Değeri; aklı aşan varlığın akılla ifadesi olarak tanımlayan Ülken, bir anlamda aklı öne çıkararak duygularla sezilen değer algısını, anlama ve kavrama şartına bağlar. Yani aklın ölçüsünden geçmeyen hiç bir şey değer olarak kabul edilmez. Dilthey’in, “anlama metodu”nu kullanarak manevi bilimleri ve tabiat bilimlerini farklı bir yöntemle tartıştığı “değer paradigması”, ilerleyen yıllarda bilhassa Scheler ve Hartman’ın açık bir şekilde değerin felsefesini oluşturmalarıyla kuramsal bir şekle dönüşmeye başlar. Böylece “değer” derin/geniş bir işlevsellik kazanırken aynı zamanda hakikat, güzellik ve iyilik ekseninde düşünülen varlık meselesi hâline gelir. Temel olarak edebi metinler dikkate alındığında sanatçının kelimeleri söze dönüştürmesi de aynı yolu takip eden var olma sürecinin bir sonucudur. İlhan Berk, şiirleriyle zaman zaman anlamsızlık modunda algılanan bir şair olmakla birlikte, irtibatlı görünmeyen sözcüklerin veya sadece istediği cümlenin anlaşılması emeline dayanan dizelerin arasına sıkıştırdığı anlam kümecikleriyle şiirini inşa eden bir şair olarak bilinir. Bu tavrıyla Berk, aslında varolan şiir paradigmasına protest bir tavır geliştirir; uzak çağrışımlı tamlamalar ve yapıbozucu cümle yapısıyla da ‘şiir’de anlamın üzerini çize çize ilerler’. Çalışmada felsefi olarak “değer inşaası” kavramının uzak çağrışımlı tamlamaların neresinde durduğu ve yapıbozucu cümle yapısının okur algısına etkileri tartışılacaktır. Şairin seçtiğimiz şiirleri; “alışılmamış sözdizimi”, “alışılmamış sözcük seçimi” (alışılmamış bağdaştırmalar), “sözcükle ilgili sapmalar” ve “yazımla ilgili sapmalar” başlıkları altında incelenecektir.

Defining the value as the expression of the superrational with the reason, Ülken somewhat highlights the reason and suggests understanding and comprehension as being two prerequisites for the perception of value perceived through emotions. That is to say that nothing that has not been intellectualized can be considered as a value. “Value paradigm” discussed by Dilthey while addressing the human sciences and the natural sciences with a different method, .i.e. “method of understanding”, has later begun to take the form of a theory when especially Scheler and Hartmann explicitly established the philosophy of value. Therefore, “value” has acquired a deep/comprehensive functionality as well as becoming the question of existence considered in terms of truth, beauty and good. Essentially, given the literary texts, an author’s wording of his/her thoughts is also an outcome of the process of existing going in the same direction. Though from time to time being considered as an unintelligible poet, İlhan Berk is actually renowned as a poet who builds his poems with the tiny clusters of meaning he sandwiches between verses aiming to conduct the meaning of the apparently unconnected words or only the sentences he wishes to be understood. In doing so, Berk actually takes an opposing approach to the existing poem paradigm, and with the help of remotely associated phrases and deconstructive wording, he “proceeds through the poem by striking out the meaning”. The present paper discusses, in philosophical terms, the relative position of the “value construction” concept to the remotely associated phrases, and the effects of deconstructive wording on the reader’s perception. The selected poems of the poet are studied throughout the article under such chapters as “unusual syntax”, “unusual word choice” (unusual correlations), “lexical deviances”, and “orthographical deviances”. Significance Of The Study In literary texts, and particularly in poems, “what” is said is as important as, and even more important than, “how” it is said. Considering its characteristic features, one encounters some features, which are called “deviances”, of the poetic language which is a meta-language developed based on this “how”. The “deviances” which have begun to be systematically discussed following the relevant studies of some contemporary linguists such as Samuel R. Levin, Jean Cohen, Roman Jakobson, Geoffrey N. Leech, Ursula Oomen, and Ivo Braak, are now one of the indispensable topics of poetry analysis. As the number of studies on this topic increases and the case studies vary more and more, the specific aspects and different features of the poetic language will be understood more clearly by the audience and the researchers, thus allowing the detailed representation of the intellectual and aesthetic backgrounds to this subjective linguistic performance, and somewhat systematization and basing on a scientific foundation of these backgrounds. Poets of the Second New (İkinci Yeni) movement strived to make use of the language as far as they could in order to evoke new designs in the minds of their audience. To do so, they based the poetic language on both linguistic and semantic deviances by phonetically, morphologically, syntactically and semantically transforming linguistic elements, and they even embarked on a new value production process. This study aims to establish, in terms of functionality, a rigid framework for the poems and the concepts of perception and value of the Second New movement. Conclusion Poetic language is a “meta-language” which has its own specific, non-colloquial and eccentric usages. Simply thanks to this aspect, a genre determining its own audience can transcend centuries with great skill, and even carry along the zeitgeist with it. It is because the value is closer to the understood and the transcending rather than being a friend of the new. One should discuss exactly how far he is in being immortal and producing value when he inculc