Değeri aklı aşan varlığın akılla ifadesi şeklinde tanımlayan Ülken, bir anlamda aklı öne çıkararak duygularla sezilen değer algısını, anlama ve kavrama şartına bağlamıştır. Yani aklın ölçüsünden geçmeyen hiç bir şey değer olarak kabul edilemez. Dilthey'in, "anlama metodu"nu kullanarak manevi bilimleri ve tabiat bilimlerini farklı bir yöntemle tartıştığı "değer paradigması", 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 bir varlık meselesi hâline de gelir. Edebî metinler dikkate alındığında sanatçının kelimeleri söze dönüştürmesi detemel olarak 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 İlhan Berk şiirinin 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 metalanguage 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 inculcates his own soul with the attraction of the old by writing a poem that reads “Many and many a year ago, let me say, this world of us was more beautiful/All these clouds and heavens were close enough to touch, they say/But now, these all survive in poems/And this is the case, my soul.” (The Second Youth/Sea of Galileo [II. Gençlik/Galile Denizi]). For the Second New poems, one would be misguided in determining the quality of a poem if he took into consideration the elements that seemed to be misspellings or incoherencies by using modern methods of criticism. On the contrary, the said elements are considered to be artistic in these poems. Furthermore, assessing a piece of art in terms of comprehensibility may lead the critics to incorrect conclusions. It should also be noted that a deformation or a deviance seen in the whole of a linguistic structure does not harbor an aesthetic value on its own. “Deviance” tendencies which are now nothing but a word play employed with the aim of being original or different, and are successful and distinct linguistic performances based on aesthetics and idea should be distinguished from others. İlhan Berk is known for neologisms using the existing roots and prefixes or suffixes, and for producing original examples missing in a language. However, İlhan Berk is proven not to be original in using lots of themes and subjects, which is shown by many examples including but not limited to the following: the love which is used as a theme or subject by İlhan Berk has almost always existed in Turkish poetry; while the analogy with the face of a woman is relatively new, the rose evokes Divan movement poetry; Cemal Süreya used the horse in his poems as a metaphor for lust before İlhan Berk used it in his poems; and the sky recalls the hope in İlhan Berk’s poems as it does in Turkish and world poetry. On the other hand, İlhan Berk’s poems are considered notable not because he claims to be the first to use these elements, but he regards the poem as a challenge to the meaning and consistently aims for change. The said difference rendered İlhan Berk a poet known for this feature rather than being a poet producing values. Survey results show that Berk’s poem was forced to face the stamp or truth of incomprehensibility while challenging the meaning. It seems from the survey results that the idea of creating a poem that may lead to different states of understanding as aimed by Berk has somewhat been realized. Basically, a poem owns a value only if it can produce meanings parallel to the mission it undertakes. In this context, İlhan Berk’s poems also have an important function with lots of deviant elements which can be observed to be individual examples of the power of poetic expression of the Turkish language and the opportunities of original expressions provided by it. Yet again, it can be said that they did not any values transcending themselves and their predecessors. If it had not been the case, it would have been surprising to find out that a considerable number of letters received right after the publication of “The Book of Healing Herbs” (Şifalı Otlar Kitabı) were about “which herb healed which ailment”.