29 Temmuz 2015 Çarşamba

Maenad’ın kelime anlamı: ÇILDIRANLAR.


  Dionysos Ģenlikleri (Maenadizm): Maenadizm, Dionysos onuruna düzenlenen coĢku dolu kült Ģenliklerde25  yer alan kadınlar grubunun sergiledikleri performanstır. Maenadlar topluluğu (Maenadik thiasos) rolü ise bu   Ģenliklerde   satyr   rolü   üstlenen   erkeklere   eĢlik   eden   kadınların oluĢturduğu gruptur (Seaford 1998: 128). Dionysos gizemlerinde de kadınların26  özel bir yeri ve görevleri vardır. Bu gizemli Ģenliklerde Tanrı Dionysos‟un dostları yani diğer bir anlamla doğanın ruhları olarak algılanabilecek varlıklar da bulunmaktadır ve bunlar kadınlar tarafından canlandırılmaktadırlar. Tanrıdan esinlenip mistik bir delilik halinde çığlıklar atarak kırlarda dolaĢan, pınarlardan su yerine bal ya da süt içen Bacchalar (Maniaslar), törenlerde kadınlar tarafından canlandırılmaktadır ve kadınlar çıplak bedenlerini ceylan postlarıyla örtüp (nebris), baĢlarına sarmaĢıktan bir taç takmaktadırlar. Ellerine ucunda bir çam kozalağı takılı sarmaĢık ya da asma yapraklarıyla sarılı bir değnek (thyrsos) alarak, iki kulplu  büyük  Ģarap kupalarıyla  (kantharos)  dolaĢmakta  ve  çift  borulu flütlerin ezgileriyle ya da teflerden yayılan seslerle dans etmektedirler. (DürüĢken 2000: 93)
Çoğu kez sadece inisiye olanların katılabildiği Dionysos adına yapılan bu törenlerde korolar, pandomim gösterileri gibi modern tiyatronun da kökenlendirildiği eylemler, Ģarap içimi ve cinsel eylemler bulunmaktadır. Bireyin cinsel yaĢamının baĢlangıcı ile Dionysos kültüne giriĢin aynı anda gerçekleĢtiği düĢünüldüğünde  kadınların bu kültlere katılımı kaçınılmazdır. (Eliade 2003: 439; Seaford 1998: 129)
Dionysos bayramlarının ana görüntüsüne sparagmos adı verilmektedir ve anlamı da canlı bir hayvanın parçalanması, etinin yenmesi ve kanının içilmesidir.27 Bu eylemlerde Dionysos‟un Titanlar tarafından parçalanmasına öykünülür ve tapınıcılar, gerçekten tanrının etini yediklerini, kanını içtiklerini düĢünmeleriyle Tanrıyla bütünleĢme hissiyatını yaĢamaktadırlar. Eliade‟ye göre geceleri, kentlerden uzakta, dağlarda ve ormanlarda gerçekleĢtirilen bu ritüellerde  “kurbanın  parçalanarak  öldürülmesi  (sparagmos)  ve  çiğ  et yenmesi (ömofagia) yoluyla, tanrıyla ruh birliği gerçekleĢtirilmektedir; çünkü parçalanan ve çiğ çiğ yenen hayvanlar Dionysos‟un epafanileri veya bedenlenmiĢ halleridir ve diğer bütün deneyimler –olağanüstü fiziksel güç, ateĢ ve silahlarla yaralanmama, “mucizeler” (yerden fıĢkıran su, Ģarap, süt), yılanlarla ve vahĢi hayvan yavrularıyla “yakınlık”- yaĢanan bu tanrısal coĢku hali ve tanrıyla özdeĢleĢme sayesinde mümkün olabilmektedir. Dionysosçu esrime her Ģeyden  önce insanlık halinin aĢılması, tam kurtuluĢun keĢfi, insanlığın eriĢemediği bir kendiliğindenliğin ve özgürlüğün elde edilmesidir. Bu özgürlüklerin içinde, etik ve sosyal nitelikteki yasaklardan, kurallardan ve sözleĢmelerden kurtulmak da  mutlaka  yer  almaktadır  ve  bu  durum  da kadınların kitlesel katılımını açıklamaktadır. (Eliade 2003: 444)






maenad3m

bunlar cogul adlarıyla maenadlar diye gecer terminolojide. dionysos tarafından ritüel cılgınlıga garkedilmi$ bahtsız kadınlardır. her iki yılda bir kı$ın göbeende, hellasın sarp daglarında maenadik törenler vuku bulmaktaydı. bunlar, cogunlukla üst sınıftan kadınlardı. * * törensel bicimde kentten beraber ayrılır, daglara dogru cıglık ata ata * ilerler; menzile eri$ince ayakkabıyı atar, sacları dagıtır, geyik derisi kıyafetlerinden bünyeyi uzakla$tırırlardı. * kurban törenini müteakip, tympanon ve aulos esliginde gece danslarına yelken acarlardı. yüksek volümlü müzigin ve me$alelerin de etkisiyle, cılgınca danseder, kafalarını sallar *, zıplar, hoplar, ko$u$turup euhoi diye bagırırlardı afacanlar. euripidesin bacchae adlı oyununda hayvanları cıplak elle parcalayan, yılanla oynayan, cig et yiyen ancak demir ve ate$e dayanıklı delirmisler gibi anlatılsa da, olasılıkla yazarın zamanında meanadlar cig et yemeyen, yılana yüz vermeyen kadınlardı. fakat ayin sırasındaki trans durumundan ötürü acıya dayanıklı olmaları da mümkün bittabi. mit, elbette ki gercegi abartmaktadır bu noktada.

Batı Sanatında Adam Parçalayan Kadınlar


Maenadlar’ın Yunan mitolojisinde çeteler halinde dolaşıp zaman zaman neşe içinde adam (erkek, bey, bay) parçaladıkları anlatılıyor.

Maenad’ın kelime anlamı: ÇILDIRANLAR.

Bu mitolojik hikayeler yıllar boyunca Batı sanatında şöyle resmedilmiş:

maenad1
Oraklarla saldırmak yetmeeeez, birimiz mutlaka arkada zil çalmalı


maenad2
Bu bağırsakların hali ne evladım?


maenad3
TWİTLERİNİ OKUDUK


maenad4
Kızlar haftaya gene yapalım yaaa


maenad5
Çekiyor musun? Bi saniye leopar da çıksın


maenad6
BAŞLATMA. CİNSİYETÇİ. PRATİĞİNE.


maenad7
Bu kumaşlar nasıl böyle duruyor BİZ DE BİLMİYORUZ


maenad8
Gırgıriye’de Cümbüş Var M.Ö. 400


maenad9


bir sylvia plath şiiri:

once i was ordinary:
sat by my father's bean tree
eating the fingers of wisdom.
the birds made milk.
when it thundered i hid under a flat stone.

the mother of mouths didn't love me.
the old man shrank to a doll.
o i am too big to go backward:
birdmilk is feathers,
the bean leaves are dumb as hands.

this month is fit for little.
the dead ripen in the grapeleaves.
a red tongue is among us.
mother, keep out of my barnyard,
i am becoming another.

dog-head, devourer:
feed me the berries of dark.
the lids won't shut. time
unwinds from the great umbilicus of the sun
its endless glitter.

i must swallow it all.

lady, who are these others in the moon's vat ---
sleepdrunk, their limbs at odds?
in this light the blood is black.
tell me my name.

One of the greatest aspects of ancient Greek civilization was the persistent belief that there was nothing women liked better to do than assemble a gang, air their tits out, and roam the countryside beating men to death. This was, sadly, a myth, but it did not stop generations of European painters from imagining what savage bands of female murderesses might have looked like.
misandry8
The Venn diagram of “female devotees of Dionysus who savagely tear apart Orpheus” and “parties I would love to attend” has an overlap of roughly 100%.
misandry
This is a fitting end for a man known for strolling about the ancient world playing unasked-for lyre solos at everyone. Look at how fun these stabbing bitches seem. Long, lush hair and sturdy biceps and leopard skins abound.
misandrylast
They’ve already ripped off the entire lower half of Pentheus’ body and they are not calling it a day. Gotta rip up the top half too. The official word for “Dionysus-crazed women ripping men and animals limb from limb,” by the way, is sparagmos. The ancient Greeks had a NAME for what happened when women tore men to pieces! Truly it was called the Golden Age of Civilization for a reason.
misandry12
SMASH HIS HEAD OFF GIRL, HEADS ARE FOR WOMEN, THIS IS WHAT A FEMINIST LOOKS LIKE (SMASHING A MAN’S HEAD OFF WITH A ROCK)
misandry11
True beauty is a severe brow, a no-nonsense haircut, and an armful of male limbs you’re about to rip off someone’s torso. That’s what Real Women look like.
misandry15
Charlotte Corday actually did murder a man in real life – and by herself, too, sans sororal mob – but I think she still deserves to be included because of how beautiful the fabric on her murderin’ gown is.
misandry14
How did all these French painters know exactly what Charlotte Corday was wearing that day? Either way, she looked amazing.
misandry3
ON WEDNESDAYS WE PULL OUR DRESSES DOWN TO THE WAIST AND KILL MEN
misandry4
someone get his harp, men cannot be killed unless you also destroy the instrument they were trying to play at you
misandry5
Sometimes it’s best to stick with the basics: enormous, pointy sticks you use to alternately bludgeon and skewer a man in the woods with your best girlfriend.
misandry2
WRAP YOURSELF IN SNAKES AND LEAVES AND BRING YOUR SHARPEST MURDERING SCYTHE, IT’S TIME FOR A GOOD OLD-FASHIONED GIRLS’ NIGHT OUT
misandry6
Nobody’s murdering his left leg! Get in the game, Red Cloak!
misandry7
The Difference Between A Good Friend And A Best Friend:
A good friend will hold your scabbard while you use your short sword to murder a male stranger.
A best friend won’t have any hands free to hold your scabbard because she’ll be too busy grabbing him by the cloak and jabbing him with a stick.

Maenad

From Wikipedia, the free encyclopedia
"Bassarids" redirects here. For the opera by Hans Werner Henze, see The Bassarids.
Furious Maenad, carrying a thyrsus and a leopard, with a snake rolled up over her head. Tondo of an Ancient Greek Attic white-ground kylix 490–480 BC from Vulci. Staatliche Antikensammlungen Munich Germany.
In Greek mythology, maenads (/ˈmnædz/; Ancient Greek: μαινάδες [m]) were the female followers of Dionysus and the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones." Maenads were known as Bassarids, Bacchae /ˈbæk/ or Bacchantes /ˈbækənts, bəˈkænts, -ˈkɑːnts/ in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox-skin.
Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication.[1] During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pinecone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes.[2]
These women were mythologized as the 'mad women' who were nurses of Dionysus in Nysa: Lycurgus "chased the Nurses of the frenzied Dionysus through the holy hills of Nysa, and the sacred implements dropped to the ground from the hands of one and all, as the murderous Lycurgus struck them down with his ox-goad."[3] They went into the mountains at night and practised strange rites.[4]
Jean Metzinger, 1906, La danse, Bacchante, oil on canvas, 73 x 54 cm. The subject of Maenads remained popular in the arts at least into the early 20th century
According to Plutarch's Life of Alexander, maenads were called Mimallones and Klodones In Macedon, epithets derived from the feminine art of spinning wool.[5] Nevertheless, these warlike parthenoi ("virgins") from the hills, associated with a Dionysios pseudanor "fake male Dionysus", routed an invading enemy.[6] In southern Greece they were described with Bacchae, Bassarides, Thyiades, Potniades[7] and other epithets.[8]
In Euripides' play The Bacchae, maenads of Thebes, Greece murdered King Pentheus after he banned the worship of Dionysus. Dionysus, Pentheus' cousin, himself lured Pentheus to the woods, where the maenads tore him apart. His corpse was mutilated by his own mother, Agave, who tore off his head, believing it to be that of a lion. A group of maenads also killed Orpheus.[9]
In ceramic art, the frolicking of maenads and Dionysus is often a theme depicted on kraters, used to mix water and wine. These scenes show the maenads in their frenzy running in the forests, often tearing to pieces any animal they happen to come across.
German philologist Walter Friedrich Otto writes:
The Bacchae of Euripides gives us the most vital picture of the wonderful circumstance in which, as Plato says in the Ion, the god-intoxicated celebrants draw milk and honey from the streams. They strike rocks with the thyrsus, and water gushes forth. They lower the thyrsus to the earth, and a spring of wine bubbles up. If they want milk, they scratch up the ground with their fingers and draw up the milky fluid. Honey trickles down from the thyrsus made of the wood of the ivy, they gird themselves with snakes and give suck to fawns and wolf cubs as if they were infants at the breast. Fire does not burn them. No weapon of iron can wound them, and the snakes harmlessly lick up the sweat from their heated cheeks. Fierce bulls fall to the ground, victims to numberless, tearing female hands, and sturdy trees are torn up by the roots with their combined efforts.[10]

Contents

Categories

Dancing maenad. Detail from an Ancient Greek Paestum red-figure skyphos, made by Python, ca. 330-320 BC. British Museum, London

Nurses and nymphs

The name maenad has come to be associated with a wide variety of women, supernatural, mythological, and historical,[11] associated with the god Dionysus and his worship. In the realm of the supernatural is the category of nymphs who nurse and care for the young Dionysus, and continue in his worship as he comes of age. The god Hermes is said to have carried the young Dionysus to the nymphs of Nysa.
In another myth, when his mother, Semele, is killed, the care of young Dionysus falls into the hands of his sisters, Ino, Agave, and Autonoe, who later are depicted as participating in the rites and taking a leadership role among the other maenads.

Resisters to the new religion

Maenad and Satyr. Ancient Greek kylix by Makron, 490-480 BC. Staatliche Antikensammlungen München Kat. 94
The term 'maenad' is also used to refer to a category of women in the mythology who resist the worship of Dionysus, and are therefore driven mad by him, being forced against their will to participate in often horrific rites. The doubting women of Thebes, the prototypical maenads, or 'mad women', left their homes to live in the wilds of the nearby mountain Cithaeron. When they discover Pentheus spying on them, dressed as a maenad, they tear him limb from limb.[12]
This also occurs with the three daughters of Minyas, who reject Dionysus and remain true to their household duties, becoming startled by invisible drums, flutes, cymbals, and seeing ivy hanging down from their looms. As punishment for their resistance, they become madwomen, choosing the child of one of their number by lot and tearing it to pieces, as the women on the mountain did to young animals. A similar story with a tragic end is told of the daughters of Proetus.

Voluntary revelers

Not all women were inclined to resist the call of Dionysus, however. Maenads, possessed by the spirit of Dionysus, traveled with him from Thrace to mainland Greece in his quest for the recognition of his divinity. Dionysus was said to have danced down from Parnassos accompanied by Delphic virgins, and it is known that even as young girls the women in Boeotia practiced not only the closed rites but also the bearing of the thyrsos and the dances.
The foundation myth is believed to have been reenacted every other year during the Agronia. Here the women of Thebes were organized into three dance groups and rushed off to Mount Cithaeron with ritual cries of "to the mountain!" As "mad women," they pursued and killed, perhaps by dismemberment (sparagmos), the 'king', possibly represented by a goat. The maenads may have eaten the meat of the goat raw (omophagia) or sacrificed it to Dionysus. Eventually the women would be freed from the madness and return to Thebes and their usual lives, but for the time of the festival they would have had an intense ecstatic experience. The Agrionia was celebrated in several Greek cities, but especially in Boeotia. Each Boeotian city had its own distinct foundation myth for it, but the pattern was much the same: the arrival of Dionysus, resistance to him, flight of the women to a mountain, the killing of Dionysus’ persecutor, and eventual reconciliation with the god.

Priestesses of Dionysus

Two satyrs and a maenad. Side A from an Ancient Greek red-figure kylyx-krater from Apulia, 380–370 BC. Louvre, Paris.
Dionysus and two Maenads, as depicted by the Amasis Painter circa 550-530BC.
In this category of 'maenad' is found the later references to priestesses of the Dionystic cult. In the third century BC, when an Asia Minor city wanted to create a maenadic cult of Dionysus, the Delphic Oracle bid them to send to Thebes for both instruction and three professional maenads, stating, "Go to the holy plain of Thebe so that you may get maenads who are from the family of Ino, daughter of Cadmus. They will give to you both the rites and good practices, and they will establish dance groups (thiasoi) of Bacchus [ie: Dionysus] in your city."

Other groups

The names of other associations of women who can be characterized as maenads are the Laphystiai, the Dionysiades, the Leucippides, the Bassarai, the Dysmainai, the Klodones, and the Mimallones. The memory of the Thyiades and of their cymbals, which people thought they heard, was still alive in the vicinity of Mt. Parnassos at the beginning of [the 20th] century. For the peasants the Thyiades had become Neraides, ghost women, of whom folk stood in awe believing that they possessed a power which Dionysus himself possessed.

Bacchanalia

Further information: Bacchanalia
Cultic rites associated with worship of the Greek god of wine, Dionysus (or Bacchus in Roman mythology), were allegedly characterized by maniacal dancing to the sound of loud music and crashing cymbals, in which the revellers, called Bacchantes, whirled, screamed, became drunk and incited one another to greater and greater ecstasy. The goal was to achieve a state of enthusiasm in which the celebrants’ souls were temporarily freed from their earthly bodies and were able to commune with Bacchus/Dionysus and gain a glimpse of and a preparation for what they would someday experience in eternity. The rite climaxed in a performance of frenzied feats of strength and madness, such as uprooting trees, tearing a bull (the symbol of Dionysus) apart with their bare hands, an act called sparagmos, and eating its flesh raw, an act called omophagia. This latter rite was a sacrament akin to communion in which the participants assumed the strength and character of the god by symbolically eating the raw flesh and drinking the blood of his symbolic incarnation. Having symbolically eaten his body and drunk his blood, the celebrants became possessed by Dionysus.

Myths

Dionysus came to his birthplace, Thebes, where neither Pentheus, his cousin who was now king, nor Pentheus’ mother Agave, Dionysus’ aunt (Semele’s sister) acknowledged his divinity. Dionysus punished Agave by driving her insane, and in that condition, she killed her son and tore him to pieces. From Thebes, Dionysus went to Argos where all the women except the daughters of King Proetus joined in his worship. Dionysus punished them by driving them mad, and they killed the infants who were nursing at their breasts. He did the same to the daughters of Minyas, King of Orchomenos in Boetia, and then turned them into bats.
The Women of Amphissa by Lawrence Alma-Tadema
According to Opian, Dionysus delighted, as a child, in tearing kids into pieces and bringing them back to life again. He is characterized as "the raging one", and "the mad one", and the nature of the maenads, from which they get their name, is, therefore, his nature.[13]
Once during a war in the middle of the third century BC, the entranced Thyiades (maenads) lost their way and arrived in Amphissa, a city near Delphi. There they sank down exhausted in the market place and were overpowered by a deep sleep. The women of Amphissa formed a protective ring around them and when they awoke arranged for them to return home unmolested.
On another occasion, the Thyiades were snowed in on Parnassos and it was necessary to send a rescue party. The clothing of the men who took part in the rescue froze solid. It is unlikely that the Thyiades, even if they wore deerskins over their shoulders, were ever dressed more warmly than the men.[14]

Art

Maenads have been depicted in art as erratic and frenzied women enveloped in a drunken rapture, the most obvious example being that of Euripides’ play The Bacchae. His play, however, is not a study of the cult of Dionysus or the effects of this religious hysteria of these women. The maenads have often been interpreted in art in this way. To understand the play of Euripides though one must only know about the religious ecstasy called Dionysiac, the most common moment maenads are displayed in art. In Euripides' play and other art forms and works the Dionysiac only needs to be understood as the frenzied dances of the god which are direct manifestations of euphoric possession and that these worshippers, sometimes by eating the flesh of a man or animal who has temporarily incarnated the god, come to partake of his divinity.
In addition to Euripedes' The Bacchae, depictions of maenads are often found on both red and black figure Greek pottery, statues and jewellery. Also, fragments of reliefs of female worshippers of Dionysus have been discovered at Corinth.[15] Mark W. Edwards in his paper "Representation of Maenads on Archaic Red-Figure Vases" traces the evolution of maenad's depictions on Red-Figure vases. Edwards distinguishes between "nymphs" which appear earlier on Greek pottery and "maenads" which are identified by their characteristic fawnskin or "nebris" and often carrying snakes in their hands. However, Edwards does not consider the actions of the figures on the pottery to be a distinguishing characteristic for differentiation between maenads and nymphs. Rather, the differences or similarities in their actions are more striking when comparing black-figure and red-figure pottery, as opposed to maenads and nymphs.[16]

Later culture

Bust of a Bacchante by Augustin Jean Moreau-Vauthier from circa 1891. The laughing bacchante turns her head to the left. She wears grape leaves in her hair, which is coiled in back and falls in tresses over her shoulders. This ivory sculpture and others like it in marble and ivory were displayed in Paris.Walters Art Museum, Baltimore.
A maenad appears in Percy Bysshe Shelley's poem, Ode to the West Wind.
In Ivan Turgenev's novella, First Love, bacchantes are used symbolically in a dream of princess Zinaida.[citation needed]
The Bassarids (composed 1964-65, premiere 1966), to a libretto by W. H. Auden and Chester Kallman, is the most famous opera composed by Hans Werner Henze.
Maenads, along with Bacchus and Silenus, appear in C. S. Lewis' Prince Caspian. They are portrayed as wild, fierce girls who dance and perform somersaults.
Alluded to in the short story "Las Ménades", by Julio Cortázar, originally published in Final del juego, 1956, the Menades do not appear and are not specifically mentioned in the story, which is a description of an evening concert of classical music. The narrator, although a fan of the conductor, does not react emotionally to the music but he notes the many others, particularly females, who become overwhelmed. At the end of the concert, they riot with emotion surging onto the stage and overtaking the conductor and the musicians.
Maenads are the primary symbol of the city of Tetovo depicted prominently of the city's coat of arms. The inclusion of maenad imagery dates to 1932, when a small 6th-century BC statuette of a maenad was found within the city. The "Tetovo Maenad" was also featured on the reverse side of the Macedonian 5000 denars banknote issued in 1996.[17]
In Fables & Reflections, the seventh volume of Neil Gaiman's comic series The Sandman, the maenads feature in the story Orpheus, in which they gruesomely murder the titular character after he refuses to cavort with them (echoing the events of the actual Greek myth of Orpheus).
In the horror novel Dominion by Bentley Little, maenads are eventually revealed as the main antagonists for the first half of the story, during which they tear their victims to shreds and conspire to reawaken Dionysus.
Charlaine Harris' The Southern Vampire Mysteries series of novels and its television adaptation, the HBO series True Blood (2nd season, aired in summer 2009), feature maenads in the characters of Callisto and her television representation, Maryann, respectively. In the show, Maryann wishes to sacrifice Sam Merlotte in hopes of summoning her god, Dionysus.[18] In the TV series, Maryann is portrayed by Michelle Forbes.
In the Buffy the Vampire Slayer novel Go Ask Malice: A Slayer's Diary, maenads are depicted as corrupted human beings in service of the ancient and powerful Greek vampire Kakistos, whose name means in Greek "the worst", the natural superlative of kakos meaning "bad".[19]
The Maenads appear in Rick Riordan's The Demigod Diaries, where they are the principal enemies in the story "Leo Valdez and the Quest for Buford." While looking for the automaton table, Buford, Leo, Jason, and Piper run into the Maenads, who are searching for Dionysus. They chase Leo and Piper into Bunker 9, and are subsequently tricked into being captured in a golden net.
They also make an appearance in the second episode of Atlantis "A Girl By Any Other Name".
The Japanese cosmetics company Nippon Menard Cosmetic Co. is named after them.


Ruhun ağırlığı var mıdır?



            A body weighed before & immediately after death loses 21 grams, the  weight of your spirit or soul.


           "Bedenin ağırlığını ayaklar taşır,  
                ruhun ağırlığını yürekler..."


Ruhun ağırlığı

"O, Rabbimin emrindendir." (İsra, 85) ayeti ruhun, maddeler cinsinden bir cevher değil, tam aksine kudsî, latif, soyut bir cevher olduğuna işarettir.
Eni, boyu, yüksekliği, ağırlığı, rengi, olan cevhere, yani şekil almış maddeye cisim denir. Ruh, cisim değildir. Mekân ve yer tutmaz. Latiftir bu nedenle de bir ağırlığı yoktur.
Mesela elektrik bir varlıktır. Çamaşır makinesine girdiğinde onun çalışmasını sağlar. Çamaşır makinesi elektrikle çalıştığı zaman tartılmış olsa; elektriksiz olduğu zamanki ağırlığından farklı olmadığı görülecektir. Çünkü elektrik latif, soyut bir varlıktır.
Aynı şekilde güneş ışığı her yere nüfuz eder ve ağırlığı yoktur. Dünyaya vurduğunda dünyanın ağırlığında hiçbir değişiklik yapmaz. Çünkü latif bir nurdur. Ruh da aynı şekilde âlemi emirden gelen latif nurani bir varlık olduğu için ağırlığı yoktur.


İnsanın öldükten sonra 21 gram hafiflemesi ruhla ilgili değildir

1907 yılında ABD’ li bir doktor hastalarının ölüm anında ve ölümden sonraki ağırlıklarının 21 gr hafiflediğini bu 21 gramlık hafiflemenin de ölüm anında bedeni terk eden ruh olduğunu iddia etmiştir. Ruhun ağırlığı söz konusu olmadığı için, İslam âlimleri bunun sadece ölüm anında halk arasında 'son nefes' olarak bilinen akciğerlerde depolanan havanın boşalmasından ibaret olduğunu söylerler. Çünkü boşalan havanın hacmi yaklaşık 210 cc. yani 21 gramdır. 


Sevgiliden ayrıldıktan sonra kaybedilen kiloların (kimi kendini yemeğe verip telafi ediyorsa da) ilk kaybedilen kısmı... 21 gram.. sonra hayaller gidiyo (37 gram), sevinçler(12 gr), gülüşler (53gr) derken toplamda 3 4 kiloya yakın bi kayıp var zaten.. e iştahsızlık da götürüyo biraz, 82 kiloluk gövde kalıyo 73.. bidaha çıkılıyo tartıya, aynı.. tartının ayarıyla oynanıyo, başka yere götürülüyo zemin memin götlük yapmasın diye, 73.. giderken benden bayaa büyük bi parça götürmüştü, ööle diyodum ama fiziksel olarak götürdüünü sanmıyodum.. 9 kilomu istiyorum geri ben!!!



Ruh Dengesi
Bizler bedeni dünyamızda ruhlar bizden tamamen ayrı değildir.Hatta bazen ruhun gücüne bağlı olarak bizi açık bir şekilde etkilerler. Şunubir düşünün:Bir insanı gördüğünüzde onun nasıl biri olduğunu en azındanbir fikriniz olur,değil mi?Bunun nedeni nedir peki?Aslında bu sadece bir fikir değildir,ruhunuzun size verdiği ruhi bilgidir.Ben hayatımda kendine "İnsan sarrafı gibiyim" demeyen tek kişi görmedim,ya siz?Aslındabu bizim değil de ruhumuzun gücüdür.Ruh dengesi ise kişinin ruhu ile bedeni arasındaki bağın oranıdır,eğer oran yüksek ise kişi biraz daha pasif kalır toplumda.Aslında bu, kişinin ne kadar güçlü bir ruha sahip olduğunu gösterir.Bu kişiler aslında kendi içlerinde çok aktiftir. O kişi gerçekten kimin ne düşündüğünü bile anlayabilir.Bir insanın ruhu ne kadar güçlü ise o kişi o kadar zekidir.Zaten az önce "Antik çağın maddecilerine göre ruh, canın akli kısmıdır."diye bir ifadegeçmişti.Bu konuda ünlü –aynı zamanda mason- Hegel'in önemli bir sözünü size aktarmak istiyorum : "Aklî olan, ilahî olandır; dolayısıyla iyi olandır." der.Yine Schiller bize şunu söylüyor:" Büyük ruhlar ıstıraplarınasessizce katlanırlar." bu da benim- insan içi aktiflik- tezimi doğruluyor.
Bir Ispat Daha...1963 yılının Fizyoloji-Tıp dalında Nobel Ödülünü alan Eccles bize "Herbirimizde,ana karnındayken ya da doğduktan hemen sonra fiziksel beynimize "girmiş" maddesel-olmayan ve algılayan bir benlik" olduğunu söylüyor.Aynı zamanda Eccles bize ruhun matematiksel olarak varlığını daıspatlıyor şu makaleyi dikkatle okuyun: Eccles'in ölümsüz bir ruh konusundaki inancı, sağlam bilimsel bulgulardan yola çıkıyor, ama epey gayri-bilimsel bir itikata gelip dayanıyor. İnsanın kalıtsal yapısında 30 bin gen olduğunu söylüyor.Buna göre, eğer kişisel biriciklik, belirli yapıda bir bedene sahip olmaktan ibaret olsaydı, bu kalıtsal yapı ıq 1010.000 (On üzeri onbin) tane farklı olanaklı benlik yaratacak bir kapasiteye sahip olurdu. Şöylediyor Eccles: "Benim benliğimin biricikliği, beynimi kuran kalıtsal biricikliğe bağlı olsaydı, kendimde duyduğum biricik benliğimin varolabilme olasılığı 1010.000'de 1 olurdu. " Gerçekten de uzak bir olasılık bu.Eccles, kendi kişi olarak benliğinin böylesine zayıf bir pamuk ipliğine bağlı olduğuna inanmayı reddediyor. Tam tersine, kendi biricik benliğinin,dünyaya birçok farklı kalıtsal yapının içinde gelebilmesini daha olası sayıyor: "Ben, bambaşka bedensel ve zihinsel özelliklerle doğmuş olabilirdim; kadın olabilirdim, çok farklı niteliklerim olabilirdi, ama yine aynı ben olurdum." Buradan da şaşırtıcı bir sonuca varıyor: "İnsan benliği kalıtsal yapıdan çıkmıyorsa, sonradan da edinilmiyorsa, nereden geliyor? Benim yanıtım şu: Kutsal yaratı. Her benlik bir kutsal yaratı ürünüdür."
Uzun lafın kısası hiç kimse yoktur ki;Aklının,Aklı da,Ruhunun esiri olmasın.21 gramlık bu güç ,aslında onlarca kilogramlık bir ağırlığı ve en önemlisi aklımızı taşıyıp yönetebiliyor.


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28 Temmuz 2015 Salı

Polonya ve Türk Geçmişinin 600 Yıllık Mirası


            Kanuni Sultan Süleyman dönemi Hilal şeklinde deri matara..(genişlik 14 cm , Yükseklik 23 cm) ,16.y.y.
       Üzerinde Hz.Süleyman'ın Mührü (altı köşeli Yıldız)yer almaktadır.Bu Mühür sembolik olarak kötülüğe karşı koruma Sağlar.
       Günümüze kadar korunabilen üç tane deri mataranın ikisi Varşova ve Viyana müzelerinde , diğeri ise özel bir koleksiyonda yer almaktadır.
Varşova Ulusal Müzesi,Polonya


Su matarası, Türkiye, 16'ncı yüzyıl:  deri, kabartma desen, yaldızlı kaplama.  Fotoğraf : Peter Ligier / MNW
Polonya ve Türkiye diplomatik ilişkilerinin başlamasının 600. yılını kutlamak üzere düzenlenen etkinlikler dahilinde, Varşova’da bulunan Ulusal Müze katkılarıyla ve Sabancı Müzesi’nce hazırlanan Uzak Komşu Yakın Anılar: 600 Yıllık Polonya-Türkiye İlişkileri sergisi, iki ülke arasındaki etkileşimi daha iyi tanımak isteyen sanatseverlerin ziyaretini bekliyor. Sergi 07 Mart- 15 Haziran tarihleri arasında ziyaret edilebilir.
Avrupa’nın kalbi Polonya’daki 34 enstitüden seçilen 304 eserlik koleksiyon, Asya ve Avrupa arasındaki tarihi köprü İstanbul’da sergileniyor. Koleksiyon Polonnya’daki çeşitli devlet müzeleri, Prenses Czartoryski Vakfı, kilise ve manastırlar ve aynı zamanda da birçok kütüphane ve özel koleksiyondan seçilerek bir araya getirilen parçalardan oluşuyor.
Stanisław Chlebowski, "Kral II.Wladyslaw'in Ölümü", tuval üzerine yağlıboya,  fot.  Krakow Ulusal Müzesi Sergi, Türk ve Polonya sanatına ait tarihi obje ve dokümanlar vasıtasıyla Osmanlı döneminden bu yana devam eden Polonya Türkiye arası 600 yıllık diplomatik, askeri, ticari ve kültürel ilişklerin dönüm noktalarını gözler önüne seriyor.
Iki ulus için de ilişkilerin kurulduğu dönemde politik gücün ve kültürün merkezi olan iki büyük şehir, Bursa ve Kraków, serginin üzerinde önemle durulan temaları arasında yer alıyor. Bursa (eski Osmanlı başkenti), aynı zamanda kumaş üretimi ve Polonya dahil Avrupa’ya uzanan tüm İpek Yolu boyunca yapılan kumaş ihracatı açısından dönemin önemli merkezlerinden biriydi. O dönemde Polonya kralları ve Osmanlı sultanları arasında gönderilmiş ve Polonya’da Tarihi Kayıtlar Merkez Arşivi’nde saklanan orijinal belgeler de sergide görülebilir.
Sergide aynı zamanda 1683 yılında gerçekleşen Viyana Savaşı da özellikle 1699 yılında Karlofça Barış Anlaşması’nın imzalanmasından sonra, Polonya-Türk ilişkilerinde yakınlaşma ve dostluk adına bir dönüm noktası olarak sunuluyor.


Serginin son bölümü Osmanlı son dönemlerinde ve Türkiye Cumhuriyeti’nde birçok alanda adı geçen Polonyalılar’a ayrılıyor. Bu isimler arasında (İstanbul’da yaşayan ve ölen) Adam Mickiewicz, Jozef Bem, (daha sonra Osmanlı ordusunda hizmet veren ve Sadık Paşa olarak anılan) Michał Czajkowski ve (daha sonra Celaleddin Paşa olarak anılan) Constantine Borzęcki öne çıkıyor.
Sergiye aynı zamanda, küratörlüğünü Janusz Wróblewski'nin yaptığı klasik Polonya sinemasından film gösterimleri eşlik ediyor. Film gösterimleri, IKSV ve SIYAD kurucu üyesi Atilla Dorsay'ın katılımıyla halkın ziyaretine sunuluyor.  Beraberinde konferansların da verildiği projenin tamamı, Türkiye ve Polonya’yı bir araya getiren alışılmadık kültürel ve tarihi unsurları birleştirmeyi amaçlıyor.
Bottle of Water " Matara ", Turkey, 16th century:  leather, embossed patterns , applied , gilding .  Photo by Peter Ligier / MNW

Prepared by the National Museum in Warsaw, Distant Neighbor Close Memories: 600 Years of Polish-Turkish Relations at the Sabancı Museum in Istanbul will feature a celebration of the 600th anniversary of the establishment of diplomatic relations between Poland and Turkey. The exhibition will run from 07 March – 15 June 2014.
304 select pieces from 34 institutions across Poland, the heart of Europe, will be on view in Istanbul, the ancient bridge between Europe and Asia.  The collection constitutes pieces gathered from various Polish state museums, the Princes Czartoryski Foundation, churches and monasteries, as well as various libraries and private collections. Among the institutes who participated in this enterprise are the National Museum of Warsaw, the National Museum of Krakow, the Royal Castle of Wawel, the Military Museum of Poland, the Museum of the Jagellonian University, the Museum of the Lancut Castle, the Old Documents Archive of Warsaw, the Archdiocese Museum of Warsaw and the National Library of Warsaw, while 35 objects selected from the Topkapı Palace Museum, the Turkish and Islamic Art Museum and Sadberk Hanım Museum collections are also exhibited.
The exhibition will be on view at the Sakıp Sabancı Museum in Istanbul. The opening event on 06 March 2014 will be attended by the presidents of both countries - Bronisław Komorowski and Abdullah Gül. The President of the Republic of Poland Bronisław Komorowski is the honorary patronage for the event.
 The opening will also feature the Jacek Kochan trio, presenting modern jazz inspired by the music of Lutosławski. / More on Polish Jazz
Stanisław Chlebowski, "The death of king Wladyslaw II at Varna", oil on canvas, photo National Museum in Krakow

Through historical objects of Turkish and Polish art, as well as through factual documents, the exhibition will present the age-old relations and pivotal moments in the diplomatic, military, commercial and cultural relations between Poland and Ottoman Turkey throughout 600 years.
The role of the countries respective capital cities - Bursa and Kraków, will be given major exposure, as these were the centres of political power and culture for both nations. Bursa (the former Ottoman capital) was additionally a great centre for the production and export of textiles, from across the Silk Road all the way to Europe, including Poland. Originally kept in the Central Archives of Historical Records, the documents that were exchanged between the Polish kings and the Ottoman sultans will be in the spotlight.
The Battle of Vienna in 1683 will be presented as a turning point in Polish-Turkish relations, which, especially after the signing of the peace treaty in Karłowice in 1699, reached a time of rapprochement and friendship.










The last part of the exhibition is devoted to the participation of Poles in many areas of the late Ottoman period and the modern Republic of Turkey. These figures include prominent names such as Adam Mickiewicz (who lived and died in Istanbul), Jozef Bem, Michał Czajkowski (later known as Sadyk Pasha who served in the Ottoman military) and Constantine Borzęcki (later known as Jallaleddin Pasha).
The Sabancı exhibition will also be accompanied by classic Polish film screenings along with lectures, curated by Janusz Wróblewski and attended by Atilla Dorsay, founding director of  IKSV (Istanbul Foundation for Culture and Arts), as well as the prominent Turkish civil organization, SIYAD (Cinema Critics Association).