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<\/p>\n\n\n\nGR\u0130ZU, KATL\u0130AM VE KAP\u0130TAL\u0130ZM<\/p>\n\n\n\n
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Kapitalizm var oldu\u011fu s\u00fcrece ne yaz\u0131k ki katliamlar eksik olmayacak. \u0130\u015f kazas\u0131 ad\u0131 alt\u0131nda ya\u015fam\u0131n\u0131 yitirenler de \u00e7o\u011fu zaman veya her zaman emek\u00e7iler olacakt\u0131r. Bart\u0131n’daki maden facias\u0131yla birlikte bu durum bir kez daha kan\u0131tlanm\u0131\u015ft\u0131r. Burjuva-liberal ideolojilerin “ilerledik, ayd\u0131nland\u0131k, \u00e7a\u011f atlad\u0131k” diyerek yaygara kopard\u0131\u011f\u0131 bir d\u00f6nemde yine geldi bir kara haber. Burjuva uygarl\u0131\u011f\u0131 bilimin, tekni\u011fin geli\u015fti\u011fi, ya\u015fam\u0131n kolayla\u015ft\u0131\u011f\u0131, i\u015f\u00e7ili\u011fin hafifledi\u011fi tezini propaganda ederken y\u00fczlerce maden i\u015f\u00e7isinin g\u00f6\u00e7\u00fck alt\u0131nda kald\u0131\u011f\u0131 haberi t\u00fcm medyay\u0131 ku\u015fatt\u0131. Ayn\u0131 gemide oldu\u011fumuz s\u00f6yleminin koca bir yalandan ibaret oldu\u011funu kan\u0131tlarcas\u0131na \u00f6l\u00fcm yine 50 maden emek\u00e7isinin pay\u0131na d\u00fc\u015fm\u00fc\u015f oldu. A\u011flayanlar yine emek\u00e7ilerin anneleri olurken sermaye s\u0131n\u0131f\u0131na ve onun temsilcilerine ise timsah g\u00f6zya\u015flar\u0131 d\u00f6kmek d\u00fc\u015ft\u00fc.<\/p>\n\n\n\n
Proletaryan\u0131n Devrimci Rol\u00fc<\/p>\n\n\n\n
Kapitalizm ve emperyalizm \u00e7a\u011f\u0131nda \u00fcretim ili\u015fkileri art\u0131de\u011fer ve kar \u00fczerinden y\u00fcr\u00fcd\u00fc\u011f\u00fc i\u00e7in kamusu, \u00f6zeli farketmez. \u0130\u015fg\u00fcc\u00fc ucuz oldu\u011fu m\u00fcddet\u00e7e sermaye asla teknolojiye ve bilime yat\u0131r\u0131m yapmaz. Dolay\u0131s\u0131yla madenlerde teknik ko\u015fullar d\u00fczeltilmez. Kar zarar hesab\u0131 yap\u0131l\u0131r \u00e7\u00fcnk\u00fc. Sermayenin g\u00f6z\u00fcnde insan\/emek\u00e7i yoktur, i\u015fg\u00fcc\u00fc vard\u0131r, o da bir t\u00fcr metad\u0131r. Bu y\u00fczden de i\u015f\u00e7i al\u0131n\u0131p sat\u0131lan bir mal olarak alg\u0131lan\u0131r. Grizu ve benzeri yollarla ger\u00e7ekle\u015fen katliamlardan bir h\u00fck\u00fcmeti, bir y\u00f6neticiyi sorumlu tutmak da sorunun \u00f6z\u00fcn\u00fc yani kapitalist sistemi g\u00f6rmemek anlam\u0131na gelir. \u00dcstelik \u00fclkemizde grizu ile gelen katliamlar ilk olmad\u0131\u011f\u0131 gibi son da olmayacakt\u0131r. Proletarya, her t\u00fcrden \u00fcretimi, her safhas\u0131yla birlikte kontrol alt\u0131na almad\u0131k\u00e7a devrimci rol\u00fcn\u00fc oynayamaz; dolay\u0131s\u0131yla s\u00f6z\u00fcm ona i\u015f kazalar\u0131 (Kapitalizmin katliamlar\u0131) eksik olmaz.<\/p>\n\n\n\n
Osmanl\u0131-T\u00fcrkiye tarihine damgas\u0131n\u0131 vuran nice maden kazas\u0131 (i\u015f\u00e7i katliam\u0131) vard\u0131r. Bunlar sanat ve edebiyat\u0131n \u00f6nemli temalar\u0131 olmu\u015ftur. Hatta 150-200 y\u0131ll\u0131k tarihimizin maden cinayetleri ve buna ba\u011fl\u0131 olarak maden i\u015f\u00e7ilerinin m\u00fccadele tarihi oldu\u011fu da ileri s\u00fcr\u00fclebilir. T\u00fcrkiye i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n m\u00fccadele tarihi maden i\u015f\u00e7ilerinin m\u00fccadele tarihiyle ba\u015flam\u0131\u015ft\u0131r dersek umar\u0131m meseleyi abartm\u0131\u015f olmay\u0131z. \u015eimdi bu s\u00fcreci mercek alt\u0131na al\u0131p estetize eden bir roman serisinden k\u0131saca da olsa s\u00f6z etmek istiyorum: Grizu (Muzaffer Oru\u00e7o\u011flu, Belge Yay\u0131nlar\u0131, 2018).<\/p>\n\n\n\n
![\"\"](\"http:\/\/www.dengekurdistan.de\/wp-content\/uploads\/2022\/10\/FB_IMG_1665936785696.jpg\")
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Maden \u0130\u015f\u00e7isinin M\u00fccadelesi: Grizu<\/p>\n\n\n\n
Grizu adl\u0131 roman dizisi Oru\u00e7o\u011flu\u2019nun en iddial\u0131 \u00e7al\u0131\u015fmalar\u0131ndan birisi olmal\u0131. Bir seri romandan olu\u015fan \u00e7al\u0131\u015fmada Osmanl\u0131\u2019dan g\u00fcn\u00fcm\u00fcze, \u00fclkemizdeki s\u0131n\u0131f m\u00fccadelesini (maden ocaklar\u0131 \u00e7evresinde) ele almaktad\u0131r. Roman\u0131n ser\u00fcveni ile Zonguldak\u2019ta ortaya \u00e7\u0131kar\u0131lan k\u00f6m\u00fcr madeni aras\u0131nda kopmaz bir ba\u011f bulunuyor. Roman ba\u011flam\u0131nda Osmanl\u0131 toplum yap\u0131s\u0131, Osmanl\u0131 Avrupa ili\u015fkileri, Osmanl\u0131\u2019n\u0131n yar\u0131 s\u00f6m\u00fcrgele\u015ftirilmesi, toplum birey ili\u015fkileri, bireyler aras\u0131 \u00e7at\u0131\u015fmalar ve bireylerin sosyal psikolojik y\u00f6nleri estetik kayg\u0131lar da g\u00fcd\u00fclerek konu ediliyor. \u00d6zellikle Osmanl\u0131\u2019n\u0131n gerileme hatta y\u0131k\u0131lma s\u00fcrecine denk gelen zaman diliminde Bolu Sanca\u011f\u0131 i\u00e7inde yer alan Zonguldak merkezli bir mekan\u0131 mesken tutuyor Grizu.<\/p>\n\n\n\n
Maden i\u015f\u00e7ileri ile madendeki ara\u00e7lar\u0131n aras\u0131nda \u00f6zsel bir fark pek de g\u00f6r\u00fclmez. Patron ve onun ustaba\u015flar\u0131, \u00e7avu\u015flar\u0131 i\u015f ara\u00e7lar\u0131n\u0131 daha \u00e7ok \u00f6nemserler. \u0130\u015f\u00e7iler ise \u00f6l\u00fcrlerse \u00f6ld\u00fckleriyle kal\u0131rlar. \u00c7\u00fcnk\u00fc Osmanl\u0131da proleterle\u015fme s\u00fcreci yeni ba\u015flam\u0131\u015ft\u0131r. \u00d6lenlerin yerine yenileri s\u0131radad\u0131r. Soma facias\u0131ndan sonra g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi Bart\u0131n katliam\u0131ndan sonra da benzer bir durum olacakt\u0131r!<\/p>\n\n\n\n
Edebiyat\u0131m\u0131zda s\u0131n\u0131f ili\u015fkilerini merkeze alm\u0131\u015f Grizu’dan ba\u015fka romanlar da vard\u0131r ku\u015fkusuz. Re\u015fat Enis\u2019i anmak gerekiyor. Di\u011fer yap\u0131tlar\u0131yla beraber Sar\u0131 \u0130t adl\u0131 eserinde 1960\u2019l\u0131 y\u0131llar\u0131n T\u00fcrkiye i\u015f\u00e7isini mercek alt\u0131na alm\u0131\u015ft\u0131r. Sar\u0131 sendikac\u0131l\u0131\u011fa ele\u015ftiri yapmaktad\u0131r yazar. \u0130rfan Yal\u00e7\u0131n\u2019\u0131n \u00d6l\u00fcm\u00fcn A\u011fz\u0131 adl\u0131 roman\u0131n\u0131 da unutmamak gerekir.<\/p>\n\n\n\n
K\u00f6yl\u00fc K\u00f6kenli \u0130\u015f\u00e7i S\u0131n\u0131f\u0131<\/p>\n\n\n\n
Grizu, d\u00f6rt kitaptan olu\u015fuyor. 1830\u2019lu y\u0131llarla ba\u015flayan Birinci Kitap\u2019\u0131 zaman s\u0131ras\u0131na g\u00f6re iki, \u00fc\u00e7 ve d\u00f6rt izliyor. \u015eunu belirtmek gerekir ki, Oru\u00e7o\u011flu, Grizu ile birlikte ger\u00e7ek\u00e7i sosyalist bir sanat anlay\u0131\u015f\u0131n\u0131 etkin hale getirmi\u015ftir. Bir yanda i\u015f\u00e7iler bir yanda ise sermayeyi temsil eden egemen s\u0131n\u0131flar. S\u0131n\u0131f yerine s\u0131n\u0131flar demek gerekiyor; zira sermaye s\u0131n\u0131f\u0131 \u00e7e\u015fitli kesimlerden olu\u015fuyor. Hanedanl\u0131k yan\u0131nda ocak sahipleri, yerli, yabanc\u0131 sermaye gruplar\u0131, \u00e7avu\u015flar, zaptiyeler s\u00f6m\u00fcren kesimde mevzileniyor. Ezilen kesimde ise yoksul k\u00f6yl\u00fc k\u00f6kenli i\u015f\u00e7iler ya da i\u015f\u00e7i tulumu giymi\u015f k\u00f6yl\u00fcler yer al\u0131yor a\u011f\u0131rl\u0131kl\u0131 olarak.<\/p>\n\n\n\n
\u0130\u015f\u00e7ilere k\u00f6yl\u00fc k\u00f6kenli demek gerekiyor; \u00e7\u00fcnk\u00fc maden i\u015fine kadar, ba\u015ftan sona k\u00f6yl\u00fc olan kitleler ans\u0131z\u0131n kendilerini madende i\u015f beklerken buluyorlar. Grizu-1 de b\u00f6yle bir atmosferde ba\u015fl\u0131yor. Elvan k\u00f6y\u00fcne ya da kasabas\u0131na ba\u011fl\u0131 Zonguldak mahallesinden bir grup k\u00f6yl\u00fc ellerinde kazma ve k\u00fcreklerle maden ocaklar\u0131na yak\u0131n bir m\u0131nt\u0131kada, \u00dcz\u00fclmez Vadisi\u2019nin yama\u00e7lar\u0131nda gelecek ki\u015fi ve haberleri beklemektedirler.<\/p>\n\n\n\n
Gelenlerden biri padi\u015fah Abd\u00fclmecit\u2019in kap\u0131c\u0131ba\u015f\u0131 olan Ahmet Nazif a\u011fa ve yan\u0131nda H\u00fcsn\u00fc Efendi\u2019dir. Beklenenler gelir. K\u00f6yl\u00fcye nasihat ederler ve i\u015fe ba\u015flamalar\u0131n\u0131 s\u00f6ylerler. K\u00f6yl\u00fc k\u0131l\u0131kl\u0131 i\u015f\u00e7iler \u00e7e\u015fitli gruplara ayr\u0131l\u0131rlar. Ba\u015flar\u0131na da tecr\u00fcbeli H\u0131rvat ve Bo\u015fnaklardan ki\u015filer getirilir. Bunlar maden i\u015fini \u00e7al\u0131\u015fanlara \u00f6\u011fretirler. Bug\u00fcnk\u00fc maden i\u015f\u00e7ilerinin k\u0131rsal ile ba\u011flant\u0131s\u0131 nas\u0131ld\u0131r, bilemiyorum.<\/p>\n\n\n\n
![\"\"](\"http:\/\/www.dengekurdistan.de\/wp-content\/uploads\/2022\/10\/FB_IMG_1665936799043.jpg\")
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G\u00f6ky\u00fcz\u00fcnden Yery\u00fcz\u00fcne \u0130ndirilen Roman<\/p>\n\n\n\n
Sokrates\u2019in felsefeyi g\u00f6ky\u00fcz\u00fcnden yery\u00fcz\u00fcne indirdi\u011fi s\u00f6ylenir, yani bu iddiaya g\u00f6re felsefe, Sokrates ile ete kemi\u011fe b\u00fcr\u00fcnm\u00fc\u015ft\u00fcr. Bu imgeye benzetilerek s\u00f6ylenecek olursa Oru\u00e7o\u011flu, \u00f6nceki romanlar\u0131 dahil olmak \u00fczere Grizu\u2019yla birlikte roman\u0131 g\u00f6ky\u00fcz\u00fcnden yery\u00fcz\u00fcne indirerek Osmanl\u0131-T\u00fcrkiye roman\u0131nda epistemolojik bir kopu\u015f ger\u00e7ekle\u015ftirmi\u015ftir.<\/p>\n\n\n\n
Roman yery\u00fcz\u00fcne inince olaylar, kahramanlar, \u00f6yk\u00fcler de \u00fcst yap\u0131y\u0131 terkederek altyap\u0131n\u0131n sosyal d\u00fcnyas\u0131na ayaklar\u0131n\u0131 basm\u0131\u015flard\u0131r. S\u00f6z felsefeye ve Sokrates’e gelmi\u015fken belirteyim ki Aristoteles k\u00f6leleri insan olarak de\u011fil ara\u00e7 olarak g\u00f6r\u00fcrd\u00fc. Bug\u00fcn maden patronlar\u0131 ve kapitalistler i\u00e7in i\u015f\u00e7iler de k\u00f6le gibi g\u00f6r\u00fcl\u00fcr. Onlar i\u00e7in Soma, Bart\u0131n vb. yerlerde \u00f6lenlerin yaln\u0131zca maddi kar\u015f\u0131l\u0131\u011f\u0131 vard\u0131r. Bir de hukukile\u015ftirilir, soru\u015fturma a\u00e7\u0131l\u0131r, o kadar.<\/p>\n\n\n\n
\u00c7ocuk \u0130\u015f\u00e7ili\u011fi ve Kad\u0131n\u0131n \u0130\u00e7 D\u00fcnyas\u0131<\/p>\n\n\n\n
Yazar, roman\u0131 kurgularken madencileri kendi ba\u015flar\u0131na ve yaln\u0131zca maden i\u015finde \u00e7\u00f6z\u00fcmlemekle yetinmemi\u015ftir. S\u0131kl\u0131kla maden alan\u0131ndan uzakla\u015fm\u0131\u015ft\u0131r. Madencileri ku\u015fatan k\u00f6ylere, buradaki evlere, do\u011faya, k\u00f6y kad\u0131nlar\u0131na, \u00f6zellikle de \u00e7ocuklara aktif \u00f6geler olarak romanda yer ay\u0131rm\u0131\u015ft\u0131r. \u00c7ocuk ve gen\u00e7 madencilerin Bart\u0131n \u00f6rne\u011finde de g\u00fcndeme gelmi\u015f olmas\u0131 manidard\u0131r. Romanda kad\u0131n (Zehra) e\u015fk\u0131ya kimli\u011fiyle da\u011fa \u00e7\u0131kar\u0131l\u0131r. Do\u011fay\u0131 yarat\u0131c\u0131 ve devingenli\u011fi i\u00e7inde ele al\u0131rken, alt s\u0131n\u0131flar\u0131n s\u0131n\u0131f \u00e7\u0131karlar\u0131n\u0131 korurken kuru bir propaganda dilinden uzak durmaktad\u0131r yazar.<\/p>\n\n\n\n
Roman\u0131n i\u00e7eri\u011fini daha iyi anlamak i\u00e7in roman\u0131n ki\u015filerinden ve baz\u0131 olaylardan s\u00f6z etmek yararl\u0131 olabilir. Bu ki\u015filerin en kritik olanlar\u0131 Elif kad\u0131n, o\u011flu K\u00f6r Cemal ve K\u00f6r Cemal\u2019in \u00e7ocuklar\u0131d\u0131r. Elif kad\u0131n yetmi\u015f ya\u015flar\u0131ndad\u0131r. Gen\u00e7 k\u0131z iken k\u0131rk ya\u015f\u0131ndaki S\u00fcleyman ile evlenmi\u015f, daha sonra kocas\u0131 \u00f6lm\u00fc\u015f ve dul kalm\u0131\u015ft\u0131r. Fakat o\u011flu K\u00f6r Cemal ve torunlar\u0131yla sessiz denilebilecek bir ya\u015fam s\u00fcrmektedir. K\u00f6r Cemal\u2019in de kar\u0131s\u0131 \u00f6ld\u00fc\u011f\u00fc i\u00e7in Elif kad\u0131n onu evlendirmenin pe\u015findedir. Elif kad\u0131n, kad\u0131n\u0131n i\u00e7 d\u00fcnyas\u0131n\u0131 g\u00f6stermekle birlikte roman\u0131n ileriki b\u00f6l\u00fcmlerine de kaynakl\u0131k edecek olan Cemal ailesine temel te\u015fkil etti\u011fi i\u00e7in iyi se\u00e7ilmi\u015f bir tiptir. Zonguldak\/maden b\u00f6lgesinde kocas\u0131n\u0131, karde\u015fini, babas\u0131n\u0131 yitirmi\u015f nice kad\u0131n vard\u0131r. Bug\u00fcn de durumun de\u011fi\u015fip de\u011fi\u015fmedi\u011fi ayr\u0131 bir inceleme konusu olabilir.<\/p>\n\n\n\n
\u0130\u015f\u00e7i S\u0131n\u0131f\u0131 ve Yabanc\u0131la\u015fma<\/p>\n\n\n\n
Cemal\u2019in dokuz on ya\u015flar\u0131ndaki o\u011flu Hur\u015fit de mutlaka an\u0131lmal\u0131d\u0131r. Sanat\u00e7\u0131, Hur\u015fit \u00fczerinden geni\u015f ve derin bir alana h\u00fccum etmekte ve roman\u0131 aktif hale getirebilmektedir. Grizu-1 bitti\u011fi halde Hur\u015fit\u2019in i\u015flevi devam etmektedir. Roman\u0131n \u00f6nemli tiplerinden birisi de Zehra\u2019d\u0131r. Oru\u00e7o\u011flu, her romanda buna benzer tipler bulmakta ve bunlardan karakterler meydana getirmektedir. Kocas\u0131 \u00f6lm\u00fc\u015f bir duldur Zehra. Sekiz ya\u015f\u0131ndaki k\u0131z\u0131 Kumru ile eski ve bak\u0131ms\u0131z bir evin i\u00e7inde yoksulluk \u00e7ekmektedir bir\u00e7ok k\u00f6yl\u00fc gibi.<\/p>\n\n\n\n
\u00c7avu\u015flar ve \u00e7avu\u015fluk kurumu roman\u0131n olmazsa olmazlar\u0131ndand\u0131r. Roman\u0131n yar\u0131s\u0131na kadar Kosor \u00c7avu\u015f etkili olursa da daha sonra s\u00fcrece yazar, Cabbar \u00c7avu\u015f\u2019u katm\u0131\u015ft\u0131r. Cabbar, k\u00f6t\u00fc karakterin ba\u015f\u0131nda gelmektedir. Madencilere kar\u015f\u0131 en ac\u0131mas\u0131z ki\u015fiyi temsil eder. Egemen s\u0131n\u0131flar\u0131n \u00e7\u0131karlar\u0131n\u0131 savunmas\u0131 a\u00e7\u0131s\u0131ndan, ta\u015f\u0131d\u0131\u011f\u0131 ahlaki de\u011ferler bak\u0131m\u0131ndan, i\u015f\u00e7i d\u00fc\u015fmanl\u0131\u011f\u0131 y\u00f6n\u00fcnden bi\u00e7ilmi\u015f kaftand\u0131r. \u00c7avu\u015flar, zaptiyeler, m\u00fchendisler ger\u00e7ekte alt s\u0131n\u0131flardan insanlard\u0131r. Ama egemen s\u0131n\u0131flarca kendi ger\u00e7ek s\u0131n\u0131flar\u0131na yabanc\u0131la\u015ft\u0131r\u0131lm\u0131\u015flard\u0131r. Bunun en g\u00fczel \u00f6rne\u011fini Cabbar, roman\u0131n sonunda i\u015f\u00e7i \u00f6nderi pozisyonuna giren Devrekli Bayram taraf\u0131ndan \u00f6ld\u00fcr\u00fclece\u011fini anlad\u0131\u011f\u0131nda dile getirmektedir.<\/p>\n\n\n\n
Tip ve Karakterlerde Zenginlik<\/p>\n\n\n\n
Roman, bir yandan Osmanl\u0131\u2019n\u0131n yar\u0131 s\u00f6m\u00fcrgele\u015fmesi, bir yandan kapitalizmin geli\u015fmesi bir yandan Osmanl\u0131-T\u00fcrkiye i\u015f\u00e7i s\u0131n\u0131f\u0131 tarihini yazma kayg\u0131s\u0131 g\u00fctt\u00fc\u011f\u00fc i\u00e7in s\u0131k\u0131 ve aktif ili\u015fkileri bir arada g\u00f6stermek zorunda kal\u0131yor. T\u00fcm bunlar\u0131 estetik kayg\u0131 temelli yapmak istedi\u011finden de olaylar, ki\u015filer birbirini izliyor. S\u00fcrekli bir merak duygusu yarat\u0131l\u0131yor.<\/p>\n\n\n\n
Kahramanlar konu\u015fuyor, anlat\u0131c\u0131 \u00e7\u00f6z\u00fcml\u00fcyor; konu ve mekan canl\u0131 bir bi\u00e7imde verilirken olay, tip ve karakterlere e\u015flik eden canl\u0131, cans\u0131z t\u00fcm nesneler \u00f6rne\u011fin bitkiler, ocaktaki kat\u0131rlar, evdeki kedi ve k\u00f6pekler t\u00fcm berrakl\u0131klar\u0131yla i\u015flevsellik i\u00e7inde resmediliyor. Romanda s\u00fcrekli bir at\u0131l\u0131m duygusu oldu\u011funu, sonlar\u0131na yakla\u015fmas\u0131na ra\u011fmen bu at\u0131l\u0131m\u0131 halen hissetmek m\u00fcmk\u00fcn oluyor.<\/p>\n\n\n\n
S\u00f6z\u00fc \u015fimdi Orhan Veli’ye b\u0131raksam iyi olur.<\/p>\n\n\n\n
\u201cSiyah akar Zonguldak\u2019\u0131n deresi<\/p>\n\n\n\n
y\u00fcz karas\u0131 de\u011fil, k\u00f6m\u00fcr karas\u0131<\/p>\n\n\n\n
b\u00f6yle kazan\u0131l\u0131r ekmek paras\u0131\u201d<\/p>\n\n\n\n
Kaynak: Mehmet Akkaya’n\u0131n Facebook sayfas\u0131ndan al\u0131nm\u0131\u015ft\u0131r. <\/p>\n","protected":false},"excerpt":{"rendered":"
GR\u0130ZU, KATL\u0130AM VE KAP\u0130TAL\u0130ZM Kapitalizm var oldu\u011fu s\u00fcrece ne yaz\u0131k ki katliamlar eksik olmayacak. \u0130\u015f kazas\u0131 ad\u0131 alt\u0131nda ya\u015fam\u0131n\u0131 yitirenler de \u00e7o\u011fu zaman veya her zaman emek\u00e7iler olacakt\u0131r. Bart\u0131n’daki maden facias\u0131yla birlikte bu durum bir kez daha kan\u0131tlanm\u0131\u015ft\u0131r. Burjuva-liberal ideolojilerin “ilerledik, ayd\u0131nland\u0131k, \u00e7a\u011f atlad\u0131k” diyerek yaygara kopard\u0131\u011f\u0131 bir d\u00f6nemde yine geldi bir kara haber. Burjuva …<\/p>\n","protected":false},"author":4,"featured_media":4841,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[114,43,113,59,54,58,41,42,111,55,112],"tags":[],"_links":{"self":[{"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/posts\/4840"}],"collection":[{"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4840"}],"version-history":[{"count":3,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/posts\/4840\/revisions"}],"predecessor-version":[{"id":4860,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/posts\/4840\/revisions\/4860"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=\/wp\/v2\/media\/4841"}],"wp:attachment":[{"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4840"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4840"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.dengekurdistan.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4840"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}