The criticism of enligtenment and the collapse of dialectic of enlightenment in Ahmet Hamdi Tanpınar's art

Although the Enlightenment dates back to the 18th century conceptually, its origins go back to man's struggle with nature. Criticisms of the concept of Enlightenment in the modern period are basically about the psychohistorical roots of the Enlightenment rather than its conceptual nature. This study examines the subject within the framework extending from myth to the modern period in order to trace the psychohistorical roots of the Enlightenment. The point we have reached is that the main reason for the collapse of the Enlightenment in the modern world lies in the psychohistorical roots that constitute its own dialectics, and that these problems revealed a series of modernity crises in the 20th century. When we look at Ahmet Hamdi Tanpınar's art, we see a panorama that progresses in the form of beginning, rise and collapse. While the images in the beginning part correspond to a mythical perception of the universe, the images in the ascension part correspond to the Enlightenment subject breaking away from myth. The main tension line of Tanpınar's art is the tension between myth and Enlightenment and the distance that this tension creates between humans and existence. The images in the collapse section, on the other hand, reveal a path in which the gap between humans and existence cannot be bridged anymore and the images of the rise period are in ruins. The collapse of the meanings corresponding to the images in the ascension section indirectly shows us the collapse of the Enlightenment dialectic. The main purpose of our study is to reveal that the problem of Enlightenment in Ahmet Hamdi Tanpınar is addressed not only in a local sociological context, but also in the context of the collapse of the dialectics of Enlightenment universally.