{"id":6060,"date":"2019-03-12T02:55:28","date_gmt":"2019-03-11T23:55:28","guid":{"rendered":"http:\/\/www.dursunozden.com.tr\/?p=6060"},"modified":"2019-03-30T16:29:12","modified_gmt":"2019-03-30T13:29:12","slug":"huseyin-yavuzun-yeni-kitabi-onde-dans-vardi","status":"publish","type":"post","link":"http:\/\/www.dursunozden.com.tr\/?p=6060","title":{"rendered":"H\u00fcseyin Yavuz’un yeni kitab\u0131: “\u00d6nce Dans Vard\u0131”"},"content":{"rendered":"

Farkl\u0131 ve \u00f6zg\u00fcn bir kitap okuman\u0131n dayan\u0131lmaz hafifli\u011fini ya\u015f\u0131yorum, yeniden\u2026<\/p>\n

Yazar H\u00fcseyin Yavuz\u2019<\/b>un \u201c\u0130syan G\u00fcnleri\u201d<\/b> kitab\u0131 sonras\u0131 okudu\u011fum; \u201c\u00d6nce Dans Vard\u0131\u201d <\/b>kitab\u0131 ile dans ba\u015fl\u0131yor\u2026<\/p>\n

Seramik ustas\u0131, co\u011frafyac\u0131 ve ara\u015ft\u0131rmac\u0131 yazar H\u00fcseyin Yavuz\u2019un son kitab\u0131 \u201c\u00d6nce Dans Vard\u0131\u201dy\u0131 okurken; ge\u00e7mi\u015f zamanda ya\u015fad\u0131m. Zaman t\u00fcnelinde korkulu, kayg\u0131l\u0131\u00a0 <\/span>ve umutlu d\u00fc\u015fsel bir yolculuk yapt\u0131m. Kayg\u0131lanmadan, umut ve \u00fctopyam\u0131 yitirmeden\u2026 Korktu\u011fumuz ve sevdi\u011fimiz i\u00e7in tapt\u0131\u011f\u0131m\u0131z Tanr\u0131lar\u0131n kutsal dans\u0131, biz kullar\u0131 g\u00fcnah ve sevap i\u015flemeye \u00e7a\u011f\u0131r\u0131yor, yeniden\u2026<\/p>\n

Yazar, kitab\u0131n \u00f6ns\u00f6z\u00fcnde vurgulad\u0131\u011f\u0131 gibi: \u201cDans en ilkel bi\u00e7imiyle insanlar\u0131n do\u011fa kar\u015f\u0131s\u0131ndaki g\u00fc\u00e7s\u00fczl\u00fc\u011f\u00fcn\u00fc ifade etme bi\u00e7imi, her \u015feyi do\u011fan\u0131n ak\u0131m\u0131na b\u0131rakarak, hareket etmeden hareket etme bi\u00e7imidir. Bir ba\u015fka ifadeyle, g\u00f6vdenin kendili\u011findenle\u015fmi\u015f d\u00fczenli, ard\u0131\u015f\u0131k ve ritmli hareketler b\u00fct\u00fcn\u00fcd\u00fcr.\u00a0<\/span><\/p>\n

Bu haliyle dans, bireyin ben olmaktan kurtulup, bilinmeyen s\u0131rda\u015f tanr\u0131lar d\u00fcnyas\u0131na ge\u00e7i\u015finin b\u00fcy\u00fck bir arac\u0131, en ilkel ve en evrensel bir ayinidir. Dans\u0131n i\u00e7erdi\u011fi ola\u011fan\u00fcst\u00fc estetik ve ritm, onu bir sanata d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015ft\u00fcr. O ba\u015fka bir ifade bi\u00e7iminin hen\u00fcz geli\u015fmedi\u011fi d\u00f6nemlerin \u00e7arp\u0131c\u0131 ifade bi\u00e7imidir.\u00a0<\/span><\/p>\n

Danstaki ritm, zamanla \u015fiir ve m\u00fczi\u011fi de i\u00e7ine alacak, perde ve temposu belli aral\u0131klarla d\u00fczenlenmi\u015f bir hareket ve s\u00f6z dizgesinin ortaya \u00e7\u0131kmas\u0131na neden olacakt\u0131r.<\/p>\n

Kam, uyu\u015fturucu, \u015farap ve m\u00fczik ise, bireyi bu d\u00fcnyadan koparman\u0131n ara\u00e7lar\u0131 olarak; duygu ve d\u00fc\u015f\u00fcncelerin, hareketlerle ifadesi olan dans\u0131n, bizdeki b\u00fcy\u00fck izlerinin alt\u0131nda, t\u00fcr\u00fcm\u00fcz\u00fcn ilk ayin bi\u00e7imi olmas\u0131n\u0131n yan\u0131nda; hi\u00e7 bir dinin onu taht\u0131ndan indirme g\u00fcc\u00fcn\u00fcn yetememi\u015f olmas\u0131 anlaml\u0131d\u0131r. \u00d6zetle, sanata d\u00f6n\u00fc\u015fm\u00fc\u015f bir ayin olarak; \u201c\u00d6NCE DANS VARDI\u201d\u00a0 <\/span>ve var olmaya devam edecektir.\u201d\u00a0<\/span><\/p>\n

Hep var olacak olan \u201cDans\u201d bizi \u00e7a\u011f\u0131r\u0131yor. Bu kutsal \u00e7a\u011fr\u0131ya yan\u0131t veren, Ramazan davulcusu As\u0131m Emmi\u2019nin yan\u0131k sesinden duyulan ilk ilahi, ilk \u00e7a\u011fr\u0131 idi. Kahveci Nazif Day\u0131\u2019n\u0131n Halep Cezaevi\u2019nde yapt\u0131\u011f\u0131 kenevir kokulu \u00c7a\u00e7a Dans\u0131, \u00d6k\u00fcz Mehmet Pa\u015fa Han\u0131\u2019nda Ke\u00e7e Bekir ve Ate\u015f Ahmet\u2019in Alpa\u011fut Dans\u0131 ya da k\u00f6yde Mercan Dede\u2019nin toprak daml\u0131 evinde, idare lambas\u0131 \u0131\u015f\u0131\u011f\u0131 \u00e7evresinde yan yana, yana yana ve d\u00f6ne d\u00f6ne z\u0131playarak zikir edenlerin \u00e7\u0131\u011fl\u0131klar\u0131, kutsal dans\u0131n \u00f6ncesi miydi?\u00a0<\/span><\/p>\n

Ate\u015fin dans eden alevinde G\u00f6k Tanr\u0131\u2019ya eri\u015fen Kutsal \u015eaman Ana\u2019n\u0131n \u015fifal\u0131 her dokunu\u015fu, \u201c\u00d6nce Dans Vard\u0131\u201d dedirten b\u00fcy\u00fcl\u00fc bir ruhsal dans hali idi. \u0130\u00e7sel yolculuk s\u0131ras\u0131nda ve sonras\u0131nda, kutsal mekanlarda yap\u0131lan zikir de, bir danst\u0131. Suyun ve ate\u015fin dans\u0131… Kar ile korun evrensel \u00e7eli\u015fkisi. Ya da, tarihi diyalektik yasan\u0131n uyumu. Belki de z\u0131tlar\u0131n birli\u011fi ilkesi… Nice hastalara \u015fifa kayna\u011f\u0131 olan kutsal suyun melodik ritmi belki de… Kor ate\u015fin alevinde cehennem azab\u0131 \u00e7eken g\u00fcnahkarlar\u0131n, Arasat\u2019a \u00e7\u0131kma tela\u015f\u0131 ya da yar\u0131\u015f\u0131. Cennet sarho\u015flu\u011funa kap\u0131lan kutsal meleklerin yorgun tela\u015f\u0131 ve yakar\u0131\u015f\u0131\u2026<\/p>\n

Lilith varken Havva, havas\u0131n\u0131 m\u0131 ald\u0131 yoksa? Cennet\u2019te yasak elmay\u0131 yiyip, Adem\u2019i ba\u015ftan \u00e7\u0131karan; ilk a\u015fk, ilk r\u00fc\u015fvet ve ilk g\u00fcnah su\u00e7unu i\u015fleyen Lilith\u2019in, yerk\u00fcreye yapt\u0131\u011f\u0131 zorunlu ve lanetli bu insanc\u0131l yolcu\u011fun s\u0131rr\u0131 neydi? Belki de tanr\u0131lar\u0131n, meleklerin, peygamberlerin, vekillerin, el\u00e7ilerin, inanan ve inanmayan t\u00fcm insano\u011flunun ilk dans\u0131 idi bunlar…\u00a0<\/span><\/p>\n

Bu nedenle mi? \u201c\u00d6nce Dans Vard\u0131\u201d diyoruz. Evrenin diyalektik evrim teorisini yazan Darwin, bu uyumlu dansta k\u00f6\u00e7ek mi yoksa? \u0130ki aya\u011f\u0131 \u00fczerine bas\u0131p, d\u00fc\u015f\u00fcnerek akl\u0131n\u0131 ve elini kullanmaya ba\u015flayan \u201cinsan\u201d denen bu yarat\u0131\u011f\u0131n; do\u011faya h\u00fckm\u00fc, kader mi? Abdest al\u0131n\u0131rken okunan Ament\u00fc duas\u0131n\u0131n s\u0131rr\u0131 nedir? Kabe\u2019de tavaf ederken d\u00f6nen M\u00fcsl\u00fcmanlar\u0131n i\u00e7sel dans\u0131, Ayan Oros Erkekler Cumhuriyeti\u2019nde Ortadoks Ke\u015fi\u015flerin t\u00fcts\u00fcl\u00fc dans\u0131, A\u011flama Duvar\u0131\u2019nda g\u00fclen Musevilerin takke dans\u0131, Budistlerin, Hindular\u0131n, Zerd\u00fc\u015ftlerin ve Animist inan\u00e7lar\u0131n zikirleri, \u201c\u00d6nce Dans Vard\u0131\u201d tezini do\u011frular niteliktedir.\u00a0<\/span><\/p>\n

Farkl\u0131 din ve inan\u00e7lara mensup insanlar\u0131n dansa ve zikire ba\u015flamadan \u00f6nce ve sonras\u0131nda s\u00f6yledikleri, tek ortak \u015fu s\u00f6zc\u00fc\u011f\u00fcn anlam\u0131 nedir? Amin, amen, amon, aman, aman aman… Nemrut Da\u011f\u0131 ufkunda tan \u00e7i\u00e7e\u011fi a\u00e7madan ve \u015fafak s\u00f6kmeden daha, G\u00fcnahkar Firavun ve F\u0131rt\u0131na Tanr\u0131s\u0131 Te\u015fup\u2019a inat; \u00fczerinde bereketli mor bulutlar\u0131n dans etti\u011fi Amman Antik Kenti ve Amanos Da\u011f\u0131 neden kutsald\u0131r? Ana olman\u0131n, do\u011fumun, cinselli\u011fin, sevinin, a\u011flayarak yeni bir ya\u015fama ba\u015flaman\u0131n, rahmetin, rahmin ve ilk dans\u0131n ad\u0131, neden \u201cd-am\u201dd\u0131r? \u0130lk dans \u00f6ncesi, s\u0131ras\u0131 ve sonras\u0131; ya\u015fam\u0131 ya\u015famak i\u00e7in, ya\u015fama dokunan i\u00e7sel yolculu\u011fun, d\u0131\u015fa vurumu mu?\u00a0<\/span><\/p>\n

Evrenin, G\u00fcne\u015f Sistemlerinin, y\u0131ld\u0131zlar\u0131n, yerk\u00fcrenin, suyun, alevin, semazenlerin, semah d\u00f6nenlerin; Ate\u015fgah\u2019ta ve Kam\u2019da, t\u00fcm zikir ve i\u00e7sel ritmlerin \u00f6z\u00fc, dans de\u011fil mi? Bu ve ba\u015fka nedenlerle H\u00fcseyin Yavuz<\/b>, kitab\u0131n\u0131n ad\u0131n\u0131 \u00e7ok hakl\u0131 olarak; \u201c\u00d6nce Dans Vard\u0131\u201d <\/b>koymu\u015f. Yazar\u0131n atalar\u0131n\u0131n ota\u011f\u0131 olan, do\u011fup b\u00fcy\u00fcd\u00fc\u011f\u00fc Beya\u011f\u0131l K\u00f6y\u00fc do\u011fusunda bulunan ve g\u00fcne\u015fi dans ederek ilk \u00f6pen \u00c7atal Kaya\u2019n\u0131n burcuna odaklanmas\u0131 anlaml\u0131d\u0131r.\u00a0<\/span><\/p>\n

\u00d6te yandan, G\u00fclek Bo\u011faz\u0131 tuzak\u0131n\u0131 hisseden, Makedonyal\u0131 B\u00fcy\u00fck \u0130skender\u2019in Ordusu\u2019nun 17 g\u00fcn mola verip dinlendi\u011fi Beya\u011f\u0131l Bedirge Kav\u015fa\u011f\u0131\u2019nda dans eden B\u00fcy\u00fcc\u00fcba\u015f\u0131 Aristo\u2019nun; k\u00f6y\u00fcn \u00fcst\u00fcnde bulunan ve ulu bir \u015eaman Kayas\u0131 i\u00e7inden y\u00fckselen, as\u0131rl\u0131k Kutsal Zevter A\u011fac\u0131 dal\u0131na, zafer \u00f6ncesi \u201cdilek ipi\u201d ba\u011flamas\u0131n\u0131n s\u0131rr\u0131 nedir? Asl\u0131nda \u0130syan G\u00fcnleri \u00f6ncesi, Bolkar Da\u011f\u0131\u2019\u0131nda yap\u0131lan T\u00fcrkmen Y\u00f6r\u00fck Dans\u0131n\u0131 saymaz isek; ayn\u0131 zamanda co\u011frafyac\u0131, \u00e7\u00f6mlek\u00e7i, \u00f6\u011fretmen ve bu topraklar\u0131n \u00e7ocu\u011fu olan kitab\u0131n yazar\u0131 H\u00fcseyin Yavuz ve 68 Ku\u015fa\u011f\u0131 arkada\u015flar\u0131, Mamak ve Selimiye \u00f6ncesi ilk dans\u0131n\u0131; Karag\u00f6l\u2019\u00fc yurt tutmu\u015f Sessiz Toros Kurba\u011fas\u0131 isyan\u0131 ve \u00e7\u0131\u011fl\u0131\u011f\u0131nda, bu kutsal ve bereketli topraklarda ve da\u011flarda yapm\u0131\u015flard\u0131…\u00a0<\/span><\/p>\n

\u0130syan G\u00fcnleri\u2019nde, bur\u00e7ak toplayan Kadife Ana\u2019n\u0131n \u00e7ileli bekleyi\u015fi ve Bolkar Yaylas\u0131\u2019nda Y\u00f6r\u00fck \u00c7oban\u2019\u0131n az\u0131\u011f\u0131n\u0131 payla\u015fmas\u0131 \u00e7ok anlaml\u0131yd\u0131. Sansar Tepesi\u2019nde Selo, Sami, \u00c7ak\u0131c\u0131, Haccana Teyze ve \u00f6teki emektar yoksul k\u00f6yl\u00fclerin az\u0131\u011f\u0131n\u0131 payla\u015ft\u0131\u011f\u0131 an\u0131n ard\u0131ndan yap\u0131lan son dans, ilk miydi?\u00a0<\/span><\/p>\n

Tarihte, 1919-Kuvay\u0131 Milliye ve 1927-Cumhuriyet Ayd\u0131nlanma-Okuma Seferberli\u011fi\u2019nde \u00f6nc\u00fc ve fedakar at\u0131l\u0131mlar\u0131 ile bilinen Beya\u011f\u0131l K\u00f6y\u00fc\u2019n\u00fcn Erenleri ve ard\u0131ndan onlar\u0131n torunu olan \u0131\u015f\u0131k kayna\u011f\u0131, Anadolu\u2019nun ayd\u0131nl\u0131k y\u00fczlerinden biri H\u00fcseyin Yavuz, \u201c\u0130syan G\u00fcnleri\u201d<\/b> adl\u0131 ilk kitab\u0131 sonras\u0131, bu yeni ara\u015ft\u0131rma ve inceleme kitab\u0131 ile farkl\u0131, \u00f6zg\u00fcn ve cesaretli bir \u00e7\u0131k\u0131\u015fla, bu alanda \u00f6nemli bir esere imza atm\u0131\u015ft\u0131r. Yazar\u0131m\u0131z; Tanr\u0131, din ve insano\u011flunun inan\u00e7 yolculu\u011funu, kaynak g\u00f6stererek yapt\u0131\u011f\u0131 al\u0131nt\u0131lar, belgeler ve somut dayanaklar \u0131\u015f\u0131\u011f\u0131nda yazm\u0131\u015f. Elbette yazar\u0131n kimi tezleri ve iddialar\u0131, kendi do\u011frusudur. Ama konusunda, \u00f6zg\u00fcn bir \u00e7al\u0131\u015fma, ciddi bir entellekt\u00fcel birikim ve emek \u00fcr\u00fcn\u00fc oldu\u011fu da bir ger\u00e7ektir. Yazar\u0131 kutluyoruz…\u00a0<\/span><\/p>\n

\u0130nan\u00e7 d\u00fcnyam\u0131zdaki kimi s\u0131rlar\u0131 ayd\u0131nlatan yazar, \u0130lkel Kom\u00fcnal Toplum\u2019dan g\u00fcn\u00fcm\u00fcze uzanan; Anakaralardan toprak ve Cennet\u2019ten yer kapmak ad\u0131na; 3 milyon y\u0131ld\u0131r evrimle\u015firken, kendi neslini, ya\u015fad\u0131\u011f\u0131 do\u011fay\u0131 ve \u00e7evreyi yok etmek i\u00e7in sava\u015f dans\u0131 yapan, insan denen bu vah\u015fi canl\u0131n\u0131n, s\u00fcrd\u00fcrd\u00fc\u011f\u00fc s\u00f6m\u00fcr\u00fc ve din merkezli sava\u015flar\u0131n da perde arkas\u0131n\u0131 aral\u0131yor yazar bu kitab\u0131nda. Sosyalle\u015fen ilk insandan bu g\u00fcne, birlikte ya\u015fama ve herkese yatecek kadar bol olan ya\u015fam\u0131n nimetlerini payla\u015fma, dayan\u0131\u015fma ve medeni olma k\u00fclt\u00fcr\u00fc \u00f6ncesinde ve sonras\u0131nda; \u00f6nce dans m\u0131 vard\u0131?<\/p>\n

Asl\u0131nda ilgin\u00e7 bir soruyla, bu sorunlar yuma\u011f\u0131 gibi g\u00f6r\u00fcnen ve \u00e7\u00f6z\u00fcm\u00fc de bizde olan yan\u0131tlar\u0131, korku ve kayg\u0131lar\u0131m\u0131zdan ar\u0131n\u0131p, \u00e7\u00f6zebiliriz. \u00d6yleyse soruyoruz: NEDEN \u0130NANIYORUZ?<\/p>\n

Neden bir inan\u00e7 vard\u0131r? Neden insanlar, inanmaya gereksinim duymu\u015flard\u0131r? Bu sorular binlerce y\u0131ld\u0131r insanlar\u0131n kafas\u0131n\u0131 kurcalamaktad\u0131r. Sosyolojik a\u00e7\u0131dan bak\u0131ld\u0131\u011f\u0131nda din, bir \u00fcst yap\u0131 kurumudur. Alt yap\u0131ya, yani \u00fcretim ili\u015fkilerine s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131d\u0131r. Bu \u00fcretim ili\u015fkilerindeki de\u011fi\u015fimin, onu da de\u011fi\u015ftirdi\u011finin kan\u0131t\u0131d\u0131r. Teorik olarak do\u011fru gibi g\u00f6r\u00fcnen bu tez, eksik ve yetersizdir. Hatta en ilkel bi\u00e7imiyle, ortaya \u00e7\u0131kt\u0131\u011f\u0131 ilkel kabilelerde din, bir \u00fcretim bi\u00e7imine bile gerek duymam\u0131\u015ft\u0131r. O zaman ilk haliyle dinin ekonomiden daha \u00e7ok, psikolojik nedenlere dayand\u0131\u011f\u0131n\u0131 s\u00f6ylemek abart\u0131 olmaz. Bu nedenlerin en ba\u015f\u0131nda da korkunun geldi\u011fi tart\u0131\u015fmas\u0131d\u0131r.<\/p>\n

Yazar\u0131n da vurgulad\u0131\u011f\u0131 gibi; \u201c\u0130nsan kendi korkular\u0131n\u0131n yaratt\u0131\u011f\u0131 hayaletlerden \u00f6yle korktu ki, bu korkulardan kurtulman\u0131n ya da onlarla birlikte ya\u015fayabilmenin tek yolu vard\u0131: Onlara tapmak\u2026\u201d\u00a0 <\/span>\u0130<\/i>\u015fte, tam da bu a\u015famada \u201cDans\u201d ba\u015flad\u0131\u2026<\/p>\n

\u201c\u00d6nce Dans Vard\u0131 \/ Tanr\u0131lar D\u00fcnyas\u0131na Ge\u00e7i\u015fin B\u00fcy\u00fcl\u00fc Sanat\u0131\u201d <\/b>kitab\u0131n\u0131n yazar\u0131 Ni\u011fdeli H\u00fcseyin Yavuz,<\/b> \u00e7ok zor ko\u015fullarada yazd\u0131\u011f\u0131 bu kitab\u0131n \u201cSons\u00f6z\u201d\u00fcnde \u015f\u00f6yle diyor: \u201cBu \u00e7al\u0131\u015fma, insanlar\u0131 genel olarak bir \u015feye, kendinden daha g\u00fc\u00e7l\u00fc bir \u015feye inanmaya iten sosyal, ekonomik ve belki de onlardan daha fazla psikolojik nedenler \u00fczerinde durulmaya \u00e7al\u0131\u015fm\u0131\u015f, referans olarak ise, dinlerin asil kaynaklar\u0131 al\u0131nm\u0131\u015ft\u0131r. Bunu yaparken m\u00fcmk\u00fcn oldu\u011funca objektif kalmaya \u00e7al\u0131\u015ft\u0131m. \u0130\u015fin i\u00e7ine girdik\u00e7e, dinin k\u00f6klerinin ne kadar derinlerde oldu\u011fu ger\u00e7e\u011fiyle kar\u015f\u0131la\u015ft\u0131m\u2026 Bir insan\u0131n inan\u00e7lar\u0131n\u0131n olmas\u0131, bu inan\u00e7lar\u0131n\u0131n gereklerini yerine getirmesi son derece do\u011fald\u0131r\u2026 Ama Camus\u2019un dedi\u011fi gibi: \u2018\u00d6zg\u00fcrl\u00fck, Tanr\u0131 ile kul aras\u0131ndaki bir sorunsa e\u011fer, bir efendiye gereksinim duymadan, kendi \u00f6zg\u00fcr iradesiyle ve kendi kendilerinin efendisi olarak, ya\u015famak isteyen insanlar\u0131 da kul d\u00fczeyine indirgemeye, hi\u00e7 kimsenin hakk\u0131 yoktur. Evren, tanr\u0131lar d\u00fcnyas\u0131na ge\u00e7i\u015fin s\u0131rda\u015f sanat\u0131 ya da \u0131\u015f\u0131k ve karanl\u0131\u011f\u0131n b\u00fcy\u00fcl\u00fc dans\u0131n\u0131n \u00fcr\u00fcn\u00fc, gizemli bir g\u00f6lge oyunudur.\u201d \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/i><\/p>\n

Yazar H\u00fcseyin Yavuz\u2019un b\u00fcy\u00fck emeklerle haz\u0131rlad\u0131\u011f\u0131 bu kitab\u0131n yay\u0131nc\u0131s\u0131 ve edit\u00f6r\u00fc,\u00a0 <\/span>biraz ticari kayg\u0131yla olsa gerek; kitab\u0131n i\u00e7 tasar\u0131m\u0131, ara ba\u015fl\u0131klar\u0131, kaynak\u00e7a koymay\u0131\u015f\u0131 ve kitap i\u00e7indeki yaz\u0131lar\u0131n okuyucuyu zorlayan \u00e7ok k\u00fc\u00e7\u00fck punto ile bask\u0131ya verili\u015fi; yazara ve okura sayg\u0131s\u0131zl\u0131kt\u0131r. Her \u015feye kar\u015f\u0131n, H\u00fcseyin Yavuz\u2019u kutluyor ve yeni \u00f6zg\u00fcn eserlerini bekliyoruz. Bir ba\u015fucu yap\u0131t\u0131 olan bu eserin okunmas\u0131n\u0131 \u0131srarla \u00f6neriyorum. Kolay gelsin\u2026<\/i><\/p>\n

\u201c\u00d6NCE DANS VARDI \/ Tanr\u0131lar D\u00fcnyas\u0131na Ge\u00e7i\u015fin B\u00fcy\u00fcl\u00fc Sanat\u0131\u201d, H\u00fcseyin Yavuz, <\/b>Derlem Yay\u0131nevi, ISBN 978-605-4701-78-0, 412 sayfa, Birinci Bask\u0131: Mart 2015.\u00a0<\/span><\/p>\n

DURSUN \u00d6ZDEN<\/p>\n

www.dursunozden.com.tr<\/p>\n