{"id":4047,"date":"2018-11-16T17:22:23","date_gmt":"2018-11-16T15:22:23","guid":{"rendered":"http:\/\/www.libridergi.org\/2015-en\/trans-2015-en\/lbr-0168"},"modified":"2019-01-17T20:57:01","modified_gmt":"2019-01-17T18:57:01","slug":"lbr-0168","status":"publish","type":"post","link":"https:\/\/www.libridergi.org\/en\/2018-en\/lbr-0168","title":{"rendered":"Antik\u00e7a\u011fda Kitap"},"content":{"rendered":"<div class=\"one_fourth\"><figure class=\"image_styled image_fit_mobile\" style=\"width:177px;\">\n\t\t<div class=\"image_frame effect-zoom\"><div class=\"image_shadow_wrap\">\n\t\t<a data-fittoview=\"true\" class=\"image_size_medium lightbox\" title=\"\" href=\"https:\/\/www.libridergi.org\/wp-content\/uploads\/2018\/11\/lbr.2018038.jpg\"><img decoding=\"async\" alt=\"\" src=\"https:\/\/www.libridergi.org\/wp-content\/uploads\/strikingr\/images\/3802_lbr.2018038-175.jpg\" data-thumbnail=\"3802\" \/><\/a>\n\t\t<\/div><\/div><\/figure>\u00a0<\/div>\n<div class=\"three_fourth last\"><h2><em>Antik\u00e7a\u011fda Kitap<\/em><\/h2>\n<h3><strong>Necmettin ERAYDIN<\/strong><\/h3>\n<div class=\"divider_line\"><\/div>\n<p><strong>ISBN:<\/strong> 9786051716206<br \/>\n<strong>Page:<\/strong>\u00a0268<br \/>\n<strong>Publication Date:<\/strong>\u00a02017<br \/>\n<strong>Location:<\/strong>\u00a0\u0130stanbul<br \/>\n<strong>Publisher: <\/strong>Alfa Yay\u0131nlar\u0131<\/p><\/div><div class=\"clearboth\"><\/div>\n<div class=\"two_third\"><div class=\"divider_line\"><\/div>\n<p><strong><em>LIBRI<\/em>\u00a0IV (2018) 345-352<\/strong><br \/>\n<strong>DOI<\/strong>:\u00a010.20480\/lbr.2018038<br \/>\n<strong>Received Date<\/strong>: 29.09.2018 | <strong>Acceptance Date<\/strong>: 04.10.2018<br \/>\n<strong>Online Publication Date<\/strong>: 16.11.2018<br \/>\nCopyright \u00a9 Journal of Book Notices, Reviews and Translations, 2018<\/p>\n<div class=\"divider_line\"><\/div><\/div>\n<div class=\"one_third last\"><div id=\"framed_box_c8a00e5ddabf8df8ff86038a9ea365bf\" class=\"framed_box\">\n\t<div class=\"framed_box_content\">\n\t\t\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-45\" src=\"http:\/\/journal.phaselis.org\/wp-content\/uploads\/2015\/06\/pdf.jpg\" alt=\"pdf\" width=\"18\" height=\"18\" \/>\u00a0\u00a0<a href=\"http:\/\/www.libridergi.org\/wp-content\/uploads\/2018\/11\/lbr.2018038.pdf\" target=\"_blank\" rel=\"noopener\"><strong>Get PDF<\/strong><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-46\" src=\"http:\/\/journal.phaselis.org\/wp-content\/uploads\/2015\/06\/references.jpg\" alt=\"references\" width=\"18\" height=\"18\" \/><strong>\u00a0<\/strong>\u00a0<a href=\"http:\/\/www.libridergi.org\/wp-content\/uploads\/2018\/11\/lbr.2018038.pdf\" target=\"_blank\" rel=\"noopener\"><strong>View PDF<\/strong><\/a><\/p>\n<p><a href=\"#refs\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-44\" src=\"http:\/\/journal.phaselis.org\/wp-content\/uploads\/2015\/06\/info.jpg\" alt=\"info\" width=\"18\" height=\"18\" \/>\u00a0\u00a0<\/a><b><a href=\"#refs\">Citation<\/a><br \/>\n<\/b><\/p>\n\n\t\t<div class=\"framed_box_space\"><\/div>\n\t<\/div>\n<\/div>\n<\/div><div class=\"clearboth\"><\/div>\n<p style=\"text-align: center;\"><strong>H. BLANCK, <em>Antik\u00e7a\u011fda Kitap<\/em>. \u0130stanbul 2017. Alfa Yay\u0131nlar\u0131,\u00a0 268 sayfa (121 resim ile birlikte). \u00c7ev. Z. A. Y\u0131lmazer.\u00a0ISBN: 9786051716206<\/strong><\/p>\n<p style=\"text-align: justify;\">Blanck taraf\u0131ndan 1991\u2019de kaleme al\u0131nan eserde insanl\u0131\u011f\u0131n d\u00fc\u015f\u00fcncelerini yaz\u0131 ve imgelere \u00e7evirip bunu aktarmas\u0131 ve kitaplar\u0131n tarihsel ve k\u00fclt\u00fcrel de\u00adrinli\u011finin bilgi aktar\u0131m\u0131na katk\u0131s\u0131 \u00fczerinden, Hellen ve Romal\u0131lar\u0131n kitaplar\u0131, bu kitaplar\u0131n \u00fcretim ve da\u011f\u0131t\u0131m\u0131n\u0131n nas\u0131l oldu\u011fu, kitaplar\u0131n koleksiyonu ve ko\u00adrunmas\u0131 i\u00e7in k\u00fct\u00fcphanelerin ne zaman ve nas\u0131l kuruldu\u011fu ak\u0131c\u0131 bir dil ve \u00f6r\u00adneklerle birlikte ele al\u0131nm\u0131\u015ft\u0131r.<\/p>\n<p style=\"text-align: justify;\">Blanck eserini on ana b\u00f6l\u00fcm ve yirmi iki alt ba\u015fl\u0131k olarak tasarlam\u0131\u015ft\u0131r. Yazar ilk ana b\u00f6l\u00fcm olan <em>Hellen ve Latin Harfleri <\/em>(9-22)\u2019nde Roma\u2019daki Forum Romanum\u2019da bulunan Titus Tak\u0131 \u00fczerine Latince harflerle kaz\u0131nm\u0131\u015f olan onur yaz\u0131t\u0131 \u00f6rne\u011fini vererek, klasik ve orta\u00e7a\u011f k\u00f6kenli el yazmalar\u0131nda geli\u015ftirilmi\u015f k\u00fc\u00e7\u00fck harfleri de Latince b\u00fcy\u00fck harflere dayand\u0131rm\u0131\u015ft\u0131r. Yazar Latince\u2019nin d\u00f6\u00adnemin dillerine etkisini d\u00f6rt alt ba\u015fl\u0131k alt\u0131nda i\u015flemi\u015ftir. Birinci alt ba\u015fl\u0131k olan <em>Hellen Alfabesi<\/em> (9-15) Hellenlerin ba\u015far\u0131lar\u0131n\u0131 mistik bir \u015fekle sokmas\u0131n\u0131 ve bu d\u00fc\u015f\u00fcnceyi zaman ve mek\u00e2na iletmelerini, \u00f6nemli ki\u015filerin bulu\u015fu olmas\u0131na ba\u011flad\u0131klar\u0131n\u0131 konu edinmi\u015f ve bu alt ba\u015fl\u0131kta; Herodotos taraf\u0131ndan aktar\u0131\u00adlan, Fenikelilerin Kadmos ile birlikte Hellas\u2019a gelmesini ve bu alfabenin Hellen k\u00fclt\u00fcr\u00fcne kat\u0131lmas\u0131n\u0131 anlatt\u0131\u011f\u0131 efsanenin tarihsel ger\u00e7ekli\u011fe yak\u0131nl\u0131\u011f\u0131 ele al\u0131n\u00adm\u0131\u015f ve Hellen harfleri incelenmi\u015ftir (12-15). \u0130kici alt ba\u015fl\u0131k <em>Etr\u00fcks Alfabesi<\/em> (15-18)\u2019nde ise M\u00d6 700 civar\u0131nda Vulci kentinde bulunan kil kaplar (Tarquinia) bilinen en eski Etr\u00fcks yaz\u0131tlar\u0131 olarak belirtilmi\u015f ve kral mezar\u0131nda bulunup M\u00d6 670 y\u0131l\u0131na tarihlendirilen mezar hediyeleri Asya ve Hellen ticari ili\u015fkileri sonucu ortaya \u00e7\u0131kan \u00f6rnekler olarak aktar\u0131lm\u0131\u015ft\u0131r. Etr\u00fcksler de Hellenler gibi ald\u0131\u011f\u0131 harfleri kendilerine g\u00f6re uyarlam\u0131\u015f ve farkl\u0131 sesleri ortaya \u00e7\u0131karm\u0131\u015flar\u00add\u0131r. Tomba Regolini-Galassi\u2019de bulunan, Vatikan M\u00fczesi\u2019nde sergilenen \u201c<em>ca\u00adlamaio<\/em>\u201d \u00fczerindeki alfabe \u00f6rnek g\u00f6sterilmi\u015ftir. \u00dc\u00e7\u00fcnc\u00fc alt ba\u015fl\u0131k olan <em>Latin Harfleri<\/em> (18-22)\u2019nde ise modern ara\u015ft\u0131rmac\u0131lar\u0131n ger\u00e7ekli\u011finden \u015f\u00fcphe duy\u00addu\u011fu, Praeneste\u2019de bulunan elbise tokas\u0131n\u0131n (<em>fibula<\/em>) inceleme d\u0131\u015f\u0131nda tutul\u00admas\u0131 gerekti\u011fini vurgulayan yazar, g\u00fcn\u00fcm\u00fcze ula\u015fan en eski Roma yaz\u0131lar\u0131n\u0131n M\u00d6 VI. y\u00fczy\u0131ldan kalma oldu\u011funu \u00f6rnekler \u00fczerinden belirtmi\u015f ve Latin harf\u00adlerinin incelemesine yer vermi\u015ftir (20-22). Son alt ba\u015fl\u0131k olan <em>Rakam \u0130mleri<\/em> (22-24)\u2019nde yazar, Hellas\u2019\u0131n\u2019\u0131n g\u00fcn\u00fcm\u00fczde de zaman zaman kulland\u0131\u011f\u0131 Hel\u00adlenlerin iki sistemini; Akrofonik sistemi\/Attika sistemi ve alfabetik sis\u00adtem\/Miletos sistemini (22-23) incelemi\u015f ve Miletos sisteminin \u00f6nemini be\u00adlirtmi\u015ftir. Ayr\u0131ca Etr\u00fcks ve Roma rakamlar\u0131n\u0131n ayr\u0131ld\u0131\u011f\u0131 noktalara de\u011finerek (23-24), bu alfabelerin olu\u015fumunu, eski yaz\u0131tlar \u00fczerindeki hemen hepsi el yaz\u0131lar\u0131 olmas\u0131ndan kaynakl\u0131; mallar \u00fczerine kay\u0131tlar d\u00fc\u015fmek, kutsamalar ve \u015fiirsel notlar yazmak ad\u0131na olu\u015fturulmu\u015f olan \u00f6rneklere dayand\u0131rm\u0131\u015ft\u0131r.<\/p>\n<p style=\"text-align: justify;\">\u0130kinci ana b\u00f6l\u00fcm olan <em>Okuma ve Yazma Bilgisi<\/em> (25-46)\u2019nin ilk alt ba\u015fl\u0131\u011f\u0131 <em>Yunanl\u0131lar<\/em> (25-35)\u2019da Hellast\u2019ta yaz\u0131n\u0131n m\u00fclkiyetinin ilk olarak aristokrat ke\u00adsimin elinde bulunmas\u0131 ve sonra halka ula\u015fma s\u00fcrecini anlatan yazar, M\u00d6 VII. y\u00fczy\u0131ldan itibaren okuma ve yazman\u0131n art\u0131k bir mevki ya da z\u00fcmreyle s\u0131n\u0131rl\u0131 olmad\u0131\u011f\u0131n\u0131 \u00f6rneklerle a\u00e7\u0131klam\u0131\u015f (25-26) ve o d\u00f6nemde okuma ve yazma \u00f6\u011f\u00adretmeye y\u00f6nelik bir y\u00f6ntem oldu\u011fu sonucuna var\u0131labilece\u011fini belirtmi\u015ftir. Alt ba\u015fl\u0131k i\u00e7erisinde okul hayat\u0131 temas\u0131n\u0131 i\u015fleyen tasvirlerin bulundu\u011fu vazolar \u00f6rnek g\u00f6sterilerek bu d\u00fc\u015f\u00fcnce desteklenmi\u015ftir. Vazolar \u00fczerine i\u015flenen tas\u00advirlerde rulo kitab\u0131n toplulukta y\u00fcksek sesle okunmas\u0131na s\u0131k s\u0131k rastlan\u0131rken, resimlerdeki kad\u0131nlar bazen Musa\u2019lar bazen de iyi ailelere mensup Atinal\u0131 gen\u00e7 han\u0131mlar olarak belirtilmi\u015f ve \u00e7anak \u00e7\u00f6mlek par\u00e7alar\u0131 incelenerek Atina halk\u0131n\u0131n sosyal ya\u015fam\u0131 \u00fczerinde durulmu\u015ftur. Bu b\u00f6l\u00fcm\u00fcn ikinci alt ba\u015fl\u0131\u011f\u0131n\u0131 olu\u015fturan <em>Romal\u0131lar <\/em>(35-37)\u2019da ise Roma\u2019daki yaz\u0131nsal notlar\u0131n Hellas\u2019a g\u00f6re daha az olmas\u0131 \u00fczerinden en eski yaz\u0131tlardan biri \u00fczerinde olan Gabii k\u00f6kenli bir \u00e7\u00f6mlekten bahsederken Romulus ve Remus\u2019un okuma yazma \u00f6\u011frenmek i\u00e7in Gabii\u2019ye g\u00f6nderilmi\u015f olduklar\u0131 tart\u0131\u015fmas\u0131n\u0131 konu edinmi\u015ftir. Etr\u00fcks lahit\u00adleri ve k\u00fcl kavanozlar\u0131 \u00fczerindeki tasvir \u00f6rnekleri \u00fczerinde durulmu\u015f ve me\u00adzar k\u00fclt\u00fcr\u00fcne de yer verilmi\u015ftir. Bu b\u00f6l\u00fcm\u00fcn son alt ba\u015fl\u0131\u011f\u0131 olan <em>Okul ve Ders<\/em> (37-46)\u2019te ise antik\u00e7a\u011fda e\u011fitim sistemi i\u00e7indeki okuma ve yazma ile ilgili y\u00f6n\u00adtem ve dersler ele al\u0131nm\u0131\u015ft\u0131r. \u00c7ocuklar\u0131n alt\u0131-yedi ya\u015f\u0131na geldi\u011finde ilkokula (Hellenlerde <em>didaskaleion<\/em>, Romal\u0131larda <em>ludus<\/em> <em>litterarum<\/em>) ba\u015flamakta oldu\u00ad\u011funu anlatan yazar, \u00e7o\u011funlukla yaz\u0131 malzemesi olarak papir\u00fcs yerine \u00fczeri balmumu tabakas\u0131yla kapl\u0131 ah\u015fap bir yaz\u0131 tahtas\u0131 ve t\u0131\u011f kalem kullan\u0131ld\u0131\u011f\u0131ndan bahsetmi\u015ftir (38). Devam\u0131nda \u00f6\u011frencilerin; \u00f6\u011fretmenleri ve aileleri ile bu s\u00fc\u00adre\u00e7teki \u00f6\u011frenme a\u015famas\u0131 ve g\u00f6revleri konu al\u0131nm\u0131\u015f (41-46) ayr\u0131ca Hellen ve Latin edebiyat\u0131na de\u011finilmi\u015ftir.<\/p>\n<p style=\"text-align: justify;\">Eserin \u00fc\u00e7\u00fcnc\u00fc ana b\u00f6l\u00fcm\u00fc olan <em>Antik Yaz\u0131 Malzemeleri<\/em> (47-73)\u2019nde an\u0131t\u00adsal yaz\u0131tlar d\u0131\u015f\u0131nda, antik\u00e7a\u011fda en yayg\u0131n kullan\u0131lan malzemeler konu edilmi\u015f\u00adtir. B\u00f6l\u00fcm\u00fcn ilk alt ba\u015fl\u0131\u011f\u0131 olan <em>Anorganik Yaz\u0131 Malzemeleri<\/em> (48-53)\u2019nde ise vergi faturalar\u0131, raporlar, mektuplar ve \u00f6zellikle de okul \u00f6devleri \u015feklinde bu\u00adlunan k\u0131r\u0131k \u00e7\u00f6mlek par\u00e7alar\u0131 ele al\u0131nm\u0131\u015ft\u0131r. Bir di\u011fer ilkel malzeme olarak yass\u0131 ta\u015flara i\u015faret edilmi\u015f ve M\u0131s\u0131r\u2019da siyah m\u00fcrekkeple yaz\u0131lm\u0131\u015f olan <em>ostra\u00adkon<\/em>\u2019lardaki k\u0131sa metinlere benzeyen yaz\u0131larla bezeli kire\u00e7 ta\u015flar\u0131na (resim 18) benzerlikleri \u00fczerinde durulmu\u015ftur. Bir di\u011fer \u00f6nemli grubun madenler oldu\u00ad\u011funu belirten yazar el yazmalar\u0131 d\u0131\u015f\u0131nda en ba\u015fta bronz kullan\u0131ld\u0131\u011f\u0131n\u0131n da al\u00adt\u0131n\u0131 \u00e7izmi\u015f ve yazmak i\u00e7in daha yumu\u015fak madenlerden olan kur\u015funun kulla\u00adn\u0131m\u0131 ile ilgili kur\u015fun tabletlere, mektup ve disklere \u00f6rnekler vermi\u015f, alt\u0131n ve g\u00fcm\u00fc\u015f\u00fcn kullan\u0131m\u0131ndan bahsetmi\u015ftir. Bir di\u011fer alt ba\u015fl\u0131k olan <em>Organik Yap\u0131 Malzemeleri<\/em> (54-73) ise kendi i\u00e7inde \u00fc\u00e7 ayr\u0131 k\u0131s\u0131mda incelenmi\u015ftir.<\/p>\n<p style=\"text-align: justify;\">Bunlardan ilki olan <em>Ah\u015fap, Keten, vb.<\/em> (54-64)\u2019inde malzemelerin kullan\u0131\u00adm\u0131na, en zengin buluntular\u0131n M\u0131s\u0131r k\u00f6kenli olmakla birlikte, en basit y\u00f6nte\u00admin tahta \u00fczerine m\u00fcrekkep ile yazmak oldu\u011funa de\u011finen yazar, M\u0131s\u0131r ve Roma\u2019da bulunan \u00f6rneklerle ele ald\u0131\u011f\u0131 konuyu, \u00e7izimlerle de desteklemi\u015ftir. Burada Vindolanda bulgular\u0131n\u0131n incelenmesiyle buluntular \u00fc\u00e7 gruba ayr\u0131lm\u0131\u015f\u00adt\u0131r ve \u00fc\u00e7\u00fcnc\u00fc grup olan <em>tabula cerata<\/em>\u2019lar\u0131n yap\u0131l\u0131\u015f\u0131 ve kullan\u0131m\u0131 ayr\u0131nt\u0131l\u0131 bir \u015fekilde aktar\u0131lm\u0131\u015ft\u0131r. Plinius\u2019a g\u00f6re erken d\u00f6nemde palmiye yapraklar\u0131n\u0131n kul\u00adlan\u0131lmas\u0131 g\u00f6r\u00fc\u015f\u00fcn\u00fc anlatan yazar, Livius\u2019 un aktar\u0131m\u0131na g\u00f6re de Roma \u0130mpa\u00adratorluk D\u00f6nemi keten kitaplar\u0131na da de\u011finmi\u015ftir. Roma ve Etr\u00fcks ar\u015fivlerinin anlat\u0131m\u0131yla devam eden b\u00f6l\u00fcmde, Caere\u2019de bulunan \u00f6rnek verilmi\u015ftir. Bu malzemeler kullan\u0131larak olu\u015fturulan metinler, kehanet merkezlerine yaz\u0131lan metinler, okuma ve yazma kurslar\u0131nda kullan\u0131lan yaz\u0131 levhalar\u0131 ve not defter\u00adleri, mektupla\u015fmalar \u015feklinde kar\u015f\u0131m\u0131za \u00e7\u0131km\u0131\u015ft\u0131r. \u0130kinci alt ba\u015fl\u0131k <em>Papir\u00fcs<\/em> (64-72)\u2019\u00fcn devam\u0131nda, Papir\u00fcs bitkisinden elde edilen papir\u00fcs\u00fcn di\u011fer malzeme\u00adlere oranla daha \u00f6nemli oldu\u011fu belirtilmi\u015f ve bu bitkinin yeti\u015fme alanlar\u0131 ve \u00f6zelliklerine de\u011finilmi\u015ftir (65). Antik\u00e7a\u011fda papir\u00fcs \u00fcretimine dair bilgilere ula\u015fmam\u0131zda Plinius\u2019un <em>Naturalis<\/em> <em>Historia<\/em>\u2019s\u0131n\u0131n \u00f6nemini vurgulayan yazar, buradaki bilgilerden aktar\u0131mlar yapm\u0131\u015ft\u0131r (66-68) ve M\u0131s\u0131r\u2019da papir\u00fcs\u00fcn bu\u00adlundu\u011fu yerleri \u00e7izimlerle desteklemi\u015ftir. <em>Deri ve Par\u015f\u00f6men<\/em> (72-73) son alt ba\u015fl\u0131\u011f\u0131 ile papir\u00fcs\u00fcn en b\u00fcy\u00fck rakibinin hayvan derisi oldu\u011fu aktar\u0131lm\u0131\u015f (72) ve \u00fcretim y\u00f6ntemine ba\u011fl\u0131 olarak elde edilen iki \u00e7e\u015fit \u00fcr\u00fcn olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r: Deri ve par\u015f\u00f6men. Herodotos\u2019un yaz\u0131lar\u0131na g\u00f6re ke\u00e7i ve koyun derilerine yaz\u0131lan yaz\u0131lar\u0131 hat\u0131rlatan yazar, Ilias ve <em>Odysseia<\/em>\u2019n\u0131n y\u0131lan derisi \u00fczerine yaz\u0131lm\u0131\u015f oldu\u011funu da hat\u0131rlatm\u0131\u015ft\u0131r. Par\u015f\u00f6men i\u00e7in kullan\u0131lan \u201c<em>parga\u00admena<\/em>\u201d s\u00f6zc\u00fc\u011f\u00fcne ilk kez \u0130mparator Diocletianus\u2019un ferman\u0131nda rastlad\u0131\u011f\u0131\u00adm\u0131z\u0131 aktaran yazar, Plinius\u2019un Romal\u0131 alim Varro\u2019dan aktard\u0131\u011f\u0131 bilgiye daya\u00adnarak (73); Ptolemaios ve Eumenes\u2019in birbirinin k\u00fct\u00fcphanelerini k\u0131skanan krallar olduklar\u0131n\u0131, bunun \u00fczerine Ptolemaios\u2019un papir\u00fcs icad\u0131n\u0131 yasaklama\u00ads\u0131n\u0131 ve bu \u015fekilde Pergamon\u2019da par\u015f\u00f6menin ke\u015ffedilmesini konu alm\u0131\u015ft\u0131r (73).<\/p>\n<p style=\"text-align: justify;\">\u00c7al\u0131\u015fman\u0131n d\u00f6rd\u00fcnc\u00fc ana b\u00f6l\u00fcm\u00fcne <em>Nas\u0131l Okunur, Nas\u0131l Yaz\u0131l\u0131rd\u0131?<\/em> (74-86) birinci alt ba\u015fl\u0131\u011f\u0131 <em>Yazma<\/em> (74-82) ile devam eden yazar, burada \u201c<em>Yaz\u0131 hangi gere\u00e7lerle yaz\u0131l\u0131yordu?<\/em>\u201d sorusuna cevap aramaktad\u0131r. Yazar ilk a\u015famada Hel\u00adlence ve Latince konu\u015fulan b\u00f6lgelerdeki, en eski yaz\u0131 \u00f6rnekleri olan \u00e7anak \u00e7\u00f6mlek \u00fczerine sivri bir gere\u00e7 ya da metal kalem ile kaz\u0131nd\u0131\u011f\u0131n\u0131 aktarm\u0131\u015ft\u0131r (74). Buluntular i\u00e7inde, kemik ve fildi\u015fi \u00f6rnekler yan\u0131nda \u00f6nemli madenler\u00adden de yap\u0131lm\u0131\u015f olan t\u0131\u011f kalemlere dikkat \u00e7eken yazar, yaz\u0131 tahtas\u0131n\u0131 kullanan tasvirlere de \u00f6rnekler vermi\u015ftir (75). Do\u011fal kam\u0131\u015ftan yap\u0131lan kalemlerin kolay a\u015f\u0131nmalar\u0131 nedeniyle kullan\u0131m \u015feklinin aktar\u0131lmas\u0131yla devam eden b\u00f6l\u00fcm, m\u00fcrekkebin i\u00e7eri\u011fini de ele alm\u0131\u015ft\u0131r. Ayr\u0131ca tasvirlerde m\u00fcrekkep hokkas\u0131na rastlanmas\u0131 \u00f6rneklerini de ele alan b\u00f6l\u00fcmde, yazma bi\u00e7imleri, oturu\u015f ve tah\u00adtay\u0131 kullanma \u015fekilleri aktar\u0131lm\u0131\u015ft\u0131r (79-82). B\u00f6l\u00fcm\u00fcn ikinci alt ba\u015fl\u0131\u011f\u0131 <em>Okuma<\/em> (82-86)\u2019da yazar ilk olarak Eski\u00e7a\u011fdaki sesli okuma \u015feklini ele alarak, neden\u00adlerini aktarm\u0131\u015f (82-83) ve sanatsal metinlerin kula\u011fa hitap etmesine \u00f6zen g\u00f6sterildi\u011fine de\u011finmi\u015ftir (83). Hellen sanat\u0131nda ilk kez M\u00d6 V. y\u00fczy\u0131lda kitap okuyan insan tasvir edildi\u011fini belirten yazar, bunun Ge\u00e7 Antik\u00e7a\u011f\u2019dan sonra da sevilen bir tasvir oldu\u011funu eklemi\u015ftir.<\/p>\n<p style=\"text-align: justify;\"><em>Antik Kitab\u0131n Ba\u015fl\u0131ca Bi\u00e7imleri: Rulo ve Kodeks<\/em> (87-115) isimli be\u015finci ana b\u00f6l\u00fcm, <em>Rulo Kitap<\/em> alt ba\u015fl\u0131\u011f\u0131 ile devam etmi\u015f olup, burada rulo kitab\u0131n as\u0131rlar boyunca tek kitap bi\u00e7imi olarak kar\u015f\u0131m\u0131za \u00e7\u0131kt\u0131\u011f\u0131 belirtilmi\u015ftir. Onesimos\u2019un M\u00d6 490 civar\u0131nda yapt\u0131\u011f\u0131 vazo resminin konuyla ilgili en eski \u00f6rneklerden biri oldu\u011fu aktar\u0131lm\u0131\u015ft\u0131r (87). Papir\u00fcs\u00fcn piyasada sat\u0131lma \u015fekli ve kullan\u0131m\u0131 ile il\u00adgili bilgileri de aktaran yazar (88), kaliteli papir\u00fcs\u00fcn ay\u0131rt edilmesi hakk\u0131nda bilgi vermi\u015f ve dikd\u00f6rtgen ruloya yazma \u015feklini a\u00e7\u0131klam\u0131\u015ft\u0131r. Alt ba\u015fl\u0131\u011f\u0131n de\u00advam\u0131nda g\u00f6rsel \u00f6rneklere yer veren yazar (90-92) <em>italik<\/em> yaz\u0131 karakterinin hangi metinlerde kullan\u0131ld\u0131\u011f\u0131n\u0131 da aktarm\u0131\u015ft\u0131r. Yaz\u0131s\u0131 tamamlanan rulonun bir \u00e7ubuk ile sar\u0131lmas\u0131 ve par\u015f\u00f6men etiket ile isim eklenmesi ard\u0131ndan, papir\u00fcs\u00adlerin boyutlar\u0131 hakk\u0131nda bilgi veren yazar; ikinci alt ba\u015fl\u0131k olan <em>Kodeks<\/em> (98-110) ile ana b\u00f6l\u00fcme devam etmi\u015f ve kodeks tan\u0131m\u0131na yer vermi\u015ftir (98-99). Bu b\u00f6l\u00fcmde yap\u0131 itibari ile iki ayr\u0131 tip kar\u015f\u0131m\u0131za \u00e7\u0131km\u0131\u015ft\u0131r. Papir\u00fcslerin ortadan ikiye ayr\u0131lmas\u0131yla ortaya \u00e7\u0131kan bu iki tip hakk\u0131nda bilgiler aktar\u0131lm\u0131\u015f (99-102), kullan\u0131m \u015fekli ve yap\u0131m\u0131na dair bilgiler de bu b\u00f6l\u00fcme eklenmi\u015ftir. B\u00f6l\u00fcm\u00fcn devam\u0131nda \u00f6rneklere (102-110) yer veren yazar eserine, <em>Rulo Kitap ve Ko\u00addeks Aras\u0131ndaki Rekabet<\/em> (110-115) alt ba\u015fl\u0131\u011f\u0131 ile devam etmi\u015ftir. Kodeksin ortaya \u00e7\u0131kmas\u0131 ile rulonun de\u011fer kaybetmesi ve matbaan\u0131n geli\u015fimine kadarki s\u00fcreyi aktaran yazar, \u00f6zel ve kamusal k\u00fct\u00fcphanelerdeki rulolar\u0131n kodekslere aktar\u0131lmas\u0131 ile orijinal metni korunabilen az say\u0131da eser oldu\u011funu ve onlar\u0131n da bir k\u0131sm\u0131n\u0131n aktar\u0131ld\u0131\u011f\u0131n\u0131 belirtmi\u015ftir (110). Yazara g\u00f6re ruloya k\u0131yasla ko\u00addekse daha fazla metin s\u0131\u011fd\u0131r\u0131labilmesi durumu kodeksin rulonun yerini alma s\u00fcrecini ba\u015flatm\u0131\u015ft\u0131r. II. y\u00fczy\u0131l\u0131n sonu ve III. y\u00fczy\u0131l\u0131n ba\u015f\u0131na ait baz\u0131 kodekslere \u00f6rnekler veren yazar (113), kodeksin yayg\u0131nl\u0131k kazanma s\u00fcrecine de\u011finerek (114) b\u00f6l\u00fcm\u00fc tamamlam\u0131\u015ft\u0131r.<\/p>\n<p style=\"text-align: justify;\"><em>Resimli Kitaplar<\/em> (116-127) isimli alt\u0131nc\u0131 ana b\u00f6l\u00fcmde yazar, Ge\u00e7 Antik\u00e7a\u011f\u00addaki resimlerin genellikle do\u011fal ya da mimari ortamdaki \u00e7ok fig\u00fcrl\u00fc resimler oldu\u011funu ve resmin bir \u00e7er\u00e7eve ile belirtildi\u011fini aktarmakta, tam sayfa resim\u00adlerin ise kitaplara kodeksin yerle\u015fik kitap bi\u00e7imi halini almas\u0131ndan sonra gir\u00admi\u015f olabilece\u011fini savunmu\u015ftur. Ayr\u0131ca par\u015f\u00f6menin y\u00fczeyinin resim ve \u00e7izim yapmaya elveri\u015fli olmas\u0131 nedeniyle M\u00d6 V. y\u00fczy\u0131ldan beri antik ressamlar ta\u00adraf\u0131ndan kullan\u0131ld\u0131\u011f\u0131 belirtilmi\u015ftir. Daha sonra ise M\u00d6 39\u2019da Varro\u2019nun \u201c<em>\u00dcnl\u00fc\u00adler Ansiklopedisi<\/em>\u201d anlam\u0131nda ba\u015fvuru kayna\u011f\u0131 olabilecek eserinin, resimli ki\u00adtaplar\u0131n ba\u015far\u0131s\u0131n\u0131n kan\u0131t\u0131 oldu\u011fu belirtilmi\u015f ve di\u011fer sanat\u00e7\u0131larla kar\u015f\u0131la\u015ft\u0131r\u00admalara yer verilmi\u015ftir (121-122) ve devam\u0131nda \u00f6rnek tasvirler bu b\u00f6l\u00fcme ek\u00adlenmi\u015ftir (125-127).<\/p>\n<p style=\"text-align: justify;\">\u00c7al\u0131\u015fman\u0131n yedinci ana b\u00f6l\u00fcm\u00fc olan <em>Kitap Da\u011f\u0131t\u0131m\u0131 ve Kitap\u00e7\u0131l\u0131k<\/em> (128-151) kendi i\u00e7inde \u00fc\u00e7 alt ba\u015fl\u0131k halinde kurgulanm\u0131\u015ft\u0131r. Bunlar\u0131n ilki <em>Roma D\u00f6nemi \u00d6ncesi Yunanistan\u2019da Kitap Sat\u0131\u015f\u0131 ve Da\u011f\u0131t\u0131m\u0131<\/em> ve ikincisi <em>Kitaplar\u0131n Kitap\u00e7\u0131lar D\u0131\u015f\u0131ndaki Da\u011f\u0131t\u0131m\u0131<\/em> (128-137) ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131maktad\u0131r. Yazar ilk ba\u015fl\u0131k alt\u0131nda ki\u00adtab\u0131n Hellen d\u00fcnyas\u0131na ne zaman girmi\u015f olabilece\u011fini tart\u0131\u015fm\u0131\u015f ve Home\u00adros\u2019un yaz\u0131ya d\u00f6k\u00fclm\u00fc\u015f eserlerinin kitap bi\u00e7iminde yay\u0131lm\u0131\u015f olabilece\u011fini sa\u00advunmu\u015ftur (128). Ayr\u0131ca yeterli kaynak olmamas\u0131 nedeniyle kitaplar\u0131 elde et\u00admenin yolunun kopyalamak olabilece\u011fini d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcr. Burada Hellen d\u00fcn\u00adyas\u0131nda kitaplar\u0131n \u00f6d\u00fcn\u00e7 al\u0131nd\u0131\u011f\u0131 ve kopya edildi\u011fi sonucuna da var\u0131lm\u0131\u015ft\u0131r. Di\u011fer alt ba\u015fl\u0131k olan <em>Roma D\u00f6nemi\u2019nde Kitap\u00e7\u0131l\u0131k<\/em> (137-148) i\u00e7erisinde, d\u00fc\u015f\u00fcn\u00adcelerin yaz\u0131ya aktar\u0131lmas\u0131 ve geni\u015f kitlelere ula\u015fmas\u0131 ile ba\u015flanm\u0131\u015f yay\u0131nc\u0131 ve yazar aras\u0131ndaki ili\u015fki konu al\u0131nm\u0131\u015ft\u0131r (139-141). Devam\u0131nda ise papir\u00fcs\u00fcn bir n\u00fcsha m\u0131 yoksa orijinal mi oldu\u011funu anlaman\u0131n tart\u0131\u015fmas\u0131 yap\u0131lm\u0131\u015ft\u0131r (143). Daha sonra da Gellius\u2019un verdi\u011fi bilgiler \u0131\u015f\u0131\u011f\u0131nda Roma\u2019daki kitabevlerinden bahsedilmi\u015f ve Roma \u0130mparatorluk D\u00f6nemi kitabevleri tasvirine yer verilmi\u015f\u00adtir (146-148). <em>Kitap Arma\u011fanlar\u0131, Kitap H\u0131rs\u0131zl\u0131klar\u0131, Kitap K\u0131y\u0131mlar\u0131<\/em> (148-152) isimli son alt ba\u015fl\u0131k ile Roma D\u00f6nemi\u2019nde kitaplar\u0131n sevilen arma\u011fanlar ol\u00addu\u011fu ve bir yazar\u0131n ba\u015f\u0131na gelebilecek en k\u00f6t\u00fc olay\u0131n eserinin yay\u0131mlanma\u00addan \u00e7al\u0131nmas\u0131 oldu\u011fundan bahsedilmi\u015f (148-149) ve kitap k\u0131y\u0131mlar\u0131 bug\u00fcn\u00fcn sans\u00fcr kelimesine benzetilmi\u015ftir (150-151).<\/p>\n<p style=\"text-align: justify;\">\u00c7al\u0131\u015fman\u0131n sekizinci ana b\u00f6l\u00fcm\u00fc olan <em>K\u00fct\u00fcphaneler<\/em> (152-208) kendi i\u00e7inde be\u015f alt ba\u015fl\u0131ktan olu\u015fmu\u015ftur. <em>K\u00fct\u00fcphane ve Ar\u015fivlerin Tan\u0131m\u0131<\/em> (152) alt ba\u015fl\u0131\u011f\u0131 ile devam eden b\u00f6l\u00fcmde, k\u00fct\u00fcphane ve ar\u015fivlerin tan\u0131m\u0131 yap\u0131lm\u0131\u015f, ikinci alt ba\u015fl\u0131k <em>Eski Yunanistan\u2019da K\u00fct\u00fcphaneler<\/em> (153-176)\u2019de ise antik kay\u00adnaklara g\u00f6re bir kamu k\u00fct\u00fcphanesi kuran ilk ki\u015finin Atina tiran\u0131 Peisistratos oldu\u011fu belirtilmi\u015f (153) ve Atina\u2019da kitap k\u00fclt\u00fcr\u00fcne yer verilmi\u015ftir (154-155). Strabon\u2019un verdi\u011fi bilgiler ve Neleus\u2019un bilgileri aras\u0131ndaki \u00e7eli\u015fkiye a\u00e7\u0131kl\u0131k getiren yazar, k\u00fct\u00fcphanelerin bar\u0131nd\u0131rd\u0131\u011f\u0131 kitaplar\u0131n i\u00e7eriklerine de\u011finmi\u015ftir (158-159). K\u00fct\u00fcphane envanterlerinin \u00e7o\u011falmas\u0131yla devam eden b\u00f6l\u00fcmde, kataloglama ve k\u00fct\u00fcphanenin y\u00f6netimi hakk\u0131nda \u00e7ok bilgiye sahip olunama\u00add\u0131\u011f\u0131 da yazarca vurgulanm\u0131\u015ft\u0131r. Museion K\u00fct\u00fcphanesi s\u0131n\u0131fland\u0131rmas\u0131yla de\u00advam eden b\u00f6l\u00fcm, kitaplar\u0131n \u00e7o\u011falt\u0131lmas\u0131 s\u0131ras\u0131nda \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc koruyabil\u00admesi \u00e7abalar\u0131na da yer vermi\u015ftir (164-165). Ayr\u0131ca Pergamon ve \u0130skenderiye aras\u0131ndaki rekabet ve k\u00fct\u00fcphanelerin i\u00e7erikleri analiz edilmi\u015ftir (170-176). \u00dc\u00e7\u00fcnc\u00fc alt ba\u015fl\u0131k olan <em>Romal\u0131lar\u0131n \u00d6zel K\u00fct\u00fcphaneleri<\/em> (176-186)\u2019nde ise Roma\u2019n\u0131n yaz\u0131nsal \u00fcretime Hellas\u2019tan as\u0131rlar sonra ba\u015flad\u0131\u011f\u0131 belirtilmi\u015f ve Roma\u2019ya getirilen Hellen sava\u015f esirleri ile Roma\u2019n\u0131n etkile\u015fim i\u00e7ine girdi\u011fi ak\u00adtar\u0131lm\u0131\u015f (176-179) ve bu b\u00f6l\u00fcmde Herculaneum\u2019daki Papir\u00fcs Villa\u2019s\u0131 incelen\u00admi\u015ftir. Di\u011fer alt ba\u015fl\u0131k <em>Roma\u2019daki Kamu K\u00fct\u00fcphaneleri<\/em> (186-194)\u2019nde ise Ma\u00adkedonya Kkral\u0131 Perseus\u2019un k\u00fct\u00fcphanesinin sava\u015f ganimeti olarak Roma\u2019ya getirilmesinden ba\u015flayarak, Caesar\u2019\u0131n ilk kamu k\u00fct\u00fcphanesi yapma fikri ele al\u0131nm\u0131\u015ft\u0131r. Roma\u2019da ilk kamu k\u00fct\u00fcphanesi fikrini hayata ge\u00e7iren ki\u015fi Gaius Asi\u00adnius Pollio olmu\u015f (M\u00d6 76-MS 4) ve ikinci kamu k\u00fct\u00fcphanesi de \u0130mparator Augustus\u2019un Palatinus Tepesi\u2019ndeki in\u015faat projesinin \u00f6nemli bir par\u00e7as\u0131 ol\u00admu\u015ftur. Son alt ba\u015fl\u0131k olan <em>Roma \u0130mparatorluk K\u00fct\u00fcphaneleri<\/em> (195-208)\u2019inde ba\u011f\u0131\u015flar sayesinde daha k\u00fc\u00e7\u00fck yerlerde bile k\u00fct\u00fcphanelerin kurulmas\u0131 du\u00adrumu vurgulanm\u0131\u015ft\u0131r (195). Ayr\u0131ca \u0130mparator Augustus ve Traianus D\u00f6\u00adnemi\u2019nde kurulan k\u00fct\u00fcphanelere de\u011finilmi\u015f ve \u00f6zel ba\u011f\u0131\u015flar\u0131 ile kurulan k\u00fc\u00adt\u00fcphaneler konu edinilmi\u015ftir (201-207).<\/p>\n<p style=\"text-align: justify;\">Dokuzuncu ana b\u00f6l\u00fcm olan <em>K\u00fct\u00fcphanelerin \u0130\u00e7 ve D\u0131\u015f Mimarisi<\/em> (209-247)\u2019ne kapsaml\u0131 bir kitap birikiminin \u00f6nemi ile devam edilmi\u015ftir. Vitrivius\u2019un Roma evi tasvirinde y\u00fcksek tabakaya mensup birinin evinde mutlaka k\u00fct\u00fcp\u00adhane olmas\u0131 gerekti\u011fini savundu\u011fu d\u00fc\u015f\u00fcncesine yer verilmi\u015ftir (212-214). B\u00f6l\u00fcme \u0130skenderiye\u2019deki b\u00fcy\u00fck \u201c<em>Museion K\u00fct\u00fcphanesi<\/em>\u201d \u00f6rne\u011fiyle devam eden yazar, Strabon\u2019un tasvirini de eklemi\u015f ve kitaplar\u0131n muhtemelen \u00f6zel depolarda muhafaza edildi\u011fini aktarm\u0131\u015ft\u0131r. Caesar\u2019\u0131n kurmay\u0131 planlad\u0131\u011f\u0131 k\u00fc\u00adt\u00fcphanenin hem Hellen hem de Latince metinler bar\u0131nd\u0131rmas\u0131 ve halka a\u00e7\u0131k olmas\u0131 \u015feklindeki d\u00fc\u015f\u00fcncesi ve Palatium K\u00fct\u00fcphanesi hakk\u0131nda bilgiler veril\u00admi\u015ftir (222-227). Bir Roma k\u00fct\u00fcphanesinin \u00f6nemli unsurlar\u0131, duvar ni\u015flerin\u00addeki g\u00f6mme kitap dolaplar\u0131, bunlar\u0131n \u00f6n\u00fcne merdivenle \u00e7\u0131k\u0131lan bir podyum ve giri\u015fte yer alan bir heykel olarak tasvir edilmi\u015f, Roma kentlerindeki baz\u0131 kapl\u0131calar\u0131n belirli odalar\u0131n\u0131n da k\u00fct\u00fcphane olarak kullan\u0131ld\u0131\u011f\u0131 belirtilmi\u015ftir (229).<\/p>\n<p style=\"text-align: justify;\">Yazar, eserin son ana b\u00f6l\u00fcm\u00fcn\u00fc olu\u015fturan <em>K\u00fct\u00fcphanelerin \u0130\u015fletimi ve \u0130da\u00adresi<\/em> (248-257) ana ba\u015fl\u0131\u011f\u0131 alt\u0131nda k\u00fct\u00fcphanelerin nas\u0131l i\u015fletildi\u011fini ele alm\u0131\u015ft\u0131r. Somut verilerin az olmas\u0131ndan dolay\u0131 bilgiler genelle\u015ftirilmemi\u015f, d\u00fczenli ve kurumsal bir hizmetin ise ancak 19. y\u00fczy\u0131lda verildi\u011fi saptanm\u0131\u015ft\u0131r. Pantainus K\u00fct\u00fcphanesi\u2019nin Traianus D\u00f6nemi\u2019nden kalma bir yaz\u0131t\u0131 ile \u00e7al\u0131\u015fmaya devam eden yazar k\u00fct\u00fcphane sisteminin i\u015fleyi\u015fini bu \u00f6rnek \u00fczerinden anlatm\u0131\u015ft\u0131r (248-250). K\u00fct\u00fcphanelerde bulunan kataloglar\u0131n, sahip olmak istenilen ki\u00adtaplar\u0131n varl\u0131\u011f\u0131 hakk\u0131nda bilgi edinilmesi a\u00e7\u0131s\u0131ndan her k\u00fct\u00fcphanede bulunan bir unsur oldu\u011fu belirtilerek, k\u00fct\u00fcphane g\u00f6revlilerinin kitap takibi hakk\u0131nda ele ge\u00e7en baz\u0131 yaz\u0131tlar\u0131n varl\u0131\u011f\u0131 bilgisi verilmi\u015ftir (251-254). Yine yaz\u0131tlardan bilebildi\u011fimiz kadar\u0131yla k\u00fct\u00fcphane y\u00f6neticileri ve bu y\u00f6neticilerin g\u00f6revleri, kimler aras\u0131ndan se\u00e7ildikleri gibi bilgileri aktaran yazar, imparatorlar\u0131n da kamu k\u00fct\u00fcphanelerine verdi\u011fi \u00f6nemi vurgulam\u0131\u015ft\u0131r. Yaln\u0131zca kamu k\u00fct\u00fcpha\u00adneleri de\u011fil, k\u00fct\u00fcphane sahiplerinin koleksiyonu artt\u0131rmaya ve k\u00fct\u00fcphane sis\u00adtemine verdikleri \u00f6neme de de\u011finen yazar, g\u00fcn\u00fcm\u00fcze ula\u015fabilen eserlerin oran\u0131n\u0131n fazla olmas\u0131 durumunda Antik\u00e7a\u011f k\u00fct\u00fcphanecili\u011fi hakk\u0131nda bilgimi\u00adzin de fazla olaca\u011f\u0131n\u0131 belirtmi\u015f ve bu konu hakk\u0131nda yaz\u0131lan di\u011fer eserlere de dikkat \u00e7ekmi\u015ftir (256-257).<\/p>\n<p style=\"text-align: justify;\">Bu \u00e7al\u0131\u015fma eser i\u00e7inde ge\u00e7en k\u0131saltmalar\u0131n verildi\u011fi, <em>K\u0131saltmalar<\/em> (258), eserin anlat\u0131m\u0131nda kullan\u0131lan g\u00f6rsellerin kaynak\u00e7as\u0131n\u0131n aktar\u0131ld\u0131\u011f\u0131 <em>Resim Kay\u00adnak\u00e7as\u0131<\/em> (259-262) ve son olarak kapsaml\u0131 bir <em>Dizin<\/em> (263-268) k\u0131sm\u0131 ile tamam\u00adlanm\u0131\u015ft\u0131r. Sonu\u00e7 olarak, Antik\u00e7a\u011fda okuma ve yazma b\u00f6l\u00fcm\u00fc ile ba\u015flay\u0131p; ki\u00adtap k\u00fclt\u00fcr\u00fcn\u00fcn uygarl\u0131klara nas\u0131l girdi\u011fini, kitap haline nas\u0131l geldi\u011fini, nere\u00adlerde ve nas\u0131l muhafaza edildi\u011fini ele alan eser, \u201c<em>Antik\u00e7a\u011fda Kitap<\/em>\u201d ba\u015fl\u0131\u011f\u0131 alt\u0131nda verilmi\u015f ayr\u0131nt\u0131l\u0131 bir \u00e7al\u0131\u015fmad\u0131r.<\/p>\n<div class=\"one_half\"><p><strong>Anadolu \u00dcniversitesi<br \/>\nArkeoloji B\u00f6l\u00fcm\u00fc<br \/>\n<\/strong><\/p><\/div>\n<p style=\"text-align: right;\"><div class=\"one_half last\"><p style=\"text-align: right;\"><strong>Necmettin ERAYDIN<\/strong><br \/>\n<strong>neraydin@anadolu.edu.tr<\/strong><\/p>\n<p style=\"text-align: right;\"><\/div><div class=\"clearboth\"><\/div>\n<div class=\"divider_padding\"><\/div>\n<p><a name=\"refs\"><\/a><div class=\"tabs_container\"><ul class=\"tabs\"><li><a href=\"#\">Citation<\/a><\/li><li><a href=\"#\">Link<\/a><\/li><\/ul><div class=\"panes\"><div class=\"pane\">N. Erayd\u0131n, <em>Antik\u00e7a\u011fda Kitap. <\/em>Yazar: H. Blanck, <em>Libri<\/em> IV (2018) 345-352. DOI: 10.20480\/lbr.2018038<\/p><\/div><div class=\"pane\"><p>Link:\u00a0<a href=\"http:\/\/www.libridergi.org\/en\/2018-en\/lbr-0168\" target=\"_blank\" rel=\"noopener\">http:\/\/www.libridergi.org\/en\/2018-en\/lbr-0168<\/a><\/p><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>H. BLANCK, Antik\u00e7a\u011fda Kitap. \u0130stanbul 2017. Alfa Yay\u0131nlar\u0131,\u00a0 268 sayfa (121 resim ile birlikte). \u00c7ev. Z. A. Y\u0131lmazer.\u00a0ISBN: 9786051716206 Blanck taraf\u0131ndan 1991\u2019de kaleme al\u0131nan eserde insanl\u0131\u011f\u0131n d\u00fc\u015f\u00fcncelerini yaz\u0131 ve imgelere \u00e7evirip bunu aktarmas\u0131 ve kitaplar\u0131n tarihsel ve k\u00fclt\u00fcrel de\u00adrinli\u011finin bilgi aktar\u0131m\u0131na katk\u0131s\u0131 \u00fczerinden, Hellen ve Romal\u0131lar\u0131n kitaplar\u0131, bu kitaplar\u0131n \u00fcretim ve da\u011f\u0131t\u0131m\u0131n\u0131n nas\u0131l oldu\u011fu, kitaplar\u0131n &#8230;<\/p>\n","protected":false},"author":1,"featured_media":3802,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[128,129],"tags":[],"class_list":["post-4047","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2018-en","category-booknotice-18-en"],"_links":{"self":[{"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/posts\/4047","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/comments?post=4047"}],"version-history":[{"count":2,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/posts\/4047\/revisions"}],"predecessor-version":[{"id":4049,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/posts\/4047\/revisions\/4049"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/media\/3802"}],"wp:attachment":[{"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/media?parent=4047"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/categories?post=4047"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.libridergi.org\/en\/wp-json\/wp\/v2\/tags?post=4047"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}