Tenten’in yarat\u0131c\u0131s\u0131 Georges Prosper Remi, otoriter yanl\u0131s\u0131 bir gazete olan Le Vingti\u00e8me Si\u00e8cle’de ilk \u00e7al\u0131\u015fmalar\u0131n\u0131 yay\u0131nlayan muhafazakar bir Katolikti. 1930’lar ilerledik\u00e7e, Herg\u00e9’nin siyasi g\u00f6r\u00fc\u015fleri daha a\u015f\u0131r\u0131 hale geldi ve fa\u015fist ideolojileri a\u00e7\u0131k\u00e7a destekledi.<\/p>\n\n
Nazi Almanyas\u0131 1940’ta Bel\u00e7ika’y\u0131 i\u015fgal etti\u011finde, bir\u00e7ok gazete i\u015fgalcilerle i\u015fbirli\u011fi yapmaktansa kapand\u0131. Ancak Herg\u00e9, Nazi kontrol\u00fc alt\u0131nda faaliyet g\u00f6steren Frans\u0131zca bir gazete olan Le Soir’da Tenten’i yay\u0131nlamaya devam etmeyi se\u00e7ti. Bu karar, d\u00fc\u015fmanla i\u015fbirli\u011fi yapmak olarak geni\u015f \u00e7apta ele\u015ftirildi.<\/p>\n\n
Nazi i\u015fgali s\u0131ras\u0131nda Herg\u00e9, antisemit imgeler ve temalar i\u00e7eren birka\u00e7 Tenten hikayesi yay\u0131nlad\u0131. “Kayan Y\u0131ld\u0131z” ba\u015fl\u0131kl\u0131 bir hikayede k\u00f6t\u00fc adam, Blumenstein ad\u0131nda a\u00e7g\u00f6zl\u00fc, \u00e7engelli burunlu bir Yahudi-Amerikan finans\u00e7\u0131yd\u0131. Herg\u00e9 daha sonra bu tasvirlerden dolay\u0131 “o zaman\u0131n tarz\u0131” olduklar\u0131n\u0131 iddia ederek \u00f6z\u00fcr diledi.<\/p>\n\n
Herg\u00e9’nin Tenten hikayelerindeki antisemit imgelerin yan\u0131 s\u0131ra, Afrikal\u0131lar ve Asyal\u0131lar gibi di\u011fer gruplara y\u00f6nelik \u0131rk\u00e7\u0131 karikat\u00fcrler de vard\u0131. Bu karikat\u00fcrlerin hikayelerde hi\u00e7bir amac\u0131 yoktu ve a\u00e7\u0131k\u00e7a Herg\u00e9’nin Nazi efendilerini memnun etmek i\u00e7in \u00e7izilmi\u015fti.<\/p>\n\n
Sava\u015ftan sonra Herg\u00e9, sald\u0131rgan i\u00e7eri\u011fi kald\u0131rmak veya yumu\u015fatmak i\u00e7in ilk hikayelerinden \u00e7o\u011funu revize etti. Ancak bu hikayelerin hat\u0131ras\u0131 kald\u0131 ve Herg\u00e9’nin itibar\u0131 Nazilerle i\u015fbirli\u011fi yapmas\u0131 nedeniyle lekelendi.<\/p>\n\n
Herg\u00e9’nin i\u015fbirlik\u00e7i bir gazetede yay\u0131nlama karar\u0131, sava\u015f ve bask\u0131 zamanlar\u0131nda sanat\u00e7\u0131lar\u0131n rol\u00fcyle ilgili \u00f6nemli etik sorular\u0131 g\u00fcndeme getiriyor. Baz\u0131lar\u0131 sanat\u00e7\u0131lar\u0131n propagandaya ve sans\u00fcre direnme sorumlulu\u011fu oldu\u011funu savunurken, di\u011ferleri kendi g\u00f6r\u00fc\u015flerini ifade etmeleri gerekti\u011fine inan\u0131yor, bu g\u00f6r\u00fc\u015fler ne kadar sevilmese veya sald\u0131rgan olsa da.<\/p>\n\n
Herg\u00e9’nin sava\u015f s\u0131ras\u0131ndaki faaliyetleriyle ilgili tart\u0131\u015fmalara ra\u011fmen Tenten, pop\u00fcler ve sevilen bir karakter olmaya devam etti. Ancak Herg\u00e9’nin Nazilerle i\u015fbirli\u011fi hakk\u0131ndaki if\u015faatlar miras\u0131 \u00fczerine bir g\u00f6lge d\u00fc\u015f\u00fcrd\u00fc ve \u00e7al\u0131\u015fmalar\u0131 art\u0131k genellikle ele\u015ftirel bir mercekle g\u00f6r\u00fcl\u00fcyor.<\/p>\n\n
Herg\u00e9 ve Tenten davas\u0131, sans\u00fcr ve propagandan\u0131n karma\u015f\u0131kl\u0131\u011f\u0131n\u0131 vurgulamaktad\u0131r. \u0130fade \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc korumak \u00f6nemli olsa da, sanat\u00e7\u0131lar\u0131n propaganda arac\u0131 olarak kullan\u0131lma potansiyelinin fark\u0131nda olmak da \u00f6nemlidir. Kamuoyunun t\u00fcketti\u011fi medyay\u0131 incelerken ve sanat\u00e7\u0131lar\u0131 eylemlerinden sorumlu tutarken uyan\u0131k olmas\u0131 gerekir.<\/p>\n\n
Herg\u00e9’nin Nazilerle i\u015fbirli\u011fi, fa\u015fizmin 1930’lar ve 1940’larda Avrupa k\u00fclt\u00fcr\u00fc \u00fczerindeki g\u00fc\u00e7l\u00fc etkisinin bir hat\u0131rlat\u0131c\u0131s\u0131d\u0131r. Fa\u015fizm, demokrasiden hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011fram\u0131\u015f ve ulusal kimlik ve ama\u00e7 arayan bir\u00e7ok insana hitap etti. Fa\u015fizmin y\u00fckseli\u015fine yol a\u00e7an fakt\u00f6rleri anlamak, bunun bir daha ya\u015fanmas\u0131n\u0131 \u00f6nlemek i\u00e7in \u00f6nemlidir.<\/p>","protected":false},"excerpt":{"rendered":"
Tenten’in Karanl\u0131k K\u00f6kleri: Nazi \u0130\u015fgali S\u0131ras\u0131nda Propaganda ve \u0130\u015fbirli\u011fi Herg\u00e9’nin Politik Ba\u011flant\u0131lar\u0131 Tenten’in yarat\u0131c\u0131s\u0131 Georges Prosper Remi, otoriter yanl\u0131s\u0131 bir gazete olan Le Vingti\u00e8me Si\u00e8cle’de ilk \u00e7al\u0131\u015fmalar\u0131n\u0131 yay\u0131nlayan muhafazakar bir…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4178],"tags":[1280,4177,6759,902,1638,11,4175,1841],"class_list":["post-3570","post","type-post","status-publish","format-standard","hentry","category-comics","tag-ethics","tag-herge","tag-collaboration","tag-racism","tag-nazi-propaganda","tag-censorship","tag-tintin","tag-anti-semitism"],"_links":{"self":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/3570","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/comments?post=3570"}],"version-history":[{"count":1,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/3570\/revisions"}],"predecessor-version":[{"id":3571,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/posts\/3570\/revisions\/3571"}],"wp:attachment":[{"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/media?parent=3570"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/categories?post=3570"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifescienceart.com\/tr\/wp-json\/wp\/v2\/tags?post=3570"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}