Bu yaz\u0131y\u0131 yazmay\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmden beri, aynaya ilk bakt\u0131\u011f\u0131m an\u0131, kendi bedenimi salt kendi bak\u0131\u015f\u0131mla g\u00f6rd\u00fc\u011f\u00fcm o ilk an\u0131, kafamda tasarlamaya \u00e7al\u0131\u015ft\u0131m. Ne d\u00fc\u015f\u00fcnm\u00fc\u015f ya da hissetmi\u015f olabilece\u011fimi, cinsiyetimi, bedenimdeki farkl\u0131l\u0131klar\u0131, beni di\u011fer insanlardan ay\u0131ran ve onlarla benzer k\u0131lan fiziksel \u00f6zelliklerime ne gibi manalar y\u00fckledi\u011fimi\u2026 \u00c7evremde beni do\u011furan anneme hi\u00e7 benzemedi\u011fimi f\u0131s\u0131ldayan insanlar\u0131n seslerini ya da ne g\u00fczel veya sevimli oldu\u011fumu, burnumun b\u00fcy\u00fck, lekelerimin \u00e7irkin oldu\u011funu ya da bir gen\u00e7 k\u0131za g\u00f6re fazla kilolu oldu\u011fumu s\u00f6yleyen sesleri duymadan salt insani varolu\u015fla g\u00f6rebildi\u011fim bir an\u0131 hayal ettim. Kendi kendime okumay\u0131 \u00f6\u011frendi\u011fim ve bir nevi i\u00e7ine do\u011fdu\u011fum hayat\u0131 da okumaya ba\u015flay\u0131nca d\u00fcnyam\u0131zda olaylar\u0131n ne denli \u00e7\u0131lg\u0131nca bir ilerleyi\u015fe sahip oldu\u011funu idrak etmenin, b\u00fct\u00fcn bunlar\u0131 kad\u0131n olarak g\u00f6rmenin ve g\u00f6r\u00fclmenin diyalekti\u011fi benim i\u00e7in anlam kazanmaya ba\u015flad\u0131 bu sorguyla. Bu anlam, bug\u00fcn gen\u00e7 bir kad\u0131n olarak bu yaz\u0131y\u0131 yazarken h\u00e2l\u00e2 de\u011fi\u015fiyor, geli\u015fiyor, bazen ilerliyor bazen ise aynan\u0131n bu\u011fusuna kap\u0131l\u0131yor. Ancak biliyorum ki g\u00f6r\u00fclmek ayn\u0131 zamanda g\u00f6rmeyi de beraberinde getiriyor, insanl\u0131\u011f\u0131n var oldu\u011fu ilk andan bu yana kad\u0131n olmaya, kad\u0131n bedenine y\u00fcklenen ve kad\u0131nl\u0131\u011f\u0131n \u201ctemsil\u201d etmesi gerekti\u011fine \u201cinan\u0131lan\u201d anlamlar\u0131 da.<\/p>\n\n\n\n
Arkaik d\u00f6nemden bu yana insanl\u0131\u011f\u0131n kad\u0131n bedenine y\u00fckledi\u011fi anlamlar, salt bir insan varolu\u015funun d\u0131\u015f\u0131nda tutularak cinsiyete dayal\u0131 avantajl\u0131-dezavantajl\u0131 g\u00f6r\u00fclen ve g\u00f6sterilen yanlar\u0131yla s\u0131n\u0131rland\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131lm\u0131\u015f. Estetik bulunan ve fizyolojik temellere dayand\u0131r\u0131lan g\u00fczellik alg\u0131lar\u0131, \u00e7a\u011flar boyunca kad\u0131n bedenine \u015fekil vermeye hatta b\u00fct\u00fcn varolu\u015funu sadece bu \u015fekilde s\u00fcrd\u00fcrebilece\u011fi alg\u0131s\u0131yla g\u00fcn\u00fcm\u00fczde de devam etmekte. Tarih boyunca u\u011fruna sava\u015flar verilen, ganimet g\u00f6r\u00fclen, kutsalla\u015ft\u0131r\u0131lan, erotik ya da saklanmas\u0131 gereken, do\u011furganl\u0131\u011f\u0131n ve insan neslinin s\u00fcrd\u00fcr\u00fclebilirli\u011finin teminat\u0131 g\u00f6r\u00fclen, narin ve k\u0131r\u0131lgan oldu\u011fu kadar g\u00fcc\u00fc de temsil eden, lanetlenip \u015feytanla\u015ft\u0131r\u0131lan, g\u00fczel ya da \u00e7irkin bulunan beden; ataerkinin g\u00fcc\u00fcn\u00fcn ni\u015fanesi gibi sadece varolu\u015fumuzun, bedenlerimizin \u00f6tesinde temsilleriyle \u00e7\u0131k\u0131yor kar\u015f\u0131m\u0131za.<\/p>\n\n\n\n
Anadolu mitlerinden Kibele M\u00d6 6500-7000 y\u0131llar\u0131nda do\u011fan\u0131n ve koruyuculu\u011fun Ana Tanr\u0131\u00e7as\u0131\u2026 Bug\u00fcn h\u00e2l\u00e2 do\u011furganl\u0131\u011f\u0131n ve g\u00fczellik alg\u0131lar\u0131n\u0131n temsili. Geni\u015f kal\u00e7alar\u0131 ve iri g\u00f6\u011f\u00fcsleriyle bilinen Kibele; asl\u0131nda Agdistis yani Hermafrodit bir yarat\u0131l\u0131\u015fa sahiptir. Hem erkek hem kad\u0131n olmas\u0131, g\u00fcc\u00fc ve vah\u015fili\u011fiyle kendisinden korkulmas\u0131na sebep olur. Bu y\u00fczden Olimpos Tanr\u0131lar\u0131n\u0131n en g\u00fc\u00e7l\u00fcs\u00fc, Frig mitolojisinnin ba\u015f Tanr\u0131s\u0131 Tarhunna ile \u00f6zle\u015ftirilen Zeus\u2019un1<\/a><\/sup> iste\u011fiyle had\u0131m edilir, kad\u0131n bedenine d\u00f6n\u00fc\u015f\u00fcm\u00fc bu \u015fekilde ger\u00e7ekle\u015fir ancak bu durum Kibele\u2019nin g\u00fcc\u00fcn\u00fc etkilemez, o ya\u015fam\u0131n ve yarat\u0131m\u0131n g\u00fcc\u00fcd\u00fcr. Bug\u00fcn biliyoruz ki kilolar\u0131ndan ya\u015flar\u0131na, hatta g\u00f6z renklerinden konu\u015fma tarzlar\u0131na kadar toplumsal cinsiyet rolleriyle tahakk\u00fcm alt\u0131na al\u0131nmaya \u00e7al\u0131\u015f\u0131lan kad\u0131nlar; makbul kad\u0131nl\u0131\u011f\u0131n en \u201ckutsal\u201d kabul edilen ve dayat\u0131lan g\u00f6revi olan annelikle bask\u0131lanmaya \u00e7al\u0131\u015f\u0131l\u0131yor, hatta nas\u0131l do\u011fum yapacaklar\u0131 bile erkek egemen sistemin karar\u0131nca belirlenmeye \u00e7al\u0131\u015f\u0131l\u0131yor. 15. y\u00fczy\u0131l ve sonras\u0131nda art\u0131k aristokratlar, \u00e7al\u0131\u015fan s\u0131n\u0131ftan ayr\u0131lmak i\u00e7in belirleyici olan g\u00fczellik etkisini estetik bir alg\u0131dan \u00e7ok kad\u0131n\u0131n sosyal s\u0131n\u0131f\u0131nda ve \u201cahlaki safl\u0131\u011f\u0131nda\u201d belirleyici g\u00f6rmeye ba\u015flad\u0131. Kad\u0131n bedeni, g\u00fczellik idealleriyle hem toplumsal s\u0131n\u0131f farkl\u0131l\u0131klar\u0131n\u0131n sergilendi\u011fi hem de ahlaki normlar\u0131n uyguland\u0131\u011f\u0131 bir alan haline geldi. \u00d6zellikle d\u00f6nemin kentsoylu ailelerinin toplum i\u00e7erisinde evlilik ba\u011f\u0131yla daha y\u00fcksek stat\u00fc kazanabilmeleri i\u00e7in kad\u0131nlar\u0131n g\u00fczellikleri, giyimleri ve kozmetik kullan\u0131mlar\u0131 ailenin stat\u00fcs\u00fcn\u00fc belirlemek ile beraber estetik alg\u0131lar\u0131 sosyal bir sermayeye d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fc. Bununla beraber g\u00fczelli\u011fin din\u00ee safl\u0131k ve ahlaki temizlikle ili\u015fkilendirilmesi, kilisenin kutsal aile vurgusunu peki\u015ftirebilmesi i\u00e7in bir f\u0131rsat h\u00e2line geldi, art\u0131k ince y\u00fcz hatlar\u0131 ve m\u00fctevaz\u0131 bir g\u00f6r\u00fcn\u00fcm \u00f6n plandayd\u0131. Sanatsal olarak Bakire Meryem\u2019in temsili olan bir g\u00fczellik modeliydi. 16. y\u00fczy\u0131lda R\u00f6nesans\u2019\u0131n etkisiyle fiziksel beden ger\u00e7ek g\u00fczelli\u011fin merkezi h\u00e2line getirildi. Kad\u0131nl\u0131k ideali; iffet, al\u00e7akg\u00f6n\u00fcll\u00fcl\u00fck ve \u00f6l\u00e7\u00fcl\u00fcl\u00fck fiziksel g\u00f6r\u00fcn\u00fc\u015fle ifade ediliyordu. Kad\u0131n g\u00fczel ve kusursuz olmal\u0131 ancak bu g\u00fczellikle ilgilenmemeliydi de. Kusursuz anatomi, alt\u0131n sar\u0131s\u0131 sa\u00e7lar, yuvarlak y\u00fcz ve beden do\u011furganl\u0131k g\u00f6stergesi oldu\u011fu kadar zenginli\u011fin de i\u015faretiydi, kozmetik ve aksesuar kullan\u0131m\u0131 kilise taraf\u0131ndan ele\u015ftirilse bile aristokratlar\u0131n s\u0131n\u0131flar\u0131n\u0131n g\u00fc\u00e7 temsiliydi. 17. y\u00fczy\u0131lda dramatik\/romantik g\u00f6r\u00fcn\u00fcmler, saray k\u00fclt\u00fcr\u00fcn\u00fcn etkisiyle g\u00fczellik standartlar\u0131n\u0131 belirlemeye ba\u015flad\u0131. \u00d6zellikle d\u00f6nemin Fransa ve \u0130ngiltere\u2019sinde fiziksel \u00e7ekicilik, toplumsal konum ve dindarl\u0131\u011f\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan bir unsur olmaya ba\u015flad\u0131. Belirgin makyaj, kusursuz ten, peruk ve abart\u0131l\u0131 teatral ve s\u00fcsl\u00fc k\u0131yafetler stat\u00fcy\u00fc g\u00f6steriyordu. G\u00fczellik, iyi bir evlilik olas\u0131l\u0131\u011f\u0131n\u0131n garantisi olmakla beraber aile stat\u00fcs\u00fc ile ekonomik\/sosyal g\u00fcvencenin teminat\u0131 haline geldi. Kad\u0131n\u0131n bedeni cinsiyetine g\u00f6re de\u011fil, ya\u015f\u0131na g\u00f6re de toplumsal bir de\u011ferlendirmeden ge\u00e7meye ba\u015flad\u0131. Ergenliklerinden itibaren kad\u0131nlar\u0131n g\u00f6r\u00fcn\u00fc\u015fleri, hem stat\u00fc hem de do\u011furganl\u0131klar\u0131 i\u00e7in de\u011ferlendiriliyor, ya\u015flanmayla beraber g\u00fczelli\u011fin etkisinin ge\u00e7mesi ise kad\u0131nlar\u0131n sosyal hayatta de\u011fersizle\u015fmesi olarak g\u00f6r\u00fcl\u00fcyordu. 18. y\u00fczy\u0131l s\u00f6zde ayd\u0131nlanmas\u0131n\u0131n etkileriyle Kathryn Woods\u2019un \u201cFacing Idenity in a Faceless Society\u201d \u00e7al\u0131\u015fmas\u0131ndan sonra, kad\u0131nlar\u0131n y\u00fcz g\u00fczelli\u011fi ile ilgili sadece ahlaki ve estetik a\u00e7\u0131dan de\u011fil, milliyet ve \u0131rk a\u00e7\u0131s\u0131ndan da \u00e7\u0131kar\u0131mlar yap\u0131lmaya ba\u015fland\u0131. G\u00fczellik, o ki\u015finin kim oldu\u011funu toplum i\u00e7in belirlemeye ba\u015flad\u0131. Rokoko esteti\u011finin etkisiyle zarafet, g\u00f6steri\u015fle beraber ihti\u015faml\u0131, ince ve k\u0131r\u0131lgan bir etkidedir. Beverly Lemire \u201cSecond-hand beaux and \u2018red armed Belles\u2019\u201d \u00e7al\u0131\u015fmas\u0131nda modan\u0131n art\u0131k aristokrasinin kimli\u011fini olu\u015fturdu\u011funa de\u011finir. Bu kimli\u011fin etkisi, orta s\u0131n\u0131fa da yay\u0131lmaya ba\u015flad\u0131 ve d\u00f6nemin elitleri ve ahlak\u00e7\u0131lar\u0131, i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n maddi g\u00f6r\u00fcn\u00fc\u015flerini de s\u0131n\u0131rlad\u0131. Kozmetik bir sekt\u00f6r h\u00e2line gelip daha geni\u015f kesimlere ula\u015f\u0131nca stat\u00fc, g\u00f6r\u00fcn\u00fc\u015f ile taklit edilebilir h\u00e2le geldi. G\u00fczellik pratikleri art\u0131k yaln\u0131zca soylu, aristokrat kesime ya da orta s\u0131n\u0131fa ait de\u011fildi, art\u0131k aristokrat g\u00f6r\u00fcn\u00fc\u015f\u00fc ile di\u011fer s\u0131n\u0131flar\u0131n g\u00f6r\u00fcn\u00fc\u015f\u00fc aras\u0131ndaki farkl\u0131l\u0131klar s\u00fcrekli yeniden kurulmak zorundayd\u0131. Bununla beraber do\u011fall\u0131\u011f\u0131n etkileri de sanat tarihinde do\u011fmaya ba\u015flam\u0131\u015ft\u0131. 19. y\u00fczy\u0131la gelindi\u011finde romantizmin de etkisiyle, d\u00f6neme ismini veren \u0130ngiltere Krali\u00e7esi Victoria tarihte ilk kez beyaz renkte bir gelinlik giyerek yeni bir moda ba\u015flatt\u0131. Kabar\u0131k etekler, soluk renkler ve k\u0131yafetler\/aksesuarlar\u0131n etkisi \u00f6ne ge\u00e7iyordu. D\u00f6nemin aristokrat kad\u0131nlar\u0131 i\u00e7in en \u00f6nemli unsur, hastal\u0131kl\u0131 say\u0131lacak kadar beyaz g\u00f6r\u00fcnmek ve incecik bir beldi. D\u0131\u015far\u0131da \u00e7al\u0131\u015fan kad\u0131nlar\u0131n ten renkleri koyula\u015f\u0131yor, ciltlerindeki g\u00fcne\u015f izleri ho\u015f kar\u015f\u0131lanm\u0131yordu. O zaman\u0131n kad\u0131n\u0131 i\u00e7in ince, uzun ve zarif beyaz eller \u00e7ok \u00f6nemliydi, bu y\u00fczden eldiven kullanan kad\u0131nlar hem ellerini koruyor hem de eldiven kullan\u0131m\u0131 ile arzu edilen zarif g\u00f6r\u00fcn\u00fcm peki\u015ftiriliyordu. Bu y\u00fczden aristokratlar, porselen bir cilde sahip olabilmek i\u00e7in i\u00e7eri\u011finde kur\u015fun ve arsenik bulunan pudralar kullan\u0131yorlar ve g\u00fcne\u015fe \u00e7\u0131km\u0131yorlard\u0131, g\u00fc\u00e7l\u00fc ve canl\u0131 g\u00f6r\u00fcnmek de alt s\u0131n\u0131fa ait bir etkiydi. Victoria d\u00f6neminde ya\u015fayan kad\u0131nlar fiziksel k\u0131r\u0131lganl\u0131klar\u0131yla \u00f6ne \u00e7\u0131k\u0131yordu. Terleme, bay\u0131lmak, ba\u015f d\u00f6nmesi, parlak a\u011flam\u0131\u015f gibi bakan g\u00f6zler\u2026 \u00c7al\u0131\u015fan kad\u0131nlar a\u011f\u0131r kald\u0131rabiliyor ve zorlu \u015fartlara kar\u015f\u0131 diren\u00e7li olduklar\u0131 i\u00e7in feminen bulunmuyordu. Bu y\u00fczden zay\u0131f, bitkin ve yorgun olan, yani g\u00f6r\u00fcn\u00fcm\u00fcyle korunmaya ihtiya\u00e7 duydu\u011fu izlenimi olu\u015fturan ve o d\u00f6nem t\u00fcberk\u00fcloz hastal\u0131\u011f\u0131n\u0131n belirtileriyle \u00f6rt\u00fc\u015fen bir g\u00f6r\u00fcnt\u00fc i\u00e7in kad\u0131nlar sa\u011fl\u0131klar\u0131ndan vazge\u00e7iyorlard\u0131. Bu durum kad\u0131n varl\u0131\u011f\u0131n\u0131n zarifli\u011finin ispat\u0131yd\u0131. K\u00fc\u00e7\u00fck beyaz ve yumu\u015fak eller hi\u00e7bir i\u015f yap\u0131lmad\u0131\u011f\u0131, dar bir korse s\u0131k\u0131 bir duru\u015f ve disiplin anlam\u0131na geliyordu. Sanat tarihine bakt\u0131\u011f\u0131m\u0131zda y\u00fczlerce kad\u0131n portresi g\u00f6r\u00fcyoruz bu \u015fekilde.3<\/a><\/sup><\/p>\n\n\n\n Sanayi devrimiyle beraber ya\u015fanan k\u0131r\u0131lma noktas\u0131, g\u00fczelli\u011fin standartla\u015fmas\u0131 ve ticari h\u00e2le gelmesiyle kitlelere yay\u0131lmas\u0131n\u0131 ve y\u00f6netilmesini kolayla\u015ft\u0131rd\u0131. T\u00fcketim prati\u011fi, kozmetik, parf\u00fcm ve haz\u0131r giyimin seri \u00fcretimi g\u00fczelli\u011fi yaln\u0131zca aristokrat ve zenginlerin ula\u015fabildi\u011fi noktadan \u00e7\u0131kard\u0131. Cambridge \u00dcniversitesi\u2019nin \u201cBeauty Advertising and Advice in the Queen and Woman\u201d<\/em> \u00e7al\u0131\u015fmas\u0131na g\u00f6re 19. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131yla beraber reklamc\u0131l\u0131k ve kad\u0131n dergileri, g\u00fczelli\u011fin ve g\u00fczellik \u00fcr\u00fcnlerinin anlat\u0131m\u0131yla kalmay\u0131p \u201cnas\u0131l bir kad\u0131n olunmas\u0131 gerekti\u011fi\u201dne dair normlar \u00fcretmeye ba\u015flad\u0131. T\u00fcketim k\u00fclt\u00fcr\u00fcyle beraber idealize edilen kad\u0131n g\u00f6r\u00fcn\u00fcm\u00fc pazarlanabilir oldu. Tanr\u0131, ahlak ve stat\u00fcyle harmanlanan g\u00fczelli\u011fin yeri art\u0131k t\u00fcketim k\u00fclt\u00fcr\u00fcn\u00fcn pazarlama stratejileriyle d\u00f6n\u00fc\u015f\u00fcm ge\u00e7irdi.<\/p>\n\n\n\n S\u0131n\u0131f ortadan kalkmad\u0131 ancak \u201caristokrat makbul kad\u0131n\u201d g\u00f6r\u00fcn\u00fcm\u00fc m\u00fccevherler, pahal\u0131 kuma\u015flar, davran\u0131\u015f bi\u00e7imlerinden yerini temiz cilt, d\u00fczg\u00fcn sa\u00e7, kozmetik ve ki\u015fisel bak\u0131ma b\u0131rakt\u0131. Sabun reklamlar\u0131, temiz cildi ahlaki bir g\u00f6sterge ve toplumsal stat\u00fcden al\u0131p bak\u0131ml\u0131l\u0131k, sa\u011fl\u0131k ve temiz g\u00f6r\u00fcn\u00fcme getirdi. 19. y\u00fczy\u0131l\u0131n sonlar\u0131 20. y\u00fczy\u0131l\u0131n ba\u015flang\u0131c\u0131nda art\u0131k \u201cg\u00fczellik eme\u011fi\/\u00e7al\u0131\u015fmas\u0131\u201d g\u00fczelli\u011fin do\u011fu\u015ftan gelmedi\u011fini, kad\u0131n\u0131n g\u00fczel g\u00f6r\u00fcnebilmesi i\u00e7in cildine bakmas\u0131, bedenini kontrol etmesi, gen\u00e7 ve bak\u0131ml\u0131 g\u00f6r\u00fcnmesi, moday\u0131 ve ak\u0131mlar\u0131 takip etmesi gerekti\u011fini vurgular oldu. Kitle k\u00fclt\u00fcr\u00fcne d\u00f6n\u00fc\u015fen g\u00fczellik, 1920 ve 1930\u2019lu y\u0131llara gelindi\u011finde \u2018Modern Girl\u2019 olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Art\u0131k soylu kad\u0131n\u0131n modern olarak nas\u0131l g\u00f6r\u00fcnmesi gerekti\u011fi konu\u015fulur. Makyajl\u0131, k\u0131sa sa\u00e7l\u0131 ve modern k\u0131yafetleriyle \u201cmodern kad\u0131n\u201d\u0131n kozmetik sekt\u00f6r\u00fcn\u00fcn \u00e7izdi\u011fi yolda ilerlemesi gerekir. Hollywood \u00fcnl\u00fcleri, film y\u0131ld\u0131zlar\u0131 g\u00fczellik standartlar\u0131n\u0131n ta\u015f\u0131y\u0131c\u0131lar\u0131d\u0131r. G\u00fczellik g\u00fcnden g\u00fcne de\u011fi\u015fen sekt\u00f6r\u00fcn b\u00fcy\u00fcmesiyle pranga alt\u0131na al\u0131nan bir alana d\u00f6n\u00fc\u015f\u00fcr, 21. y\u00fczy\u0131l\u0131n etkisiyle demokratikle\u015fmeye yani medyan\u0131n da deste\u011fiyle herkesin kendi g\u00fczellik alg\u0131lar\u0131yla g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc olu\u015fturabilece\u011fini vurgular. Michelle Smith\u2019in \u201cConclusion: Female Beauty\u201d \u00e7al\u0131\u015fmas\u0131nda \u201cKendini ne kadar ba\u015far\u0131l\u0131 bir \u015fekilde g\u00fczelle\u015ftirebiliyorsun?\u201d sorusuna indirgenir. G\u00fczellik art\u0131k bir projedir.<\/p>\n\n\n\n Oysa bug\u00fcn aynaya bakt\u0131\u011f\u0131m\u0131zda g\u00f6rd\u00fcklerimiz ger\u00e7ekten bize mi ait? G\u00f6steri k\u00fclt\u00fcr\u00fcn\u00fcn hakim oldu\u011fu ve ge\u00e7mi\u015f y\u00fczy\u0131llardan bu yana devam eden g\u00fczellik alg\u0131lar\u0131n\u0131n giderek artan bask\u0131s\u0131yla b\u00f6ylesi bir d\u00f6nemde \u201cg\u00f6rmek\u201d eylem olarak bizi edilgen k\u0131larken sadece insani varolu\u015fumuzu cinsiyet ve cinsiyete ba\u011fl\u0131 bedenimizin bir par\u00e7as\u0131 gibi ta\u015f\u0131d\u0131\u011f\u0131m\u0131z o etiket alg\u0131lar\u0131n d\u0131\u015f\u0131nda ger\u00e7ekten g\u00f6rebilmek m\u00fcmk\u00fcn m\u00fc? Sanki bo\u015flukta, bir ipin \u00fcst\u00fcnde y\u00fcr\u00fcmemiz gerekiyor g\u00fcnden g\u00fcne. B\u00fct\u00fcn korkular\u0131m\u0131z ve g\u00f6r\u00fcnt\u00fcm\u00fcze dair kayg\u0131lar\u0131m\u0131zla bir u\u00e7tan di\u011fer bir uca: G\u00fczel ve gen\u00e7 olmal\u0131y\u0131z her daim, kusursuzlu\u011fumuz ya da kabul edilebilir ayk\u0131r\u0131 kusurlar\u0131m\u0131z bizi \u201cse\u00e7ilen ki\u015fi\u201d sa\u011flamal\u0131, buna \u00e7abalamal\u0131y\u0131z. Sanki buna \u00e7abalamazsak bizi bekleyen talih, ormanda saklanmas\u0131 gereken masallar\u0131n \u00e7irkin cad\u0131s\u0131 olmak. G\u00fcn\u00fcm\u00fczde kad\u0131nlar, g\u00fczellik standartlar\u0131n\u0131n dayatmalar\u0131yla bir yandan \u201c0 beden\u201d, di\u011fer yandan \u201cplus-size\u201d gibi kategoriler aras\u0131nda kutupla\u015ft\u0131r\u0131lmakta. Kozmetik sekt\u00f6r\u00fc ve estetik uygulamalar; kad\u0131nlar\u0131 s\u00fcrekli daha g\u00fczel, daha seksi ve daha \u00e7ekici olmaya y\u00f6nlendirirken feminen ve makbul kad\u0131n idealini hedefleyen g\u00fczellik alg\u0131lar\u0131, ayn\u0131 zamanda \u201cbeden olumlama\u201d s\u00f6ylemini de pazarlama stratejilerine dahil etmektedir. Pigment eksikli\u011fi, \u015fehla g\u00f6zler, diastema (di\u015flerin ayr\u0131k olmas\u0131), Ven\u00fcs tummy (yumu\u015fak ve hafif \u00e7\u0131k\u0131k kar\u0131n g\u00f6r\u00fcn\u00fcm\u00fc), \u00e7iller ve daha pek \u00e7ok fiziksel \u00f6zellik, bu kez farkl\u0131l\u0131klar\u0131n kabul\u00fc ad\u0131 alt\u0131nda estetik bir de\u011fer olarak sunulmaktad\u0131r. Oysa insani varolu\u015fumuz, t\u00fcm bu g\u00fczellik normlar\u0131n\u0131n ve estetik alg\u0131lar\u0131n \u00e7ok daha \u00f6tesindedir.<\/p>\n\n\n\n Aynaya bakt\u0131\u011f\u0131m\u0131zda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz b\u00fct\u00fcn bu etkilerden \u00f6zg\u00fcr sadece bir \u00e7ift g\u00f6z ve bir y\u00fcz olsayd\u0131, u\u011fruna \u015fiirler yaz\u0131lan ya da alelade al\u0131\u015f\u0131lm\u0131\u015f kabul edilen bir suret diyerek s\u0131radanla\u015ft\u0131r\u0131lmayan, iki ayr\u0131 uca savrulmadan salt insani bir varolu\u015f. B\u00fct\u00fcn bu etiketlerin d\u0131\u015f\u0131nda g\u00fczellik alg\u0131lar\u0131ndan \u00f6zg\u00fcr olsayd\u0131k eminim bug\u00fcn bu yaz\u0131y\u0131 okuyacak olan bir\u00e7ok kad\u0131n hayat\u0131nda kendini \u00e7ok daha berrak bir varolu\u015fla hissedebilirdi. Kad\u0131n bedenini saran ve varolu\u015funa indirgeyen g\u00fczellik alg\u0131lar\u0131 bug\u00fcn benli\u011fimizin s\u0131n\u0131rlar\u0131n\u0131 dahi a\u015fmakta.<\/p>\n\n\n\n \u201cBir kad\u0131n\u0131n feminizmin bilin\u00e7li derinliklerine ad\u0131m atmas\u0131 demek bilmedi\u011fini kabul etmesidir. Ayn\u0131 anda da \u00f6\u011fretilmedi\u011finin de fark\u0131na var\u0131r. Ve bu ikisi onu m\u00fccadeleye \u00e7eker.\u2019\u20194<\/a><\/sup> Feminizmin en temel \u00f6\u011fretisini burada anman\u0131n k\u0131ymetli oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum, ya\u015famlar\u0131m\u0131z\u0131n hi\u00e7bir estetik kayg\u0131n\u0131n dayatmas\u0131yla \u015fekil alarak hayatlar\u0131m\u0131zda yeniden \u00fcretilmemesi gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyor ve insani varolu\u015fumuzun \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn elzem oldu\u011funa inan\u0131yorum. \u00c7\u00fcnk\u00fc mesele yaln\u0131zca kad\u0131nlara bi\u00e7ilen rolleri fark edip reddetmek de\u011fil; bizlere neyin neden \u00f6\u011fretildi\u011fini ya da \u00f6\u011fretilmedi\u011fini ve hayatlar\u0131m\u0131z\u0131n g\u00f6r\u00fcnmez kabullerin peki\u015ftirdi\u011fi toplumsal normlar taraf\u0131ndan \u015fekillendirildi\u011fini sorgulamak ve kendi ya\u015famlar\u0131m\u0131zda s\u00f6z hakk\u0131m\u0131z\u0131 patriyarkal kapitalizmin tahakk\u00fcm\u00fcnden \u00e7\u0131karmakt\u0131r, bu noktada yaln\u0131z olmad\u0131\u011f\u0131n\u0131n fark\u0131na varmak ve kar\u015f\u0131 koyu\u015fun bireysel anlam\u0131n\u0131n ve g\u00fcc\u00fcn\u00fcn kolektifte kar\u015f\u0131l\u0131k bulaca\u011f\u0131na inan\u0131yorum. Bir kad\u0131n\u0131n bedeninden, g\u00f6r\u00fcnt\u00fcs\u00fcnden nas\u0131l ya\u015famas\u0131, konu\u015fmas\u0131, neyi yap\u0131p yapmamas\u0131 gerekti\u011finden kendi ya\u015fam\u0131n\u0131n sessiz bir \u015fahit gibi s\u00fcrd\u00fcrmesini bekleyen ataerkiye kar\u015f\u0131 kendi hayatlar\u0131m\u0131z\u0131n \u00f6znesi olmay\u0131 ve bunu birlikte savunmay\u0131 \u00f6nemsiyorum.<\/p>\n\n\n\n <\/p>\n\n\n <\/p>","protected":false},"excerpt":{"rendered":" Bu yaz\u0131y\u0131 yazmay\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcmden beri, aynaya ilk bakt\u0131\u011f\u0131m an\u0131, kendi bedenimi salt kendi bak\u0131\u015f\u0131mla g\u00f6rd\u00fc\u011f\u00fcm o ilk an\u0131, kafamda tasarlamaya \u00e7al\u0131\u015ft\u0131m. Ne d\u00fc\u015f\u00fcnm\u00fc\u015f ya da hissetmi\u015f olabilece\u011fimi, cinsiyetimi, bedenimdeki farkl\u0131l\u0131klar\u0131, beni di\u011fer insanlardan ay\u0131ran ve onlarla benzer k\u0131lan fiziksel \u00f6zelliklerime ne gibi manalar y\u00fckledi\u011fimi\u2026 \u00c7evremde beni do\u011furan anneme hi\u00e7 benzemedi\u011fimi f\u0131s\u0131ldayan insanlar\u0131n seslerini ya da…<\/p>","protected":false},"author":5,"featured_media":12830,"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":"[{\"content\":\"Walter Burkert, Religions of the Ancient Greeks<\/a><\/em>, Harvard University Press, 1985.\",\"id\":\"20016106-7976-4c0f-a205-7c4c36b5c641\"},{\"content\":\"\u00a0Karen Armstrong, Tanr\u0131\u2019n\u0131n Tarihi<\/em>.<\/a>\",\"id\":\"be1c31ee-b360-4e62-9ec0-d153aa68331f\"},{\"content\":\"Umberto Eco, G\u00fczelli\u011fin Tarihi<\/em>; Michelle Perrot, Kad\u0131nlar\u0131n En G\u00fczel Tarihi<\/em>.\",\"id\":\"90943afd-7fdf-4ae4-8d0b-0f8959a486c1\"},{\"content\":\"Mor Dayan\u0131\u015fma, \u201cNeden Sosyalist Feminizm?<\/a>\u201d, 26 May\u0131s 2024.\",\"id\":\"57bbae57-7766-439f-ae07-120758b55390\"}]","_ppma_block_editor_authors":"{\"authors\":[1560],\"author_categories\":{\"1560\":\"1\"},\"fallback_author_user\":\"5\",\"ppma_author_box_select\":\"\",\"selected_authors\":[{\"id\":1560,\"display_name\":\"Milay K\u00fc\u00e7\u00fckdere\",\"is_guest\":1,\"category_id\":\"1\"}]}"},"categories":[100],"tags":[1601,212,1323],"ppma_author":[1560],"class_list":["post-12825","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bedenimiz","tag-diyalektik","tag-feminist-sanat","tag-kadin-bedeni","author-milay-kucukdere"],"authors":[{"term_id":1560,"user_id":0,"is_guest":1,"slug":"milay-kucukdere","display_name":"Milay K\u00fc\u00e7\u00fckdere","avatar_url":"https:\/\/www.mordayanisma.org\/wp-content\/litespeed\/avatar\/23494c9101089ad44ae88ce9d2f56aac.jpg?ver=1790242742","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/12825","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=12825"}],"version-history":[{"count":2,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/12825\/revisions"}],"predecessor-version":[{"id":12843,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/posts\/12825\/revisions\/12843"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media\/12830"}],"wp:attachment":[{"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/media?parent=12825"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/categories?post=12825"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/tags?post=12825"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.mordayanisma.org\/en\/wp-json\/wp\/v2\/ppma_author?post=12825"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
MS 4-13. y\u00fczy\u0131llar aras\u0131nda ya\u015fayan Hristiyan d\u00fc\u015f\u00fcn\u00fcr-yazar Tertullian ve Hristiyanl\u0131\u011f\u0131n \u00f6nde gelen d\u00fc\u015f\u00fcn\u00fcrlerinden Aziz Augustinus, kad\u0131n bedenini \u201c\u015feytan\u0131n kap\u0131s\u0131\u201d olarak tan\u0131mlad\u0131, Havva\u2019n\u0131n yapt\u0131\u011f\u0131 kad\u0131nl\u0131\u011f\u0131n sembol\u00fc haline geldi, Tertullian\u2019\u0131n De Cultu Feminarum (Kad\u0131nlar\u0131n S\u00fcsleni\u015fi \u00dczerine) kitab\u0131nda \u201cSen \u015feytan\u0131n kap\u0131s\u0131s\u0131n. (Tu es diaboli ianua)\u2019\u2019 ifadesiyle ge\u00e7ti. Kad\u0131nlar\u0131n do\u011fas\u0131 gere\u011fi k\u00f6t\u00fc oldu\u011fu s\u00f6ylendi, Havva\u2019n\u0131n Adem\u2019i yasak meyveyi yemeye ikna etmesi nedeniyle kad\u0131n bedenini insanl\u0131\u011f\u0131n d\u00fc\u015f\u00fc\u015f\u00fcn\u00fcn sembol\u00fc haline getirildi ve kutsal bereket yerini g\u00fcnaha b\u0131rakt\u0131. Kad\u0131n varl\u0131\u011f\u0131n\u0131n g\u00fczelli\u011fi, erkekler i\u00e7in tuzak kabul edildi; g\u00fcnah d\u00fcnyaya Havva\u2019n\u0131n itaatsizli\u011fi ile girdi\u011fi i\u00e7in kad\u0131nlara sa\u00e7lar\u0131n\u0131n \u00f6rt\u00fclmesi, bol k\u0131yafetlerle bedenlerinin gizlenmesi zorunlu k\u0131l\u0131nd\u0131. Hristiyan teolojisine g\u00f6re bedenin a\u015fa\u011f\u0131lanmas\u0131 gerekiyordu, Kibele inanc\u0131nda cinsellik do\u011fal bir edimken art\u0131k yerini kirlenmeye ve g\u00fcnaha b\u0131rakm\u0131\u015ft\u0131. Kad\u0131nlar ancak neslin devam\u0131 i\u00e7in cinselli\u011fe \u201ckatlanmal\u0131yd\u0131lar.\u201d Cinsel arzulara sahip kad\u0131n, canavarca g\u00fcnahk\u00e2r ve yoldan \u00e7\u0131km\u0131\u015f bir varl\u0131k olarak kabul ediliyor, yarat\u0131l\u0131\u015f anlat\u0131s\u0131na dayand\u0131r\u0131larak do\u011fumlar\u0131n\u0131 ac\u0131 i\u00e7inde ger\u00e7ekle\u015ftirmeleri i\u00e7in lanetleniyordu.2<\/a><\/sup> 1450\u2019li y\u0131llarda ba\u015flayan, neredeyse 300 y\u0131l Avrupa\u2019y\u0131 saran ve yakla\u015f\u0131k 400 bin kad\u0131n\u0131n \u00f6l\u00fcm\u00fcyle sonu\u00e7lanan cad\u0131 avlar\u0131na bakt\u0131\u011f\u0131m\u0131zda ise toplumsal d\u00fczeni tehdit eden \u201cayk\u0131r\u0131\u201d kad\u0131nlar, bedenlerindeki do\u011fum lekeleri ya da benler gerek\u00e7e g\u00f6sterilerek infaz ediliyordu. Zaman\u0131n g\u00fczellik alg\u0131s\u0131 Rubenesque kad\u0131n hatlar\u0131, yani bal\u0131k etli, soluk beyaz tenli, alt\u0131n sar\u0131s\u0131 sa\u00e7l\u0131 olan ve uzun boyunlu olmayan kad\u0131nlar infazlar\u0131n hedefindeydi. T\u0131pk\u0131 yoksul ya da zengin farketmeksizin, marjinal g\u00f6r\u00fclen ve skolastik d\u00fc\u015f\u00fcnceyi sorgulayan kad\u0131nlar\u0131n kilise i\u00e7in tehdit oldu\u011fu gibi\u2026 Ayn\u0131 zamanda ya\u015fl\u0131 olan -yani art\u0131k hayat\u0131n\u0131n menopoz evresinde \u00e7ocuk do\u011furamayacak olan- kad\u0131nlar da cad\u0131 avlar\u0131n\u0131n kurbanlar\u0131yd\u0131lar.<\/p>\n\n\n\n