Tam o anda tüm olan biteni neyin harekete geçirdiğini kavradı, varoluşun itici gücünün mecburiyet olduğunu, itici gücün motivasyonu doğurduğunu, moti… - László Krasznahorkai

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Tam o anda tüm olan biteni neyin harekete geçirdiğini kavradı, varoluşun itici gücünün mecburiyet olduğunu, itici gücün motivasyonu doğurduğunu, motivasyonun ise belirlenmiş ilişkiler içinde saldırgan bir katılımı sağladığını, varlığımızın bulunduğu bu katılım noktasından, araştırmacı reflekslerinin önceden belirlenmiş dizisini kullanarak kendisi için faydalı olanı bulmaya çabaladığı noktada, varlığın tümlüğünün aslında bu arzulanan ilişkinin gerçekte var olup olmamasına bağlı olduğunu, tüm bunların sabrın yeterliliğine, mücadelenin incelikli noktalarına ve tesadüflerine göre şekillendiği ve başarılı hareketin, benliksiz varlığın, tam deneme yanılma niteliği taşıdığını kavradı.

Turkish
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About László Krasznahorkai

László Krasznahorkai (; born 5 January 1954) is a Hungarian novelist and screenwriter known for difficult and demanding novels, often labeled postmodern, with dystopian and melancholic themes. Several of his works, including his novels Satantango (, 1985) and The Melancholy of Resistance (, 1989), have been turned into feature films by Hungarian film director Béla Tarr.

Biography information from Wikipedia

Also Known As

Native Name: Krasznahorkai László
Alternative Names: Laszlo Krasznahorkai
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For minutes on end he could not tell whether he was really hearing howls of pain, or whether it was simply that his years of long, exhausting work had rendered him incapable of distinguishing between the general noise and ancient prehistoric screams that were somehow preserved in time and now were being raised by the rain, like dust.

"كان الجميع يتحدث عن "الاندفاع إلى الفوضى الذى لا يمكن إيقافه"، و "عدم إمكانية توقّع شئ فى الحياة اليومية"، و "الكارثة التى تقترب"، وذلك من غير أية فكرة واضحة عن الثقل الفادح لهذه الكلمات المخيفة. وهذا ما جعله يخلص إلى أن جائحة الخوف تلك لم تكن متولدة عن ثقة حقيقية، تزداد كل يوم، بأن هناك كارثة وشيكة، بل عدوى المخيلة التى كانت قابليتها كبيرة للسقوط فريسة الذعر التى تنتجه بنفسها؛ وهذا يمكن أن يؤدى إلى كارثة فعلية آخر الأمر: بكلمات أخرى، الهاجس الزائف الذى يمكن أن يستسلم له إنسان فقد صوابه عندما تحلل البنية الداخلية لحياته (ترابط عظامه ومفاصله وما بينها)، ويتخلى، لشدة طيشه، عن قوانين روحه التى وضعها الأسلاف... إذا فقد قدرته على ضبط العالم المنظم الذى يحفظ له كرامته. كان يقلقه كثيرًا أن أصدقاءه ظلوا يرفضون الإصغاء إليه رغم محاولاته المتواصلة بإقناعهم بهذا الأمر."

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as he noticed the feeble ticking of his watch, he suddenly realized that he had been escaping all his life, that life had been a constant escape, escape from meaninglessness into music, from music to guilt, from guilt and self-punishment into pure ratiocination, and finally escape from that too, that it was retreat after retreat, as if his guardian angel had, in his own peculiar fashion, been steering him to the antithesis of retreat, to an almost simple-minded acceptance of things as they were, at which point he understood that there was nothing to be understood, that if there was reason in the world it far transcended his own, and that therefore it was enough to notice and observe that which he actually possessed.

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