Jordan Peele\u2019\u0131n Get Out<\/em>\u2019tan sonraki ikinci filmi Us<\/em> merakla bekleniyordu ve ele\u015ftirmenler bunun da \u00f6nemli bir ba\u015far\u0131 oldu\u011fu konusunda b\u00fcy\u00fck \u00f6l\u00e7\u00fcde hemfikirler. Ancak ilgin\u00e7 \u015fekilde \u015fimdiye kadar okudu\u011fum yorumlar\u0131n \u00e7ok az\u0131 filmin Platon\u2019un ma\u011fara alegorisiyle \u00e7ok a\u00e7\u0131k ili\u015fkisinden bahsetmi\u015f ve bunu da \u00fcst\u00fcnk\u00f6r\u00fc bir \u015fekilde yapm\u0131\u015f. Oysa Us<\/em>, benim bilebildi\u011fim kadar\u0131yla sinemadaki en do\u011frudan \u2013 \u00fcstelik korku t\u00fcr\u00fcnde \u2013 Platon adaptasyonu. Bununla y\u00f6netmenin Platon\u2019un fikirlerini do\u011frudan beyazperdeye aktard\u0131\u011f\u0131n\u0131 s\u00f6ylemiyorum, ama kendi derdini anlatmak i\u00e7in flozofun \u00e7e\u015fitli fikirlerini filmine di\u011fer filmlere g\u00f6re daha belirgin \u015fekilde enjekte etmi\u015f. Bu anlamda Platon\u2019dan daha dolayl\u0131 yararlanan ba\u015fta The Matrix<\/em> olmak \u00fczere di\u011fer bir\u00e7ok filmden ayr\u0131ld\u0131\u011f\u0131 s\u00f6ylenebilir.<\/p>\n

Platon ma\u011fara alegorisi \u00e7ok bilinen bir felsefi kavram olsa da yaz\u0131n\u0131n amac\u0131 do\u011frultusunda k\u0131saca \u00f6zetlemekte fayda var. Devlet<\/em>\u2019in 7. kitab\u0131nda (514a vd.) Platon \u015f\u00f6yle bir sahneyi anlat\u0131r: Baz\u0131 insanlar \u00e7ocukluklar\u0131ndan itibaren bir ma\u011farada tutsakt\u0131rlar ve boyunlar\u0131na ba\u011flanm\u0131\u015f zincirlerle yaln\u0131zca bir duvara bakabilmektedirler. Arkalar\u0131ndaysa tek bir ate\u015f kayna\u011f\u0131 onlara \u0131\u015f\u0131k sa\u011flamaktad\u0131r. Gerilerinde, yani ate\u015fle aralar\u0131nda bir yol ve uzun bir duvar vard\u0131r. Yol boyunca duvar\u0131n ard\u0131ndan y\u00fcr\u00fcyenler \u2013 ve tutsaklar\u0131n g\u00f6remedi\u011fi \u2013 ki\u015filer t\u00fcm nesne t\u00fcrlerini ta\u015f\u0131rlar: insan fig\u00fcrler, hayvanlar vs. Tutsaklar\u0131n g\u00f6rd\u00fckleri tek \u015fey bu nesnelerin ma\u011fara duvarlar\u0131na yans\u0131yan g\u00f6lgeleridir. Bu g\u00f6lgeler onlar\u0131n d\u00fcnya ve \u015feyler hakk\u0131nda bildikleri her \u015feydir. Ma\u011faran\u0131n d\u0131\u015f\u0131nda giden yolun sonunda ise ger\u00e7ek \u0131\u015f\u0131k kayna\u011f\u0131 G\u00fcne\u015f parlamaktad\u0131r.<\/p>\n

Platon 517a\u2019da ma\u011fara benzetmesinin bilginin \u00e7e\u015fitlerini g\u00f6stermeyi ama\u00e7lad\u0131\u011f\u0131n\u0131 s\u00f6yler. \u201cBilinebilen\u201d d\u00fcnyadan farkl\u0131 olan \u201cg\u00f6r\u00fcnebilen\u201d d\u00fcnya ma\u011faradaki tutsakl\u0131k durumudur; ate\u015f ise G\u00fcne\u015f\u2019e kar\u015f\u0131l\u0131k gelir. Ma\u011faradan \u00e7\u0131k\u0131\u015fa do\u011fru t\u0131rmanmak, g\u00f6r\u00fcn\u00fcr\u00fcn d\u00fcnyas\u0131ndan bilinebilir (d\u00fc\u015f\u00fcnebilir\/\u00f6\u011frenilebilir) d\u00fcnyaya do\u011fru y\u00fckselmek anlam\u0131na gelmektedir. Tutsaklar ayn\u0131 ger\u00e7ek d\u00fcnyada oldu\u011fu gibi ma\u011faralar\u0131nda da nesneler ve onlar\u0131n g\u00f6lgeleriyle birliktedir, fakat tutsaklar arkalar\u0131nda duvardan y\u00fckselen nesneleri g\u00f6rmez, sadece \u00f6nlerindeki duvarda ge\u00e7en g\u00f6lgeleri fark ederler. O h\u00e2lde g\u00f6lgelerin kayna\u011f\u0131 olan nesneleri fark etmek bilginin bir \u00fcst basama\u011f\u0131d\u0131r. Ancak i\u015f bununla bitmez: Ma\u011fara d\u0131\u015f\u0131ndaki \u201cger\u00e7ek\u201d d\u00fcnyan\u0131n nesneleri ve g\u00f6lgelerinin \u00fczerinde bir de bu \u201cma\u011fara d\u0131\u015f\u0131\u201d nesnelerin bir de ilk imgeleri vard\u0131r ki onlar da \u201cidealar d\u00fcnyas\u0131\u201dn\u0131 meydana getirirler. Tutsak \u00f6zg\u00fcr olma, ger\u00e7ek nesneyi g\u00f6rme ve o \u201cger\u00e7ekli\u011fin\u201d daha m\u00fckemmel bir kopyas\u0131 oldu\u011funu anlayana kadar bilgisini artt\u0131rabilir. Tutsaklar e\u011fitim ve cehalet durumu a\u00e7\u0131s\u0131ndan insan do\u011fas\u0131n\u0131, \u00f6\u011frenme, e\u011fitim ve bilgi ihtimalini temsil ederler. Tutsaklar\u0131n ger\u00e7ek nesneleri g\u00f6rmesi gibi insanlar da e\u011fitimle idealar\u0131 g\u00f6r\u00fcrler. Dolay\u0131s\u0131yla idealara varana kadar ge\u00e7ilmesi gereken birka\u00e7 basamak vard\u0131r; ma\u011faran\u0131n d\u0131\u015f\u0131na \u00e7\u0131kmak bunlardan sadece biridir.<\/p>\n

Di\u011fer bir deyi\u015fle Platon \u00e7evremizde alg\u0131lad\u0131\u011f\u0131m\u0131z her \u015feyin yaln\u0131zca g\u00f6r\u00fcng\u00fcden ibaret oldu\u011funu anlat\u0131r. Hakikat ise g\u00f6r\u00fcn\u00fc\u015f\u00fcn ondan t\u00fcredi\u011fi idealar ya da formlar evrenidir. Tikel bir siyah at, t\u00fcmel at formundan veya ayn\u0131 \u015fekilde siyahl\u0131k ideas\u0131ndan pay alarak t\u00fcremi\u015ftir. Duyular\u0131m\u0131z arac\u0131l\u0131\u011f\u0131yla alg\u0131lad\u0131\u011f\u0131m\u0131z fiziksel evren daimi de\u011fi\u015fim ve devinim h\u00e2lindeyken, zihnin alg\u0131lad\u0131\u011f\u0131 idealar evreninde de\u011fi\u015fim yoktur, dolay\u0131s\u0131yla ebedidir. Akl\u0131n rasyonel kullan\u0131m\u0131 bize de\u011fi\u015fmeyen, evrensel idealar\u0131 bulmada \u2013 ma\u011faradan \u00e7\u0131kmakla kalmay\u0131p daha \u00f6tesini g\u00f6rmemize \u2013 yard\u0131mc\u0131 olabilir. T\u00fcmel idealar evreninin daha az \u00f6nemli formlaran ba\u015flayan ve soyut, y\u00fcksek idealara do\u011fru giden hiyerar\u015fik bir yap\u0131s\u0131 vard\u0131. Hiyerar\u015fik d\u00fczenin en tepesinde ise \u201ciyi\u201d ideas\u0131 (agathon) yer al\u0131r. Daimi devinim h\u00e2lindeki tikel nesnelerin d\u00fcnyas\u0131n\u0131 g\u00f6z ard\u0131 eder ve idealar\u0131n\u0131 zamans\u0131z hakikatine dikkatimizi verecek olursak ruhumuz G\u00fczel, Hakikat ve \u0130yi idealar\u0131na eri\u015fir.<\/p>\n

Us<\/em> bu tasavvuru do\u011frudan benimser ve baz\u0131 g\u00f6rsel g\u00f6ndermelerle peki\u015ftirir. Ger\u00e7ek d\u00fcnyadaki insanlar\u0131n birer kopyas\u0131 olan ve onlar\u0131n yapt\u0131klar\u0131n\u0131 taklit eden \u201cBa\u011fl\u0131lar\u201d (Tethered) ma\u011fara d\u0131\u015f\u0131ndaki ger\u00e7ek nesnelerin ma\u011faradaki temsilleridir; ayn\u0131 ma\u011fara gibi bir yeralt\u0131 kompleksinde bulunurlar. Adelaide\u2019\u0131n kendi kopyas\u0131n\u0131 bulaca\u011f\u0131 bu kompleksin holleri beyazd\u0131r; ma\u011faran\u0131n \u00e7\u0131k\u0131\u015f\u0131nda ger\u00e7e\u011fi g\u00f6ren tutsa\u011f\u0131n G\u00fcne\u015f\u2019e \u00e7\u0131k\u0131\u015f\u0131n\u0131 hat\u0131rlat\u0131r. Daha da ilginci Adelaide\u2019\u0131n kopyas\u0131 Red\u2019i g\u00f6rd\u00fc\u011f\u00fc mek\u00e2n\u0131n duvarlar\u0131ndaki el bask\u0131lar\u0131d\u0131r. Bunlar hem d\u00fczenleni\u015fleri hem de renkleri a\u00e7\u0131s\u0131ndan, Arjantin\u2019deki M\u00d6 7300 civar\u0131na tarihlenen Eller Ma\u011faras\u0131\u2019n\u0131n (Cueva de las Manos) duvarlar\u0131ndan el bask\u0131lar\u0131na \u00e7ok benzer. Dolay\u0131s\u0131yla film hem Ba\u011fl\u0131lar\u0131n niteli\u011fi hem de g\u00f6rsel ipu\u00e7lar\u0131yla Platon\u2019un tasavvurunu ve filmin temas\u0131n\u0131 s\u0131k\u0131 bir \u015fekilde birbirine ba\u011flar.<\/p>\n

$\"\"$
Eller Ma\u011faras\u0131 (Cueva de las Manos), M\u00d6 7300, Arjantin ve Us<\/em>‘taki yeralt\u0131 kompleksinden bir mek\u00e2n<\/p><\/div>\n
Bununla birlikte bir yandan film Platon\u2019la hayli dolays\u0131z bir ili\u015fki kurarken, di\u011fer yandan ma\u011fara alergorisini baz\u0131 a\u00e7\u0131lardan tersy\u00fcz eder: Filmin ba\u015f\u0131nda ma\u011fara d\u0131\u015f\u0131ndaki ger\u00e7ek d\u00fcnyada g\u00f6rd\u00fc\u011f\u00fcm\u00fcz Adelaide\u2019\u0131n asl\u0131nda ma\u011faradaki bir Ba\u011fl\u0131 oldu\u011funu, ma\u011fara d\u0131\u015f\u0131ndaki \u201cger\u00e7e\u011fini\u201d ma\u011faraya (yeralt\u0131ndaki laboratuvar kompleksi) g\u00f6t\u00fcrerek onu \u201ctutsak\u201d yapt\u0131\u011f\u0131n\u0131 \u00f6\u011freniriz. Yani yukar\u0131 \u00e7\u0131kt\u0131ktan sonra nereden geldi\u011fini unutan Ba\u011fl\u0131, hakikati \u201cma\u011faradan yukar\u0131 y\u00fcr\u00fcy\u00fcp \u0131\u015f\u0131\u011fa \u00e7\u0131kma\u201dn\u0131n kar\u015f\u0131l\u0131\u011f\u0131 denebilecek \u201ca\u015fa\u011f\u0131 inme\u201d eylemiyle \u00f6\u011frenir. Red Adelaide\u2019a \u201cg\u00f6lgelerin\u201d toplumun kontrol etmek amac\u0131yla yarat\u0131lan kopyalar olduklar\u0131n\u0131, fakat deneyin ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011frad\u0131\u011f\u0131n\u0131 s\u00f6yler: Zihinlerin ve bedenlerin ikiye ayr\u0131lm\u0131\u015f, ancak her insan\u0131n ruhu ikiye b\u00f6l\u00fcnm\u00fc\u015ft\u00fcr. Sonunda Adeleide (yani g\u00f6lge Red) Red\u2019i (yani ger\u00e7ek Adeleide) \u00f6ld\u00fcr\u00fcr ve yerine ge\u00e7er. Elbette filmin sonunda asl\u0131nda bunun tersinin de ger\u00e7li oldu\u011funu g\u00f6r\u00fcr\u00fcz; yani filmin ba\u015f\u0131nda ger\u00e7ek \u00e7ocuk Adelaide\u2019\u0131 aynalar hol\u00fcnde g\u00f6ren g\u00f6lgesi bu a\u00e7\u0131dan asl\u0131nda ma\u011faradan \u00e7\u0131km\u0131\u015f say\u0131labilir.<\/p>\n
Dolay\u0131s\u0131yla ma\u011faradaki \u00e7ocuk Adelaide\u2019\u0131n g\u00f6lgesi Platon\u2019un da dedi\u011fi gibi bir kere ma\u011faradan \u00e7\u0131k\u0131p \u015feylerin ger\u00e7ek do\u011fas\u0131n\u0131 g\u00f6r\u00fcnce geri d\u00f6nmek istemeyen tutsakt\u0131r. Ancak Red i\u00e7in bu kan\u0131mca Platon\u2019un kastetti\u011fi hakikat de\u011fildir;\u00a0 Adelaide\u2019\u0131n rahat \u00fcst s\u0131n\u0131f hayat\u0131d\u0131r. Bir kere bunu deneyimledikten sonra ma\u011faraya geri d\u00f6nmek istemez. Wilson\u2019lar ve Tyler\u2019lar\u0131n erkekleri deniz kenar\u0131nda bir ev, tatil, bir tekne \u00fczerine konu\u015fmakta, Adelaide\u2019\u0131n kocas\u0131 Gabe zengin arkada\u015f\u0131 Josh\u2019u etkilemek i\u00e7in onun gibi bir tekne almay\u0131 istemektedir (ki al\u0131r). Red ma\u011fara d\u0131\u015f\u0131ndaki ya\u015fam\u0131n nihai hakikat oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr. Y\u00f6netmenin hem Key & Peele <\/em>\u00a0\u015fovu hem de ilk filmi Get Out<\/em>\u2019tan dolay\u0131 Amerikan tarz\u0131 ya\u015fam ve beyaz \u00fcst\u00fcnl\u00fc\u011f\u00fcne bak\u0131\u015f\u0131n\u0131 bildi\u011fimizden, bence y\u00f6netmen burada da ma\u011faradan \u00e7\u0131k\u0131\u015fla eri\u015filen yeni hakikatin, yani Amerikan tarz\u0131 \u00fcst s\u0131n\u0131f hayat\u0131n\u0131n bir aldatmaca oldu\u011funu s\u00f6yl\u00fcyor. Siyah aile beyaz arkada\u015flar\u0131n\u0131n konformist \u00fcst s\u0131n\u0131f ya\u015fam\u0131na \u00f6zenmektedir, ama bu i\u00e7i bo\u015f bir arzudur. Red ise Adelaide’\u0131n ya\u015fam\u0131na \u00f6zenir. Yukar\u0131da beyaz ve siyah aile aras\u0131ndaki s\u0131n\u0131f fark\u0131 (veya gelir d\u00fczeyindeki fark), Adelaide ve Red aras\u0131nda da vard\u0131r: yukar\u0131s\u0131 ve a\u015fa\u011f\u0131s\u0131 olarak. Platon i\u00e7in maparadan idealar d\u00fcnyas\u0131na giden yol cehaletin yok\u00a0olarak bilgeli\u011fe eri\u015filen a\u015famalar\u0131 temsil eder. Filmde ise ayn\u0131 yol s\u0131n\u0131f fark\u0131n\u0131n ortana kalkmas\u0131 i\u00e7in al\u0131nmal\u0131d\u0131r. Bu noktada filmin bana kal\u0131rsa hayli kaba bir ima i\u00e7eren bir sahnesinden de bahsetmek gerekiyor: Adelaide\u2019\u0131n evi istila edildi\u011finde, Red\u2019e kim olduklar\u0131n\u0131 sorar ve ondan \u201cAmerikal\u0131y\u0131z\u201d cevab\u0131n\u0131 al\u0131r. Bu cevap anlam\u0131n\u0131 filmin sonunda Red\u2019in ger\u00e7ek Adelaide oldu\u011fu anla\u015f\u0131l\u0131nca bulacakt\u0131r. Filmin bu ba\u011flamda ger\u00e7ek Amerikal\u0131l\u0131\u011f\u0131n ne oldu\u011fu \u00fczerine d\u00fc\u015f\u00fcnmemizi istedi\u011fi a\u00e7\u0131kt\u0131r.: Filmin finalinde Red\u2019in ger\u00e7ek Adelaide oldu\u011funu anlad\u0131\u011f\u0131m\u0131za g\u00f6re, ba\u015f\u0131ndan beri g\u00f6lgesiyle \u00f6zde\u015fle\u015fti\u011fimiz gibi rahats\u0131z edici bir ger\u00e7ek ortaya \u00e7\u0131kar. \u00dcst s\u0131n\u0131f bir ailenin hayat\u0131 m\u0131 bize bu tablonun ger\u00e7ek oldu\u011funa inand\u0131rm\u0131\u015ft\u0131r?<\/p>\n
Filmin yine k\u0131smen Platon\u2019dan esinlendi\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm bir di\u011fer yan\u0131n\u0131 da de\u011ferlendirmek uygun olabilir. Platon\u2019un \u015e\u00f6len<\/em> diyalogunda Aristophanes sevginin s\u0131rr\u0131n\u0131 a\u00e7\u0131klayan bir hik\u00e2ye anlatmaya ba\u015flar (189e-193a). Buna g\u00f6re insanlar ba\u015ftan erkek ve di\u015fi olarak ikiye ayr\u0131lm\u0131yordu; her ikisini de i\u00e7ine alan Androgynos ad\u0131nda \u00fc\u00e7\u00fcnc\u00fc bir t\u00fcr mevcuttu. Bu cins \u201cyuvarlak s\u0131rtlar\u0131 ve b\u00f6\u011f\u00fcrleriyle tostoparlak bir \u015feydiler. Her birinin d\u00f6rt eli, bir o kadar da baca\u011f\u0131 vard\u0131\u2026 Bir boyun \u00fczerinde ters y\u00f6ne bakan birbirinin ayn\u0131s\u0131 kafalar bulunuyordu.\u201d Aristophanes \u201cg\u00f6\u011fe t\u0131rman\u0131p tanr\u0131lara kar\u015f\u0131 gelmeye yeltenen\u201d Ephialtes ve Oltos\u2019un bu cinsten olmas\u0131 gerketi\u011fini s\u00f6yler. Zeus ve di\u011fer tanr\u0131lar aleyhlerine olan bu riski bertaraf etmek isterler, fakat Androgynos cinsi kendilerine adaklar ve kurbanlar sunduklar\u0131 i\u00e7in onlar\u0131 istemezler. Onun yerine Zeus bu fiziksel avantajlar\u0131n\u0131 ortadan kald\u0131rmak i\u00e7in onlar\u0131 ikiye ay\u0131r\u0131r ve ters y\u00f6ne bakan cinsel organlar\u0131n\u0131 \u00f6ne getirerek birbirlerini arzulamalar\u0131n\u0131 sa\u011flar. B\u00f6ylece insan soyu \u00e7o\u011falarak tanr\u0131lara kurban sunmaya devam edecekti. Aristophanes b\u00f6ylece insan\u0131n benzerine duydu\u011fu sevginin \u00e7ok eski zamanlardan kald\u0131\u011f\u0131n\u0131 belirtir; her bir ki\u015fi bir ba\u015fkas\u0131n\u0131n symbolon<\/em>udur. Ad\u0131 konmasa da ABD h\u00fck\u00fcmeti oldu\u011fu anla\u015f\u0131lan kopyalama i\u015finin y\u00fcr\u00fct\u00fcc\u00fcs\u00fc g\u00fc\u00e7 de benzer \u015fekilde insanlar\u0131 ay\u0131rmaya \u00e7al\u0131\u015fm\u0131\u015f, fakat bu yar\u0131lar\u0131 ayn\u0131 ruhu payla\u015fmaya zorlam\u0131\u015ft\u0131r. T\u0131pk\u0131 Zeus ve di\u011fer tanr\u0131lar gibi h\u00fck\u00fcmet de kendilerine ba\u015fkald\u0131rmadan hizmet edecek n\u00fcfus yaratmak amac\u0131yla, onlar\u0131 \u201cikiye b\u00f6lerek\u201d a\u015fa\u011f\u0131daki g\u00f6lgeleri \u00fczerinden y\u00f6netmeyi mi planlam\u0131\u015ft\u0131?<\/p>\n
Son olarak filmin burada bahsetmeyece\u011fim birka\u00e7 \u00f6nemli mant\u0131k hatas\u0131 i\u00e7erdi\u011fini ve y\u00f6netmenin akl\u0131ndakileri filme doyurucu \u015fekilde aktaramad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum. Geride \u00e7ok fazla soru i\u015faret kal\u0131yor ve bize g\u00f6sterilenlerin filmin derdi i\u00e7in uygun oldu\u011fu, fakat eksik kald\u0131\u011f\u0131 gibi izlenim edindim. Yine de y\u00f6netmenin Platon\u2019u bir korklu filminde yarat\u0131c\u0131 \u015fekilde kullanm\u0131\u015f olmas\u0131 takdire \u015fayan.<\/p>\n","protected":false},"excerpt":{"rendered":"
Jordan Peele\u2019\u0131n Get Out\u2019tan sonraki ikinci filmi Us merakla bekleniyordu ve ele\u015ftirmenler bunun da \u00f6nemli bir ba\u015far\u0131 oldu\u011fu konusunda b\u00fcy\u00fck \u00f6l\u00e7\u00fcde hemfikirler. Ancak ilgin\u00e7 \u015fekilde \u015fimdiye kadar okudu\u011fum yorumlar\u0131n \u00e7ok az\u0131 filmin Platon\u2019un ma\u011fara alegorisiyle \u00e7ok a\u00e7\u0131k ili\u015fkisinden bahsetmi\u015f ve bunu da \u00fcst\u00fcnk\u00f6r\u00fc bir \u015fekilde yapm\u0131\u015f. Oysa Us, benim bilebildi\u011fim kadar\u0131yla sinemadaki en do\u011frudan \u2013 … <\/p>\n
Continue reading<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[56,54,53,55,52],"class_list":["post-586","post","type-post","status-publish","format-standard","hentry","category-genel","tag-jordan-peele","tag-magara","tag-platon","tag-sinema","tag-us","nodate","item-wrap"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9zFXd-9s","jetpack-related-posts":[],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/586","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=586"}],"version-history":[{"count":15,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/586\/revisions"}],"predecessor-version":[{"id":1002,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=\/wp\/v2\/posts\/586\/revisions\/1002"}],"wp:attachment":[{"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=586"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=586"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eskicagblog.istanbul.edu.tr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=586"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}