline_featured_image":false,"footnotes":""},"categories":[98],"tags":[559,212,1407],"ppma_author":[1579],"class_list":["post-11876","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-feminist-edebiyat","tag-feminist-sanat","tag-kadin-sanatcilar","author-kader-ay"],"authors":[{"term_id":1579,"user_id":0,"is_guest":1,"slug":"kader-ay","display_name":"kader ay","avatar_url":"https:\/\/www.mordayanisma.org\/wp-content\/litespeed\/avatar\/23494c9101089ad44ae88ce9d2f56aac.jpg?ver=1784192493","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11876","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/comments?post=11876"}],"version-history":[{"count":1,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11876\/revisions"}],"predecessor-version":[{"id":11879,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/11876\/revisions\/11879"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media\/11877"}],"wp:attachment":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media?parent=11876"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/categories?post=11876"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/tags?post=11876"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/ppma_author?post=11876"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}dil bilimsel zemin<\/strong><\/h3>\n\n\n\n
dijital d\u00fcnya ve z ku\u015fa\u011f\u0131<\/strong><\/h3>\n\n\n\n
k\u00fc\u00e7\u00fck harf, b\u00fcy\u00fck mevzu<\/strong><\/h3>\n\n\n\n