<\/p>\n
Tam ad\u0131 Mehmet Ziya olan usta edebiyat\u00e7\u0131, Vilayet Evrak M\u00fcd\u00fcrl\u00fc\u011f\u00fcnde uzun y\u0131llar hizmet veren Mehmet Tevfik Efendi ile b\u00f6lgenin tan\u0131nm\u0131\u015f ailelerinden Pirin\u00e7cizadeler’in k\u0131z\u0131 Zeliha Han\u0131m’\u0131n o\u011flu olarak 23 Mart 1876’da Diyarbak\u0131r’da d\u00fcnyaya geldi.<\/p>\n
R\u00fc\u015ftiye-i Askeriyye’ye (Askeri Ortaokul) 1886’da ba\u015flayan G\u00f6kalp, son s\u0131n\u0131ftayken babas\u0131n\u0131 kaybetti. G\u00f6kalp, 1890’da amcas\u0131 M\u00fcderris Hac\u0131 Hasip Bey’den geleneksel \u0130slam ilimleriyle ilgili ders almaya ba\u015flad\u0131. Ayn\u0131 y\u0131l \u0130stanbul’a giderek lise e\u011fitimine ba\u015flayan yazar, 1891’de geri d\u00f6nerek, ikinci s\u0131n\u0131fa Diyarbak\u0131r’da devam etti.<\/p>\n
Ziya G\u00f6kalp, 1896’da \u0130stanbul’a d\u00f6nerek, yat\u0131l\u0131 M\u00fclkiye Baytar Mekteb-i Alisi’ne kaydoldu, amcas\u0131ndan Arap\u00e7a ve Fars\u00e7a, okul m\u00fcd\u00fcr\u00fcnden Frans\u0131zca dersleri ald\u0131.<\/p>\n
Usta kalem, 4. s\u0131n\u0131fa ge\u00e7ti\u011fi yaz tatilinde Diyarbak\u0131r’da gizli toplant\u0131lara kat\u0131lmak, izinsiz cemiyet kurmak ve zararl\u0131 yay\u0131nlar\u0131 okumak su\u00e7lamas\u0131yla 1898’de tutukland\u0131. Bir m\u00fcddet sonra serbest kalarak \u0130stanbul’a d\u00f6nen G\u00f6kalp, okula al\u0131nmad\u0131\u011f\u0131 i\u00e7in baytarl\u0131k e\u011fitimini tamamlayamad\u0131.<\/p>\n
Geleneksel ilimlerde kendisinden faydaland\u0131\u011f\u0131 amcas\u0131 Hac\u0131 Hasib Efendi’nin k\u0131z\u0131 Vecihe Han\u0131m ile 1900’de evlenen yazar, k\u0131sa s\u00fcre memuriyetlerde bulundu, askeri okulda Frans\u0131zca \u00f6\u011fretmenli\u011fi yapt\u0131.<\/p>\n
G\u00f6kalp, d\u00f6nemin yo\u011fun siyasi ortam\u0131n\u0131n da etkisiyle \u0130ttihat ve Terakki Cemiyetine \u00fcye oldu ve muhalif hareketlerin i\u00e7inde yer ald\u0131\u011f\u0131ndan 1900 y\u0131l\u0131nda 9 ay tutuklu kald\u0131.<\/p>\n
\u0130kinci Me\u015frutiyetin ilan\u0131yla \u0130ttihat ve Terakki Cemiyetinin Diyarbak\u0131r \u015fubesini kuran yazar, 1911’de Selanik \u0130ttihat ve Terakki Mekteb-i Sultanisi’nde T\u00fcrkiye’nin ilk sosyoloji derslerini verdi.<\/p>\n
Ba\u015far\u0131l\u0131 edebiyat\u00e7\u0131 Balkan Sava\u015flar\u0131 ba\u015flay\u0131nca \u0130stanbul’a d\u00f6nmek zorunda kald\u0131, 1912’de yenilenen Meclis-i Mebusan se\u00e7imlerinde Ergani milletvekili olan G\u00f6kalp, ayn\u0131 y\u0131l meclis feshedilince Dar\u00fclf\u00fcnun’da (\u0130stanbul \u00dcniversitesi) sosyoloji profes\u00f6r\u00fc olarak ders vermeye ba\u015flad\u0131.<\/p>\n
Ziya G\u00f6kalp, \u00d6mer Seyfettin ve Ali Canip Y\u00f6ntem’in \u00e7\u0131kard\u0131\u011f\u0131 “Gen\u00e7 Kalemler” dergisine \u015fiir ve makaleleriyle katk\u0131da bulundu, bir\u00e7ok dergi ve gazete i\u00e7in d\u00fc\u015f\u00fcnce yaz\u0131lar\u0131 kaleme ald\u0131.<\/p>\n
D\u00f6nemin edebi ak\u0131mlar\u0131n\u0131n, dili a\u011f\u0131r ve anla\u015f\u0131lmaz bir hale getirdi\u011fini d\u00fc\u015f\u00fcnen G\u00f6kalp, dilde sadele\u015fme ve \u015fiirde hece \u00f6l\u00e7\u00fcs\u00fcn\u00fc savunan “Yeni Lisan” hareketi i\u00e7inde yer ald\u0131.<\/p>\n
G\u00f6kalp, \u015fiirin ve edebiyat\u0131n toplumun anlayabilece\u011fi bir d\u00fczeyde tutulmas\u0131n\u0131 savunarak, “sanat toplum i\u00e7indir” d\u00fc\u015f\u00fcncesinden hareketle eserlerini kaleme ald\u0131.<\/p>\n
Sanat\u0131n elit bir toplulu\u011fun mal\u0131 olmas\u0131ndansa halka mal edilmesi gereklili\u011fini savunan G\u00f6kalp, yazd\u0131\u011f\u0131 eserleri yal\u0131n, \u015fiirlerini ise “milli \u00f6l\u00e7\u00fc” oldu\u011funu s\u00f6yledi\u011fi hece \u00f6l\u00e7\u00fcs\u00fcyle yazd\u0131.<\/p>\n
Ordinary\u00fcs Profes\u00f6r Mehmet Fuad K\u00f6pr\u00fcl\u00fc, yak\u0131nlar\u0131n\u0131n, mahcup, sessiz, m\u00fctevaz\u0131, durgun, suskun ve s\u0131k\u0131lgan olarak tan\u0131mlad\u0131\u011f\u0131 G\u00f6kalp’e ili\u015fkin bir a\u00e7\u0131klamas\u0131nda, onun kuvvetli bir haf\u0131zaya, Do\u011fu ve Bat\u0131 hakk\u0131nda geni\u015f ve sa\u011flam bilgilere sahip oldu\u011funu s\u00f6ylemi\u015fti.<\/p>\n
\u0130lk eserlerinde Ziya, Ziyaeddin, Mehmed Ziya, H\u00fcseyin Vedad, Tevfik Sedad, Mehmed Mehdi, Mehmed Nail, Demirta\u015f, Celal Sak\u0131b takma adlar\u0131n\u0131 kullanan yazar, 1911’de okuyucuyla bulu\u015fan “Gen\u00e7 Kalemler” dergisindeki “Alt\u0131n Destan” manzumesinde ve sonraki hemen hemen t\u00fcm eserlerinde “G\u00f6k Alp”, Ziya G\u00f6kalp imzas\u0131n\u0131 tercih etti.<\/p>\n
Ziya G\u00f6kalp, toplumsal anlamda bir ink\u0131lap ger\u00e7ekle\u015ftirmek i\u00e7in toplumun duygusal ve ruhsal anlamda buna haz\u0131rlanmas\u0131 gereklili\u011fine inan\u0131yor, yaz\u0131 ve \u015fiirlerini bir propaganda arac\u0131 olarak kullan\u0131yordu. Toplumu duygusal olarak haz\u0131rlayabilece\u011fi ortam\u0131n sanat oldu\u011funu d\u00fc\u015f\u00fcnerek ideolojisini eserlerinin i\u00e7ine yerle\u015ftiren G\u00f6kalp, dilin ve edebiyat\u0131n t\u00fcm imkanlar\u0131n\u0131 seferber ederek T\u00fcrk\u00e7\u00fc ve Turanc\u0131 motiflere yer verdi.<\/p>\n
Usta edebiyat\u00e7\u0131n\u0131n 1914’te yay\u0131nlad\u0131\u011f\u0131 \u015fiir kitab\u0131n\u0131n ismi K\u0131z\u0131l Elma, kitab\u0131n ilk \u015fiiri ise T\u00fcrklerin tek bir devlet i\u00e7erisinde ya\u015fama arzusunu vurgulayan “Turan”d\u0131.<\/p>\n
“Vatan ne T\u00fcrkiye’dir T\u00fcrklere\/ Ne T\u00fcrkistan Vatan\/ B\u00fcy\u00fck ve m\u00fcebbet bir \u00fclkedir: Turan” dizelerinin sahibi G\u00f6kalp, toplumcu bir d\u00fc\u015f\u00fcnce adam\u0131 olmas\u0131n\u0131n yan\u0131nda milliyet\u00e7ilik d\u00fc\u015f\u00fcncesini Turanc\u0131 ideolojiyle destekleyerek bunlar\u0131 eserlerinin i\u00e7erisine yerle\u015ftirmesiyle dikkati \u00e7ekti. Bu \u015fekilde sanatsal bir hazdan ziyade faydac\u0131 bir yakla\u015f\u0131m benimseyerek eserleri arac\u0131l\u0131\u011f\u0131yla toplumdaki milli duygular\u0131 canland\u0131rmay\u0131 ama\u00e7lad\u0131.<\/p>\n
G\u00f6kalp, ger\u00e7ekle\u015ftirilmek istenen ink\u0131lab\u0131n sosyal d\u00fczlemdeki temelini haz\u0131rlamak amac\u0131yla yazd\u0131\u011f\u0131 “Yeni Hayat” eserini 1918’de, \u015fiir ve d\u00fcz yaz\u0131 \u015feklinde kaleme ald\u0131\u011f\u0131, Kelo\u011flan, K\u00fc\u00e7\u00fck \u015eehzade ve Ala Geyik adl\u0131 halk hikayelerine yer verdi\u011fi “Alt\u0131n I\u015f\u0131k” eseri ise 1922’de okuyucuyla bulu\u015ftu.<\/p>\n
I. D\u00fcnya Sava\u015f\u0131 sonras\u0131 1919’da i\u015fgal g\u00fc\u00e7leri taraf\u0131ndan tutuklanarak s\u00fcr\u00fcld\u00fc\u011f\u00fc Malta Adas\u0131’ndan 1921’de T\u00fcrkiye’ye d\u00f6nen yazar, Diyarbak\u0131r’da “K\u00fc\u00e7\u00fck Mecmua” dergisini \u00e7\u0131kard\u0131. “Yeni Mecmua” dergisini yeniden yay\u0131mlayarak burada da yazmaya devam eden edebiyat\u00e7\u0131, 1923’te Diyarbak\u0131r mebusu olarak Meclis’e girdi.<\/p>\n
Eserlerinde “millilik” vurgusu yapan G\u00f6kalp, 1924’te yay\u0131nlanan “T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn Esaslar\u0131” kitab\u0131yla “T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn fikir babas\u0131” olarak an\u0131lmaya ba\u015flad\u0131.<\/p>\n
Kendisinin \u0131rk\u0131yla ilgili tart\u0131\u015fmalar\u0131n ya\u015fand\u0131\u011f\u0131 bir d\u00f6nemde yapt\u0131\u011f\u0131 a\u00e7\u0131klamada, T\u00fcrk \u0131rk\u0131na sahip oldu\u011fundan emin oldu\u011funu ancak asl\u0131nda bunun \u00f6nemsiz oldu\u011funu dile getiren G\u00f6kalp, “Sosyolojik \u00e7al\u0131\u015fmalar\u0131mdan \u00f6\u011frendim ki milliyet, e\u011fitime dayal\u0131d\u0131r.” de\u011ferlendirmesinde bulunmu\u015ftu.<\/p>\n
G\u00f6kalp, hastal\u0131\u011f\u0131 dolay\u0131s\u0131yla kald\u0131r\u0131ld\u0131\u011f\u0131 hastanede 25 Ekim 1924’te hayata veda ederek, Sultan Mahmud T\u00fcrbesi haziresine defnedildi.<\/p>\n
Alper \u00c7a\u011flar ile Doruk Acar’\u0131n yap\u0131mc\u0131l\u0131\u011f\u0131n\u0131 \u00fcstlendi\u011fi, 15 Temmuz’a giden s\u00fcre\u00e7te Polis \u00d6zel Harekat\u0131n hikayesini anlatan mini televizyon dizisi “B\u00f6r\u00fc”de, G\u00f6kalp’in, “D\u00fc\u015fman yine \u00f6z yurduna el att\u0131\/Mezar\u0131ndan Ata’n k\u0131l\u0131\u00e7 uzatt\u0131\/Y\u00fcr\u00fc diyor, hakk\u0131 zul\u00fcm kanatt\u0131\/Attila’n\u0131n o\u011flusun sen unutma” dizelerinin oldu\u011fu, “T\u00fcrk O\u011fullar\u0131na” \u015fiirine yer verildi.<\/p>\n
Yap\u0131mc\u0131l\u0131\u011f\u0131n\u0131 Bozda\u011f Film’in \u00fcstlendi\u011fi Mehmet\u00e7ik Kut’\u00fcl Amare’de de yine G\u00f6kalp’in “Cenk meydan\u0131nda nice ko\u00e7 yi\u011fit\/Din ve yurt i\u00e7in oldular \u015fehit\/Oca\u011f\u0131 t\u00fcts\u00fcn, s\u00f6nmesin \u00fcmit\/\u015eehidi mahzun etme ya Rabbi!\/Soyunu zebun etme ya Rabbi!” \u015feklindeki dizelerin yer ald\u0131\u011f\u0131 “Asker Duas\u0131” eseri kullan\u0131ld\u0131.<\/p>\n
Usta edebiyat\u00e7\u0131n\u0131n kaleme ald\u0131\u011f\u0131 eserlerden baz\u0131lar\u0131 \u015f\u00f6yle:<\/p>\n
\u015eiir: “\u015eaki \u0130brahim Destan\u0131” (1908), “K\u0131z\u0131l Elma” (1914), “Yeni Hayat” (1918), “Alt\u0131n I\u015f\u0131k” (1923)<\/p>\n
Deneme-D\u00fc\u015f\u00fcnce: “T\u00fcrkle\u015fmek, \u0130slamla\u015fmak, Muas\u0131rla\u015fmak” (1918), “T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn Esaslar\u0131” (1923) “Do\u011fru Yol” (1923)<\/p>\n