{"id":3089,"date":"2017-11-20T13:53:07","date_gmt":"2017-11-20T11:53:07","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0114"},"modified":"2018-01-16T13:17:41","modified_gmt":"2018-01-16T11:17:41","slug":"lbr-0114","status":"publish","type":"post","link":"http:\/\/www.libridergi.org\/en\/2017-en\/lbr-0114","title":{"rendered":"Athena"},"content":{"rendered":"
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Athena<\/h2>\n

Susan DEACY<\/h3>\n
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ISBN: 9780415300667<\/strong>
\nPage:<\/strong>\u00a0175
\nPublication Date:<\/strong>\u00a02008
\nLocation:<\/strong> London \u2013 New York
\nPublisher: <\/strong>Routledge<\/p><\/div>

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<\/div>\nLIBRI<\/em>\u00a0III (2017) 449-456<\/strong>
\nDOI<\/strong>:\u00a010.20480\/lbr.2017032
\nReceived Date<\/strong>: 05.09.2017 | Acceptance Date<\/strong>: 02.11.2017
\nOnline Publication Date<\/strong>: 20.11.2017
\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2017<\/p>\n
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\"references\"\u00a0<\/strong>\u00a0View PDF<\/strong><\/a><\/p>\n

\"info\"\u00a0\u00a0<\/a>Citation<\/a>
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S. DEACY, Athena.<\/em> London \u2013 New York 2008. Routledge, 175 sayfa (19 G\u00f6rsel). ISBN: 9780415300667<\/strong><\/p>\n

Do\u011fumu Hephaistos\u2019un baltas\u0131yla Zeus\u2019in ba\u015f\u0131n\u0131 a\u00e7mas\u0131n\u0131n ard\u0131ndan ger\u00e7ekle\u00ad\u015febilen Athe\u00adna en geni\u015f kapsamda sava\u015f\u00e7\u0131 nitelikle\u00adriy\u00adle an\u0131\u00adl\u0131rd\u0131. Yine de bu du\u00adrum, Ares\u2019in sava\u015fa susam\u0131\u015fl\u0131\u011f\u0131n\u00addan ziyade onun zaferle birlikte ba\u00adr\u0131\u015f\u0131 geti\u00adren bir yap\u0131ya sahip olmas\u0131na engel olmad\u0131. Atina kentinin hamili\u011fi \u00fczerine Poseidon\u2019a kar\u015f\u0131 gi\u00adri\u015fti\u011fi m\u00fc\u00adcadeleyse bunun simgele\u015fmi\u015f hali gibidir; bura\u00adda kendisine yak\u0131\u00ad\u015f\u0131r \u015fekil\u00adde bar\u0131\u00ad\u015f\u0131n sembol\u00fc olan zeytin a\u011fac\u0131n\u0131 yaratarak zaferi elde etmi\u015ftir. Bu a\u011fa\u00e7\u00adlar daha sonra Akdeniz\u2019in karakte\u00adristik bir niteli\u011fi olarak havzan\u0131n nere\u00addey\u00adse her k\u00f6\u00ad\u015fe\u00adsi\u00adne yay\u0131lm\u0131\u015ft\u0131r. Benzer \u015fekilde tanr\u0131\u00e7a Athe\u00adna da g\u00f6k\u00ady\u00fcz\u00fcne y\u00fck\u00adselen ma\u00adbet\u00adleriyle s\u00f6z konusu co\u011frafyada i\u00e7kin du\u00adru\u00adma sahip ol\u00admu\u015f, her s\u0131n\u0131ftan insana hi\u00adtap etmi\u015f ve kentlerin tam merkezinde yer alm\u0131\u015ft\u0131r; y\u00fcn e\u011fi\u00adren kad\u0131n\u00adlar t\u00fcm yetilerini onun zek\u00e2s\u0131 ve yarat\u0131c\u0131l\u0131\u011f\u0131 saye\u00adsinde edinmi\u015f, deniz\u00adciler yelken a\u00e7ma\u00addan \u00f6nce onun koruyuculu\u011funa ve reh\u00adber\u00adli\u011fi\u00adne s\u0131\u011f\u0131n\u00adm\u0131\u015f, as\u00adkerler sava\u015f \u00f6ncesinde Athena\u2019dan \u00f6\u011frenilen pyrrikhos<\/em> dans\u0131yla d\u00fc\u015f\u00adman\u00adlar\u0131\u00adn\u0131 korkutmu\u015flar ve akropolis<\/em>te ya\u015fayan soylular da esen\u00adliklerini tanr\u0131\u00ad\u00e7aya bor\u00e7\u00adlu hissetmi\u015f\u00adler\u00addi. Esasen modern ara\u015ft\u0131rmac\u0131lar a\u00e7\u0131s\u0131n\u00addan b\u00f6y\u00adle\u00adsi geni\u015f bir yelpazeye dokunan ve farkl\u0131 toplumlarda \u2013 baz\u0131 n\u00fcanslar bulu\u00adnacak olsa bile \u2013 karakteristik \u00f6zelliklerini koruyan kadim bir tanr\u0131\u00e7ay\u0131 ara\u015ft\u0131r\u00admak olduk\u00ad\u00e7a \u00e7etrefilli a\u015famalardan ge\u00e7me zorunlulu\u011funu da berabe\u00adrinde getirmektedir. Bu bak\u0131mdan uzun y\u0131llar tanr\u0131\u00e7a Athena \u00fczerine ara\u015ft\u0131r\u00adma\u00adlar\u0131n\u0131 yo\u011funla\u015ft\u0131r\u00adm\u0131\u015f olan Susan Deacy\u2019\u0131n 2007 y\u0131l\u0131nda Routledge yay\u0131nevi\u00adnin The Gods and Heroes of Ancient World<\/em> dizisi i\u00e7erisinde bas\u0131lan Athena<\/em> ba\u015f\u00adl\u0131kl\u0131 eseri dikkate de\u011fer\u00addir.<\/p>\n

Yazar \u00f6ncelikle Series Foreword <\/em>(Dizi \u00d6ns\u00f6z\u00fc) adl\u0131 bir b\u00f6l\u00fcmle yukar\u0131\u00adda ismi ge\u00e7en ve kaleme ald\u0131\u011f\u0131 eserin de bir par\u00e7as\u0131n\u0131 olu\u015ftur\u00addu\u011fu dizi hakk\u0131n\u00addaki g\u00f6\u00adr\u00fc\u015f\u00adlerini dile ge\u00adtirir. Hemen ard\u0131ndan Acknow\u00adledge\u00adment<\/em> (Te\u015fek\u00adk\u00fcr) ve List of Illustrations <\/em>(G\u00f6r\u00adseller Listesi) k\u0131\u00ads\u0131m\u00adlar\u0131na yer vere\u00adrek ara\u015ft\u0131rma konusu\u00adnu olu\u015f\u00adturan metne ge\u00e7er.<\/p>\n

Athena, Bat\u0131 k\u00fclt\u00fcr\u00fcnde ilham verici bir motif olarak antik\u00e7a\u011fdan g\u00fcn\u00fc\u00adm\u00fc\u00adze kadar varl\u0131\u011f\u0131n\u0131 s\u00fcr\u00add\u00fcr\u00adm\u00fc\u015ft\u00fcr. Yazar bu fenomenin Hellenler \u00fcze\u00adrindeki etkisini alg\u0131layabilmek ad\u0131na Introducing Athena<\/em> (Athena Sunumu [3-14]) ba\u015f\u00adl\u0131\u011f\u0131 alt\u0131nda ve modern bir ara\u015ft\u0131rma metodu \u00e7er\u00e7evesinde \u00f6n\u00adcelikle tanr\u0131\u00ad\u00e7an\u0131n do\u011fas\u0131n\u0131 saptama e\u011filimine girer. Bu kapsamda Athena\u2019daki metis<\/em>in bir yan\u00ads\u0131ma\u00ads\u0131 olarak ba\u015fka hi\u00e7bir tanr\u0131\/tanr\u0131\u00e7ada bulunmayan \u00e7e\u015fitlilikteki epi\u00adthe\u00adton<\/em>lar hareket noktas\u0131n\u0131 olu\u015f\u00adturur. Do\u011fu\u015fundan itibaren t\u00fcm karakte\u00adris\u00adti\u011fini ortaya koyan mi\u011ffer, kalkan ve karg\u0131 gibi tanr\u0131\u00e7aya ait \u00e7e\u015fitli simgeleri de yard\u0131mc\u0131 etkenler olarak \u00f6n plana \u00e7\u0131kar\u0131r. B\u00f6ylece onun Hellen pantheon<\/em>u i\u00e7e\u00adrisindeki konumunu ve \u00f6nemini vurgulayarak \u00e7a\u00adl\u0131\u015f\u00adman\u0131n zemini olu\u015fturu\u00adlur. S\u00f6z konusu b\u00f6l\u00fc\u00adm\u00fcn sonunda ise ara\u015ft\u0131rman\u0131n kapsam\u0131 ve metodo\u00adloji\u00adsiyle ilintili n\u00fcanslar titizlikle belirtilmi\u015ftir.<\/p>\n

S. Deacy\u2019e g\u00f6re Hellen panthe\u00adon<\/em>u i\u00e7erisinde bir tanr\u0131n\u0131n karakterini anla\u00ad\u015f\u0131l\u0131r k\u0131lman\u0131n en \u00f6nce\u00adlik\u00adli yolu, s\u00f6z konusu tanr\u0131n\u0131n k\u00f6kenine ve do\u011fu\u015funa g\u00f6z at\u00admaktan ge\u00e7er. Bu \u00e7er\u00e7eve i\u00e7erisinde ele al\u0131nm\u0131\u015f olan The Birth of Athena<\/em> (Athe\u00adna\u2019n\u0131n Do\u011fu\u015fu [17-32]) ba\u015fl\u0131kl\u0131 ilk b\u00f6l\u00fcmde Athena\u2019n\u0131n do\u011fumu hem ef\u00adsanevi hem de tarihi olgular\u0131n seyrini de\u011fi\u015ftiren etken bir fakt\u00f6r olarak de\u00ad\u011fer\u00adlen\u00addirilir. G\u00fcn\u00fcm\u00fczde ise ex nihilo<\/em> olarak tan\u0131mlanan bu olay, Hellen efsa\u00adnelerinde Hephaistos\u2019un bal\u00adtas\u0131yla Zeus\u2019in ba\u015f\u0131na a\u00e7mas\u0131 ve tanr\u0131\u00e7an\u0131n baba\u00ads\u0131n\u0131n kafas\u0131ndan d\u00fcnyaya gelmesiyle tasvir edilir. B\u00f6ylece Uranos, Kro\u00adnos ve Zeus\u2019i takip eden tanr\u0131lar aras\u0131ndaki ku\u015fak \u00e7a\u00adt\u0131\u015f\u00admalar\u0131 ve taht kavga\u00adla\u00adr\u0131 da son bulmu\u015f olur. Bununla birlikte s\u00f6z konusu olgu tarihsel s\u00fcre\u00e7 i\u00e7eri\u00adsin\u00adde muh\u00adteme\u00adlen Mikenlerin, ba\u015fta Girit olmak \u00fczere Ege Adalar\u0131 ve Anado\u00adlu\u2019nun bat\u0131 k\u0131y\u0131lar\u0131nda h\u00e2kim olan ana\u00aderkil pantheon<\/em>u y\u0131karak, kendi ataerkil yap\u0131la\u00adr\u0131n\u0131 tam anlam\u0131yla h\u00e2kim k\u0131lmalar\u0131n\u0131n bir sembol\u00fc ola\u00adrak g\u00f6r\u00fcl\u00fcr. Daha son\u00adraki s\u00fcre\u00e7te polis<\/em>in ortaya \u00e7\u0131kmas\u0131yla da pek \u00e7ok Panhellenik kentte kar\u015f\u0131\u00adla\u00ad\u015f\u0131lan Athena-Zeus k\u00fclt birlikteli\u011fi de bu \u00f6zden beslenmi\u015f olmal\u0131d\u0131r. Yazar hen\u00fcz Hellen antikitesi\u00adnin olu\u015fmaya ba\u015flad\u0131\u011f\u0131 Arkaik D\u00f6nem\u2019de da\u00adhi temel sanat temalar\u0131ndan biri olan bu do\u011fumu Ati\u00adna\u2019dan se\u00e7ti\u011fi bir vazo ve bir de am\u00adphora \u00fczerine i\u015flenmi\u015f baz\u0131 sahnelerle ikonografik olarak de\u00ad\u011fer\u00adlen\u00addir\u00admek\u00adte\u00addir. Bunlarla ilintili olarak tanr\u0131\u00e7an\u0131n do\u011fumu ve baz\u0131 sembolleri de Hitit ve Mezo\u00adpotamya\u2019daki benzerleriyle birlikte kar\u015f\u0131la\u015ft\u0131rmal\u0131 olarak analiz edilir.<\/p>\n

Tracing Athena\u2019s Origins<\/em> (Athena\u2019ya ait K\u00f6kenlerin Takibinde [33-44]) ba\u015f\u00adl\u0131\u011f\u0131na sahip ikinci b\u00f6\u00adl\u00fcm ise tanr\u0131\u00e7a\u00adn\u0131n tarih\u00f6ncesi \u00e7a\u011flarda muhtemel \u00f6z\u00adde\u015f\u00adleri oldu\u011fu d\u00fc\u015f\u00fcn\u00fclen yayg\u0131n karakterlerin ke\u015ffedilmesine odaklan\u00admak\u00adta\u00add\u0131r. Bu noktada baz\u0131 ara\u015ft\u0131rmac\u0131lar, her ne kadar kronolojik d\u00f6nem\u00adler aras\u0131n\u00adda ilinti kurmaya olanak sa\u011flayacak farkl\u0131 tanr\u0131\/tanr\u0131\u00e7a modelleri bulsalar da, de\u00ad\u011fi\u015fen za\u00adman ve ba\u011flam i\u00e7erisinde t\u00fcm bu tanr\u0131lar\u0131n ayr\u0131 ayr\u0131 de\u011ferlendiril\u00admesi gerekti\u011fini dile getirmekte\u00addirler. S. Deacy de Athena\u2019n\u0131n k\u00f6kenlerine ili\u015f\u00adkin teorileri bu isabetli bak\u0131\u015f a\u00e7\u0131s\u0131yla b\u00f6l\u00fcm i\u00e7erisinde ele al\u0131r: \u00d6ncelikle Athe\u00adna\u2019n\u0131n baz\u0131 \u00f6zelliklerinin Ana Tanr\u0131\u00e7a\u2019n\u0131n h\u00e2kim oldu\u011fu bir anaerkil pan\u00adthe\u00adon\u00ad<\/em>dan devral\u0131nm\u0131\u015f olabilece\u011fi \u00fczerinde durulur, ard\u0131ndan politeist<\/em> antik top\u00adlum\u00adlar\u0131n din anlay\u0131\u015f\u00adla\u00adr\u0131n\u00addaki en temel kutsal arketiplerden biri olan meta\u00admor\u00adphosis<\/em>\u2019e g\u00f6ndermede bulunularak Athe\u00adna\u2019n\u0131n simgeleri olan y\u0131lan ve bayku\u015f gibi hayvanlar\u0131n asl\u0131nda kendisinin yerini ald\u0131\u011f\u0131 \u00f6nceki \u00e7a\u011flar\u00addaki bir tak\u0131m tanr\u0131\/tanr\u0131\u00e7alara i\u015faret edebilece\u011fi belirtilir. Ge\u00e7 Tun\u00e7 \u00c7a\u011f\u0131\u2019na gelindi\u00ad\u011fin\u00adde ise Athe\u00adna, Minos\u2019taki y\u0131lanl\u0131 tanr\u0131\u00e7ayla Mikenlerin Girit\u2019e getirdikleri sava\u015f\u00e7\u0131 bir tanr\u0131\u00e7an\u0131n kar\u0131\u015f\u0131m\u0131 olarak yorumlan\u0131r. Hellen d\u00fcnyas\u0131n\u0131n hemen d\u0131\u015f\u0131na \u00e7\u0131k\u0131ld\u0131\u011f\u0131nda tarih\u00f6ncesi halklar\u0131n inan\u00e7 yap\u0131s\u0131 i\u00e7erisin\u00adde Athena\u2019ya ben\u00adzer pek \u00e7ok tanr\u0131\u00e7an\u0131n varl\u0131\u011f\u0131 dikkat \u00e7eker: M\u0131s\u0131r\u2019\u0131n Sais kentindeki Neith, Semi\u00adtik tan\u00adr\u0131lar Astarte, Anat ve Inanna. Baz\u0131 ara\u015ft\u0131rmac\u0131\u00adlara g\u00f6re ise Athena daha \u00e7ok Anadolu\u2019ya \u00f6zg\u00fc bir tan\u00adr\u0131\u00e7ad\u0131r ve ismi g\u00fcn\u00fcm\u00fcz Adana kentinden alm\u0131\u015f\u00adt\u0131r. Ayr\u0131ca Karta\u00adcal\u0131 tanr\u0131\u00e7a Tanit\u2019ten ya da \u015eeytan\u2019\u0131n bir kad\u0131n ver\u00adsi\u00adyo\u00adnundan t\u00fcredi\u011fi de d\u00fc\u015f\u00fcn\u00fclmektedir. T\u00fcm bunlar\u0131n \u00f6tesinde k\u00f6keni Hitit g\u00fcne\u015f tanr\u0131s\u0131na kadar dayand\u0131r\u0131labilmekte\u00addir.<\/p>\n

Tanr\u0131\u00e7a Athena\u2019n\u0131n do\u011fas\u0131n\u0131 g\u00fcncel metodolojik y\u00f6ntemlere dayal\u0131 olarak incelemeyi ama\u00e7layan \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm From Origins to Functions: Athena in the Pantheon<\/em> (K\u00f6kenlerinden \u0130\u015flevlerine: Pan\u00adtheon \u0130\u00e7erisindeki Athena [45-58]) ba\u015fl\u0131\u011f\u0131na sahiptir. Burada benzer etkinlik alanlar\u0131na h\u00e2kim Po\u00adseidon, Hephaistos ve Ares gibi tanr\u0131larla kar\u015f\u0131la\u015ft\u0131rmalarda bulunularak, tanr\u0131\u00e7an\u0131n Hellen pan\u00adthe\u00adon<\/em>u i\u00e7erisindeki yeri ve karakteri detayl\u0131ca a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131lmaya gayret edilir. \u00d6ncelikle Poseidon \u00f6zelinde atlar ve denizlerin h\u00e2kimiyeti konu\u00adsun\u00adda bir de\u011ferlendirme yap\u0131ld\u0131ktan sonra, Poseidon at\u0131n yarat\u0131c\u0131s\u0131, Athena ise onu ehlile\u015ftiren ve insanl\u0131k i\u00e7in kullan\u0131\u015fl\u0131 hale getiren varl\u0131k olarak g\u00f6r\u00fc\u00adl\u00fcr. Yine Poseidon denizlerde korkulmas\u0131 ve cezaland\u0131rmalar\u0131ndan ka\u00e7\u0131n\u0131lmas\u0131 ge\u00adreken bir tanr\u0131y\u00adken, Athena denizcilerin en de\u011ferli varl\u0131klar\u0131 olan geminin muci\u00addi ve kendilerinin de koruyucusu olarak \u00f6n plana \u00e7\u0131kar. Bunun ard\u0131ndan Athe\u00adna ile onun gibi ak\u0131l ve zanaat ile donat\u0131lan Hephais\u00adtos\u2019un da benzer alanlar\u00addaki durumlar\u0131 ele al\u0131n\u0131r: Genel olarak Athena\u2019n\u0131n metal d\u0131\u015f\u0131ndaki nesnele\u00adri \u015fekillendirdi\u011fi, Hephaistos\u2019un ise daha \u00e7ok a\u011f\u0131r metal ve silahlar\u0131n i\u015f\u00e7isi ola\u00adrak tespit edildi\u011fi g\u00f6\u00adr\u00fcl\u00fcr. Son olarak da Ares, sava\u015f\u0131n \u015fiddet y\u00f6n\u00fcn\u00fc yans\u0131t\u00admas\u0131na kar\u015f\u0131n, Athena\u2019n\u0131n sava\u015fta kulla\u00adn\u0131lan at arabas\u0131 ile ordu dans\u0131n\u0131n sem\u00adbol\u00fc oldu\u011fu ve sava\u015flarda kahramanlar\u0131n en yak\u0131n yard\u0131mc\u0131s\u0131 konumuyla on\u00adlara cesaret verdi\u011fi belirtilir.<\/p>\n

Bir sonraki ve d\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcm Heroes, Heroines and the Trojan War<\/em> (Er\u00adkek ve Kad\u0131n Kah\u00adramanlar ile Troia Sava\u015f\u0131 [59-73]) ba\u015fl\u0131\u011f\u0131yla Athena\u2019n\u0131n efsa\u00adnevi kahramanlar ve kentler \u00fczerin\u00addeki mutlak koruyuculu\u011funu irdelemekte\u00addir. Esasen bu nokta tanr\u0131\u00e7an\u0131n karakterinin belirlenme\u00adsindeki en temel etken olarak g\u00f6r\u00fcl\u00fcr. Bu ba\u011flamda eril kahramanlar i\u00e7in e\u015fsiz bir dost ve yol g\u00f6s\u00adterici \u015feklinde tan\u0131mlan\u0131r. Yazar S. Deacy bu noktada tanr\u0131\u00e7an\u0131n \u00f6zellikle Odysseus ve Herakles ba\u015fta olmak \u00fczere Perseus, Iason ve Akhilleus gibi kah\u00adra\u00admanlara yapt\u0131\u011f\u0131 yard\u0131mlar\u0131n analojilerini ve farkl\u0131l\u0131klar\u0131n\u0131 kategorize ederek bir analiz sunar. B\u00f6ylece Odysseus ve Herakles\u2019in baz\u0131 g\u00f6revle\u00adrinde tanr\u0131\u00e7an\u0131n yard\u0131m\u0131 olmaks\u0131z\u0131n kendi g\u00fc\u00e7lerini kullanarak ba\u015far\u0131 elde etmelerine ra\u011fmen, Perseus ve Iason\u2019a gelindi\u011finde tamamen tanr\u0131\u00e7an\u0131n yard\u0131mlar\u0131yla ilerleyebil\u00addikleri g\u00f6r\u00fcl\u00fcr. Bunun yan\u0131nda tanr\u0131\u00e7an\u0131n eril kahramanlarla olan yak\u0131nl\u0131\u011f\u0131 Herakles ile birlikte farkl\u0131 bir boyutta de\u011fer\u00adlendirilir. Zira yazar eserinde yer ver\u00addi\u011fi alt\u0131nc\u0131 fig\u00fcrdeki sahnenin Athena ile Herakles\u2019in evlilik sah\u00adnesine ait olabilece\u011fi \u00fczerinde durmaktad\u0131r. Tanr\u0131\u00e7an\u0131n erkek kahramanlara g\u00f6stermi\u015f oldu\u011fu des\u00adtek ve koruyuculu\u011fa kar\u015f\u0131n kad\u0131n kahramanlara yakla\u015f\u0131m\u0131 bir o ka\u00addar olumsuzdur ve \u00e7o\u011funlukla da felaketle sonu\u00e7lanan y\u0131k\u0131mlar getirmi\u015ftir. Esasen tanr\u0131\u00e7an\u0131n koruyuculu\u011fa ili\u015fkin ba\u011flar\u0131 sadece kah\u00adra\u00admanlarla s\u0131n\u0131rl\u0131 da de\u011fildir, ayn\u0131 zamanda polis<\/em> ve halklarla da yak\u0131ndan ilintilidir. \u00d6rne\u011fin Pa\u00adris\u2019in yarg\u0131s\u0131nda Aphrodite\u2019yi se\u00e7meye karar k\u0131lmas\u0131n\u0131n hemen \u00f6ncesinde Troi\u00ada\u00adl\u0131lar\u0131n koruyuculu\u011funu \u00fcst\u00adlenen Athena, bu olay\u0131n ard\u0131ndan deste\u011fini \u00e7eker ve Akhilleus\u2019in Hektor\u2019u \u00f6ld\u00fcrmesi ile Odysseus\u2019in Troia\u2019y\u0131 koruyan Palladion heykelini \u00e7almas\u0131na yard\u0131m ederek kentin ele ge\u00e7irilmesine \u00f6n ayak olur.<\/p>\n

Genel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla de\u011ferlendirilecek olursa, Athena ile ilgili bilgileri\u00admizin kayna\u011f\u0131 b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Atina kentinden belirmektedir. Yazar bunun etyolojisini \u00f6zellikle Arkaik ve Klasik d\u00f6nemlerde geni\u015f bir co\u011frafyaya h\u00fckme\u00adden Atinal\u0131lar\u0131n tanr\u0131\u00e7aya kar\u015f\u0131 henotheist <\/em>yakla\u015f\u0131mlar\u0131na dayand\u0131r\u0131r. Bu ba\u011f\u00adlamda Athena in Athens: Patron, Symbol and \u2018Mother\u2019 <\/em>(Atina\u2019daki Athena: Hami, Sembol ve \u2018Anne\u2019 [74-91]) ba\u015fl\u0131\u011f\u0131na sahip be\u015finci b\u00f6l\u00fcmde bu iki fenomen aras\u0131ndaki ilintiler tanr\u0131\u00e7an\u0131n kent i\u00e7erisindeki k\u00fcltleri, tap\u0131naklar\u0131, festivalleri ve yerel efsanelerdeki konumu kapsam\u0131nda okuyucuya sunulur. \u00d6ncelikle erken d\u00f6nemlerden M\u00d6 VII-VI. y\u00fczy\u0131la kadarki tanr\u0131\u00e7aya ait efsa\u00adne\u00adlerin seyri takip edilerek, \u00f6zellikle Zeus, Poseidon ve Hephaistos ile olan ili\u015fki\u00adle\u00adri incelenmektedir. Babas\u0131 Zeus, Athena ve Atina kenti aras\u0131ndaki hiyerar\u015fi\u00adnin \u00f6nemi belirtilerek, tanr\u0131\u00e7an\u0131n kentteki sosyal d\u00fczeni sa\u011flamada babas\u0131yla yak\u0131n i\u015fbirli\u011fi i\u00e7erisinde bulundu\u011fu vurgulan\u0131r. Bunun yan\u0131nda onunla yak\u0131n ba\u011f kurmak isteyen bir\u00e7ok Hellen polis<\/em>i Athena\u2019n\u0131n kendi topraklar\u0131nda do\u011f\u00addu\u011funu ileri s\u00fcrer. Atina kenti de bu paralelde ele al\u0131narak, Poseidon ile girdi\u00ad\u011fi m\u00fccadele kapsam\u0131nda tanr\u0131\u00e7an\u0131n kentin koruyuculu\u011funu nas\u0131l \u00fcstlendi\u011fi ve tanr\u0131\u00e7a ile kent aras\u0131ndaki ba\u011flar\u0131n k\u00f6kenleri ele al\u0131nmaktad\u0131r. Son olarak \u00e7ok daha detayl\u0131 bir \u015fekilde Atina kentinin kurulu\u015f efsanelerinde yer alan Erikhthonios ile olan ba\u011flant\u0131s\u0131 incelenmektedir.<\/p>\n

Eserin Early Athenian History<\/em> (Erken Atina Tarihi [92-104]) ba\u015fl\u0131\u011f\u0131yla kur\u00adgu\u00adlanm\u0131\u015f alt\u0131nc\u0131 b\u00f6l\u00fcm\u00fcnde, tanr\u0131\u00e7a ile Atina aras\u0131ndaki efsanevi k\u00f6klerden tarihi verilere bir ge\u00e7i\u015f yap\u0131lmaktad\u0131r. Ge\u00e7 Bronz \u00c7a\u011f\u0131 ile M\u00d6 VIII. y\u00fczy\u0131l ara\u00ads\u0131n\u00adda Attika B\u00f6lgesi\u2019ndeki halklar\u0131n Atina\u2019da bir synoikismos<\/em> ger\u00e7ekle\u015ftirmesi neticesinde Athena k\u00fclt\u00fcn\u00fcn de g\u00fc\u00e7 kazand\u0131\u011f\u0131 s\u00f6ylenebilir. Bu ba\u011flamda s\u00f6z konusu iki olgu aras\u0131ndaki ilk verilerin i\u00e7eri\u011fi olduk\u00e7a tart\u0131\u015fmal\u0131 Homeros epik\u00adlerinde yer almaktad\u0131r. Burada Atina kentinin konumuyla ilintili baz\u0131 tari\u00adhi yan\u0131lg\u0131lar bulunurken, yazar bunun nedenini Atina tiran\u0131 Peisistratos\u2019un iste\u011fiyle metinler \u00fczerinde ger\u00e7ekle\u015ftirilen revizyon \u00e7al\u0131\u015fmalar\u0131\u00adn\u0131n, muhteme\u00adlen Atina\u2019n\u0131n kendi d\u00f6ne\u00adminde\u00adki g\u00fcc\u00fcn\u00fc me\u015frula\u015ft\u0131rmay\u0131 hedefledi\u011fi \u015feklinde yorumlamaktad\u0131r. Buna ra\u011fmen Homeros epiklerinin kapsam\u0131n\u0131n d\u0131\u015f\u0131nda ka\u00adl\u0131nd\u0131\u011f\u0131nda bile, Peisistratos d\u00f6neminde Atina kentinin dinsel yap\u0131s\u0131nda \u00f6nem\u00adli yenilikler ger\u00e7ekle\u015fti\u011fi g\u00f6r\u00fcl\u00fcr. \u00d6nceleri sadece yerel halklar\u0131n Hekatombai\u00adon ay\u0131n\u0131n 28\u2019inde tanr\u0131\u00e7an\u0131n do\u011fum g\u00fcn\u00fcn\u00fc kutlamak i\u00e7in topland\u0131klar\u0131 bir \u015fenli\u011fi, M\u00d6 566 y\u0131l\u0131nda Panathenaia \u015fenliklerine evirerek ona panhellenik<\/em> bir kimlik kazand\u0131rm\u0131\u015ft\u0131. B\u00f6ylece Athena Polias da Olympia Zeus\u2019i ve Delphoi Apollon\u2019u gibi \u00fcst\u00fcn bir stat\u00fcye y\u00fckselmi\u015f oluyordu. Bir sonraki y\u00fczy\u0131la gelin\u00addi\u011finde ise tanr\u0131\u00e7a art\u0131k Akdeniz\u2019de iyice s\u00f6z sahibi olan Atina i\u00e7in koruyucu bir t\u0131ls\u0131m ve sembol haline b\u00fcr\u00fcn\u00fcr. Pers Sava\u015flar\u0131 boyunca Attika halk\u0131n\u0131n moral de\u011ferlerinin tanr\u0131\u00e7an\u0131n kutsall\u0131\u011f\u0131yla ayakta tutuldu\u011fu ve t\u00fcm olay \u00f6rg\u00fcs\u00fcn\u00fcn de onun koruyuculu\u011fu \u00fczerine in\u015fa edilerek efsanele\u015ftirildi\u011fi anla\u015f\u0131l\u0131r.<\/p>\n

Pers Sava\u015flar\u0131\u2019yla Atina b\u00fcy\u00fck bir tahribata u\u011framas\u0131na ve y\u0131k\u0131m\u0131n e\u015fi\u011fine gelmesine ra\u011fmen, buradan ba\u015far\u0131yla \u00e7\u0131kmas\u0131n\u0131 bilerek M\u00d6 477 y\u0131l\u0131nda kur\u00admu\u015f oldu\u011fu Attika-De\u00adlos Deniz Birli\u011fi vas\u0131tas\u0131yla pek \u00e7ok Hellen kenti \u00fczerin\u00adde politik, ekonomik ve k\u00fclt\u00fcrel \u00fcst\u00fcnl\u00fck elde et\u00admi\u015ftir. Ayr\u0131ca k\u0131sa s\u00fcre i\u00e7eri\u00adsinde olu\u015fturduklar\u0131 birli\u011fin t\u00fcm gelirlerini sadece kendilerine y\u00f6nlen\u00addirerek, Atina\u2019n\u0131n yeniden in\u015fas\u0131 i\u00e7in b\u00fcy\u00fck bir imar faaliyeti ba\u015flatm\u0131\u015flard\u0131r. Eserin yedinci b\u00f6l\u00fcm\u00fc All About Athena? The Classical Akropolis<\/em> (Her \u015fey Athena\u2019yla M\u0131 \u0130li\u015fkili? Klasik D\u00f6nem Akropolisi [105-121]) ba\u015fl\u0131\u011f\u0131yla s\u00f6z konusu s\u00fcre\u00e7te Atina kentinin yeniden imar\u0131 a\u015famas\u0131nda ba\u015f tanr\u0131\u00e7alar\u0131 Athena i\u00e7in ger\u00e7ek\u00adle\u015f\u00adtirmi\u015f olduklar\u0131 yap\u0131 ve heykelleri konu almaktad\u0131r. Pheidias\u2019\u0131n bilinen ilk eseri olan ve Atinal\u0131lar\u0131n da Marathon Sava\u015f\u0131\u2019ndan elde ettikleri ganimetlerin dekate\u00ad<\/em>siyle (onda biri) finanse ettikleri 9 m uzunlu\u011fundaki Athena Proma\u00adkhos<\/em> heykeli ise bu ba\u011flamda \u00f6ncelikle s\u00f6z edilecek eser olarak \u00f6ne \u00e7\u0131kmak\u00adta\u00add\u0131r. Di\u011fer bir \u00f6nemli k\u00fclt heykeli de yine Pheidias\u2019in bronzdan yapt\u0131\u011f\u0131 Athe\u00adna Lemnia heykeliydi. Bunlar\u0131n ard\u0131ndan Perikles\u2019in arkhon<\/em>lu\u011fu zaman\u0131nda akro\u00adpolis<\/em>te in\u015fa edilen Athena-Nike ve Parthenon tap\u0131naklar\u0131 de\u011ferlendirilir. Par\u00adthenon i\u00e7erisinde yer alan ve yine Phei\u00addias taraf\u0131ndan yontulan Athena Par\u00adthenos<\/em> k\u00fclt heykelinin ikonografisi de detayl\u0131ca betimlenmekte\u00addir. Bunun yan\u0131nda Parthenon\u2019un mimarisi ve do\u011fu-bat\u0131-kuzey-g\u00fcney metoplar\u0131n\u00addaki r\u00f6l\u00adyef\u00adlerde yer alan tasvirler s\u0131ralan\u0131r. B\u00f6ylece \u00f6nceki iki b\u00f6l\u00fcmde yaz\u0131l\u0131 kay\u00adnaklar \u00fcze\u00adrinden belirtilmeye \u00e7al\u0131\u015f\u0131lan Atina kenti ile Athena aras\u0131ndaki ba\u011f, bu b\u00f6\u00adl\u00fcmde arkeolojik veriler e\u015fli\u011finde de\u011ferlendirilerek sonu\u00e7land\u0131r\u0131lmaktad\u0131r.<\/p>\n

Kutsal olgular g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda politeizm<\/em>in do\u011fas\u0131 gere\u011fi her kentin kendi efsaneleriyle \u015fe\u00adkil\u00adlenmi\u015f bir pantheon<\/em>a sahip olmas\u0131 Atina etkisinin si\u00adya\u00adsi alanda s\u0131k\u0131\u015fmas\u0131na sebebiyet vermi\u015f\u00adtir. Buna kar\u015f\u0131n Athena tap\u0131s\u0131n\u0131n ise kadim bir \u015fekilde neredeyse t\u00fcm Hellen kentlerinde i\u00e7kin oldu\u00ad\u011fu a\u00e7\u0131kt\u0131r. Kita\u00adb\u0131n sekizinci b\u00f6l\u00fcm\u00fc The Wider Greek World<\/em> (Daha Geni\u015f Planda Bir Hellen D\u00fcnyas\u0131 [122-137]) ba\u015fl\u0131\u011f\u0131 alt\u0131nda se\u00e7ilen baz\u0131 Hellen kentleri ile M\u0131s\u0131r, Mezo\u00adpotamya ve Roma gibi halklar \u00fczerindeki Athena etkisi de\u011fer\u00adlendi\u00adril\u00adir. Bu ba\u011f\u00adlamda Athena tap\u0131s\u0131 polioukhos<\/em> ve \u00fczerine \u00e7ok\u00e7a teoriler \u00fcretilen khal\u00adki\u00adoikos<\/em> olmak \u00fczere iki epitehton<\/em>uyla Sparta\u2019da \u00f6n plana \u00e7\u0131kar. Argos\u2019ta ise ken\u00adtin en temel akropolis<\/em>i olarak bilinen Larissa\u2019da polias<\/em> ve Aspis tepesinde oksy\u00adderkes<\/em> epithe\u00adton<\/em>u ile tap\u0131n\u0131m g\u00f6rmektedir. S\u00f6z edilen \u00fc\u00e7 Hellen halk\u0131 yani Atinal\u0131lar, Spartal\u0131lar ve Argoslular Athe\u00adna\u2019n\u0131n koruyucu \u00f6zellikteki Palla\u00addi\u00adon heykelinin Troia\u2019dan \u00e7al\u0131nd\u0131ktan sonra kendi memleket\u00adlerine getirildi\u00ad\u011fini ileri s\u00fcrerken, esasen her biri varl\u0131\u011f\u0131n\u0131n teminat\u0131n\u0131 elde etmek ve ona s\u0131k\u0131 s\u0131k\u0131ya sar\u0131lmay\u0131 ama\u00e7lamaktayd\u0131lar. Arkadia B\u00f6lgesi\u2019nin g\u00fcneydo\u011fusunda yer alan Tegeia kentindeki Athe\u00adna Aleia<\/em>\u2019n\u0131n ise daha \u00e7ok bolluk ve bereketi getiren bir tanr\u0131\u00e7a olarak Demeter karakterine b\u00fc\u00adr\u00fcnd\u00fc\u011f\u00fc \u00f6ng\u00f6r\u00fcl\u00fcr. Kithairon Da\u011f\u0131\u2019n\u0131n eteklerindeki tap\u0131na\u011f\u0131yla Delphoi kentinin en \u00f6nemli tan\u00adr\u0131\u00ads\u0131 olan Apollon\u2019un do\u011fumunda annesi Leto\u2019ya ku\u015fa\u011f\u0131n\u0131 gev\u015feterek yard\u0131m eden yine Athena\u2019n\u0131n kendisidir ve bu nedenle de burada \u00f6zel bir konuma sahip olmu\u015f\u00adtur. Hellen co\u011frafyas\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131k\u0131ld\u0131\u011f\u0131nda neredeyse hemen hepsinde Athe\u00adna ile g\u00fc\u00e7l\u00fc analojiler kurulabilecek tanr\u0131\u00e7alar\u0131n yer ald\u0131\u011f\u0131 farkl\u0131 pantheon<\/em>larla kar\u015f\u0131la\u015f\u0131l\u0131r. Bu ba\u011flamda Herodotos ve Platon, M\u0131s\u0131r\u2019daki Sais kentinin koru\u00adyucusu rol\u00fcnde olan ve sava\u015f\u00e7\u0131 karakteriyle \u00f6n planda olan Neith ile tanr\u0131\u00e7an\u0131n \u00f6zde\u015fle\u015fmesinde \u0131srarl\u0131 bir gayret i\u00e7erisindedirler. Zaman\u0131n pek \u00e7ok k\u00fclt\u00fcr\u00fc ayn\u0131 potada eritti\u011fi K\u0131br\u0131s\u2019ta ise ke\u015ffedi\u00adlen Hellence ve Fenikece \u00e7ift dilli yaz\u0131tlar Athena\u2019n\u0131n kar\u015f\u0131l\u0131\u011f\u0131 olarak tanr\u0131\u00e7a Anat\u2019\u0131 i\u015faret eder. Ro\u00adma pantheon<\/em>undaki konumu bir kenara b\u0131rak\u0131lacak olursa tanr\u0131\u00e7a Minerva da neredeyse t\u00fcm \u00f6zel\u00adlikleriyle Athena\u2019n\u0131n bir yans\u0131mas\u0131 gibidir.<\/p>\n

Politeist<\/em> yap\u0131 da t\u00fcm olgular gibi zaman i\u00e7erisinde de\u011fi\u015fip, yerini yava\u015f ya\u00adva\u015f monoteist<\/em> dinlere b\u0131rak\u0131rken, Athena fig\u00fcr\u00fcn\u00fcn de Akdeniz co\u011frafyas\u0131ndaki i\u00e7kinli\u011fi arac\u0131l\u0131\u011f\u0131yla bu s\u00fcre\u00e7te dini ba\u011f\u00adlamdan k\u00fclt\u00fcrel bir zemine evirildi\u011fi sap\u00adtan\u0131r. Yazar, eserinin From Being to Image: The Rise of Chris\u00adtianity and The Post\u00adclassical World<\/em> (Var Olandan Surete: Hristiyanl\u0131\u011f\u0131n Y\u00fckseli\u015fi ve Klasik D\u00f6nem Sonras\u0131 D\u00fcnya [141-156]) ba\u015fl\u0131kl\u0131 dokuzuncu ve son b\u00f6l\u00fcm\u00fcnde belirti\u00adlen duruma paralel olarak Athena\u2019n\u0131n Hristiyanl\u0131\u011f\u0131n do\u011fu\u015fundan g\u00fcn\u00fcm\u00fcze kadarki geli\u015fimini okuyucuya sunmakta\u00add\u0131r. Kendisinin zek\u00e2, zanaat ve adalet ile olan ili\u015fkisi zaman i\u00e7erisinde bir \u015fekilde Hristiyanl\u0131ktaki adalet, sa\u011fduyu ve hikmet ile ba\u011flant\u0131l\u0131 k\u0131l\u0131nm\u0131\u015ft\u0131r. Bununla birlikte ilk y\u00fczy\u0131llarda genellikle gorgo\u00adneion<\/em> ile tasvir edilen erden Meryem Ana fig\u00fcr\u00fc tanr\u0131\u00e7an\u0131n ili\u015fkilendirildi\u011fi en \u00f6nemli karakterdi. Zira ba\u015fta Parthenon olmak \u00fczere bir\u00e7ok Athena tap\u0131na\u011f\u0131 Meryem Ana kilisesine \u00e7evrilmi\u015f ve daha da \u00f6nemlisi onun MS IV. y\u00fczy\u0131l Kons\u00adtantinopolis\u2019inde t\u0131pk\u0131 Athena gibi sava\u015f\u00e7\u0131 bir fig\u00fcr \u015feklinde ortaya \u00e7\u0131karak kent\u00adlerin hamisi olma rol\u00fcn\u00fc \u00fcstlendi\u011fi anla\u015f\u0131lmaktad\u0131r. Tanr\u0131\u00e7an\u0131n Orta\u00e7a\u011f\u2019dan g\u00fc\u00adn\u00fcm\u00fcze kadarki varl\u0131\u011f\u0131 ise yazar taraf\u0131ndan alegorik ve literal ol\u00admak \u00fczere iki ayr\u0131 kate\u00adgoride de\u011ferlendirilir. \u00d6ncelikle Hellen k\u00fclt\u00fcr\u00fcn\u00fcn \u00f6z\u00adlem\u00adle an\u0131ld\u0131\u011f\u0131 ve pek \u00e7ok kez yer ald\u0131\u011f\u0131 R\u00f6ne\u00adsans sanat\u0131nda Botticelli, Manteg\u00adna, Luca Giodano ve Michael Maier gibi ressamlar\u0131n eserlerinde\u00adki Athena im\u00adgesi de\u011ferlendiril\u00admek\u00adtedir. Bununla birlikte \u00f6zellikle 16. ve 17. y\u00fczy\u0131llarda d\u00f6\u00adnemin y\u00f6\u00adnetici kad\u0131n liderleriyle ili\u015fkilendirilir: Thomas Blenerhassett\u2019in 1582 y\u0131l\u0131nda kaleme ald\u0131\u011f\u0131 A Revelation of the True Minerva<\/em> adl\u0131 eserinde I. Elizabeth \u201cYeni Minerva<\/em>\u201d olarak g\u00f6r\u00fcl\u00fcr. Fransa\u2019da kral naibi olan Catherine de\u2019 Medici (1560-1571), Marie de\u2019 Medici (1610-1617), Avusturyal\u0131 Anne (1642-1652) gibi kad\u0131nlar\u0131n da tanr\u0131\u00e7an\u0131n korumas\u0131 alt\u0131nda olduklar\u0131 hem edebi hem de sa\u00adnatsal eserlerde s\u0131kl\u0131kla vurgulan\u0131r. Literal ba\u011flamda ise farkl\u0131 d\u00f6nemlerde kale\u00adme al\u0131nm\u0131\u015f ve T\u00fcrk\u00e7e\u2019ye de \u00e7evirileri yap\u0131lm\u0131\u015f olan Milton\u2019un Paradise Lost<\/em> (1667 = Kay\u0131p Cennet, \u00c7ev. Enver G\u00fclsen, Pega\u00adsus Yay\u0131nlar\u0131), Roberto Calas\u00adso\u2019nun The Marri\u00adage of Cadmus and Harmony <\/em>(1993 = Kadmos ile Harmo\u00adnia\u2019n\u0131n D\u00fc\u011f\u00fcn\u00fc, \u00c7ev. Levent Cinemre, T\u00fcrkiye \u0130\u015f Bankas\u0131 K\u00fclt\u00fcr Yay\u0131nlar\u0131) ve John Banvil\u00adle\u2019nin Athe\u00adna <\/em>(1995 = Athena, \u00c7ev. G\u00fcler Siper, Telos Yay\u0131nc\u0131l\u0131k) adl\u0131 eserlerdeki Athe\u00adna im\u00adge\u00adsi de\u00ad\u011ferlendirilir. Bunun yan\u0131nda kad\u0131ns\u0131 ve erkeksi belirte\u00e7leri e\u015fsiz bir \u015fekilde harmanlanan Athena bir dizi cinsiyet yaz\u0131lar\u0131na ve feminist akademik ara\u015f\u00adt\u0131rmalara konu olmu\u015ftur: 1922 y\u0131l\u0131na tarihle\u00adnen Freud\u2019a ait bir el yazma\u00ads\u0131nda Medusa\u2019n\u0131n ba\u015f\u0131n\u0131n kesili\u015fi, erkeklerin had\u0131m edilmesinin bir sem\u00adbol\u00fc olarak belirtilmektedir. Bunun yan\u0131nda Johann Jakob Bachofen, Jane Harrison, Luce Iriga\u00adray, Adrienne Rich, Christine Downing ve Ann Shearer gibi ara\u015ft\u0131r\u00admac\u0131lar da tanr\u0131\u00e7an\u0131n ataerkil yap\u0131 i\u00e7erisindeki konumu \u00fczerine e\u011fil\u00admi\u015f\u00adlerdir. 20. y\u00fczy\u0131lla birlikte; matematik, bilim ve teknoloji alanlar\u0131na daha \u00e7ok kad\u0131n\u0131 \u00e7ekebilmek amac\u0131yla feminist projeler i\u00e7erisinde Athena s\u0131kl\u0131kla kulla\u00adn\u0131l\u00adm\u0131\u015ft\u0131r. Bun\u00adlardan birisi de 1999 y\u0131l\u0131nda \u0130ngiltere\u2019nin y\u00fcksek\u00f6\u011fretiminde kad\u0131n\u00adlar\u0131n bilim, tekno\u00adloji ve m\u00fchendislik alan\u0131nda geli\u015fmelerini ama\u00e7layan \u201cAthena Pro\u00adject<\/em>\u201d adl\u0131 organizasyondur. Ayn\u0131 isimde Amerika\u2019da ger\u00e7ekle\u015ftirilen farkl\u0131 bir pro\u00adje ise daha \u00e7ok k\u00fc\u00e7\u00fck k\u0131zlar\u0131n matematik ve bilime e\u011filimlerini art\u0131rmay\u0131 hedef\u00adle\u00admi\u015ftir. B\u00f6ylece yazar, hakk\u0131nda bilgiye sahip oldu\u011fumuz en erken d\u00f6\u00adnemler\u00adden g\u00fcn\u00fcm\u00fcze kadarki s\u00fcre\u00e7te tanr\u0131\u00e7aya ait izler \u00fczerindeki takibini so\u00adnu\u00e7\u00adlan\u00add\u0131r\u00admaktad\u0131r.<\/p>\n

S. Deacy\u2019nin bundan \u00f6nce tanr\u0131\u00e7a Athena\u2019ya ili\u015fkin ger\u00e7ekle\u015ftirmi\u015f oldu\u011fu pek \u00e7ok detayl\u0131 bilimsel ara\u015ft\u0131rma, s\u00f6z konusu eserin t\u00fcm akademik tart\u0131\u015f\u00admalar\u0131 kapsaya\u00adcak \u015fekilde, ancak buna kar\u015f\u0131n genel okuyucu kitlesine de hitap ede\u00adbilecek ya\u00adl\u0131nl\u0131kta olu\u015f\u00admas\u0131na f\u0131rsat sa\u011flamaktad\u0131r. Ayr\u0131ca akademik ba\u011flam\u00adda de\u00adtayl\u0131 oku\u00adma yap\u00admak isteyenlere y\u00f6\u00adnelik olarak, \u00e7al\u0131\u015fma i\u00e7erisindeki b\u00f6\u00adl\u00fcm\u00adlere ili\u015fkin ek kaynaklar\u0131n sunuldu\u011fu Fur\u00adther Read\u00ading<\/em> (\u0130leri Okuma [157-161]) ba\u015fl\u0131kl\u0131 bir k\u0131s\u0131m bulunmaktad\u0131r. Son olarak eseri daha da kullan\u0131\u015fl\u0131 k\u0131lan Works Cited<\/em> (Al\u0131nt\u0131lanan Eserler [162-169]) ve Index<\/em> (Dizin [171-175]) k\u0131s\u0131mla\u00adr\u0131yla kitap sona ermek\u00adtedir.<\/p>\n

Akdeniz University
\nMediterranean Civilisations Research Institute (MCRI)
\n<\/strong><\/p><\/div>\n

Fatih YILMAZ (RA)<\/b>\u00a0<\/strong>
\nfatihyilmaz@akdeniz.edu.tr<\/strong><\/p>\n

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