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Infochart | July 24, 2018 General Elections

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Mavi Boncuk | 

Voting for 600 MPs will be in 172,687 polling stations in Turkey.  
(about 311 voters/station) .

15 largest provinces  324 MPs 54% of voters. Istanbul alone 97 MPs 16% of voters.


YSK | Directorate of Elections numbers were used.


Word Origin | Emek

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Text translation: 'The 1st of May. Workers of the world, unite!' Poster was produced in Russian in 1921. 

Mavi Boncuk |

Emek: LaborEN [1] , work EN[2]from oldTR emge- acı çekmek +Ik oldTR (?) em ilaç +gA-

Historic source: 
emgek "zahmet, eziyet, acı" [ Orhun Yazıtları (735) : Ok bodun emgek körti [Ok boyları zahmet çekti] ]

emgeklemek "dört ayak üstünde sürünmek" [ Uyghur c.1000 ]

emekli "zahmetli, zor" [ Meninski, Thesaurus (1680) ]

emekli "mütekâit" [ c (1935) : Emekli ve öksüzlerin ikinci altı aylık yoklamaları başlamıştır. ]

[1] labor (n.) c. 1300, "a task, a project" (such as the labors of Hercules); later "exertion of the body; trouble, difficulty, hardship" (late 14c.), from Old French labor "toil, work, exertion, task; tribulation, suffering" (12c., Modern French labeur), from Latin labor "toil, exertion; hardship, pain, fatigue; a work, a product of labor," a word of uncertain origin. Some sources venture that it could be related to labere "to totter" on the notion of "tottering under a burden," but de Vaan finds this unconvincing. The native word is work. 

 Meaning "body of laborers considered as a class" (usually contrasted to capitalists) is from 1839; for the British political sense see labour. Sense of "physical exertions of childbirth" is attested from 1590s, short for labour of birthe (early 15c.); the sense also is found in Old French, and compare French en travail "in (childbirth) suffering" (see travail). Labor Day was first marked 1882 in New York City. The prison labor camp is attested from 1900. Labor-saving (adj.) is from 1776. Labor of love is by 1797.

labor (v.) late 14c., "perform manual or physical work; work hard; keep busy; take pains, strive, endeavor" (also "copulate"), from Old French laborer "to work, toil; struggle, have difficulty; be busy; plow land," from Latin laborare "to work, endeavor, take pains, exert oneself; produce by toil; suffer, be afflicted; be in distress or difficulty," from labor "toil, work, exertion" (see labor (n.)).


The verb in modern French, Spanish, and Portuguese means "to plow;" the wider sense being taken by the equivalent of English travail. Sense of "endure pain, suffer" is early 15c., especially in phrase labor of child (mid-15c.). Meaning "be burdened" (with trouble, affliction, etc., usually with under) is from late 15c. The transitive senses have tended to go with belabor. Related: Labored; laboring.

[2] work (n.) Old English weorc, worc "something done, discreet act performed by someone, action (whether voluntary or required), proceeding, business; that which is made or manufactured, products of labor," also "physical labor, toil; skilled trade, craft, or occupation; opportunity of expending labor in some useful or remunerative way;" also "military fortification," from Proto-Germanic *werkan "work" (source also of Old Saxon, Old Frisian, Dutch werk, Old Norse verk, Middle Dutch warc, Old High German werah, German Werk, Gothic gawaurki), from PIE *werg-o-, suffixed form of root *werg- "to do." Meaning "physical effort, exertion" is from c. 1200; meaning "scholarly labor" or its productions is from c. 1200; meaning "artistic labor" or its productions is from c. 1200. Meaning "labor as a measurable commodity" is from c. 1300. Meaning "embroidery, stitchery, needlepoint" is from late 14c. Work of art attested by 1774 as "artistic creation," earlier (1728) "artifice, production of humans (as opposed to nature)." Work ethic recorded from 1959. To be out of work "unemployed" is from 1590s. To make clean work of is from c. 1300; to make short work of is from 1640s. Proverbial expression many hands make light work is from c. 1300. To have (one's) work cut out for one is from 1610s; to have it prepared and prescribed, hence, to have all one can handle. Work in progress is from 1930 in a general sense, earlier as a specific term in accountancy and parliamentary procedure.

Work is less boring than amusing oneself. [Baudelaire, "Mon Coeur mis a nu," 1862]
Work and play are words used to describe the same thing under differing conditions. [attributed to Mark Twain]
work (v.)

a fusion of Old English wyrcan (past tense worhte, past participle geworht) "prepare, perform, do, make, construct, produce; strive after" (from Proto-Germanic *wurkijan); and Old English wircan (Mercian) "to operate, function, set in motion," a secondary verb formed relatively late from Proto-Germanic noun *werkan (see work (n.)).

Sense of "perform physical labor" was in Old English, as was sense "ply one's trade" and "exert creative power, be a creator." Transitive sense "manipulate (physical substances) into a desired state or form" was in Old English. Meaning "have the expected or desired effect" is from late 14c. In Middle English also "perform sexually" (mid-13c.). Related: Worked (15c.); working. To work up "excite" is from c. 1600. To work over "beat up, thrash" is from 1927. To work against "attempt to subvert" is from late 14c.

Orkhon Text | 𐰢𐰏𐰚 Emgek (Emek)

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Orkhon is sometimes called Turkic Runes because of their angular shape, and there are enough similarities to Futhark 

 Mavi Boncuk | 

𐰾𐰇𐰚𐰼𐱅𐰢𐰕: 𐰉𐱁𐰞𐰍𐰍: 𐰘𐰰𐰇𐰦𐰼𐱅𐰢𐰕: 𐱅𐰇𐰼𐰏𐰾: 𐰴𐰍𐰣: 𐱅𐰇𐰼𐰰𐰢: 𐰉𐰆𐰑𐰣𐰃𐰢: 𐰼𐱅𐰃: 𐰋𐰃𐰠𐰢𐰓𐰇𐰚𐰤: 𐰇𐰲𐰇𐰤: 𐰋𐰃𐰕𐰭𐰀: 𐰖𐰭𐰞𐰑𐰸𐰃𐰤: 𐰖𐰕𐰃𐰦𐰸𐰃𐰤: 𐰇𐰲𐰇𐰤: 𐰴𐰍𐰣𐰃: 𐰇𐰠𐱅𐰃: 𐰉𐰆𐰖𐰺𐰸𐰃: 𐰋𐰏𐰠𐰼𐰃: 𐰘𐰢𐰀: 𐰇𐰠𐱅𐰃: 𐰆𐰣: 𐰸: 𐰉𐰆𐰑𐰣: 𐰢𐰏𐰚: 𐰚𐰇𐰼𐱅𐰃: 𐰲𐰇𐰢𐰕: 𐰯𐰀𐰢𐰕: 𐱃𐰆𐱃𐰢𐰾: 𐰘𐰃𐰼: 𐰽𐰆𐰉: 𐰃𐰓𐰾𐰕: 𐰴𐰞𐰢𐰕𐰆𐰣: 𐱅𐰃𐰘𐰤: 𐰕: 𐰉𐰆𐰑𐰣𐰍: 𐰃𐱅𐰯: 𐰖𐰺𐱃𐰯: ----: 𐰉𐰺𐰽: 𐰋𐰏:

SÖKüRTüMiZ: BaŞLıGıG: YÜKÜNDüRTüMiZ: TÜRGiŞ: KAGaN: TÜRÜKüM: BUDuNIM: eRTİ: BİLMeDÜKiN: ÜÇÜN: BİZiŊE: YaŊıLDUKIN: YaZINDUKIN: ÜÇÜN: KaGaNI: ÖLTİ: BUYRUKI: BeGLeRİ: YiME: ÖLTİ: ON: OK: BODuN: eMGeK: KÖRTİ: eÇÜMiZ: aPAMıZ: TUTMıŞ: YİR: SUB: İDiSiZ: KaLMaZUN: TİYiN: aZ: BODuNıG: İTiP: YaRaTıP: ----: BarS: BeG:

çöktürdük, başlıyı yükündürdük. Türgiş kağanı Türk'üm boylarım idi. Bilemediği için, bize yanıldığı, yazındığı için kağanı öldü. Buyruğu, beğleri yine öldü. On Ok boyları emek gördü. eçümüzün apamızın tutmuş [olduğu] yer su ıssız kalmasın diye Az boylarını eğitip, yaratıp ---- Bars Beğ

15 Mayıs 1984 Aydınlar Dilekçesi

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Aziz Nesin[1] öncülüğünde bir grup aydın, kendi aralarında organize ettikleri çeşitli toplantılar sonucunda “Türkiye’de Demokratik Düzene İlişkin Gözlem ve İstekler” başlıklı bir dilekçe hazırlarlar. Dilekçe imzaya açılır ve tam 1260 kişi imzalar. 

15 Mayıs 1984 günü Cumhurbaşkanlığına ve TBMM Başkanlığına sunulan tarihi dilekçe. 20 Mayıs 1984 günü Ankara Sıkıyönetim Komutanlığı tarafından dilekçeciler hakkında “yasadışı bildiri hazırlayıp dağıtmaktan” dolayı soruşturma başlatılır.

59 kişi hakkında dava açılır.

“Sıkıyönetim yasaklarına aykırı olarak bildiri dağıtmak” suçundan Ankara 1 no.lu Sıkıyönetim Mahkemesi’nde görülen, 18 Ağustos 1984 tarihinde ilk duruşması yapılan dava, 7 Şubat 1986'da tüm sanıklar için beraatle sonuçlanır.



Mavi Boncuk | 

AŞAĞIDA İMZASI BULUNANLARIN TÜRKİYE’DE DEMOKRATİK DÜZENE İLİŞKİN
GÖZLEM VE İSTEKLERİ

Demokrasi, kurumları ve ilkeleri ile yaşar. Bir ülkede demokrasinin temel harcını oluşturan kurum, kavram ve ilkeler yıkılırsa bunun zararlarını gidermek güçleşir
.
Demokrasiyi kendi öz değer ve kurumlarına yabancılaştırmak, biçimsel olarak koruyup içeriğini boşaltmak, onu yıkmak kadar tehlikelidir. Bu nedenlerle tarihsel birikime dayalı devlet yapımızı ayakta tutan kurum, kavram ve ilkelerin korunmasını ve demokratik ortam içinde güçlenmesini savunmaktayız.

Halkımız, Çağdaş toplumlarda geçerli insan haklarının tümüne layıktır ve bunlara eksiksiz olarak sahip olmalıdır. Ülkemizin, insan haklarının güvenceleri yurt dışında tartışılır bir ülke durumuna düşürülmüş olmasını onur kırıcı buluyoruz.

Yaşam hakkı ve insanca yaşama, örgütlü ve toplumsal var olmanın çağımızda hiçbir gerekçe ile ortadan kaldırılamayacak baş amacıdır; doğal ve kutsal bir haktır. Bu hakkın anlam kazanması, düşünceyi özgürce açıklamaya, geliştirmeye ve etrafında örgütlenmeye bağlıdır. Bireylerimizin yeni ve değişik düşünce üretmelerini, gösterilmeye çalışıldığı gibi, bunalımların nedeni değil, toplumsal canlılığın gereği sayıyoruz.

İnsanların son sığınağı olan adalet, insanca yaşamın da başlıca dayanağıdır. Bun gerçekleşmesinin çağdaş hukuk devletinde geçerli yolları, adalet arayışının hiçbir şekilde engellenmemesi ve adalete ulaşmada olağanüstü yargı yollarına ve olağandışı yöntemlere başvurulmamasını gerektirmektedir. Olağanüstü yönetim bicilerinin olağan sayılan dönemlerde süreklilik kazanmasının demokrasi anlayışı ile bağdaşmayacağı görüşündeyiz.

Yargı kararı olmaksızın yurttaşların haklarının kısılması, tartışılması mümkün olmayan tek yanlı idari işlemlerle suç oluşturulması, siyasal hakların ellerden alınması ve genel suçlamalar yapılması, toplumsal yıkımlara yol açmaktadır. Dernek, kooperatif, vakıf, meslek odaları, sendika ve siyasal partilere girmenin ve açıklandığı zaman suç sayılmayan düşüncelerin sonradan egemen anlayışa göre, suç sayılması hukuk devleti kavramıyla bağdaşmaz.

Türkiye’nin yaşadığı yoğun terör eylemlerinden demokratik sistemin kendisi sorumlu tutulamaz.

Her örgütlü toplumun şiddet eylemleriyle mücadele etmesi kaçınılmaz görevidir. Ancak, devlet olmanın temel niteliği, terörle mücadelede hukuk ilkelerine bağlı kalmaktır. Terörün varlığı hiçbir zaman, devletin de aynı yöntemlere başvurmasının gerekçesi olamaz.

Varlığı yasal kararlarla da kanıtlanan işkence insanlığa karşı suçtur. İşkencesin yargısı, peşin ve ilkel bir cezalandırma alışkanlığına dönüştürülmüş olmasından endişe ediyoruz. Ayrıca, özgürlüğü sınırlama amacını aşan cezaevi koşullarını da eziyet ve işkence sayıyoruz.

İşkencenin büsbütün ortadan kaldırılması için gerekli önlemler alınmalıdır. Savunma, soruşturma ve kovuşturmada, hukuk devleti kuralları dışına çıkılır ve yargısal yöntemlerde en başta sanık makum oluncaya kadar masumdur ilkesiyle vurgulanan evrensel güvenceler yok sayılırsa, keyfilik, özellikle siyasal davalarda yargılamanın temel unsurlarından biri olur.

Terör eylemlerinin oluşmasında toplumun bütün kesimlerinin sorumluluk payı olduğu göz önüne alınarak, ölüme dayalı çözüm düşüncesinin ortadan kaldırılması için kesinleşmiş idam kararlarının infazlarının durdurulması ve ölüm cezalarının kaldırılması gereğine inanıyoruz.

Gecikmiş adaletin adaletsizlik olduğu evrensel gerçeğine dayanarak, görülmekte olan davaların bir an önce sonuçlandırılması gerektiği görüşündeyiz.

Suçları oluşturan, toplumsal ve siyasal koşullardır. Türkiye’nin içinde yaşadığı çalkantılı dönemin topluma yüklediği sorumluluk unutulmamalıdır. Bu nedenlerden ötürü ve sosyal barışa katkıda bulunmak için kapsamlı bir affı kaçınılmaz görüyoruz.

Kamu yaşamında iyiyi kötüden, doğruyu yanlıştan ayırmanın yolu olan siyaset, toplumun tümünün yönetime katılmasıdır. Güncel siyasetin her ülkede görülen ve kaçınılmaz olan aksaklıkları, herkese açık gereken siyaset yoluyla topluma hizmetin engellenmesinin ve belirli zümrelerin, kişinin ve kişilerin tekeline bırakılmasının nedeni olamaz. Siyaset yalnızca idari kararlara indirgenemez.

Milli irade ancak, toplumun bütün kesimlerinin özgürce örgütlenebildiği düzenlerde anlam ifade eder. Kimsenin siyasal kanı ve felsefi düşüncesinden ötürü suçlanmadığı, hiçbir yurttaşın dinsel inançlarından dolayı kınanmadığı ülkelerde milli irade en üstün güçtür. Bu üstün gücün meşruluğu, temel hak ve özgürlüklere karşı takındığı tavra bağlıdır.

Çoğunluk iradesinin özgürce belirlenmesini engelleyen koşullar demokrasiye aykırıdır. Bunun gibi, çoğunluk iradesini bahane ederek temel hakları yok etmek de demokrasi ile bağdaşmaz.

Tarihsel gelişim süreci içinde demokratik anayasaların amacı, kişi hak ve özgürlüklerini güvence altına almaktır. Bireyi devlet karşısında güçsüzleştiren düzenlemeler, hangi ad altında getirilirse getirilsin, demokrasiden uzaklaşma anlamına gelir. Bu durumda, demokratik yaşamın kaynağı olması gereken anayasa, demokrasinin engeli olur.

Başta siyasi partiler olmak üzere, sendikalar, mesleki kuruluşlar ve dernekler, demokratik yaşamın vazgeçilmez dayanaklarıdır. Mesleki örgütlenmeler, üyelerin dayanışma ve ekonomik çıkarlarını savunmakla görevli oldukları kadar, siyasi partilerle birlikte, birey ve grupların demokratik özgürlüklerimi korumanın ve yönetime katılmalarının aracı ve etkeni de olmalıdır. Bu nedenle, örgütlenme ve katılım haklarının anayasal düzenlemeler içinde en geniş güvencelere kavuşturulması gerektiğine inanıyoruz.

Bir toplumun yaşayışında, özgürlük, çeşitlilik ve yenilik öğelerinin bulunması, toplumun geleceği ve gelişmeye açık tutulması için zorunludur. Bu bakımdan her türlü düşünce üretimi korunmalı, yeni önerile kamuya özgürce sunulabilmelidir.

Özgür basın, demokratik düzeni bütünleyen temel öğelerden biridir. Bunun sağlanması için, bağımsız, denetimsiz ve çok yanlı olarak toplumun kendinden haberli olması, değişik düşüncelerin özgürce yansıtılması ve her türlü eleştirinin basında yer bulması zorunludur. Çok yönlü kamuoyu oluşması ve yönetimin demokratik denetimi ancak böyle bir basınla gerçekleştirilebilir. Yine bu nedenlerle ve yansızlığın önkoşulu olarak TRT’nin de özerkliğinin sağlanması gerektiğine inanıyoruz.

Eğitimin temel amacı, özgür düşünceli, bilgili, becerli ve üretici insan yetiştirmektir. Bunun tersine, tek tip insan yaratmaya çalışmak, çağdaş gelişmeler ve çoğulcu demokrasiyle bağdaşmaz. Çağdaş demokrasi, dünyaya eleştirel gözle bakabilen insan yetiştirmeyi amaçlar.

Toplumun en yetişkin kesimi olan üniversitelerin özerklikten yoksun bırakılarak kendi kendilerini yönetmeye layık olmadıklarının ileri sürülmesi, ülkemizde demokrasinin işleyebileceğini inkar etmek anlamına gelir. Bütün yüksek öğretim kurumlarının, atamalarla oluşturulan aşırı yetkili bir kurulun buyruğuna verilmesi, hem gençlerin iyi yetiştirilmesini, hem de bilim yapılmasını şimdiden engellediği gibi ülkenin geleceği için büyük kaygılar doğurmaktadır. Bu nedenle, YÖK düzeninin bir an önce seçim ilkesine dayalı özerklik yönünde değiştirilmesini gerekli görüyoruz.

Fikir ve sanat özgürlüklerinin serbestçe oluşmasını engelleyen hukuki ve fiili sınırları kaldırmak ve her yurttaşla birlikte, düşünce ve sanat adamlarını da genel güvencelerle donatmanın bir uygarlık koşulu olduğunu önemle belirtmek isteriz. Sağlıklı bir toplumsal gelişme, her türlü sanat yapıtlarının üretiminde ve yayımında özgürlüğü, kültürel yaratıyı son derece sınırlayan sansürün toptan kaldırılmasını, hiçbir konunun tabu haline getirilmemesini, ceza sorumluluğunun yalnız olağan yargı mercilerince saptanmamasını gerektirir.

Bütün bunların ışığında, topluma karşı sorumluluklarının bilincinde olan bizler, çağdaş demokrasinin, ayrı ayrı ülkelerin özel koşullarına göre uygulamadaki değişikliklere karşın, değişmeyen bir özü olduğuna bu özü oluşturan kurum ve ilkelerin bizim ulusumuzca da benimsenmiş bulunduğuna, bunlara aykırı düşen yasal düzenleme ve uygulamaların demokratik yöntemlerle ortadan kaldırılması gerektiğine, yaşadığımız bunalımdan, böylelikle, sağlıklı ve güvenli olarak çıkılacağına olanca içtenliğimizle inanmaktayız.

Haklarında Dava Açılan İmza Sahipleri

Aziz Nesin, Hasan Gürsel, İlhan Tekeli, Uğur Mumcu, Erbil Tuşalp, Haluk Gerger, Bahri Savcı, Yalçın Küçük, Mahmut Öngören, Mete Tunçay, Şerafettin Turan, Yakup Kepenek, Murat Belge, Halit Çelenk, Mehmet Emin Değer, Korkut Boratav, Mustafa Ekmekçi, Tahsin Saraç, Nurkut İnan, İnci Aral, Güler Tanyolaç, Güngör Aydın, Haldun Özen, Haki Bülent Tanık, Güngör Dilmen, Gencay Gürsoy, Vedat Türkali, Özay Erkılıç, Salih Şencan, Kemal Demirel, Vecdi Sayar, Tullui Sönmez, Onat Kutlar, İlhan Selçuk, Ümit Erdoğan, Berna Moran, Minu İnkaya, Veli Lök, Emre Kapkın, Cahit Tanör, Yılmaz Tokman, Şinasi Acar, Ali Oralp Basım, Ruşen Hakkı Özpençe, Hayri Tütüncüler, Güngör Türkeli, Atıf Yılmaz, Başar Sabuncu, Orhan Ş. Balcıoğlu, Erdal Öz, Turgut Kazan, Talat Mete, Ercan Ülker, Ahmet Kocabıyık, Ali Cumhur Ertekin, Yılmaz Polat, Gürsoy Dinç, Cemal Nedret Erdem, Muhittin Yavuz Aksu


[1] Aziz Nesin'in Aydınlar Dilekçesi Öyküsü | Emre Kongar
Aziz Nesin toplumsal sorumluluk bilinci çok gelişmiş bir yazardı.

Toplumsal bilimlere de büyük bir ilgi duyardı.

Bu açıdan en beğendiği yapıtı Surnâme adlı romanıydı.

Bilindiği gibi Surnâme, Divan Edebiyatı'nda şenlik, düğün şenliği, sünnet düğünü, ziyafet gibi olayların anlatıldığı, minyatürlerle de desteklenen manzum bir biçimdir.

Bu romanda Aziz Bey, bir idam mahkûmunun öyküsü bağlamında Türkiye'nin toplumsal yapısını, bireyi suça iten faktörleri, insanı ve hukuk düzenini irdeler.

İlk tanıştığımızda bana hemen bu kitabını okuyup okumadığımı sormuş ve "Hayır" yanıtını alınca derhal okumamı önermişti.

Sanıyorum beni sevmesinin ve dostluğuna kabul etmesinin önemli nedenlerinden biri toplumbilimci olmamdı.

Ankara'da başlayan dostluğumuz, ben 12 Eylül'ün üniversitelerdeki uygulamalarını YÖK bağlamında protesto etmek için ve bardağı taşıran son damla olarak sakalımı kesmeye zorlandığımdan dolayı istifa ettikten sonra, geldiğimiz İstanbul'da artarak devam etti.

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Aziz Bey 12 Eylül'ün baskıcı rejiminden çok rahatsız olmuştu ve mutlaka bir şeyler yapmak gereksinimi hissediyordu; sonunda, yapılan yanlışlara aydınlar tarafından imzalanan bir dilekçe ile karşı çıkmaya karar vermişti.

Tarihe "Aydınlar Dilekçisi" olarak geçen bu olayın başında beni aradı ve evine çağırdı:

O sırada Hürriyet'te çalışıyordum...

Aziz Nesin de Nişantaşı'ndaki evinde kalıyordu.

Gittiğimde hemen konuya girdi, projesini açıkladı.

Dilekçeyi imzalamasını düşündüğü kişilerle, metni hazırlamak üzere derhal toplantılar yapmaya başlamak istiyordu...

Ve bana bu projenin götürücülüğünü önerdi.

Sanıyorum, hazırlanacak dilekçenin, kendisi dışında, özellikle akademisyenlerden ve gazetecilerden oluşan bir grup tarafından benimsenmesini planlamıştı.

* * *
Bu serüveni "Yaşamın Anlamı" kitabımda uzun uzun anlattım; olayı ve o dönemi merak edenler mutlaka okumalıdır.

Bugünkü sahte kahramanların çoğu o sıralarda 12 Eylül'e dalkavukluk etme yarışındayken Aziz Nesin ve bir avuç aydın, darbenin güçlü adamı Kenan Evren'e verilmek üzere "Türkiye'de Demokratik Düzene İlişkin Gözlem ve İstemler" başlıklı bir protesto ve istek dilekçesi hazırlıyordu.

Hürriyet'teki sorumluklarımdan dolayı proje götürücülüğünü kabul edemedim ama, hazırlık toplantılarına katıldım ve Aziz Bey'le birlikte, metnin tamamına yakın büyük bir bölümünün redaksiyonunu yaptım.

Metin toplantıları genellikle Nişantaşı'ndaki evde oluyordu ve katılımın olanaklı olduğu ölçüde genişletilmesi için, her toplantıya değişik kişileri çağırıyorduk.

Sonunda ortaya çıkan ve üzerinde mutabakat sağlanan metni 1383 kişi imzaladı.

Aziz Bey, Hacettepe Üniversitesi'nin değerli göğüs cerrahı Prof. Hüsnü Göksel'le birlikte Çankaya'ya çıkarak dilekçeyi Evren'e vermek istedi; Evren kabul etmediği için kapıya bırakıp çıktı.

Sonradan İstanbul Sıkıyönetim Savcılığı bütün imzacılar hakkında soruşturma açtı ve hepimizi Selimiye kışlasına celbedip ifadelerimizi aldı.

Bu sırada dilekçeyi, konut kooperatifi üyeliği sanıp imzaladıklarını "açıklayanlar" da oldu...

Ayrıntılar "Yaşamın Anlamı"nda.

Öyle bir dönemdi işte!

Bernardino Nogara | Europe’s great tragedy seen through a man’s letters to his wife

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Mavi Boncuk | SOURCE

Intesa Sanpaolo Group Historical Archives via Morone 3 (reading room) largo Mattioli 5 (postal address) 20121 Milan tel. +39 02 87942970 archivio.storico@intesasanpaolo.com


Bernardino Nogara 
with his wife and children in Constantinople, 1910 (Nogara Family Archive)






The Galata Bridge in Constantinople; photo taken between 1908 and 1914
(Nogara Family Archive)

NO. 1 SEPTEMBER 2016 page 5 

Europe’s great tragedy seen through a man’s letters to his wife Francesca Pino 

She and their children had returned to Italy alone following a nearly decade-long stay in Istanbul, where Nogara worked for Banca Commerciale Italiana (BCI) as director of the Eastern Trading Company (Società Commerciale d’Oriente – COMOR); they ended up staying there due to the outbreak of WWI. The letters span a period of just over a year, from 2 July 1914 through 11 July 1915, just prior to Italy’s declaration of war on Turkey in August 2015. The book contains a single letter by Ester – the only one that has survived – dated 23 May 1915, the day that news got around of Italy’s entry into the war. It is found in the appendix for this reason. Bernardino Nogara[1] was a prominent figure in twentieth-century history. A liberal Catholic from an ancient Lombard family, he held a degree in mining engineering from the Milan Polytechnic and acted as BCI’s representative in the Mediterranean and Eastern European regions. A financier, he was also tasked with diplomatic responsibilities, and following the 1929 Concordat between the Vatican and Italy he became the first Director of the Special Administration of the Holy See. He was also a member of BCI’s board of directors from 1925 to 1945 when, thanks to his active participation in the National Liberation Committee in Rome, he was appointed the bank’s vice president on 28 June. He held that position until his death in 1958. 

The correspondence is intriguing from several perspectives. First of all, it lets readers reconstruct the sequence of declarations of war between the various countries, which were bilateral and staggered over time. It also provides an understanding of the ambiguous behavior towards Russia of the Turks, who sided with Germany early on, allowing two German submarines to enter the Bosphorus. Bernardino Nogara’s reading of events is both diplomatic and highly perceptive, capturing the atmosphere of mistrust that developed within the international community following the entry into war of various countries. He had decided to stay on in Istanbul since a minimum number of board members was required to manage the administration of the Ottoman public debt. The letters show how Nogara grew increasingly convinced as time went by of the need for Italy to enter the war and subsequently to be able to claim the unredeemed lands (Trento and Trieste). He makes observations on the behavior of foreign ambassadors and Turkish ministers to his wife, who was herself quite familiar with that milieu; indeed, she had played a representative role that was very much appreciated by Italy’s ambassador in Constantinople, Camillo Garroni. Nogara’s comments convey the increasingly heavy atmosphere in the city, and the sense of isolation felt by the few Europeans still resident there. 

At one point Nogara undertook a several day-long journey by ship and on horseback to visit the Heraclea mines in Anatolia, and then returned to Italy through Sofia and Thessaloniki, having obtained permission to visit his family in Bellano on Lake Como. Once in Italy he was called back repeatedly to carry out a range of diplomatic missions and assignments both for the Italian Ministry of Foreign Affairs and for BCI and Otto Joel, the bank’s co-founder and director. Nogara’s writing style is eloquent yet terse, circumspect rather than rhetorical; indeed, his letters were often opened for censure. They include fascinating discussions of the growing difficulties of the postal and telegraph links, but also touch on more intimate, family-related matters such as the couple’s home, their garden, the care of plants and Nogara’s love for his wife. The elegant layout of the book and its exceptional selection of photographs (thanks to the analytical cataloguing done by Serena Berno, an Intesa Sanpaolo Group Historical Archives staff member) help readers to fully immerse themselves in the events of the period. 

Published with the support of Intesa Sanpaolo, the book includes an introduction by Marta Petricioli on Italy’s foreign policy in the Mediterranean region, and on the role played by the aforementioned Società Commerciale d’Oriente, which also carried out banking business in Istanbul and other Mediterranean cities. 

Lettere da Costantinopoli (1914-1915). Carteggio familiare di Bernardino Nogara [Letters from Constantinople (1914-1915). The Family Correspondence of Bernardino Nogara], edited by Bernardino Osio with an introduction by Marta Petricioli, Florence, Centro Di, 2014 (174 pages).

All credit for this elegant and absorbing volume – Lettere da Costantinopoli (1914- 1915). Carteggio familiare di Bernardino Nogara – is due to Bernardino Osio, a former ambassador, who conceived and edited it. It contains a brief part of the substantial correspondence between his grandfather, Bernardino Nogara, and Nogara’s wife, Ester Martelli. 


Ambassador Bernardino Osio, grandson of Nogara, has his diary at his family archive in Rome. The diary has not so far been published, but has been used in two previous scholarly works: Renzo De Felice used extracts from the diary in his article, 'La Santa Sede e il conflitto italo-etiopico nel diario di Bernardino Nogara', Storia Contemporanea, 4 (1977), pp 823-34, and
Giovanni Belardelli published an important, attached document, the journal of Nogara's visit to the United States in 1937,'Un viaggio di Bernardino Nogara negli Stati Uniti (novembre 1937)',

in Storia Contemporanea, 23 (1g82), pp. 32 1-8,


[1]  Bernardino Nogara (Bellano, June 17, 1870 — Milano, November 15, 1958)  

(Pictured )The Eastern Trading Company in the Galata neighborhood of Constantinople around 1910 (Nogara Family Archive)

He was the first non-roman to be in charge of the Vatican finances. He came from a family so Catholic that it weep because of the breach of Porta Pia. With a degree in industrial and electro-technical engineering from the University of Milan, he left for England as soon as he married and went to work in a mine in Wales. From there he was sent to a mine in Greece. In 1908, he was living in Constantinople and managing mines in Asia Minor. There, he founded the Eastern Commercial Society, a branch of the Banca Commerciale Italiana. Well-versed in the political and economic realities of the Ottoman Empire, he became the Italian government’s trusted advisor for Easter affairs.  In this role, he was involved in the Ouchy Treaty, which ended the war in Libya between Italy and Turkey. In 1914, Nogara was the Italian delegate to the Board of Administration for the Ottoman Public Debt.  At the end of the First World War, he was part of the economic and financial commission of the Conferences created to draft peace treaties with Austria, Hungary, Bulgaria, and Turkey.



Transactions of the Institution of Mining Engineers, Volume 34

 By Institution of Mining Engineers (Great Britain) 1908 - Mineral industries


While in Istambul, he was appointed representative to the Italian Banca Commerciale and then the Italian representative to an international committee overseeing the Ottoman empire's debt and the Italian delegation to the economic committee at the Versailles Peace Conference in 1919, after which he remained on the permanent reparations committee.[9] He was later appointed to manage the industry section of the Inter-Allied Commission that enacted the Dawes Plan in Berlin.


Within the Banca Commerciale Italiana, Italy's largest private bank, he became a member of the board of directors and later the vice-president. He was also a member of the board of Commissioni Economiche e Finanziarie alle Conferenze (Comofin).

Nogara's dealings with the Vatican began in 1914, when he purchased a variety of bonds on behalf of Pope Benedict XV.


He graduated in industrial engineering and electrical engineering at the Polytechnic of Milan in 1894, Nogales was later director of mines in England, Bulgaria, Greece and Turkey. In 1913 he was one of the architects of the signing of the Treaty of Ouchy concluded that the Libyan war between Italy and Turkey. It was also the Italian delegate, from the end of 1912, the Board of Directors of the Ottoman Public Debt, an adviser and then chief executive officer (1913-1935) of the Trading Company of the East (Comor), a sort of branch of the BCI in Turkey and the Balkans, director and vice president of BCI from 1925 to 1958.


Bernardino Nogara was the financial advisor to the Vatican between 1929 and 1954, appointed by Pope Pius XI and retained by Pope Pius XII as the first Director of the Special Administration of the Holy See.

Nogara could count on the benefits of a renewed diplomatic activity of the Church.  Benedict XV had left the Vatican coffers empty, because the First World War prevented bishops from coming to Rome for ad limina visits and contribute to Peter’s Pence. From 1930 on, Nogara invested in a web of projects extended throughout Europe and financial centres in the United States and South America. 



Volpi Connection

Giuseppe Volpi, 1st Count of Misurata (born in Venice on 19 November 1877; died in Rome on 16 November 1947), was an Italian businessman and politician.

Count Volpi developed utilities which brought electricity to Venice, northeast Italy, and the Balkans by 1903. In 1911-1912, he acted as a negotiator in ending the Italo-Turkish War. Treaty of Lausanne (1912) as  Mr. Giuseppe Volpi, Commandant of the Orders of St. Maurice and St. Lazare and of the Italian Crown.


He was Mussolini’s  governor of the colony of Tripolitania  from 1921 to until 1925.

As Italy's Finance Minister from 1925 until 1928, he successfully negotiated Italy's World War I debt repayment with the United States and with England, and pegged the value of the lira to the value of gold. He was replaced in July 1928 by Antonio Moscini. He also founded the Venice Film Festival. The Volpi Cup (Italian: Coppa Volpi) is the principal award given to actors at the Venice Film Festival.


His son is automobile racing manager Giovanni Volpi.

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President  1934–1943 of Confindustria (the Italian employers' federation, founded in 1910 ) after Alberto Pirelli (1934)


Giuseppe Volpi’s manager in Istanbul was Bernardino Nogara (Bellano, June 17, 1870 — Milano, November 15, 1958)  a convert to Catholicism, a Sabbatean [*] Jew.


[*] Sabbateans (Sabbatians) is a complex general term that refers to a variety of followers of, disciples and believers in Sabbatai Zevi (1626–1676), a Jewish rabbi who was proclaimed to be the Jewish Messiah in 1665 by Nathan of Gaza. Vast numbers of Jews in the Jewish diaspora accepted his claims, even after he became a Jewish apostate with his conversion to Islam in 1666. Sabbatai Zevi's followers, both during his "Messiahship" and after his conversion to Islam, are known as Sabbateans. They can be grouped into three: "Maaminim" (believers), "Haberim" (associates), and "Ba'ale Milhamah" (warriors).


UPDATE | Turkey - Credit Rating by Rats!

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Turkey’s economy is doing surprisingly well. In the third quarter of 2017 GDP surged by 11.1% year-on-year, outperforming all major countries. Yet the outlook is not entirely rosy. Turkey’s current-account deficit has swelled from $33.7bn at the end of 2016 to $41.9bn (4.7% of GDP) now. Foreign direct investment is roughly half what it was a decade ago. Stirred by the credit boom, the spectre of high inflation, which haunted Turkey from the 1970s until the early 2000s, has returned. Prices surged by 13% in the year to November, the highest rate in 14 years, and more than double the central bank’s target. 

Mavi Boncuk |

Turkey - Credit Rating

S&P Global Ratings unexpectedly lowered Turkey's sovereign credit rating to "BB-" from "BB" and revised its outlook to "stable" from "negative" on Tuesday 1st May 2018, citing growing concerns about inflation outlook and the long-term depreciation and volatility of Turkey's exchange rate, notwithstanding the central bank's recent decision to hike its late liquidity window rate. The agency also warned about the country's deteriorating external position; rising distress in the externally leveraged private sector and the Turkey's fiscal position due to continued public and quasi-public stimulus to the economy. Moody's credit rating for Turkey was last set at Ba2 with stable outlook. Fitch's credit rating for Turkey was last reported at BB+ with stable outlook. DBRS's credit rating for Turkey is BB (high) with negative outlook. In general, a credit rating is used by sovereign wealth funds, pension funds and other investors to gauge the credit worthiness of Turkey thus having a big impact on the country's borrowing costs. This page includes the government debt credit rating for Turkey as reported by major credit rating agencies.


Same old same old

AgencyRatingOutlookDate
S&PBB-stableMay 01 2018
Moody'sBa2stableMar 07 2018

Moody'sBaa3stableMay 05 1992

S&PBBBstableMay 04 1992

Turkey Economic Outlook
April 10, 2018

Concerns over an economic overheating are on the rise, with annual GDP growth coming in at a stronger-than-expected 7.3% increase in Q4, and inflation and external metrics quickly deteriorating. Investors’ appetite for risky emerging market assets—on which Turkey depends to finance its external deficits—has also moderated in recent weeks amid fears over a trade war between the U.S. and China, causing the lira to tumble to fresh all-time lows in early April. Nonetheless, authorities remain committed to injecting huge stimulus into the economy in an attempt to keep it humming ahead of general elections, currently set for November 2019 but with signs of a potential snap vote mounting. Against this backdrop, Moody’s downgraded the sovereign credit rating further into junk status in early March, arguing that the government’s focus on short-term measures undermined effective policymaking and economic reform.

Turkey Economic Growth

The economy is expected to decelerate from last year’s outstanding performance as credit stimulus ebbs and households take a breather following a debt-fueled spending spree last year. That said, the government’s singular focus on delivering strong headline growth ahead of general elections should see fiscal stimulus remaining vigorous this year. Geopolitical noise, widening current account deficits and sticky inflation, however, pose major downside risks to growth. Our panel expects growth of 4.1% this year, which is up 0.2 percentage points from last month’s estimate. It expects growth of 3.8% in 2019.

Music | Professor John Morgan O'Connell

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Commemorating Gallipoli through Music Remembering and Forgetting JOHN MORGAN O'CONNELL[1] 

This monograph examines the relationship between music and memory as it relates to the Gallipoli Campaign (1915-6). Drawing upon a wide variety of sources in many languages, it explores the multiple ways in which music is employed to remember and to forget, to celebrate and to commemorate a victory (on the part of the Central Powers) and a defeat (on the part of the Allied forces) in the Dardanelles during the First World War (1914-8). Further, it argues that commemoration itself can be viewed as an ‘instrument of war’. In particular, it investigates the complex positionality of individual actors during the centennial commemorations of the Gallipoli landings (24 April, 2015) where the Australians and the Turks most notably have employed music to reimagine the past, both nationalities invoking the ‘Gallipoli spirit’ (tr. ‘Çanakkale ruhu’) to advance a nationalist agenda and a resurgent militarism through the selective memorialization of an imperial past. The book interrogates through music the ambivalent position of minorities. With specific reference to the Irish (amongst the British) and the Armenians (amongst the Ottomans), it shows how song might serve both to articulate a nationalist defiance and an imperialist consensus during a tumultuous period of irredentism. By uncovering the complex pathways of musical transmission, it demonstrates through musical analysis how the colonized could become the colonizer (in the case of the Irish) or a minority might conform to a majority (in the case of the Armenians). Further, the publication looks at the uneasy alliance between the Turks and the Germans. It focuses on a German musician (as an imperial bandmaster) and Germanic entrepreneurs (in the recording industry) who entertained or who served the German Mission in Istanbul. Here, it considers by way of musical composition the shared wish on the part of the Germans and the Turks to create a Lebensraum in Asia.  

Lexington Books Pages: 332 • Trim: 6 1/4 x 9 3/8 978-1-4985-5620-0 • Hardback • December 2017 978-1-4985-5621-7 • eBook • December 2017 


 Mavi Boncuk |

[1] Professor John Morgan O'Connell MA (Oxon), MA (UCLA), PhD (UCLA), AGSM
Professor

School of Music | oconnelljm(at)cardiff(dot)ac(dot) uk |+44 (0)29 2087 0394

Biography

I am an Irish ethnomusicologist with a specialist interest in cultural history. I have recently completed a monograph on music and commemoration as it relates to the Gallipoli Campaign from the perspective of the Australians and the Turks, the British and the Germans, amongst others (see O’Connell 2017). I also explore the issues of militarism and orientalism with respect to Irish recruits in the military catastrophe, my own family in particular having an ongoing connection with the Ottoman Empire. Some of my ancestors were administrators and soldiers in Ottoman territories, and others were diplomats and doctors in the Ottoman capital (see Figure 1). Significantly, a number of my relatives were either killed or wounded in the Gallipoli Campaign (see Figure 2).

This research builds upon my established interest in the music of the Middle East. It also draws upon my continued research on music in conflict zones. These academic strands have resulted in significant outputs in the form of a monograph (see O’Connell 2013) and a collection (see O’Connell Ed. 2010) respectively. I am currently working on a project that concerns music in Ireland during the Great War. I also aim to complete a study on music in the late Ottoman Empire. In addition, I have conducted impact related research in the Muslim world in association with the Aga Khan Humanities Project (see O’Connell 2015) and the Arts and Humanities Research Council (2014).

My research concerns the musical traditions of the Muslim world, with a secondary area of expertise in the musical traditions of Europe. Other areas of interest include the significance of hermeneutic theory and historical ethnography for ethnomusicology. In 2013, I published a monograph on Turkish style in the early-Republican period (1923-1938). In 2010, I edited a scholarly collection that concerns music and conflict in a global perspective. Further, I have recently published chapters on music and humanism, music and classicism, and music and architecture. Having submitted for publication my latest book on music and commemoration in the Gallipoli Campaign (contract signed November, 2016), I am now undertaking a study of music in Ireland during the Great War.

I have acted as a music consultant for a number of international organizations, being awarded a Senior Fulbright Fellowship in association with the Aga Khan Humanities Project (2002) and a Getty Foundation Grant to participate in its International Summer Institute (2006). I was also awarded an AHRC fellowship (2014) for a project entitled ‘The God Article’. I have hosted a variety of international conferences including the 15th ICTM International Colloquium (2004) and the annual conference of the British Forum for Ethnomusicology (2008). I was reviews editor for the journal Ethnomusicology. I am currently a member of the editorial boards for the SOAS Musicology Series, Ethnomusicology Forum and the Journal of the Ottoman and Turkish Studies Association, amongst others.

Forthcoming Publications: Selected

O'Connell, John M. 2017. Commemorating Gallipoli: Music, Memory, Myth. Lanham, MD: Lexington Books. [Accepted: 130,000 words]

O'Connell, John M. 2017. ‘Kâr-ı Nev: Elaboration and Retardation in the Musical Performances of a Turkish Classic’. Eds Rachel Harris and Martin Stokes. Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright. London: Routledge, 123-143. [Accepted: 10,000 words]

Education:

1996: PhD (Ethnomusicology) UCLA, USA
1992: MA (Music) UCLA, USA
1986: AGSM (Performance) Guildhall School of Music, UK
1985: MA (Geography) Oxford University, UK
1982: BA (Geography) Oxford University, UK
Fellowships: Selected

2006: Getty Foundation Internship, Koç Üniversitesi, Turkey
2002: Fulbright Senior Scholar Award, Brown University, USA
2001: Music Consultant, Aga Khan Humanities Project, Tajikistan
1992: Turkish Government Fellowship, İstanbul Üniversitesi, Turkey
1991: Graduate Distinguished Scholar, UCLA, USA
1990: DAAD Fellowship, Freie Universität, Germany
1988: Graduate Fellowship, UCLA, USA
1987: Research Associate, York University, UK
Academic positions
Permanent Appointments:

Otago University (Lecturer)
University of Limerick (Senior Lecturer)
Cardiff University (Professor)
Visiting Appointments:

Queen's University (Visiting Lecturer)
Brown University (Visiting Professor)
Haverford College (Distinguished Visiting Professor), among others

Speaking engagements
Recent: Selected (2014-)

2017: ‘Old Gallipoli: Music in the Commemoration of a Campaign', CoHere Symposium, Newcastle University, Newcastle (UK)

2017: 'Bedî Mensî: Hüseyin Sadettin ve Türk Operası', Hüseyin Sadettin Arel Sempozyomu, İstanbul Üniversitesi, Istanbul (Turkey)

2017: ‘De la musique pour la guerre: pluralisme et chauvinisme’, La Fondation Royaumont, Paris (France)
2017: Keynote. ‘Heal the Pain: The Arts in the Dardanelles (1915)’, Centre for Nineteenth Century Studies, Durham University (UK)

2016: ‘Turân: A Turkic Myth in Turkish Music’, Middle East and Central Asia Music Forum, SOAS, London (UK)

2016: ‘Telling Tales: Musical Creativity and National Identity in the Gallipoli Campaign’, Commemorating WWI, National Museum, Cardiff (UK)

2016: ‘Saz as Symbol: A Turkic Lute in the Turkish Diaspora’, Music of the Silk Road, Shanghai Conservatory, Shanghai (China)

2015: ‘The Classical Style: Modal Analysis of a Vocal Improvisation in Turkey’, 3rd International Mugam Symposium, Baku (Azerbaijan)

2015: ‘The Pulse of Asia: Musical Diffusion and Environmental Determinism in Central Asia’, International Council for Traditional Music, Astana (Kazakhstan)

2014: ‘Usûlsüz: A Matter of Meter in the Concerts of Münir Nurettin Selçuk (1923-1938)’, Westfälische Wilhelms-Universität, Münster (Germany)

2014: ‘Ottomanism Revived: Jewish Musicians and Cultural Politics in Turkey’, Society for Ethnomusicology, Pittsburgh (USA)

2014: ‘Concert Platform: Style and Space in Turkish Music’, Institute for the Study of Muslim Civilisation, London (UK)

2014: ‘Mythality: Myth and Reality in Turkish Music’, Arnolfini, Bristol (UK)


Articles
O'Connell, J. M. 2015. Iranian classical music: the discourse and practice of creativity. By Laudan Nooshin [Book Review]. Music and Letters 96(4), pp. 677-679. (10.1093/ml/gcv080)
O'Connell, J. M. 2011. Music in war, music for peace: A review article. Ethnomusicology 55(1), pp. 112-127. (10.5406/ethnomusicology.55.1.0112)
O'Connell, J. M. 2010. A staged fright: Musical hybridity and religious intolerance in Turkey, 1923-38. twentieth-century music 7(1), pp. 3-28. (10.1017/S147857221100003X)  pdf
O'Connell, J. M. 2010. Music and the play of power in the Middle East, North Africa and Central Asia. Laudan Nooshin, ed. [Book Review]. Ethnomusicology 54(2), pp. 347-351. (10.5406/ethnomusicology.54.2.0347)
O'Connell, J. M. 2007. Timothy D. Taylor, Beyond exoticism: Western music and the world (Durham, NC: Duke University Press, 2007), ISBN 978 0 8223 9571 (hb), 978 0 8223 3968 7 (pb) [Book Review]. Twentieth-Century Music 4(2), pp. 261-265. (10.1017/S1478572208000546)
O'Connell, J. M. 2007. Falak: the voice of destiny: traditional, popular and symphonic music of Tajikistan. Compiled by Federico Spinetti [Musical Recording Review]. Ethnomusicology Forum 16(1), pp. 179-181. (10.1080/17411910701273101)
O'Connell, J. M. 2006. National symposium: towards a national ethnomusicology. Bulletin of the International Council for Traditional Music 109, pp. 61-62.
O'Connell, J. M. 2005. The Edvâr of Demetrius Cantemir: recent publications. Ethnomusicology Forum 14(2), pp. 235-239. (10.1080/17411910500415887)
O'Connell, J. M. 2005. In the time of Alaturka: Identifying difference in musical discourse. Ethnomusicology 49(2), pp. 177-205.
O'Connell, J. M. 2005. The 15th ICTM colloquium: identifying conflict in music, resolving conflict through music. Bulletin of the International Council for Traditional Music 106, pp. 55-57.
O'Connell, J. M. and Smith, T. 2005. Liaison officer report: Ireland. Bulletin of the International Council for Traditional Music 106, pp. 65-67.
O'Connell, J. M. 2004. Liaison officer report: Ireland. Bulletin of the International Council for Traditional Music 105, pp. 24-27.
O'Connell, J. M. 2004. The tale of Crazy Harman: the musician and the concept of music in the Türkmen epic tale, Harman Däli by Sławomira Żerańska-Kominek [Book Review]. Yearbook for Traditional Music 36, pp. 171-175.
O'Connell, J. M. 2003. A resounding issue: Greek recordings of Turkish music, 1923-1938. Middle East Studies Association Bulletin 37(2), pp. 200-216.
O'Connell, J. M. 2003. Song cycle: the life and death of the Turkish gazel: a review essay [Musical Recordings Review]. Ethnomusicology 47(3), pp. 399-414. (10.2307/3113948)
O'Connell, J. M. 2003. Music of the Ottoman court: makam, composition and the early Ottoman instrumental repertoire by Walter Feldman [Book Review]. Edebiyât 13(2), pp. 260-263. (10.1080/0364650032000143283)
O'Connell, J. M. 2001. Fine art, fine music: Controlling Turkish taste at the Fine Arts Academy in 1926. Yearbook for Traditional Music 32, pp. 117-142. (10.2307/3185245)
O'Connell, J. M. 1991. Die musik der Araber (The music of the Arabs) by Habib Hasan Touma [Book Review]. Asian Music 22(1), pp. 154-156. (10.2307/834296)
O'Connell, J. M. 1989. Jean During. La musique traditionnelle de I'Azerbayjan et la science des muqâms [Book Review]. Pacific Review of Ethnomusicology 5, pp. 130-132.
Books
O'Connell, J. 2017. Commemorating Gallipoli through music: Remembering and forgetting. Lanham, MD: Rowman and Littlefield, Lexington Monographs.
O'Connell, J. M. 2013. Alaturka: Style in Turkish music (1923-1938). SOAS Musicology Series. Aldershot: Ashgate.
O'Connell, J. M. and El-Shawan Castelo-Branco, S. eds. 2010. Music and Conflict. Urbana and Chicago: University of Illinois Press.
Book Sections
O'Connell, J. M. 2017. Usûlsüz: Meter in the Concerts of Münir Nurettin Selçuk (1923-1938). In: Jäger, R. M., Helvacı, Z. and Olley, J. eds. Rhythmic cycles and structures in the art music of the Middle East.   Ergon Verlag, pp. 247-276.
O'Connell, J. M. 2017. Concert platform: a space for a style in Turkish music. In: Spinetti, F. and Frishkopf, M. eds. Music, Sound, and Architecture in Islam.   University of Texas Press, pp. 79-109.
O'Connell, J. 2017. Kâr-ı Nev: elaboration and retardation in the musical performances of a Turkish classic. In: Harris, R. and Stokes, M. eds. Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright.   Routledge, pp. 123-143.
O'Connell, J. M. 2015. Gazel. In: Jankowsky, R. C. ed. Bloomsbury Encyclopedia of Popular Music of the World, Vol. 10.Encyclopedia of Popular Music of the World  Bloomsbury Academic, pp. 35-37.
O'Connell, J. M. 2015. Modal trails, model trials: Musical migrants and mystical critics in Turkey. In: Davis, R. ed. Musical Exodus: Al-Andalus and its Jewish Diasporas. Europea: Ethnomusicologies and Modernities Lanham, MD:  Rowman & Littlefield Publishers, pp. 101-124.
O'Connell, J. M. 2015. Music and humanism in the Aga Khan Humanities Project. In: Pettan, S. and Titon, J. T. eds. The Oxford Handbook of Applied Ethnomusicology. Oxford Handbooks  Oxford University Press, pp. 602-638.
O'Connell, J. M. 2015. The classical style: modal analysis of vocal improvisation in Turkey. In: Agayeva, S. ed. Space of Maugham.   Şerq-Qerb, pp. 124-139.
O'Connell, J. M. 2013. Pir Sultan Abdal. In: Fleet, K. et al. eds. Encyclopaedia of Islam, Three.   Brill, pp. 135-136 ,(10.1163/1573-3912_ei3_COM_23910)
O'Connell, J. M. 2013. Beste. In: Fleet, K. et al. eds. Encyclopaedia of Islam, Three.   Brill, pp. 52-53 ,(10.1163/1573-3912_ei3_COM_24017)
O'Connell, J. M. 2010. Alabanda: Brass bands and musical methods in Turkey. In: Spinetti, F. ed. Giuseppe Donizetti Pasha: Musical and Historical Trajectories between Italy and Turkey [Giuseppe Donizetti Pascià: Traiettorie Musicali e Storiche tra Italia e Turchia]. Saggi e Monografie, Vol. 7. Bergamo, Italy:  Fondazione Donizetti, pp. 19-37.
O'Connell, J. M. 2010. Music in war. In: O'Connell, J. M. and El-Shawan Castelo-Branco, S. eds. Music and Conflict.   University of Illinois Press, pp. 15-16.
O'Connell, J. M. 2010. Introduction: an ethnomusicological approach to music and conflict. In: O'Connell, J. M. and El-Shawan Castelo-Branco, S. eds. Music and Conflict.  Urbana:  University of Illinois Press, pp. 1-14.
O'Connell, J. M. 2009. Ayin. In: Fleet, K. et al. eds. Encyclopaedia of Islam, Three.   Brill, pp. 86-87 ,(10.1163/1573-3912_ei3_COM_23036)
O'Connell, J. M. 2008. War of the Waves: Cypriot Broadcasting in Great Britain. In: Hemetek, U. and Sağlam, H. eds. Music from Turkey in the Diaspora. Klanglese, Vol. 5. Vienna:  Institut für Volksmusikforschung und Ethnomusikologie, pp. 119-130.
O'Connell, J. M. 2006. 'The mermaid of the Meyhane: the legend of a Greek singer in a Turkish tavern'. In: Linda, P. A. and Inna, N. eds. Music of the Sirens.   Indiana University Press, pp. 273-293.
O'Connell, J. M. 2005. 'Sound sense: mediterranean music from a Turkish perspective'. In: Cooper, D. and Dawe, K. eds. The Mediterranean in Music.   Scarecrow Press, pp. 3-25.
O'Connell, J. M. 2004. Sustaining difference: theorizing minority musics in Badakhshan. In: Hemetek, U. et al. eds. Manifold Identites.   Cambridge Scholars Press, pp. 1-19.
O'Connell, J. M. 2002. From Empire to Republic: vocal style in twentieth century Turkey. In: Danielson, V., Marcus, S. and Reynolds, D. eds. The Garland Encyclopedia of World Music: The Middle East, Vol. 6.  Routledge, pp. 781-787.
O'Connell, J. M. 2002. Snapshot: Tanburî Cemil Bey. In: Danielson, V., Marcus, S. and Reynolds, D. eds. The Garland Encyclopedia of World Music: The Middle East.   Routledge, pp. 757-758.
O'Connell, J. M. 2001. Major minorities: towards an ethnomusicology of Irish minority musics. In: Pettan, S., Reyes, A. and Komavec, M. eds. Music and Minorities.   ZRC Publishing, pp. 165-182.
O'Connell, J. M. 2001. Münir Nurettin Selçuk. In: Sadie, S. and Tyrrell, J. eds. The New Grove Dictionary of Music and Musicians.   Oxford University Press, pp. 55-56.
O'Connell, J. M. 1998. The Arab in Arabesk: style and stereotype in Turkish vocal performance. In: Wharton, B. and Adawy, N. eds. The Limerick Anthology of Arab Affairs.   University of Limerick Press, pp. 87-103.

London’s East End Film Win for "Daha" | Karlovy Vary Reviews

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Mavi Boncuk |
London’s East End Film Festival has unveiled the winners from its 17th edition, with Turkish drama Daha taking home best film.
The directorial debut of Turkish actor Onur Saylak (The Blue Wave), Daha follows an unhappy teenager in a coastal Turkish town whose life is corrupted by his father’s people-trafficking business. It is an adaptation of a novel by Hakan Günday.
The award was given by a jury comprised of radio and TV host Edith Bowman, producer Dominic Buchanan, actress Ophelia Lovibond, and screenwriter and critic Kate MuirBowman said of the winner, “Such a raw story – really stayed with me. Great performances and incredible first outing for Onur Saylak.”

The other jurors added that the film was “terrific”, “gripping” and “emotionally devastating”.


Variety Review

Karlovy Vary Review: ‘More’
A young man is corrupted by his father's human trafficking business in Turkish actor Onur Saylak's gripping, grueling directorial debut.
By Jessica Kiang

With: Hayat Van Eck, Ahmet Mümtaz Taylan, Turgut Tunçalp, Tankut Yıldız, Tuba Büyüküstün (Turkish, Arabic dialogue)
The blue Aegean sparkles under blazingly sunny skies. The view from a promontory is of rocky cliffs rising from a curving, fertile, beach-fringed bay, and of a series of crags jutting up out of the water like stepping stones to a hopeful horizon. It’s a picture that’s nobody’s idea of Hell, but all Hell needs is a devil in residence, and this strip of the Turkish coast has one, plus another in waiting. Popular Turkish actor Onur Saylak makes an audacious, provocative directorial debut with his adaptation of Hakan Günday’s novel, a film that impresses for its craftsmanship and performances almost as much as it depresses with its relentless, uncompromising depiction of humanity’s basest depravities. Presenting the refugee emergency from a viewpoint rarely explored — that of the traffickers who exploit it for monetary gain — “More” adds a dimension of horror to the humanitarian catastrophe, and convincingly suggests it’s a crisis that corrupts everyone and everything it touches.
Gaza (Hayat Van Eck) is a bright young man who has never left the small Turkish seaside town of his birth — and why would he, given that, as he intones in one of the film’s confessional voiceovers, he is “the son of the most important man alive.” His father, Ahad (Ahmet Mümtaz Taylan), hardly looks the part: balding, boorish, jowly and rotund. But Ahad’s real business is not the fruit and vegetable delivery service indicated on his van; it’s the lucrative job of collecting and hiding batches of 20 or 30 people at a time as they flee, mostly from Syria, before some equally unscrupulous boatsmen smuggle them away again across that treacherously calm-looking azure sea.

Ahad has a cellar built specially for this purpose and it’s Gaza’s job to maintain it, to provide the refugees with the basic necessities of food and water while Ahad feels little compunction in exercising his Godlike powers over them, extorting further cash bribes from the men and raping the women or pimping them out to local bigwigs. And so this is a pivotal moment for Gaza, who has a decision to make about who he is, with his own innocence and decency little more than a guttering candle in the darkness of his vicious and venal father’s example. The already grim proceedings take an even grimmer turn following the death of a little boy and the subsequent murder of his mother, and the point of no return  arrives quickly.

Saylak has cast his film with care, and gets exceptionally committed performances from Taylan and, in particular, from Van Eck. The sullen Gaza seems to almost physically change over the course of the film, from baby-faced boyishness to a sunken brutishness, his eyes set deep beneath a heavy forehead. In certain light, he can look positively demonic — indeed Feza Çaldiran’s stark, rich photography makes painterly use of directional light throughout, with slices of illumination slanting through otherwise inky frames. Even the sun-drenched exteriors start to feel claustrophobic as the promise of that far-off horizon turns into a taunt. 

By contrast, a few of the more literary conceits don’t quite work in translation from page to screen, such as the odd occasional inter-title counting down of days, or the sporadic voiceover that ultimately acts as a red herring concerning the film’s intentions for Gaza. And there’s a sense that in following the novel all the way down to its most hellish extreme and lingering there, the film might actually somewhat dull the message: Its villains become so devoid of humanity they’re somehow easier to dismiss as monsters. Less might have benefited “More,” which is already a difficult, despairing watch, but the ferocity of its intent is both justified and admirable.

It’s ironic that the term for moving undocumented refugees is known as “human trafficking” when its inevitable effect is the dehumanization of its victims. And the central theme of “More” is how that process happens in parallel: the less Gaza sees these people as people, the less of a person he becomes. From there it’s no big leap to understand the film’s most sobering message — one that sits sickly in the pit of your stomach for some time after the movie ends: The lost souls searching for a better life over that duplicitous horizon are far from the only souls lost to this crisis.

Karlovy Vary Review: 'More'

Reviewed at Karlovy Vary Film Festival (competing), July 3, 2017. Running time: 117 MIN. (Original Title: "Daha")

PRODUCTION: (Turkey) An Ay Yapim production, in co-production with b.i.t arts. (International sales: Heretic Outreach, Athens.) Producers: Kerem Çatay. Executive Producer: Yamac Okur.

CREW: Director: Onur Saylak. Screenplay: Saylak, Hakan Günday, Doğu Yaşar Akal, based on the novel "Daha" by Hakan Günday. Camera (color): Feza Çaldiran. Editor: All Aga. Music: Uygur Yigit.


WITH: Hayat Van Eck, Ahmet Mümtaz Taylan, Turgut Tunçalp, Tankut Yıldız, Tuba Büyüküstün (Turkish, Arabic dialogue)


'More' ('Daha'): Film Review | Karlovy Vary 2017 by Boyd van Hoeij

An impressively controlled and complex debut.  TWITTER

Turkish actor Onur Saylak ('Autumn') casts young Hayat Van Eck opposite veteran Ahmet Mumtaz Taylan ('Once Upon a Time in Anatolia') in his impressive directorial debut.
A film about a 14-year-old boy helping out his father at work in a rural outpost on the sea would probably feature gorgeous landscapes but wouldn’t necessarily make for an interesting story. But Gaza, the protagonist of the hard-hitting Turkish drama More (Daha), isn’t just any teen, and his father, involved in smuggling people from the war-torn Middle East into nearby Greece, doesn’t just have any old job. Turkish actor Onur Saylak (Autumn) makes an auspicious debut as a director here, turning Hakan Gunday’s ink-black novel of despair into a film that’s a hard sit but that suggests an awful lot — awful being the operative word — about the world we live in today.

After its world premiere in competition at the recent Karlovy Vary International Film Festival, this should travel far and wide and drum up significant interest for whatever Saylak decides to do next as a director.

Ahad (Ahmet Mumtaz Taylan) is a heavy-set man with an equally heavy brow who exploits opportunities wherever he sees them and who expects unquestioned loyalty from the handful of people he works with, including his most loyal aid, Gaza (Hayat Van Eck), his teenage boy. The adolescent, with vivid and alert eyes and a can-do attitude that is probably more rooted in his relative innocence than in his character, is curious about the world and a good student. He’s been secretly testing for a good school in faraway Istanbul, though Dad isn’t very interested in his academic results, telling him to “f— school,” and that’s hardly the first sign he’s not an ideal parent.  

Ahad — which, when read backwards, spells Daha, the film’s Turkish title — owns a small truck that he nominally transports fruit and vegetables with along the coast. But the vehicle is also used to take especially Syrian refugees from a nearby marsh to the large but dark basement underneath Ahad’s garage and from there, when the weather allows it, onto a boat that will take them to nearby Greece. Refugees generally seem to stay a couple of days in transit in the underground store room, during which Gaza is charged with making them food and distributing water bottles.

The task isn’t an easy one, but initially Gaza seems to tackle it like any complex challenge at school. There are cultural and language barriers — Syrians don’t speak Turkish and Turks don’t speak Arabic — but the boy manages to do a good job and even tries to improve the refugees’ living standards somewhat by reorganizing the cellar. Whether to show his appreciation or to try and convince him to stay at home rather than leave him behind and move to the big city, Ahad allows Gaza to smoke and drink and feel like he’s an adult. He even offers him to become a partner, rather than an apprentice, in his booming refugee business.

Neither of the men is a big talker, so Saylak, who co-penned the adaptation with Dogu Yasar Akal and Gunday, has to use other means to communicate what the men are thinking and how their characters are evolving. One of the main conduits of information is their physical reaction to some extreme occurrences, starting with one of the film’s most intense sequences, in which Dad drags a female refugee from the basement into their home one night to rape her. This has happened before and is amply foreshadowed, so it is not much of a surprise when it occurs. What does surprise is the way in which Saylak stages the rape, suggesting its extremely violent impact on both the poor refugee and the perpetrator’s son while keeping the actual rape entirely offscreen.

As the woman tries to escape the horror, Ahad finally manages to catch her and he brutalizes her in the corridor while director of photography Feza Caldiran stays in Gaza’s tiny bedroom. As if to literally block out what’s happening, the upset teen has closed his bedroom door and has sat down against it, with first the woman banging on the door for help and then a horrific pounding heard as Ahad has his way with her right behind the door. Gaza, who is the only one in the frame, can’t help but put his hands over his ears, a gesture that at once suggests how aggressive the assault is — the soundwork is appropriately terrifying — but which simultaneously reduces Gaza to something of a child, as he knows what’s happening but won’t do anything about it but pretend he can’t hear it.

There are more scenes that rely on other things than dialogue for their very visceral impact, though Saylak doesn’t always know how to exploit them for maximum impact. A rap song that Gaza has heard from some local boys, for example, seems to toughen his resolve and at one point serves as a way to prep him for a possible confrontation with his father. But the sequence — one of many that showcase the impressive and raw talents of Van Eyck — is all setup and no payoff, as Gaza, chanting the song’s chorus and mock-fighting, works up the courage to see eye-to-eye with his brute of a father. Ahad then arrives to confront his son, but Saylak suddenly skips ahead to the next, seemingly unrelated scene.

There are a few other small missteps like this, as well as some elements that are unnecessary. They include a sporadic voiceover from the older (but never seen) Gaza that reeks of literary pretension and actually distances the viewer more from the 14-year-old’s point-of-view rather than bringing him closer and a couple of very specific time-jumps — “78 days more” — that not only sound awkward in English (perhaps the nod to the title makes more sense in Turkish?) but don’t really add anything. Even so (spoiler ahead), More remains a tautly structured, carefully crescendoing story of a young boy full of promise whose potential and innate goodness are slowly being ground to a pulp by those around him who, and this is the real tragedy, in turn once probably were bright young things themselves. The bitter irony of becoming a heartless human while handling refugees that are escaping worse situations on their way to what they hope will be a better life makes More not only hard to watch but also announces Saylak as a very gifted storyteller who can handle complex material with impressive directorial confidence.

For the record, the film received no state funding from Turkey and was made only with private backing.

Production companies: Ay Yapim, Bit Arts
Cast: Hayat Van Eck, Ahmet Mumtaz Taylan, Turgut Tuncalp, Tankut Yildiz, Tuba Buyukustun
Director: Onur Saylak
Screenplay: Hakan Gunday, Onur Saylak, Dogu Yasar Akal, based on the novel by Hakan Gunday
Producer: Kerem Catay
Director of photography: Feza Caldiran
Production designers: Dilek Ayaztuna, Aykut Ayaztuna
Editor: Ali Aga
Music: Uygur Yigit
Venue: Karlovy Vary International Film Festival
Sales: Heretic Outreach

In Turkish, Arabic

115 minutes

Book | Italian Architects and Builders in the Ottoman Empire and Modern Turkey

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Mavi Boncuk |

Italian Architects and Builders in the Ottoman Empire and Modern Turkey

Editor(s): Paolo Girardelli, Ezio Godoli[1]

Hardback
ISBN-13: 978-1-4438-5194-7
ISBN-10: 1-4438-5194-9
Date of Publication: 01/04/2017
Pages / Size: 301 / A5

Book Description
This volume represents the first scholarly work in English devoted to the experience of Italian architects and builders in Turkey, as well as in many of the lands once belonging to the Ottoman Empire. Covering a complex cultural and political geography spanning from the Danubian principalities (today’s Romania) to Anatolia and the Aegean region, the book is the result of individual research experiences that were brought together and debated in an international conference in Istanbul in March 2013, organized in collaboration with the Italian Institute of Culture and Boğaziçi University.

Grounded on a flexible notion of identitarian boundaries, the book explores a rich transcultural field of encounters and interactions, analyzed and evaluated by scholars from six different countries on the basis of hitherto uncovered archival materials. Forms, ideas, individual mobility of actors and materials, networks of patronage, material and political constraints, and religious and cultural difference all play a significant role in shaping the landscapes, buildings and architectural projects presented and discussed here. From late 18th and early 19th century experiences of interaction between neo-classical backgrounds and westernizing Ottoman forms to the Italian proposals for a Turkish republican iconic landmark like the Ataturk mausoleum in Ankara; from the design of the first Ottoman university building to Ottoman varieties of Art Nouveau and Art Deco, and to the infrastructures and urban developments of the 1950s in Turkey, the book is both a richly illustrated and documented overview of relevant cases, and a critical introduction to one of the most enticing areas of encounter in the global history of 19th and 20th century architecture and design.

Table of Contents
Introduction vii
Paolo Girardelli and Ezio Godoli

Part I - Landmarks, Spaces and Politics
From Andrea Memmo to Alberto Blanc:
Metamorphoses of Classicism in the Italian Buildings
for Diplomacy (1778-1889) 5
Paolo Girardelli
Palazzo Venezia in the mid-19th Century:
Contributions by Gaspare Fossati and Domenico Pulgher 29
Rudolf Agstner
Political Ideals and their Architectural Visibility:
Gaspare Fossati’s Projects for Tanzimat Istanbul (1845-1865) 45
Göksün Akyürek
The Contribution of Luigi Storari to the Analysis
and Development of the Levantine Urban Fabric 63
Emiliano Bugatti
The Italian Presence in the Romanian Principalities
by the Year 1878: The Historical and Cultural Context 75
Raluca Tomi

Part II - Individual Experiences in Context
Nicola Carelli in Constantinople and in the Levant:
Some Notes 97
Fabio Mangone
Brothers but not Compatriots: The Fossatis in Milan 111
Giuliana Ricci
Giulio Mongeri’s Photo Collection:
The Eye of a Milanese Architect in Turkey 125
Giovanna D’Amia
Giovanna D’Amia Luigi Rossetti in Izmir 139
Cenk Berkant
Italian Architects in Thessaloniki: New Elements a
bout the Work of Vitaliano Poselli and Pietro Arrigoni 149
Vassilis Colonas

Part III - Institutions and Investments
Alexandre Vallauri and his Works for the Italian
Community of Istanbul 165
Seda Kula Say
The Italians of Istanbul and their Properties:
An Analysis through the Petitions addressed
to the Italian Consulate, 1873-1910 183
Zeynep Cebeci
The Interests in Land and Real Estate of the
“Assicurazioni Generali” in Ottoman Turkey 199
Francesco Krecic and Diego Caltana
Giulio Mongeri, Edoardo De Nari and the
“Società Anonima Ottomana Costruzioni” (S.A.O.C.) 213
Vilma Fasoli

Part IV - Late Empire to Republic - A Plural Modernity
Rediscovering Edoardo De Nari,
Italian Architect in Turkey (1874-1954) 233
Büke Uras
The Italian Participation in the Competition for
Atatürk’s Mausoleum in Ankara 249
Milva Giacomelli
Finding a Balance between Art and Technique:
The Sports Centers Designed by Paolo Vietti Violi in Turkey 267
Paola Ricco

Contributors 281


[1] Biography

Paolo Girardelli is Associate Professor in the History Department of Boğaziçi University, Turkey. He was Aga Khan Fellow at Massachusetts Institute of Technology in 2005-06, and has published extensively on issues of identity and space in the late Ottoman Empire. He is currently working on a critical evaluation of the architecture of European diplomacy in Istanbul, from the late 18th to the early 20th centuries.

Ezio Godoli is Full Professor of History of Contemporary Architecture in the University of Florence, Italy. He is the author of Istanbul 1900: Art Nouveau Architecture and Interiors (with D. Barillari, 1996) and the editor of several exhibition catalogues and proceedings of international conferences on the works of Italian architects and builders in Middle East and Mediterranean countries.

Reviews | Girls Of The Sun by Eva Husson

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Girls of the Sun (FrenchLes filles du soleil) is a 2018 French drama film directed by Eva Husson. It was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival.

www.lesfillesdusoleil-lefilm.com/presse




Mavi Boncuk |
REVIEWS
'Girls Of The Sun': Cannes Review BY LEE MARSHALL 12 MAY 2018

A batallion of female Kurdish fighters take on ISIS in Eva Husson’s follow-up to ‘Bang Gang’

‘GIRLS OF THE SUN’

Dir/scr: Eva Husson. France/Belgium/Georgia. 2018. 115mins.

The feminist message is clear and sincere in Eva Husson’s ponderous women’s war movie, which focuses on a battalion of female Kurdish fighters in the front line of the fight against ISIS. A mid-budget mis-fire after the director’s promising indie debut, Bang Gang, Girls of the Sun seems more concerned with staging sisterly bonding sessions amidst the rubble than in developing what might have been an intriguing story – about how war can reshuffle social and gender inequality.

The director’s decision to shoot for universal values rather than distracting details gives the entire story a soft-focus feel

Husson’s surprisingly static drama has a big, theatrical look and high-volume orchestral soundtrack but is lacking in other departments – the story structure being the most problematic.

There’s a scene towards the end where we see the faces of an advance party of Kurdish fighters led by commander Bahar (Iranian actress Golshifteh Farahani) and the war-toughened reporter embedded with them (Emmanuelle Bercot) poetically illuminated by fiery light from the air strikes that their US allies have launched to support their offensive. Any true soldier would have backed away from the windows in a still active battle zone where enemy snipers and suicide bombers are rife – but it makes for a great widescreen array. It’s one small example of the film’s tendency to overstate, to opt for the easy money shot, that undermines our faith in the authenticity of what we’re watching.

Bercot’s Mathilde is a recently-bereaved veteran French photoreporter who lost an eye while covering the battle of Homs, and a war correspondent partner in Libya, but is back for more in Northern Iraq where she has come to write a story about a Kurdish women’s unit. She’s assigned to the battalion under the command of Bahar, whose tragic, faraway look is soon explained by great lashings of backstory, introduced in clichéd flashback mode, that take us back to the abduction of this former lawyer by ISIS militants. Sold into sex slavery like thousands of other Kurdish women, she managed to escape and became a fighter to not only take revenge on her captors, but also to fight for “Women, Life, Liberty’” as the battle song of these ‘Girls of the Sun’ have it.

Husson seems to have decided at an early stage of writing the script that audiences are never going to grasp the difference between Kurdish groups like the PKK, the YPG and the Peshmerga, or the unique place of the non-Muslim Yazidi minority – victims of the Sinjar massacre of August 2014 that initiated the events recounted in the film – within Kurdish culture. Even the town the Kurdish forces are attacking is inexplicably given a name derived from the ancient history of the region, Corduene (it’s clear from the dates that appear onscreen at the beginning that Corduene stands in for the Yazidi town of Sinjar, retaken by the Kurds in November 2015).

Gritty locations and production design put some realism back into the mix, but the director’s decision to shoot for universal values rather than distracting details gives the entire story a soft-focus feel. Bercot and Farahani emote like the great actresses they are, but there’s little to their characters but tragic backstory. And although there are some lyrical moments in the soundtrack by American musician Morgan Kibby, who also scored Bang Gang, her music is randomly applied – the worst offender being a solo piano lilt that leeches all of the tension out of one of a key escape-from-ISIS scene.

Production companies: Maneki Films
International sales: Elle Driver, sales@elledriver.eu
Producer: Didar Domehri
Production design: David Bersanetti
Editing: Emilie Orsini
Cinematography: Mattias Troelstrup
Music: Morgan Kibby

Main cast: Golshifteh Farahani, Emmanuelle Bercot, Zubeyde Bulut, Maia Shamoevi, Evin Ahmadguli, Nia Mirianashvili, Mari Semidovi, Roza Mirzoiani, Zinaida Gasoiani, Sinama Alievi




Cannes Film Review: ‘Girls of the Sun’

Eva Husson directs a pedantically commonplace drama about a French journalist embedded with a female peshmerga unit as they free a town under ISIS control.
By Jay Weissberg

Reviewed at Cannes Film Festival (competition), May 12, 2018. Original title: Les filles du soleil.

Director: Eva Husson With: Golshifteh Farahani, Emmanuelle Bercot, Zübeyde Bulut, Maia Shamoevi, Evin Ahmadguli, Nia Mirianashvili, Mari Semidovi, Roza Mirzoiani, Zinaida Gasoiani, Sinama Alievi, Ahmet Zirek, Behi Djanati Ataï, Adik Bakoni, Tornike Alievi, Nuka Asatiani, Arabi Ghibeh. (Kurdish, French, English, Arabic dialogue)1 hour 55 minutes

At the end of Eva Husson’s “Girls of the Sun,” a female peshmerga fighter enjoins a French journalist: “Write the truth.” The problem, unrecognized by Husson, who also wrote this pedantically commonplace drama, is that there are multiple ways of telling the truth: One brings to life three-dimensional people who respond to based-on-fact situations in ways that reflect the messiness of being human. “Girls” could be used as a case study for the other type of truth telling, the kind that studies real events and then packages them for mass consumption in ways that, while mimicking the facts in their barest form, offer no insight nor any sense of believable character. However, as this is a femme-centric film, directed by a woman, about a group of women courageously fighting ISIS, it’s a shoo-in for international distribution.

Those expecting something along the lines of Husson’s debut feature “Bang Gang” will be surprised by its old-fashioned earnestness, and to be fair, it’s hard not to be intimidated by the burden of representing the extraordinary Kurdish female forces who’ve been such a crucial element in the fight against ISIS in Iraqi Kurdistan. For that reason, interested parties are better off checking out some of the documentaries, such as “Gulîstan, Land of Roses,” rather than this well-intentioned yet cliché-riddled lunge at the tear ducts.

Husson crams in as much exposition as possible in the opening scenes, using the hoary formula of a diary-like voiceover to get inside the head of traumatized French journalist Mathilde (Emmanuelle Bercot), sporting an eye patch thanks to wounds she received while reporting from Homs. She’s about to be embedded with a peshmerga unit in north-western Kurdistan (filming was done in Georgia), but courage has fled her soul and she questions her worthiness. Once off the transport plane, she’s introduced to Commander Zirek (Ahmet Zirek), arguing strategy with Bahar (Golshifteh Farahani), the impatient leader of the women’s unit. Bahar, a former lawyer, will of course get her way.

When Mathilde is informed that the unit is composed entirely of former ISIS captives, Bahar looks off to the side in pained contemplation, allowing the director to clumsily insert a flashback of her husband (Adik Bakoni) and son (Tornike Alievi) before ISIS invaded their home, followed by clouds moving across the sky — yes, it’s that kind of movie. More flashbacks ensure that no element of Bahar’s background is missed: One night she gets a call that ISIS is approaching her town, but it’s too late: The menfolk are murdered while the women and children are rounded up and then separated. Bahar’s sister Suzan (Nuka Asatiani) is raped (Bahar screams, “Take me!”), and then she herself is violated in what was a horrifically common real-life story.

Flash forward and Bahar has convinced Zirek to allow her to take the unit into a mined tunnel with a captured ISIS soldier in order to infiltrate the town and free children from the school where they’re being held. Following a classic pep talk to her fighters, we get another flashback to show how Bahar found the courage to become the Moses of her people, though Moses never delivered a baby — suffice it to say that not even Melanie Wilkes’ water broke at such an inopportune moment. Through it all, Mathilde is taking notes and photographs while struggling with her inner demons.


The script is the film’s biggest liability, stuffed with old chestnuts that would be more at home in a Hollywood adventure film from the 1950s. Mathilde and Bahar are assigned personalities according to types, reinforced by what others say about them (or in Mathilde’s case, her Script 101 monologues), while everyone else is blandly interchangeable. Husson even has the hubris to write the lyrics to her very own peshmerga song, translated into Kurdish and sung by the unit (why do that when the Kurdish music tradition is such an important part of the culture?). And isn’t it odd that the word “Yazidi” is never uttered, though its scattered throughout the press notes provided at Cannes? Clearly the director’s positive impressions from her research made her want to create something that would generate popular sympathy for the cause, but writing a glorified TV movie wasn’t the way to go.

Farahani and Bercot are fine actresses who can’t do anything with lines or situations so lacking in nuance. Even Mattias Troelstrup’s cinematography, one of the stronger points of “Bang Gang,” has a generic feel or worse, such as an incongruously elegant drone shot that circles round the unit as they try shooting at an ISIS escort, prettifying a deadly skirmish that’s further banalized by Morgan Kibby’s sweeping and sappy orchestrations. Sound design is one of the film’s most successful elements.


PRODUCTION: (France-Belgium) A Wild Bunch release (in France) of a Maneki Films in association with Elle Driver, Wild Bunch, Elle Driver, Arches Films, Gapbusters, 20 Steps Prods., RTBF, Bord Cadre Films production, in association with BackUp Media, Indéfilms 6, B Media 2014, Cinécap, Cinéart, with the participation of Canal Plus, OCS, Proximus, Casa Kafka Movie Pictures, Tax Shelter Empowered by Belfius, LEPL Enterprise Georgia. (International sales: Elle Driver, Paris.) Producer: Didar Domehri. Co-producers: Brahim Chioua, Adeline Fontan Tessaur, Etienne Comar, Joseph Rouschop, Vladimer Katcharava, Arlette Zylberberg, Jamal Zeinal Zade, Dan Wechsler.

CREW: Director, screenplay: Eva Husson. Camera (color, widescreen): Mattias Troelstrup. Editor: Emilie Orsini. Music: Morgan Kibby.


WITH: Golshifteh Farahani, Emmanuelle Bercot, Zübeyde Bulut, Maia Shamoevi, Evin Ahmadguli, Nia Mirianashvili, Mari Semidovi, Roza Mirzoiani, Zinaida Gasoiani, Sinama Alievi, Ahmet Zirek, Behi Djanati Ataï, Adik Bakoni, Tornike Alievi, Nuka Asatiani, Arabi Ghibeh. (Kurdish, French, English, Arabic dialogue)

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'Girls of the Sun' ('Les Filles du soleil'): Film Review | Cannes 2018  by Jordan Mintzer

A meaty all-female war movie served with an extra slice of cheese.  

French writer-director Eva Husson (‘Bang Gang (A Modern Love Story)’) unveiled her second feature, about Kurdish women fighters taking on the Islamic State, in competition at Cannes.
Pulling out the big guns to depict the tragic plight and battlefield heroics of Kurdish female soldiers who bravely took on the forces of ISIS, Girls of the Sun (Les Filles du soleil) is at once mildly harrowing and completely over-the-top, intermittently intense yet so unsubtle it winds up doing damage to its own worthy discourse.

Written and directed by Eva Husson — whose first, very sexy and ethereal feature Bang Gang (A Modern Love Story) is a far cry from the Hollywood-style machinery of this effort — the film works best when it shows star Golshifteh Farahani leading her all-female battalion through the heat of combat, worst when it indulges in narrative histrionics and a tear-jerking score worthy of a Walt Disney movie. Premiering in competition in Cannes, and preceded by a first ever women’s march on the red carpet, this timely yet heavy war flick should drum up interest for its femme-centric cast, crew and subject matter.

Based on true events — in this case the stories of Yazidi women who were kidnapped, raped, sold into slavery and then escaped to join the Kurdish army — the script (by Husson, with the collaboration of Jacques Akchoti) follows two characters who find themselves immersed in fierce skirmishes between the Kurds and Islamic extremists in November 2015. One of them, Mathilde (actor-director Emmanuelle Bercot), is an eye patch-wearing war reporter traumatized by the recent death of her husband in Libya. The other, Bahar (Farahani) is a local (the film never mentions the Yazidi people by name) whose life was upended when the Islamists invaded her city, summarily executed all the men in her family and then took her and her young son, Hemin (Tornike Alievi), prisoner.

Cutting between the present, where Bahar and her squadron prepare to take back their city and perhaps locate her little boy, and the past, where we follow the woman’s traumatic journey from lawyer and mother to Kalashnikov-wielding freedom fighter, the film kicks off in an extremely clunky manner with some eye-rolling expository dialogue. “What are you doing in this hell?” one woman asks Mathilde as she arrives in a hilly and rather picturesque part of northern Iraqi Kurdistan. “You’re the kings of Marxist-Feminist propaganda,” she quips, in what is meant to sound like international shoptalk but comes across as totally unnatural and almost laughable.

That tone will come back to haunt Girls of the Sun on more than one occasion, especially when composer Morgan Kibby’s thundering score chimes in to pound every single dramatic note into our heads from one scene to the next. A faux-poetic voiceover by Mathilde that both opens and ends the movie — the latter during half of the closing credits roll — doesn’t help matters, either.

What works slightly better is the focus on Bahar and her truly awful backstory, which includes kidnapping, rape, suicide (of her younger sister) and imprisonment at the hands of Islamists who seem to thrive off the utter degradation of women. The Iranian-born Farahani, performing here in Kurdish and French, is altogether convincing in scenes that show her character deeply suffering yet refusing to let down her guard. After she manages to help her fellow prisoners escape — in a sequence that stretches credulity at times — it’s easy to understand why Bahar then decides to pick up a gun and courageously lead a female squad of Kurds to fight the enemy face-to-face.

Husson never lets us forget that this is a story of sisterhood in peril, of women bravely risking their lives — several of Bahar’s soldiers are killed off over the course of the film — to rid their land of an evil menace that has enslaved both them and their children. The director even wrote the lyrics to a song (composed by Kibby) that the combatants sing to psyche themselves up: “It will be a new era/Of Women, Life, Liberty” they exclaim one day before the enemy suddenly appears at their doorstep and the fighting kicks into high gear.

Working with cinematographer Mattias Troelstrup (The Forest), Husson does a good job making the battle scenes both visceral and poetic, with smoke and other effects used to illustrate the fog of war that Bahar and Mathilde — who shadows the soldiers as a reporter but serves little dramatic purpose beyond providing a Western viewpoint — find themselves in. The combat scenes, which include a slew of pyrotechnics, occupy most of the final reel, leading to a finale that seems rather forced and phony, undercutting the more serious historical backdrop of the film.

It’s impressive to see a relatively new director like Husson trying to make an all-out guts-and-glory war flick a la Oliver Stone (his films Platoon and Salvador both come to mind here), although taking Hollywood movie tropes and applying them to the plight of the Yazidi could be considered a questionable use of her skills. On one hand, she’s shining a light on an important and terrifying story that made headlines a few years ago but has since been forgotten by many of us, and for that deserves some credit. On the other, she’s doing it with an overtly manipulative, rather cheesy approach to the genre that can play more like fantasy than reality, and so no matter how high the stakes are her film ultimately feels like a losing battle.



Venue: Cannes Film Festival (Competition)
Production company: Maneki Films
Cast: Golshifteh Farahani, Emmanuelle Bercot, Zubeyde Bulut, Maia Shamoevi, Tornike Alievi, Nuka Astiani
Director: Eva Husson
Screenwriter: Eva Husson, with the collaboration of Jacques Akchoti
Producer: Didar Domehri
Director of photography: Mattias Troelstrup
Editor: Emilie Orsini
Composer: Morgan Kibby
Casting director: Bahijja El Amrani
Sales: Elle Driver

In French, Kurdish, English, Arabic

115 minutes

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Girls of the Sun review – Kurdish female fighters film is naïve yet rousing
4 / 5 stars     
Eva Husson’s strong-arm approach works well for this powerful, partisan drama based on real-life women driven to fight Isis in 2014

Peter Bradshaw | Guardian

‘There is no irony here’ … Girls of the Sun

Eva Husson’s Girls of the Sun is a feminist war movie: impassioned, suspenseful, angry. For some, its robust action-film rhetoric will sit ill with contemporary issues and events — a rhetoric which might otherwise pass unnoticed in a conventionally peopled movie about, say, fighting for the allies in the second world war. Like that sort of film, Girls of the Sun is unsophisticated enough to be sure where right and wrong are placed, and incidentally to have faith in the efficacy of warzone journalism. We have all learned a shrugging cynicism about journalists who are “embedded”. Girls of the Sun begs to differ. For me it is heartfelt, forthright and muscular.

The movie is a fictional story, based on the true story of an all-female Kurdish combat unit fighting in 2014 to reclaim territory from the incel-fascists and rape-enthuasiasts of Isis. And this female unit is to discover that it is armed with a powerful and morale-boosting weapon unavailable to any other combatant: the Jihadis’ terrified conviction that being killed by a woman is a dishonour and humiliation that will send them straight to hell. For the first time in their lives, these women realise that men are afraid of them.

Golshifteh Farahani plays Bahar, a former professional lawyer and university graduate in northern Iraq, once captured with her husband and son when Isis warriors swarmed into town in their black pickups, accessorised with machine-guns. She was sold into domestic sex slavery, her husband beaten and killed and young son sent off to be trained as a child soldier. Meanwhile, Emmanuelle Bercot plays Mathilde, a French war reporter who has lost an eye in Homs and has now come to Iraq in what may seem a reckless further throw of the professional dice. This persona is evidently inspired by the real-life figure of the American foreign correspondent Marie Colvin who lost her eye in the Sri Lankan civil war in 2001 and affected an eye patch until her death in Homs in 2014. Mathilde comes out to the front, with her minders and fixers, and is naturally fascinated by what a great story the all-female unit is.

Her liaison officer provocatively raises the question of “propaganda” when they are all introduced — a question that nettles everyone. But they have little lasting interest in the issue. Mathilde, is after all, effectively to go into a combat zone with them without a weapon. And it is here, before the big push begins, that she meets Bahar, and it is in flashback that we learn the story of her capture and how she masterminded her escape with a hidden mobile phone.

Her male commander infuriates Bahar: a man who is content to wait for the American-led coalition to call in airstrikes, though Bahar is enough of a military person to see the ultimate importance of those. But she claims that the very threat of these airstrikes has caused alarm and despondency amidst the enemy, and the Kurds are in a position to make a bold strike right away and crucially to rescue civilian captives who will almost certainly be murdered en masse as Isis retreats. Reluctantly, the commander lets Bahar and her unit go ahead as commandos.


The scenes where Bahar makes her escape with other women (one pregnant) and the later scene in which the now careworn warrior Bahar leads a military sortie into a tunnel — these are straight-ahead action scenes, without much in the way of subtlety. But they are well-orchestrated and effective. There is no irony here. I found myself, weirdly, thinking of the revolutionary Women’s Battalion of Death in Sergei Eisenstein’s October — a battalion which is in fact satirised by Eisenstein. These women are not satirised, and they are not dramatically subject to that continued exposure to war which will eventually make any soldier, male or female, desensitised to the business of killing. The film halts with their provisional victory, and yes, it may seem naïve, but then there is naivety in believing there is no plausible way of showing good triumphing. Girls of the Sun is partisan and it wears its heart on its sleeve: a powerful, forceful story.

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Film français d’Eva Husson. Avec Golshifteh Farahani et Emmanuelle Bercot (1 h 55). Sortie en salle le 21 novembre.

Cannes 2018 : « Les Filles du soleil », dans les champs de mines de la fiction
Le deuxième long-métrage d’Eva Husson tente de concilier le récit romanesque et l’évocation des tragédies kurde et yézidie.

LE MONDE | Thomas Sotinel

SÉLECTION OFFICIELLE – EN COMPÉTITION

Est-ce donc si grave que les acteurs ne parlent pas la langue de leurs personnages, que le morceau d’histoire (au sens de ce que fait advenir l’humanité) qu’ils traversent soit seulement « inspiré » de ce qu’il s’est passé ? Après avoir vu Les Filles du soleil, on a tendance à répondre que oui, c’est grave, pour autant qu’un choix cinématographique puisse porter à conséquence. Que le recours à la fiction, quand on veut évoquer une tragédie qui n’est pas encore terminée, implique plus de devoirs que de droits.
Pour son deuxième long-métrage, après Bang Gang, chronique de la dérive érotique d’un groupe d’adolescents, Eva Husson a sauté à pied joint dans un brasier : la guerre qui a opposé l’organisation Etat islamique (EI) aux combattants kurdes en 2014 et 2015. Comme nombre de chroniqueurs de ce conflit, elle s’est attachée aux femmes qui ont pris les armes, dans des unités rattachées à diverses obédiences kurdes, et ont affronté les forces du « califat ». Mais celui-ci ne sera pas nommé, pas plus que les factions kurdes, un carton prévient que les noms des lieux, des formations politiques et militaires et le détail des événements ont été changés.

Emmanuelle Bercot et Golshifteh Farahani dans « Les Filles du soleil » d’Eva Husson, en compétition au 71e Festival de Cannes.

La complexité transnationale gommée

Ce qui affranchit Eva Husson, qui signe le scénario, de la tâche ardue de donner une idée claire de l’origine de ces unités féminines, de leur place dans le paysage kurde, dont la complexité transnationale est ici gommée. Car l’histoire des Filles du soleil est simple. Bahar (Golshifteh Farahani) commande une unité d’anciennes captives dans une région qui ressemble aux monts Sinjar, au nord de l’Irak, théâtre de la persécution des yézidis par l’Etat islamique.

Elle accueille dans ses rangs Mathilde (Emmanuelle Bercot), une journaliste française qui arrive sur le théâtre des opérations au moment où tous ses confrères le quittent. Mathilde a perdu un œil (comme la journaliste britannique Marie Colvin, tuée par l’armée gouvernementale syrienne à Homs en 2012) et a été évacuée sur une moto de Homs (comme la journaliste française Edith Bouvier, blessée lors du même bombardement). Elle est aussi veuve d’un journaliste tué en Libye, mère d’une petite fille qu’elle a laissée seule.

On sent bien que de cet amalgame, Eva Husson voudrait faire sortir un personnage de fiction, tout comme du mélange d’éléments des histoires yézidie et kurde qui fait l’histoire de la commandante Bahar, qui d’ailleurs s’exprime dans la variante iranienne de la langue kurde, alors que ses subordonnées lui répondent dans la forme irakienne.

Après tout, l’histoire du cinéma ne manque pas d’exemples glorieux qui ont adopté ce rapport plutôt lâche avec l’histoire. Casablanca reste un beau film antifasciste, même si les Marocains, les résistants et les expatriés américains se sont toujours amusés de sa parfaite invraisemblance. Mais Casablanca a été tourné par des Américains à un moment où ils ignoraient presque tout de la réalité atroce de ce qui se passait en Europe. N’importe quel spectateur ou spectatrice des Filles du soleil peut accéder aux éléments qui ont fait l’histoire des unités féminines kurdes, du martyre des femmes yézidies, des premiers mois de la campagne contre l’EI. Et cette connaissance, ou sa seule possibilité, rend difficile de voir ravalés au rang d’éléments malléables, des faits répertoriés, qui ont chacun leur sens précis.

C’est ainsi que l’invasion des « extrémistes » (c’est le nom que leur donne le film), le massacre des hommes, l’enlèvement des enfants, l’asservissement des femmes, seront découpés en flash-back, qui alternent avec le récit de la prise de la ville où Bahar fut capturée par les forces kurdes. La combattante est persuadée que dans une école tenue par les « extrémistes », son fils est endoctriné.

Les motivations des protagonistes relèvent donc des figures romanesques les plus élémentaires : l’une ne peut plus regarder sa fille en face, l’autre veut revoir son fils. C’est tout. Bahar a beau être avocate et polyglotte, rien de politique n’entrera dans son discours, avant tout affectif. Quant à Mathilde, la souffrance que lui occasionne son métier de reporter de guerre (qu’Emmanuelle Bercot rend plus que perceptible) rend incompréhensible son acharnement à l’exercer. S’il est une hypothèse qu’Eva Husson ne veut pas évoquer, c’est que certaines femmes puissent aimer la guerre, pour la raconter ou pour la faire, malgré Lee Miller ou Jeanne d’Arc.

Cannes 2018 | Waiting for Ceylan to Score at Last

Tefrika romanlar geri dönüyor | Turkish Posting

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Mavi Boncuk |

Tefrika romanlar geri dönüyor
Bir dönemin popüler tefrikalarının çoğu, kitaplaşmadan unutulup gitti. Gazete sayfalarında, arşivlerin tozlu raflarında kalmış, edebiyat tarihinde adı hiç geçmeyen bu romanlar, Özyeğin Üniversitesi’nin projesiyle[*] yeniden canlanıyor, okuyucu ile buluşuyor

Gazetelerde her gün bir bölümü yayımlanan ‘tefrika romanlar’, bir zamanların dizi filmleri gibi takip ediliyor, ‘sezon finalleri’ gazetelerin abone yenileme dönemine denk getirilerek okuyucu kazanılıyordu. Bu romanlardan yarım kalanı da var, ‘reytingi yüksek’ olduğu için 156 bölüm devam edeni de... Bir dönemin bu popüler tefrikalarının çoğu, kitaplaşmadan unutulup gitti. Gazete sayfalarında, arşivlerin tozlu raflarında kalmış, edebiyat tarihinde adı hiç geçmeyen bu romanlar Özyeğin Üniversitesi’nin TÜBİTAK destekli projesi sayesinde şimdi yeniden canlanıyor, okuyucu ile buluşuyor. Proje kapsamında edebiyat tarihinde adına rastlanmayan 239 yeni roman bulundu.
Harf devriminin yapıldığı 1928 yılına kadar Arap harfli gazete ve dergilerde basılmış 569 telif, 784 çeviri roman, Özyeğin Üniversitesi’nin yürüttüğü 3 yıllık bir çalışma ile 302 gazete ve derginin tüm sayıları taranarak tespit edildi. Tek tek dijital ortama aktarılan bu romanlar, şimdi okuyucu ile buluşuyor. Projenin yürütücüsü Yardımcı Doçent Doktor Ali Serdar’la tefrika romanları ve yaptıkları çalışmayı konuştuk. (Ali.Serdar-at-ozyegin-dot-edu-dot-tr) 

‘Gazete satışı artıyor’

Tefrika roman Osmanlı’da ne zaman ortaya çıkıyor?

Tefrika, Avrupa’da 18. yüzyılın sonunda çıkıyor ama asıl patlaması 1830’lu yıllarda... Osmanlı’da 1830’lu yıllarda ilk gazete çıkıyor ama bildiğimiz anlamda gazeteler 1860-1870’li yıllarda... Osmanlı’da roman türünün doğuşuyla tefrika roman aynı tarihlerde gerçekleşiyor.


Tefrika romanın ortaya çıkışıyla kapitalizmin yakın bir ilişkisi var. Kitap pahalı. Kitabı satabileceğiniz kitle bu yüzden sınırlı. Yayıncılar şunu fark ediyorlar: “Kitabın yüzde biri fiyatına gazetenin içine bunu yerleştirirsek hem gazetenin çok satmasını sağlarız, hem romanın çok okunmasını sağlarız.” Bu sayede okuyucu sayısını artıyorlar.

Tefrikanın, bölüm bölüm yayımlanmasından kaynaklanan kendine ait özellikleri var. Bu durum romanın yapısını nasıl etkiliyor?

Tefrika gün gün yayımlanıyor, takip eden bir kitle var. Yazar öyle bir bitirmeli ki ertesi gün okur onu yine alsın. Romanda kitapla okur baş başa. Oysa tefrikada bir gazete sayfasının içindesiniz. O günkü siyasi, ekonomik, cinayet haberlerinin ortasında bir roman var. Bir cinayet haberi çıkıyor, o haberden yola çıkarak tefrika roman yayımlanmaya başlıyor. Gerçek ve kurmaca arasındaki farkın yer yer kaybolduğu durumlar ortaya çıkabiliyor.

Kayıp romancı: Boyar

Bu proje kapsamında nasıl bir çalışma yürüttünüz? Ortaya çıkardığınız yeni romanlar oldu...

2014 mayısında başladık. 2017 mayısına kadar sürdü. 302 süreli yayın taradık. Bazıları 20-30 yıl çıkmış gazeteler, bazıları da 10-15 sayı çıkmış. 569 telif roman bulduk. 784 de çeviri roman tefrikası bulduk. 569 romanın 481’i, 155 erkek yazar, 46’sı da 23 kadın yazar tarafında kaleme alınmış. 43 romanın yazarı ise tespit edilemedi. 239 yeni roman bulundu. Bunlar herhangi bir edebiyat tarihinde, arşivde adı geçmeyen, gazete sayfasında kalmış romanlar. Koç Üniversitesi ile bir tefrika dizisi başlattık. Önemli olduğunu düşündüğümüz, mutlaka günümüz okuru ile buluşmalı dediğimiz romanları basmaya çalışıyoruz. İlk bastığımız roman Belkıs Sami Boyar’ın Aşkımı Öldürdüm romanı. Belkıs Sami Boyar, Halide Edip’in kız kardeşi. Bulabildiğimiz tek romanı bu. Dönemin çok satan Son Saat gazetesinde tefrika edilmiş.

İkinci bastığımız kitap Selahattin Enis’in Orta Malı romanı. Bu roman 156 tefrika sürmüş. Belki 18 bölüm olarak tasarlamış ama roman tutmuş demek ki. 156 sayısına çok az rastladım. Okuduğunuz zaman fark ediyorsunuz, Selahattin Enis bu romanı uzatmak için elinden geleni yapmış.

‘Bu ay 2 roman basılıyor’

Yayına hazırlanan yeni kitaplar var galiba...

Kasım ayı içinde Fatma Fahrünnisa’nın Dilharap[1] romanı çıkacak. 4. kitap da Mehmet Rauf’un Kâbus romanı. O da bu ay içinde çıkıyor. O da sarsıcı bir metin. Bunlar dışında Recaizade Mahmut Ekrem’in Saime, Ercüment Ekrem’in Şevketmeab ve Vedat Örfi’nin Kırk Bela romanını 2018 yılında çıkartacağız.



[*] Özyeğin Üniversitesi öğretim üyesi Yrd. Doç. Dr. Ali Serdar tarafından yürütülen ve TÜBİTAK tarafından desteklenen “Türk Edebiyatında Tefrika Roman Tarihi” araştırması edebiyat alanında bilinmeyen romanları okurlara ve araştırmacılara sunuyor.

Türk edebiyatında 1831 ile 1928 yılları arasında Arap alfabesiyle basılan gazete ve dergilerde yayınlanmış roman tefrikalarını tespit ederek bir tefrika roman tarihi yazılmasını hedefleyen araştırma elde edilen verileri okuyuculara sunuyor. Özellikle harf devrimi öncesinde süreli yayınlarda parça parça yayınlanmış romanların tek tek tespit edilerek derlenmesi amaçlanan çalışma yeni araştırma yapacaklara büyük kolaylık vadediyor.

ARAŞTIRMACILAR ÜCRETSİZ ERİŞEBİLİYOR

Araştırma kapsamında 290 süreli yayın tarandı ve 528 telif ve 702 çeviri tefrika roman tespit edildi.Bulunan tefrika romanların dijital kopyalarına Özyeğin Üniversitesi Kütüphanesi’nin eResearch@ozyegin platformunda bulunan “Türk Edebiyatında Tefrika Roman Tarihi” başlıklı veri tabanından tüm araştırmacılar ücretsiz olarak ulaşabiliyor.

BİLİNMEYEN ESERLER GÜN YÜZÜNE ÇIKTI

Edebiyat tarihlerinde yer almayan, gazete sayfalarında unutulmuş roman ve romancıların gün yüzüne çıkarılması amaçlanan çalışmada elde edilen taramalar sonucu birçok roman ve romancı keşfedildi.Ahmet Mithat’ın çevirdiği Alayın Kraliçesi ve bizzat kendisinin çeviriye devam olarak yazdığı Alayın Kraliçesi’ne Zeyl günümüz Türkçesine aktarılarak Homer Kitabevi tarafından basıldı.

DERLENEN TEFRİKALAR BASILACAK

Dönem koşullarında sansürden dolayı tamamlanamamış, yayınlanan gazetenin kapatılması gibi sebeplerle yarıda kalmış tefrikalar tespit edildi. Daha önce kitap olarak yayımlanmamış ya da Latin alfabesine aktarılmamış romanların bir kısmı Koç Üniversitesi Yayınları tarafından “tefrika dizisi” olarak yeniden yayınlanacak. Hazırlanacak ilk tefrika dizisi ise Halide Edip Adıvar’ın kız kardeşi olan ve çevirileriyle tanınan Belkıs Sami Boyar’ın “Aşkımı Öldürdüm” adlı romanı. Dizinin ikinci kitabı olarak basılması planlanan eser ise Cumhuriyet döneminin sivri dilli yazarları arasında yer alan ve eleştirel yazılar kaleme alan Selahattin Enis’in “Orta Malı” adlı romanı olacak. Edebiyatın unutulan ve keşfedilmeyi bekleyen romanları nisan ayı sonunda okurlarla buluşacak.

‘BİR SÜRÜ ROMAN BULDUK’

1 Mayıs 2014 yılında başlayan ve 1 Mayıs 2017’de tamamlanacak çalışmanın sonraki aşamasında araştırmanın raporları yazılacak. Çalışmanın yürütücülerinden Yrd. Doç. Dr. Ali Serdar tefrika romanla ilgili kapsamlı bir çalışmanın olmamasından dolayı hayata geçirmeyi amaçladıklarını belirtiyor. Serdar araştırmanın amacını şu şekilde özetliyor:

“1928 yılında alfabe değişimini düşündüğümüzde günümüz okurlarının 1928 öncesini okuması oldukça zor. Böyle bir boşluktan önceki gazete ve dergileri tarayarak hangi yıl kaç tane tefrika ortaya çıktığını, bunların tarihini ortaya koyarak ve veri tabanı oluşturarak araştırmacılara sunmak gayesindeydik. Aynı zamanda gazete sayfalarında kalmış unutulup gitmiş romanlar var mıdır diye yola çıktık. Bir sürü de roman bulduk. Hem edebiyat araştırmacıları ve okurlar tarafından bilinmeyen romanları yeniden edebiyata kazandırdık.”

BİRÇOK KADIN YAZAR KEŞFEDİLDİ

Dönem koşullarında Halide Edip Adıvar dışında hakim yayınlarda kadınların yer bulamadığını belirten Serdar, kadınların kendi süreli yayınlarındaki tefrikalarına ulaştıklarını belirtiyor.

“Gözardı edilmiş, unutulmuş romanları keşfetme yoluna gittik. O dönemdeki edebiyatta kamuya giriş anlamında romancılar kendilerini bu tefrikalar yoluyla kanıtlıyordu. Kadınlar açısından kendi çıkardıkları hanımlara mahsus dergilerle sınırlıydı.O dönemde gözardı edilmiş, kendini dar bir paydada ifade etmiş kadın yazarların tefrikalarına da ulaştık ve araştırmada yer verdik.”

‘KÜLTÜR DÜNYAMIZA DA KATKI SAĞLAR’

Araştırma kapsamında ortaya çıkan ve telif sorunu olan bazı bilinen eserlerin ilk ve son nüshalarının da okuyuculara veri tabanı aracılığıyla sunulduğunu belirten Serdar “Tefrikaların yıllara göre dağılımına baktığınızda bile Türk edebiyatının gelişimini farklı bir şekilde yorumluyorsunuz” dedi. Araştırma ilgili hislerini paylaşan akademisyen “bu konuda baştan beri çok heyecanlıyım. Sonuçları açısından da umuyorum yalnızca edebiyat alanı için değil, umarım kültür dünyamıza da atkı sağlar” açıklamasını yaptı.

[1] Dilharap
  • Paperback: 234 pages
  • Publisher: Koc Universitesi Yayinlari (2017)
  • Language: Turkish
  • ISBN-10: 6059389856
  • ISBN-13: 978-6059389853

19. yüzyıl İstanbulu'na kadın gözüyle bakan roman: Dilharap

Fatma Fahrünnisa’nın kaleme aldığı Dilharap, Koç Üniversitesi Yayınları etiketiyle raflardaki yerini aldı. Fatih Altuğ ve Kevser Bayraktar tarafından Latin harflerine aktarılan kitabın editörlüğünü ise Sabancı Üniversitesi öğretim görevlisi Reyhan Tutumlu ve Özyeğin Üniversitesi öğretim üyesi Ali Serdar üstlendi.

19. yüzyıl İstanbulu'na kadın gözüyle bakan roman: Dilharap
Koç Üniversitesi Yayınları (KÜY), “Tefrika Dizisi” ile kitapseverlerle buluşturmaya devam ediyor. Dizinin yeni kitabı, Fatma Fahrünnisa’nın yazıldığı döneme göre oldukça incelikli anlatım teknikleri kullanan Dilharap adlı romanı raflardaki yerini aldı. Fatih Altuğ ve Kevser Bayraktar tarafından Latin harflerine aktarılan kitabın editörlüğünü ise Sabancı Üniversitesi öğretim görevlisi Reyhan Tutumlu ve Özyeğin Üniversitesi öğretim üyesi Ali Serdar üstlendi.

Ahmet Vefik Paşa’nın torunu olan Fatma Fahrünnisa Hanım’ın yazdığı ve 1896 güzünden 1897 ilkbaharına kadar Hanımlara Mahsus Gazete’de tefrika edilen Dilharap, Türkçe edebiyatta iç monolog tekniğini kullanan ilk metin olma özelliği taşıyor.


Dilharap yahut 1890'lar İstanbul'unda seçkin bir ailenin kültürlü ve güzel kızı Mazlume, toplumsal açıdan daha düşük bir aileye görücü usulüyle gelin giderse neler olur? Romanının kahramanı gibi kendisi de üst düzey bir aileye doğan, Ahmet Vefik Paşa'nın torunu Fatma Fahrünnisa Hanım, 1896 güzünden 1897 ilkbaharına kadar Hanımlara Mahsus Gazete'de tefrika edilen romanında, kendini istemediği ve neden olmadığı bir zoraki evlilik içinde bulan Mazlume'nin bir yandan bir kadın olarak itibarını korurken bir yandan da bu gönül yıkıcı evlilikten kurtulma mücadelesini anlatıyor. Her şey geride kaldıktan sonra, Mazlume anlatıcıdan kendi hikayesini bir roman haline getirmesini ve böylece bir tür zor evliliklerde sağ kalma rehberi oluşturmayı hedefliyor. Dilharap, Türkçe edebiyatta iç monolog tekniğini kullanan ilk metinlerden biri.


Dilharap’ın oluşum süreci FATİH ALTUĞ

1896, Osmanlı edebiyatı açısından bereketli bir yıldı. Osmanlı romanının en önemli teknik sıçramalarını gerçekleştiren Recaizade Ekrem’in Araba Sevdası ve Halit Ziya Uşaklıgil’in Mai ve Siyah’ı  aynı derginin, Servet-i Fünun’un sayfalarında tefrika edilmeye başlamıştı. İstanbul Şehir Üniversitesi Türk Dili ve Edebiyatı Bölümü öğrencisi Kevser Bayraktar ile birlikte yayına hazırladığım Fatma Fahrünnisa’nın (1876-1969) Dilharap romanı da bu iki başyapıtla aynı yıl Hanımlara Mahsus Gazete’de tefrika edildi. Ancak kitaplaşması, 2017 sonunda Koç Üniversitesi Yayınları’ndan çıkan ortak çalışmamızla gerçekleşti.

Araba Sevdası ve Mai ve Siyah’la kesişen Dilharap, tarihsel olarak da önemli bir dönüşümün merkezinde yer alıyor: Bir kadın tarafından yazılmış ilk Türkçe roman 1877’de basılan Zafer Hanım’ın Aşk-ı Vatan’ı iken 1895’e kadar kadınlar yalnızca beş roman yazdı. Ancak 1895-1900 arasında bu sayı birdenbire en az üç katına çıktı, bu yıllarda Fatma Aliye, Emine Semiye, P. Fahriye, Hatice Behice gibi kadınlar art arda roman yazmaya başladılar.

Ahmet Vefik Paşa’nın torunu olan Fatma Fahrünnisa, yine 1896’da, bir Osmanlı kadını tarafından yazılan ilk Türkçe seyahat kitabı olan Hüdâvendigâr Vilayetinde Kısmen Bir Cevelan’ı da tefrika etti. Hayatı hakkında çok az bilgiye sahip olduğumuz bu öncü kadın yazarla karşılaşmam Ali Serdar’ın yürüttüğü, benim de ekibinde yer aldığım “Türk Edebiyatında Tefrika Roman Tarihi” projesi vesilesiyle oldu. 1895 sonrası beş yıllık süreçte çok üretken olan ama 1969’a kadar süren ömrünün geri kalanında yazı alanında göremediğimiz bir yazarın eserlerine yakından bakmak, onu tanımaya çalışmak başlı başına heyecan vericiydi. Üstelik bu ilgim meslektaşlarımın desteğiyle ve iş birliğiyle de kesişince çok daha anlamlı ve bereketli oldu. Öğrencim Kevser Bayraktar, proje ile ilgili haberleri görünce hevesle odama geldi ve projeye katkıda bulunmak istediğini söyledi. Hiçbir karşılık beklemeden gönülden gelen bu teklif karşısında Dilharap’ın tefrikasını Kevser Bayraktar ile paylaştım.

Beş altı aylık bir süreçte Kevser Bayraktar, metni Latin harflerine çevirdi. Sonrasında ben üç ayda metnin kontrolünü yaptım, Dilharap’ın imlasını belirli bir standarta ulaştırıp, hem doğru hem de tutarlı bir okuma gerçekleştirmeye çalıştım. Ali Serdar, Reyhan Tutumlu ve Erol Köroğlu da değişik aşamalarda Kevser Bayraktar ile hazırladığımız metni okudular, tutarsız, eksik ya da yanlış kısımlara işaret ettiler. Metnin orijinali işbirliği ile yayına hazırlanırken metni günümüz Türkçesine de çevirdim. Hem farklı dilsel yetkinliklerdeki okurların anlayabileceği hem de metnin üslubunu bozmayacak bir dil tutturmaya çabaladım.

Öğrenci, hoca, arkadaş konumundaki meslektaşların bir metnin etrafında buluşup el ve iş birliği yapmasını çok önemsiyorum. Edebiyat araştırmacılığının teorik yanı kadar zanaatkârâne bir yanı da olduğunu hatırlatıyor bu türden çalışmalar. Kusursuz bir Osmanlıca bilgisi bile araştırmacıyı yanlış okumaktan alıkoyamıyor, bir metinle hemhâl oldukça insan kendi hatalarına körleşebiliyor. Bakışlar çoğaldıkça, emek ortaklaştıkça metinler de sahihleşiyor. Richard Sennett’ın Zanaatkâr kitabındaki tespit bu konudaki düşüncelerimi özlü bir şekilde toparlar: “Zanaatkârlık sürekli, temel insan dürtüsüne, [yalnızca] kendi [hatrı] için bir görevi güzel yapma arzusuna işaret eder.”

İşin daha güzeli, bu kitapta iş birliği yalnızca yayına hazırlama sürecinde gerçekleşmedi. Fatma Fahrünnisa’nın romanının oluşumu da çoğul bir tecrübeden kaynaklanıyor. Fatma Fahrünnisa, 1895’te yazdığı “Romanlar ve Tiyatrolar” makalesinde iflah olmaz bir roman karşıtı olarak karşımıza çıkıyor. Ancak Dilharap’ın “Mukaddime”sinde yer alan bir tartışma / sohbet sayesinde fikirleri değişiyor. Yazarın evindeki bir sohbet meclisi tasvir ediliyor bu mukaddimede. Birbirine “azize”, “hemşire” olarak hitap eden kadın arkadaşlar topluluğu romanlar hakkında konuşmaya başlıyorlar. Vaktiyle polisiye romanlardan etkilendiklerini ama bu romanların sinirleri harap ettiğini düşünen iki arkadaş, artık “hissî tabiî romanlar”dan hoşlanmaktadırlar. İç dünyayı derinlemesine analiz eden gerçekçi metinlerin kıymetinden söz ederken tartışmaya Fatma Fahrünnisa’yı da dahil ederler. Bir yıl önce  roman karşıtı olan, romanların ahlâkı bozduğunu düşünen Fatma Fahrünnisa’nın konumu biraz yumuşamıştır. Artık romanların bozucu değil gereksiz olduğunu düşünmektedir: Bir roman olumlu bir etkide bulunsa bile bu etki geçici olacaktır. Diğer arkadaşları bu görüşlere itiraz eder. Burada, ihtilafa, muhtelifliğe, fikir çeşitliliğine inanan bir ortam söz konusudur: Fikirlerin birliğinden çok tartışma yoluyla değişebilecek fikirlere dayalı eleştirel bir kamu yürürlüktedir; kadın okurların ve yazarların fikirlerini tartışmaktan sakınmadıkları bir dostluk ortamı.

Kadın okur/yazarların kadın yazarı roman yazma konusunda ikna etmeye çalıştıkları bu alışılmadık mecrada, dikkatler aralarındaki bir kadına yönelir. Roman yanlısı kadınlar, söz konusu kadının başına gelen ibret verici talihsizliklerin romanı yazılmış olsa başka kadınların bu türden zulümler yaşamalarının engellenebileceğini öne sürerler. Sonra Fatma Fahrünnisa ve o kadın baş başa kalır ve kadın, yazardan kendi tecrübesini romanlaştırmasını, hissiyatına tercüman olmasını ister. Böylelikle Fatma Fahrünnisa’nın bir romanı olarak sunulan metnin doğduğu çoğul ortam gösterilmiş olur. Romanın yazarı, (müstakbel) okurları, fikir ortakları ve başkişisi aynı mecliste bir araya gelmiş ve roman bir iş ve fikir birliğiyle oluşmuştur.

Hem hazırlayıcılarından olduğum yeni basımında hem de orijinalinde dayanışmayla meydana gelen bu roman, Mazlume’nin maruz kaldığı zulmü, yüzyıl sonunda Osmanlı’da kadın erkek ilişkilerini, evlilik kurumunun krizini anlatırken yoğunlaştırılmış, birçok anlamla yüklenmiş bir üslupla yazılır. Fatma Fahrünnisa, Mazlume’nin tecrübesini duyularını, duygularını ve fikirlerini birbiriyle bağlı bir şekilde sunan bir dille edebileştirir. Onun hissiyatını tercüme ederken döneminde ancak Recaizade Ekrem ve Halit Ziya’da görülen iç monolog tekniğini kullanır, belirli yerlerde roman kişilerinin iç seslerinin ifadesine de izin verir. Bu bakımdan roman, hem ortaklaşa bir kadın deneyiminden doğar hem de döneminin Osmanlı edebiyatının zirve noktalarıyla ortaklaşır, akrabalık kurar.

Dilharap’ın yayımlanmasından birkaç ay sonra, Fatma Fahrünnisa’nın torununun oğlu Ahmet Tezcan telefon etti. Büyükannelerinin romanının yayımlanmasından sonra ailecek duydukları memnuniyeti yoğun duygularını aktararak paylaştı. Duyguların insanda uyandırdığı etkileri, teessürlerin tesirlerini anlatmaya özen gösteren bir yazarın eserinin yeniden yayımlanmasıyla yeni duygular doğurması, bu fikir-his-duyu alaşımında benim de payımın olması beni sevindiriyor. Yaklaşık 120 yıl önce Fatma Fahrünnisa’yı roman yazması konusunda ikna eden arkadaşlarına, hemşirelerine teşekkür ediyorum.



Life of Istanbul Born Italian Actor Osvaldo Valenti

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Mavi Boncuk |

Osvaldo Valenti  (b.17 February 1906 Istanbul, Turkey - d. 30 April 1945 Milan, Italy)


Osvaldo Valenti (17 February 1906 – 30 April 1945) was an Italian film actor. He appeared in 56 films between 1928 and 1945. He was born in Istanbul, Turkey. The career of Osvaldo Valenti found his height in the 40's.

The Italian actor Oswaldo Valenti began his film career with the German silent movie "Ungarische Rhapsodie" (1928), but with the rise of the sound he was no longer able to continue his work in Germany. Therefore he returned to Italy where he wrote his first name with a "v" again and he gained a foothold in Italy in the 30's.

In the political view Osvaldo Valenti was a fanatic fascist who had good contacts to fascist politicians and personalities. This was also the reason that his name was noted on the hit list of the partisans. He was a ember of the infamous Decima Mas (Fascist military force) during the Salò Republic (1943-1945).


During the shooting of "Un' avventure di Salvator Rosa" (1939) he met the actress Luisa Ferida. They fell in love and had a son, Kim who died 4 days after his birth; when they was killed, Luisa was expecting another child. 

He and his lover, Luisa Ferida[1] , were executed by partisans in Milan, Italy, due to their links with Fascism. At the same day when Adolf Hitler died in Berlin Osvaldo Valenti was killed too together with his pregnant wife Luisa Ferida. 

They were arrested on April 30, 1945 and were killed in broad daylight at the same day by partisans without a trial. Many years later it turned out that one of the participated heads of the partisans was the later Italian president Sandro Pertini[2].

The story of Valenti and Luisa Ferida was portrayed in the 2008 film Wild Blood (Sanguepazzo). He was portrayed by Luca Zingaretti and Monica Bellucci  was Luisa Ferida. The film premiered at the 2008 Cannes Film Festival.

[1] Born Luigia Manfrini Frané 18 March 1914 Castel San Pietro Terme, Emilia-Romagna, Italy Died 30 April 1945 (aged 31) Milan,  Ferida started as a stage actress. In 1935 she made her first appearance in film with a supporting role in La Freccia d'oro. Because of her photogenic looks and talent as an actress, she soon graduated to leading roles by the end of the 1930s.
In 1939, while working on Un Avventura di Salvator Rosa (1940), directed by Alessandro Blasetti, she met the actor Osvaldo Valenti. The pair became romantically involved and had a son.
Valenti had been linked with many Fascist officials and personalities for years and he eventually joined the Italian Social Republic, and for this reasons he was on the partisans' hit list. He was finally arrested in Milan, alongside a pregnant Ferida in April 1945. They were both sentenced to be executed and shot immediately in the street, without any proper trial. 
[2] The partisan chief who organized the execution, Giuseppe "Vero" Marozin, declared years later that one of the partisan leaders that ordered the two actors to be executed was Sandro Pertini, who decades later became president of the Italian republic. No other source, however, supports Marozin's version of the incident.


See also: Gundle, Stephen. Mussolini's Dream Factory: Film Stardom in Fascist Italy. Berghahn Books, 2013.





The Former Italian Families of Turkey by Willy Sperco

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Mavi Boncuk |

Les Anciennes Familles Italiennes de Turquie [The Former Italian Families of Turkey] - Willy Sperco[1]


Among the Italians who currently live in Turkey, many are those whose ancestors left Genoa, of Venice and other towns of Italy, in some cases over five hundred years ago, migrated along with temporary occupancy the islands of Chios, Tinos, Syra, Rhodes, Cyprus and finally electing their residence to be in Istanbul and Izmir.

It appeared interesting for me to know the origin, to follow the traces of these families through certain documents which one can still find in the files of the Catholic churches and the consulates.

For the history of the establishment of Italian families, numerous works have been published. Most known are: “Storia delle Colony Genovesi nel Mediterraneo” [The history of the Genoese colonies of the Mediterranean] of Roberto Lopez, “It Dominio Veneziano di Levante” [The domination of Venice of the Levant] of Bruno Dudan, “Histoire du Commerce du Levant au Moyen-Age” [History of the Trade of the Levant of the Middle Ages] of W Heyd, “Les Colonies Vénitiennes de Constantinople” [the Venetian Colonies of Constantinople at the end of XIVème century], in the “Etudes Byzantines” [Byzantine Studies] of Charles Diehl, “Notes sur la Colonie Gênoise de Péra” [Notes on the Genoese Colony of Pera] of Jean Sauvaget, “Questions Historiques” [Historical Questions] of Fustel de Coulanges, the “Relatione della Stato della Christianità di Péra E Constantinopoli” [State of Christianity in Pera and Constantinople] and the “Magnifica Communita di Péra” [Magnificient community of Pera] published by M.C. Dalleggio-of Alessio, “In Giro per I Mar Egeo idiot Vincenzo Coronelli” [A turn for the Aegean Sea by Vincenzo Coronelli] of Armao, who was Consul-General of Italy here, in 1935 and 1936, “It Dominio dei Giustiniani” [The dominion of the Giustinianis] of Giovanni Filippucci-Giustiniani, “Les Principautés Franques du Levant” [The Frankish principalities of the Levant] by G. Schlumberger, “Histoire de la Latinité de Constantinople” [History of Latin Constantinople] of M.M.A. Balin and remarkable works of Mr. Philip P. Argenti: “The Expedition of the Florentines to Chios (1599)”, “The Occupation of Chios by the Venetians (1694)” which is a very invaluable collection of documents drawn from the files of Venice and the principal European states. Finally the “Istoria tis Chios” [History of Chios] of Georghio Zalota, “Sur les routes d’Asie” [On the roads of Asia] of Gaston Deschamps.

Source

[1] Willy Sperco appears to be most prominent Levantine writer, specialising in subjects of history, including his observations of wartime Italy where he seems to have spent some time. The books published include ‘L’ecroulement d’une dictature – choses vue en Italie Durant la guerre 1940-45 [collapse of a dictator – things seen in Italy during the war] – Paris, Librairie Hachette – 1946’, ‘Ataturk, créateur de la Turquie moderne [Ataturk, creator of modern Turkey] (1882-1938) – Paris – 1958’, ‘Turcs d’hier et d’aujourd’hui, D’Abdülhamit a nos jours [Turks of yesterday and today, from Abdülhamit to present time] – 1961’, ‘Yüzyılın başında Istanbul [Istanbul at the commencement of the century] – 1989’. For his work he was decorated with the Italian commador merit, the French legion d’honneur, and the Dutch orange-Nassau office. G. Scognamillo, reveals on the Internet, that W. Sperco was a writer / newspaper man in the 1930/40s working for the Istanbul Levantine papers in French, ‘Beyoglu’ (owned by Gilberto Primi) and ‘Journal d’Orient’. 

Author of Yüzyılın Başında İstanbul Published 1989 by İstanbul Kitaplığı and Mustafa Kemal Atatürk 1881-1938 Paperback, 229 pages Published by Bilgi Yayınevi ISBN139789754949605 by Willy Sperco, Zeki Çelikkol (Translator) 

Willy Sperco, pseudonimo di Guglielmo Sperco (Smirne, 20 ottobre 1887 – Roma, 22 aprile 1978), è stato un giornalista e scrittore italiano, di famiglia levantina, ha saputo esprimere, nei suoi scritti, l’orientalismo di un occidentale e l’apprezzamento per la modernizzazione della Turchia della sua generazione. 

Michel Guglielmo a.k.a. William Sperco (Willy Sperco), 1887'de İzmir'de doğdu. Babası aslen Venediklidir. Annesi de, Osmanlı İmparatorluğu nezdinde Fransa Büyükelçisi Jean-Babtiste Robly'nin torunudur. Fransız Lazarist Koleji'ni bitirdikten sonra, yüksek öğrenimine Dresden (Saksonya) Yüksek Ticaret Okulu'nda ve Paris Hukuk Fakültesi'nde devam etti. Avukatlık ve İngiliz Müsadere Mahkemesi nezdinde savcı yardımcılığı yaptı. Birinci Dünya Savaşı sonunda, gemi donatım ve gemi acentası olarak Türkiye'ye döndü. Yakın Doğuda, Fransızca çıkan bütün gazetelerrle işbirliği yaparak, İzmir'de, Doğunun en çok okunan gazetesi 'Le Levant' (Doğu) gazetesini çıkardı. Ayrıca 'İzmir Postası' ve 'İstanbul'a, Jean Peyrat takma adıyla, günlük sorunlarla ilgili yazılar yazdı.

May May and May May Not | May government courts Erdogan

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Mavi Boncuk |

May government courts Erdogan

Gonul Tol, Director for Turkish Studies

Britain is eager to cultivate close ties to Erdogan's Turkey.

President Recep Tayyip Erdogan began a three-day state visit to the UK on Sunday that includes a meeting with Queen Elizabeth II. The visit comes amid calls on Prime Minister Theresa May from human rights activists and British MPs not to remain quiet on the Turkish government's systematic arrest of journalists, opposition politicians and activists.

The visit comes at a time of fraying relations between Turkey and other European countries. Erdogan is in the middle of a high-stake election campaign. He said that he wanted to hold an election rally in European cities to reach out to Turkish communities there. But several European countries, including Germany, which hosts the largest Turkish expatriate community, have banned Turkish politicians from campaigning on their soil. 

But Britain is eager to cultivate close ties to Erdogan's Turkey. Due to the economic uncertainties of Brexit, developing stronger economic ties is particularly crucial for London and May is eyeing lucrative contracts in Turkey's arms industry. In 2017, the two countries signed a contract for BAE Systems to develop a new Turkish fighter jet. 

For Erdogan, a photo op with the queen at a time when his international image as an autocratic president is stronger than ever, is priceless. The UK was also one of the first countries to express solidarity with Erdogan in the aftermath of the failed coup and remained quiet on post-coup surges. London also remained silent on Turkey's military operation against Kurdish militants in northern Syria. What else could Erdogan ask for?


Terâvih | Tarawih

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Mavi Boncuk | 

Terâvih namazı | Tarawih prayer at Taipei Grand Mosque, Taiwan.
Tarawih (Arabic: تراويح‎) refers to extra prayers performed by Sunni Muslims at night in the Islamic month of Ramadan. 

Tarawih prayers are prayed in pairs of two and can be prayed in at least 08/12/20 raka‘āt according to the Hanafi and Shafi'i schools of Sunni Islam. A break is taken after every 4(2+2) raka‘āt. This prayer is performed only during Ramadan of the Islamic calendar after salat of Isha the last Tarawih prayers from moon-sighted evening (Start) to last day of Ramadan . Muslims believe it is customary to attempt a khatm "complete recitation" of the Quran as one of the religious observances of Ramadan by reciting at least one juz' per night in tarawih. Tarawih prayers are considered optional, not obligatory.[1]

In all the Sunni hadith scriptures, the prayer Tarawih has been mentioned as Qiyamul Layl min Ramadan (Standing of night in Ramadan) and Qiyam-ar-Ramadan (Standing of Ramadan). Some Sunni Muslims regard the Tarawih prayers as Sunnat Mu'akkadah. Other Sunni Muslims believe tarawih is an optional prayer that may be performed at home. According to this tradition, Muhammad initially and briefly prayed the tarawih in congregation during Ramadan, but discontinued this practice out of fear it will be mandated but never forbade it, as evidenced in Ahadith. During the time when Umar was the caliph, he reinstated the praying of Tarawih in congregation.

[1] The Prophet (peace be upon him) offered the Tarawih prayer in his mosque the first night when he was joined by one or two people, and on the following night he was joined by a fair-sized congregation. On the third night, he looked through his door and found the mosque full of people. Therefore, he did not come out. When asked why, he said that he did not wish that this prayer should become obligatory. This shows how thoughtful of his community the Prophet was. Even in matters of worship, he always wanted what was easier for them. If he were to offer this prayer in the mosque every night, throughout Ramadan, people would over the years elevate it to the obligatory or semi-obligatory status. Therefore, he decided to offer it at home to retain its status as voluntary night worship, which we can do at any time.

However, it is not true that it was never offered in congregation in the Prophet’s Mosque until Umar did what he did. In fact it continued to be offered in congregation, but without regular arrangements. What Umar did was to organize it in a proper way. One night in Ramadan he came into the mosque and found several groups of worshippers offering the Taraweeh prayer in several congregations. He disliked this, because it suggested division within the Muslim community. Therefore, he told them to form one congregation and appointed Ubayy ibn Kaab to lead the congregation. Ubayy was one of the best reciters of the Qur’an among the Prophet’s companions. Umar did not join because, as caliph, he led the obligatory prayers. Again he was keen not to give this prayer any impression of being obligatory. On the following night, he checked what was happening, and when he saw that there was one congregation, he made his comment that it was a fine bid’ah. He was not referring to the Tarawih prayer itself, because the prayer was known to all and practiced by many. He was simply referring to the fact that it was offered in one congregation. So the addition is the organization of the prayer, not adding a new prayer.

Word Origin | Kadirga, Marangoz, Kalafat

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Mavi Boncuk |See also: Ottoman Maritime Arsenals and Shipbuilding Technology in the 16th and 17th c

EXCERPT "....In a map of Istanbul in Pin Rei&s book, K/tab-i Bahriye, among the outhouses of the Galata Maritime Arsenal that extended from Azap Kapisito Haskoy, were the Meyyit Seaport located in the eastern coast of the Golden horn, Old Hall of Audience, kurekilk (the oar warehouse), Hall of Audience, cellar, maritime arsenals and Maritime Arsenal Garden. 

From 1515 on, the activities of the maritime arsenal were transferred from Gallipoli to Istanbul and the Galata maritime arsenal had become the central base. The development and the process of shipbuilding activities were possible only through the books of registers. The first of such books that belonged to the years 933- 934, (1527-1528) indicated that the annual revenue provided for the expenses of the Galata Maritime Arsenal were 1,662,377 coins. The expenses of the Galata Maritime Arsenal comprised the salaries (mevacibat) paid to the people who worked in the shipbuilding process such as caulkers, carpenters, parutiras (cutters), makaraci (pulley workers), kumbaraci (bombardiers), haddad (blacksmiths), ustubucu (mop workers), and menders. In addition to that, the mubayaat (brokers) spent for the purchase of the necessary inputs to be used for the shipbuilding process, icarat (wages) that were paid to the artisans, who worked in the transportation and construction phases. 

The total population of the Maritime Arsenal ranged around 84 to 89 people during the years 933-934, (1527-1531). According to the accounting books, shipbuilding had continued in the Istanbul Maritime Arsenal between the years 1527-1531. 

The artisans who worked in ship-building were composed of caulkers, carpenters, oar-workers, pulley workers, bombardiers, iron-workers, mop-workers and repairers. The number of the artisans that were working at the maritime arsenal on a regular basis was 89. However, when there was a need for craftsmen, they were brought to Istanbul from the coastal areas of the empire and employed at the maritime arsenal.[*]

Until the discovery of steam ships in the nineteenth century, oar-crafts and sail-ships were built in this maritime arsenal. Among them were oar-ships like galleys, small war galleys, firkate (frigates), kalyata (small galleys) and mavna (barges), and sail-ships like kalyon (galleon), burtun (large warships), barca (old large galleys) and agribar (pirate ships). 

To give an example, It is possible to argue that 1200 ships were built and repaired at the Istanbul Maritime Arsenal in the seventeenth century. In the campaign years, this number naturally increased."

[*] People like the Maniots or Maniates (GreekΜανιάτες)  the inhabitants of the Mani PeninsulaLaconia, in the southern PeloponneseGreeceThey worked mostly at the admiralty shipyards of Kasimpasa by Halic/Golden Horn. The region where they came was mountainous and inaccessible hence they historically must have developed sailing skills. Homer's "Catalogue of ships in the Iliad mentions the cities of Mani: Messi, Vitilon (Itilo), Kardamli (or Skardamoula), Enopi, Gerinia, Pefnos, Avia, Githio, Kotronas, etc.




Kadırga: galiot, galley EN[1] ; kalyon TR oldGR kátergon κάτεργον Bizans donanmasında kullanılan kürekli gemi, kadırga  oldGR katergázomai κατεργάζομαι emek sarfetmek, uğraşmak oldGR kata+ ergázomai εργάζομαι çalışmak oldGR érgon έργον emek, iş → erg Possible from Pontic Greek.

Oldest source: katarga [ Hou (1343) ] Çoban, Gümüşlük'e su almak için uğrayan bir kadırgaya tayfa yazıldı. - Halikarnas Balıkçısı

Marangoz: fromGR ; carpenter EN[2] marangón/marangós μαραγγόν/μαραγγός gemide ahşap işleri yapan sanatkâr VEN marangón 

Oldest source: "her türlü ahşap işçisi" [ Bianchi, Dictionnaire Turc-Français (1851) ]; marankoz "gemide ahşap işçisi" [ Evliya Çelebi, Seyahatname (1680 yılından önce) : Galata kavmi birkaç fırkadır: birinci fırkası gemiciler, (...) dördüncü marankoz ve kalafatçılardır. ]

maranko/ marankon/ marangon [ Meninski, Thesaurus (1680) ]
marangon/marangos

Kalafat: caulk EN[3] oldGR kalafátizō καλαφάτιζω gemi tahtaları arasına paçavra sıkıştırarak ziftlemek (vi) AR ḳalafaṭ/calfaṭa قلفط/جلفط [#ḳlfṭ/clft] Aramaic ḳəlāptā/ḳəlaptā קלפתא/קלפתא kabuk, zarf, tahılın kepeği Aramaic ḳəlāpā קלפא soymuk, meyve kabuğu, balık pulu → kılıf

Oldest source: [ Seydi Ali Reis, Mirat-ül Memalik (1557) ]

[1] galley (n.): a low, flat ship with one or more sails and up to three banks of oars, chiefly used for warfare, trade, and piracy. Similar to trireme with the addition of sails.

13c., "seagoing vessel having both sails and oars," from Old French galie, galee "boat, warship, galley," from Medieval Latin galea or Catalan galea, from Late Greek galea, of unknown origin. The word has made its way into most Western European languages. Originally "low, flat-built seagoing vessel of one deck," once a common type in the Mediterranean. Meaning "cooking range or cooking room on a ship" dates from 1750.

The printing sense of galley, "oblong tray that holds the type once set," is from 1650s, from French galée in the same sense, in reference to the shape of the tray. As a short form of galley-proof it is attested from 1890.

trireme (n.) : "ancient ship with three rows of oars," c. 1600, from Latin triremis, from tri- "three" (see tri-) + remus "oar" (from PIE root *ere- "to row").

galleon (n.) kind of large ship, 1520s, from French galion "armed ship of burden," and directly from Spanish galeón "galleon, armed merchant ship," augmentative of galea, from Byzantine Greek galea "galley" (see galley) + augmentative suffix -on. Developed 15c.-16c., it was shorter, broader, and with a higher stern superstructure than the galley. In English use, especially of Spanish royal treasure-ships or the government warships that escorted private merchant ships in the South American trade. The galleon was powered entirely by wind, using sails carried on three or four masts, with a lateen sail continuing to be used on the last (usually third and fourth) masts.

The accepted term for the type of ship which the Spaniards used in 1588; that is, an armed merchantman of exceptional quality, combining the strength of the mediaeval trader with some of the finer lines and fighting features of the GALLEY. [Sir Geoffrey Callender, "Sea Passages," 1943]

Italian agumented form of galea, galeaza, led to a different 16c. ship-name in English, galliass (1540s).

galliot (n.)
"small galley," mid-14c., from Old French galiote, galiot "small ship," diminutive of galie

[2] carpenter (n.) "artificer in timber, one who does the heavier sort of wood-working," c. 1300 (attested from early 12c. as a surname), from Anglo-French carpenter, Old North French carpentier (Old French and Modern French charpentier), from Late Latin (artifex) carpentarius "wagon (maker), carriage-maker" (in Medieval Latin "carpenter," properly an adjective, "pertaining to a cart or carriage," from Latin carpentum "wagon, two-wheeled carriage, cart." This word is from Gaulish, from Old Celtic *carpentom (compare Old Irish carpat, Gaelic carbad "carriage"), which probably is related to Gaulish karros "chariot" (source of car), from PIE root *kers- "to run." 

Also from the Late Latin word are Spanish carpintero, Italian carpentiero. Replaced Old English treowwyrhta, which is literally "tree-wright." German Zimmermann "carpenter" is from Old High German zimbarman, from zimbar "wood for building, timber," cognate with Old Norse timbr (see timber). 

First record of carpenter-bee, which bores into half-rotten wood to deposit its eggs, is from 1795. A carpenter's rule (1690s) is foldable, suitable for carrying in the pocket. 

[3] caulk (v.) late 14c., "to stop up crevices or cracks," from Old North French cauquer, from Late Latin calicare "to stop up chinks with lime," from Latin calx (2) "lime, limestone" (see chalk (n.)). Original sense is nautical, in reference to making ships watertight by driving oakum into the seams. Related: Caulked; caulking. As a noun, "caulking material," by 1980 (caulking in this sense was used from 1743). Related: Caulker.



The history of medieval naval warfare is the history of the galley. Since ancient times, battles at sea have taken place largely on the decks of ships and were fought much like land battles, with hand-to-hand combat. Medieval naval battles usually followed a similar pattern. First, smaller, more maneuverable ships would pin down the enemy fleet. Then the larger, more heavily armed galleys would attack, initially firing missiles and then ramming or grappling the enemy vessel in order to board it. Blasts of lime were often fired to blind the enemy and were then followed by volleys of stones. One of the most dreaded tactics was to fling onto the enemy ship what was known as Greek fire, a substance that, once ignited, was inextinguishable in water. Crossbows, lances, bows and arrows, and, by the late Middle Ages, guns and cannons served as well at sea as on land. However, the ship itself was the most powerful weapon, often determining the outcome of a naval battle. The warship at sea was likened to the warhorse on land and, like the warhorse, the warship was bred for fighting.

Equipped with sails for distance and oars for maneuverability, the medieval galley was ideally suited for the purpose of war. Medieval variations on the classical galley were many. The dromon, developed by the Byzantines, was a large galley that utilized one or two tiers of oars, a square sail set on a single mast, and a stern-hung rudder. In times of war, the dromon could carry troops, weapons, supplies, and cavalry horses, as well as engage in sea battles when necessary. The beam of the dromon permitted mounted cannons in the bow of the ship, which could be fired directly ahead of the vessel. A variation on the dromon was the Italian galley, which had one level of oars with two or three oarsmen to each rowing bench, a total of approximately 120 oarsmen. The Italian galley was manned by about fifty soldiers and typically had a large catapult mounted on a platform on the front deck.

The galleas was another variation on the galley. Developed by the Venetians, the galleas had a gun deck, oars, and two to three masts. The triangular lateen sails, adopted from those of the Arab dhows, permitted the galleas to sail nearly straight into the wind, impossible with square sails. Sailors armed with crossbows and lances could fight on the ships’ decks.

The last major naval battle in which galleys were employed was the Battle of Lepanto II, fought off the coast of southwestern Greece on October 7, 1571, between the Ottoman Turks, under the command of Ali Pala (died 1616), and the Christian forces, under the command of Don Juan de Austria (1547-1578), half-brother of King Philip II of Spain (1527-1598). The Turks’ 273 ships (210 were galleys) and the Christians’ 276 ships (208 were galleys) faced off in long lines across from one another, with the Christian forces hemming in the Muslim forces. Don Juan skillfully placed his most heavily armed galleys in the center of the line and his smaller, more maneuverable galleys on the outside, where they could dominate the flanks. The massive and heavily armed Christian galleys eventually triumphed over the lighter and less armed Arab ships, giving naval supremacy to the Christian forces in the Eastern Mediterranean. The Battle of Lepanto was the last major naval battle in which galleys were employed, and it was the first major naval battle in which guns and gunpowder played the decisive role. From this point on, guns and cannons would be increasingly important in naval warfare.

Although the galley was the vessel of choice in the Mediterranean Sea for more than four millennia, it was a typically unstable ship, particularly in rough waters. Maneuverability during battle was provided by oars, rather than by the sails, which had to be lowered during battles to prevent the enemy from tearing or setting fire to them. Despite their shortcomings, however, various forms of galleys continued to be employed in the Mediterranean until 1717 and in the Baltic Sea until 1809. In an effort to produce a more seaworthy craft, medieval shipbuilders turned to other designs for seagoing vessels.

https://weaponsandwarfare.com/2010/11/26/the-medieval-galley/


Fredrik Henrik af Chapman, the author of “Architectura Navalis Mercatoria” was an internationally renowned naval architect. Vessels he designed included the Swedish King Gustav III’s ship “Amphion,” the cabin of which is preserved at the Swedish National Maritime Museum.

Starting in 1765, Chapman devoted himself for two years to creating Architectura Navalis Mercatoria, a volume of drawings which he beleived exemplified the best and most interesting vessels of the time. The work was published in 1768. Several original copies of the book, together with the copper plates originally used to print the illustrations, are in the collection of the Swedish national Maritime Museum.

The book contains 62 illustrations of vessels from around the world. Some were designed by Chapman himself, but many were vessels he had encountered on his travels. The book includes everything from warships to small fishing craft. This particular plan is of an oar-powered galley from Malta.The Capitana, Gallery of Malta, of 30 pairs of oars, 5 men per oar.  Forward artillary is one 36-pounder long gun, two 8-pounders, & two 6-pounders; along the sides 18 2-pounders and 18 pivot guns. In the accomodation plan, A is the Gavon (stern quarters);  B the rear cabin;  C The great cabin and lodging for the Officers;  D Hold for the provisions of the Captain;  E The stores of bread and vegetables.  F Storage of wine & meats.  G The powder magazine; H The saloon;.  I Storage for the sails & ropes.  K. The sickbay & medical stores.  LL. The forecastle and anchor locker.  M is a section of the galley amidships.

Word Origin | Ramadan

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From اِرْتَمَضَ‎ (irtamaḍa, “to be consumed by grief and sorrow”). Compare رَمَض‎ (ramaḍ, “parchedness, scorchedness”) and رَمْضَاء‎ (ramḍāʾ, “sun-baked ground”).

Mavi Boncuk | 

Ramazan: RamadanEN[1] fromAR ramaḍān رمضان İslamiyetten önce Araplarda Temmuz/ Ağustos aylarına tekabül eden ay, İslami ayların dokuzuncusu AR ramaḍ رمض kuru sıcak Oldest source: [ İrşadü'l-Mülûk ve's-Selâtîn (1387) : kim ramazān ayı kilginçe barçasın birge kılur ] 

Oruç:FastEN[2] from Sogdian *rōçag oruç tutma (oldFA rōzak ) Sogdian rōç gün → ruz Oldest source: [ Codex Cumanicus (1300) ]
[1] Ramadan (n.): ninth month of the Muslim year, 1590s, from Arabic Ramadan (Turkish and Persian ramazan), originally "the hot month," from ramida "be burnt, scorched" (compare Mishnaic Hebrew remetz "hot ashes, embers"). In the Islamic lunar calendar, it passes through all seasons in a cycle of about 33 years, but evidently originally it was a summer month. From Arabic ramaḍān, from ramaḍa ‘be hot.’ 

For Muslims, fasting is not an act of penitence, but a method of self-purification, both physical and spiritual, as well as a way of showing solidarity with the needy. For many believers, it is also an asceticism that brings spiritual elevation and the collective affirmation of faith. 


In addition, Ramadan is also important in religious terms, because beyond the fast, it’s a month during which the Quranic revelation started. It was during the "night of Destiny", Laylat al-Qadr, that the Quran began to be communicated to the Prophet. The first day following the end of the month of Ramadan is Eid al-Fitr, or "celebration of breaking the fast". It is also known as "Eid al-Saghir", the Little Eid, as opposed to the other large religious festival, Eid al-Kebir (big Eid) or Eid al-Adha "the festival of sacrifice".


The month of Ramadan comes between the months of Sha’ban and Shawwal and is the only one in the Hegira calendar to be cited in the Quran. Surah (or chapter) II, dubbed "genesis", details its prescriptions over several verses[i] (these were also completed by the al-Sunna tradition).  


[2]  fast (adj.) Old English fæst "firmly fixed, steadfast, constant; secure; enclosed, watertight; strong, fortified," probably from Proto-Germanic *fastu- "firm, fast" (source also of Old Frisian fest, Old Norse fastr, Dutch vast, German fest), from PIE root *past- "firm, solid" (source of Sanskrit pastyam "dwelling place").

Meaning "rapid, quick" is from 1550s, from the adverb (q.v.). Of colors, from 1650s; of clocks, from 1840. The sense of "living an unrestrained life, eager in pursuit of pleasure" (usually of women) is from 1746 (fast living is from 1745). Fast buck recorded from 1947; fast food is first attested 1951. Fast lane is by 1966; the fast track originally was in horse-racing (1934), one that permits maximum speed; figurative sense by 1960s. Fast-forward is by 1948, originally of audio tape.

fast (adv.) Old English fæste "firmly, securely; strictly;" also, perhaps, "speedily," from Proto-Germanic *fasto (source also of Old Saxon fasto, Old Frisian feste, Dutch vast, Old High German fasto, German fast "almost," but in earlier use "firmly, immovably, strongly, very"), from *fastu- (adj.) "firm, fast" (see fast (adj.)).

The meaning "quickly, swiftly, rapidly" was perhaps in Old English, certainly by c. 1200, probably from or developed under influence of Old Norse fast "firmly, fast." This sense developed, apparently in Scandinavian, from that of "firmly, strongly, vigorously" (to run hard means the same as to run fast; also compare fast asleep, also compare Old Norse drekka fast "to drink hard," telja fast "to give (someone) a severe lesson"). Or perhaps from the notion of a runner who "sticks" close to whatever he is chasing (compare Old Danish fast "much, swiftly, at once, near to, almost," and sense evolution of German fix "fast, fixed; fast, quick, nimble," from Latin fixus). The expression fast by "near, close, beside" also is said to be from Scandinavian. To fast talk someone (v.) is recorded by 1946.

fast (n.) "act of fasting," late Old English fæsten "voluntary abstinence from food and drink or from certain kinds of food," especially, but not necessarily, as a religious duty; either from the verb in Old English or from Old Norse fasta "a fast, fasting, season for fasting," from a Proto-Germanic noun formed from the verbal root of fast (v.). In earlier Old English fæsten meant "fortress, cloister, enclosure, prison."

fast (v.) "abstain from food," Old English fæstan "to fast" (as a religious duty), also "to make firm; establish, confirm, pledge," from Proto-Germanic *fastan "to hold fast, observe abstinence" (source also of Old Frisian festia, Old High German fasten, German fasten, Old Norse fasta "abstain from food"), from the same root as fast (adj.).

The original meaning in prehistoric Germanic was "hold firmly," and the sense evolved via "have firm control of oneself," to "hold oneself to observance" (compare Gothic fastan "to keep, observe," also "to fast"). Perhaps the Germanic sense shifted through use of the native words to translate Medieval Latin observare in its sense "to fast." The verb in the sense "to make fast" continued in Middle English, but was superseded by fasten. Related: Fasted; fasting.

Book | The Erotic Margin | Sexuality and Spatiality in Alterist Discourse by Irvin C. Schick

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Mavi Boncuk |

The Erotic Margin | Sexuality and Spatiality in Alterist Discourse by Irvin C. Schick (İrvin Cemil)[1]
Hardcover: 328 pages
Publisher: Verso (August 17, 1999)

ISBN-13: 978-1859847329
ISBN-10: 1859847323

Reviewing the large, disparate, and often contradictory western discourse on gender and sexuality of the Other

Gender and sexuality have long held an important place in western attitudes towards the people and regions of the world—from the titillating accounts of harem life in the Middle East to terrifying captivity narratives of North America. The Erotic Margin is a first attempt to pull together the large, disparate, and often contradictory literature, and view it as a corpus. Schick argues that such images served to construct spatial difference, and thereby helped Europe represent its own place in the world during an age of rapid geographical expansion.

Informed by the recent literature on human geography as well as feminist and postcolonial theory, The Erotic Margin focuses on erotica and sexual anthropology as well as travel literature in which, from the eighteenth century on, both traveler and destination were portrayed in unmistakably gendered and sexualized terms. Reviewing examples ranging from the New World to India, the Near East to black Africa, and the South sea islands to the Barbary Coast, the book reflects on why foreign women were variously portrayed as alluring or threatening, foreign men as effeminate weaklings or dangerous rapists, and foreign lands as sexual idylls or hearts of darkness.

Review
“Schick explores the netherworld of ethnographic sources, then returns to high ground with a theory of alteritist discourse that opens new horizons for everyone interested in representations of the Other. I know of no other work that theorizes the exoticization and eroticization of the Other with such rigor or such far-reaching implications.”—Carter V. Findley, President, World History Association

From the Author
Gender and sexuality have long held an important place in western attitudes towards the peoples and regions of the world, with examples ranging from titillating accounts of harem life in the Middle East to the terrifying captivity narratives of North America. This book is a first attempt to pull together what is a large, disparate, and often contradictory literature, and view it as a corpus. It argues that such images served to construct spatial difference, and thereby helped Europe signify itself and represent its own place in the world during an age of rapid geographical expansion. To use a Foucauldian concept, sexuality was a "technology of place": it was used discursively to construct space, and became a historical invariant by which one could characterize (and thereby distinguish) East and West, North and South, self and other, here and there. Following a theoretical discussion of the mutually constitutive roles of identity, alterity, and place, and of the relations between spatial difference and the social exercise of power---informed by the recent literature on human geography as well as feminist and postcolonial theory---the book turns to sexual anthropology as well as travel literature, where, from the eighteenth century on, an economy of meaning took shape in which both traveller and destination were coded in unmistakably gendered and sexualized terms. Reviewing examples ranging from the New World to India, the Near East to black Africa, and the South Sea islands to the Barbary Coast, the book formulates a taxonomy of sexual tropes in alteritist literature, showing that foreign women were variously portrayed as alluring or threatening, foreign men as effeminate weaklings or dangerous rapists, foreign lands as sexual idylls or hearts of darkness. As a case study, it then focuses on the representation of harem women in sexually explicit European writing. Describing some of the most salient motifs, including their portrayal as unindividuated pluralities, the attention given to their practices of bodily care, the popularity of images like the Turkish bath and the slave market, the exaggerated notions of harem inmates' sexual desires, and their characterization as scheming and devious, the book highlights the logic of variability that unifies sexualized alteritist discourse. (Irvin C. Schick , January 25, 1999)

See also: Women in the Ottoman Balkans: Gender, Culture and History
Amila Buturovic[2], Irvin Cemil Schick

Imprint: I.B.Tauris
Publisher: I.B.Tauris & Co. Ltd.
Series: Library of Ottoman Studies
Hardback
ISBN: 9781845115050
Publication Date: 25 Sep 2007 | 420 pages
Illustrations: 12 line illustrations

Review
"most interesting..a very welcome contribution to a little known subject" Suraiya Faroqhi, Professor of Ottoman Studies at the Ludwig Maximilians University, Munich and author ofThe Ottoman Empire and the World Around It

Women in the Ottoman Balkans were founders of pious endowments, organizers of labour and conspicuous consumers of western luxury goods; they were lovers, wives, castaways, divorcees, widows, the subjects of ballads and the narrators of folk tales, victims of communal oppression and protectors of their communities against supernatural forces. In their daily lives, they experienced oppression and self-denial in the face of frequently unsympathetic local customs, but also empowerment, self-affirmation, and acculturation. This volume not only deepens our understanding of the distinctive contributions that women have made to Balkan history but also re-evaluates this through a more inclusive and interdisciplinary analysis in which gender takes its place alongside other categories such as class, culture, religion, ethnicity and nationhood. This original and stimulating examination of the lives of Muslim, Christian and Jewish women in southeastern Europe during the centuries of Ottoman rule focuses especially on those social relations that crossed ethnic and confessional intercommunal boundaries.

[1] Irvin C. Schick has taught at Harvard University and MIT, where he is currently a researcher. He is the author of The Erotic Margin: Sexuality and Spatiality in Alteritist Discourse and The Fair Circassian: Adventures of an Orientalist Motif.

Irvin C. Schick divides his time between teaching at Harvard University and working in the communications industry. Born in Isanbul, he has co-edited Turkey in Transition: New Perspectives, and is currently at work on a book on Turkey’s cultural confrontation with modernity. 

[2] Amila Buturovic is Associate Professor at York University, Toronto and author of Stone Speakers: Medieval Tombs, Landscape, and Nationhood in the Poetry of Mak Dizdar. Amila Buturovic's research interests span the intersections of religion, culture, and identity, especially in the context of Islamic societies. She is also interested in the theories and practices of translation and polyglossia, and has written on that subject in relation to Arabo-Islamic Spain and the Ottoman Balkans. Her publications include many articles and essays on these varied subjects. She is the author of Stone Speaker: Medieval Tombstones, Landscape, and Bosnian Identity in the Poetry of Mak Dizdar (2002), and a co-editor, with Irvin C Schick, of Women in the Ottoman Balkans: Gender, Culture and History (2007). Her latest monograph, Carved in Stone, Etched in Memory: Death, Tombstones and Commemoration in Bosnian Islam (Ashgate, 2015) concerns the spaces and culture of death in Bosnia, specifically the questions of continuity and discontinuity in the eschatological sensibilities, epigraphic texts, and commemorative practices in Bosnian cultural history. Professor Buturovic's current research examines the alternative medical market in Ottoman Bosnia, focusing on amulets, talismanic practices and herbalism.

Office: Vanier College, 222 | T: 416-736-2100 Ext: 77054 | Emailamilab(at)yorku(dot)ca

REVIEW Arif Akbas
TUIK Edirne Bölge Müdürlügü, Sosyolog 
E: arifakbas(AT)tuik(DOT)gov(DOT)tr 

Journal of Balkan Libraries Union, Vol. 1, No. 1, pp. 33-34, 2013. 

Ottoman Balkans for centuries includes that rich and complex linguistic, religious and ethnic diversity of experience; represented Muslims, Christians and Jews lived together in peace a peaceful geography. While Ottomans managing this geography, have inherited from the Byzantine process and blends with its spiritual structure and have built an atmosphere of peace which has not seen in any period in the history of the Balkans. As long as the Conquest, many more people has been involved in the Ottoman nation system. During the Ottoman period, in the Balkans, in the cultural sense, increased positive relationships between people and despite the fragmented mosaic structure of the Ottoman nation has managed to maintain the cultural dynamics. 

Amila Buturovic and Irvin Cemil Schick have compiled the 'Ottoman Balkans Women' (Istanbul Bilgi University Publications) gender, culture and history in terms of addressing these issues is a highly successful study. Irvin Cemil Schick, I closely followed the studies and I had the chance a few times to correspondence, is an interesting intellectual. With both Western and Eastern culture is a multi-lingual enlightened. More than this book, there are many important studies; Sexual West Coast: Sexuality and Spatiality in Diversifying Discourse, trans. S. Kılıç and G. Sarı (Istanbul: The History Foundation Dormitory Publications, 2002) Cherkess Beauty: Image of an Orientalist Adventure trans. A. Anadol (Istanbul: Capricorn Publications, 2004) Europeans prisoners and their Muslim Lords: Captivity Narratives in Turkish Province (Istanbul: Book Publisher, 2005) Writting Body, Society, the Cosmos: On Islam, Gender and Culture gratification. and trans. P. Tünaydın (Istanbul: Contact Publications, 2011) The book of ‘Balkan Women’ mentions in detail the identities, love, commercial relationship of women who have great contributions to this social situation remained as inheritance for the future and to the peaceful life in Ottoman era in different articles. Besides, it emphasizes the role of women both in the process of cultural and social interaction and in the scope of accepting them as a member of society or detaching them from the society, so it aims to make a contribution to sensibility that grows gradually in the researches. 

The book has also been designed as an interdisciplinary study; it does not target only to deal with social gender by putting some analytical categories aside like class, culture, ethnicity, becoming a nation and religion. On the contrary, this book makes a net among the categories mention above like law, religion, economy, literature, legal and private life and politics, while doing these, the book is based upon various area and disciplines.(p.4) In fact, the academicians make contributions to this book try examining cultural interactions of women that change with the daily life and different genders live all together here in despite of religious and ethnic border of Balkans. This book is one of the reference books about Ottoman Women. 

Olga Augustinos in ‘Balkan Women’, tells a story inspired by a novel of Abbe Prevost about an Ottoman Woman who becomes Christian in France when she is captured. Angela Jianu describes the fashion and Europeanization situation of women in Wallachia and Moldova. She emphasizes the historical role of consumer’s traditions in Romania that provides a pro-national identity. Patricia Fann Bouteneff draws a portrait of man and woman philosophy in Greek stories. Amila Buturoviç who is the other compiler of the book addresses the problematic love in traditional Bosnian folk songs. Kerime Filan treats the women who establish a foundation in Ottoman Bosnia and solution of the problems. 

Especially rich women play an important role in conducting Muslim community by establishing a foundation and building a mosque. Selma Zecevic has also told about lost husbands and the situation of their sorrowful wives. Mirna Solic tells Bosnian Women in the eye of Christian Poet Luka. Svetlana Ivanova has examined marriage problems of Rumelian women and records of Muslim judges from a historical perspective. Gila Hadar has searched the situation of the women within Thessaloniki Jewish tobacco workers. The writers of the articles mutually show that speech duality with a case, sometimes elaborated chat become a common mistake. It points forming more dialogical tendency in Ottoman Research (this concept belongs to Mihail Bahtin). 

The spiritual peace atmosphere that was established when Ottoman retreated, left its place to blood and tears. This tragedy was recently on display again on Bosnian war. I think it wouldn’t be wrong to say that the chaos, because of the corruption of the identities and the ethnic and religious borders led this mostly. Victor Hugo, Lord Byron and other less known writers who are unable to see this situation, incorrectly assessed Ottoman as a simple Asian despotism. It will easily be seen how weak this orientalist stereotype is, when the Ottoman nation system in the region is observed in the light of historical documents. Today, a disintegrative language is used for this precious Ottoman region, too. This discourse influences the course of events not only in that period but also today as Schick identified. 

When reading the texts in the book without prejudice, it will be seen that the women who tried to balance the necessities of an empire of many beliefs that live together and poetic justice, had roles beyond their traditional, private and public status. The women in Ottoman Balkans were foundation founders; they were organizing workers and were consuming luxury Western goods to show off. They were lovers, wives, left behinds, divorced and widows; they were symbols, mediators, subjects of folk songs and fairy tale narrators, victims of community pressure and protectors of their communities against supernatural powers.” (p.9) History is an experience that was formed not only with the contribution of men, as thought, but also with the contribution of women such as our mothers, wives and sisters. The function of woman in Ottoman society is far more important and profound than just to sit behind the cage and watch. We are the descendants of the generation who says ‘Heaven lies at the feet of the mother’.

Book | Reading Clocks, Alla Turca

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Reading Clocks, Alla Turca
TIME AND SOCIETY IN THE LATE OTTOMAN EMPIRE
 Reading Clocks, Alla Turca

Avner Wishnitzer is senior lecturer in the Department of Middle Eastern and African History at Tel Aviv University. His current project is titled A Dark History of the Late Ottoman Empire, sponsored by the Israel Science Foundation. The study investigates the far-reaching transformation in late Ottoman nocturnal realities from the early 18th century to WWI, exploring a variety of themes, from the economic utility of darkness to material and political aspects of lighting. His previous work focused on temporality and his book Reading Clocks Alla Turca: Time and Society in the Late Ottoman Empire was published by the University of Chicago Press in 2015. Dr Wishnitzer received his PhD from Tel Aviv University and was later a Fulbright post-doctoral fellow at the University of Washington in Seattle, a Lady Davis post-doctoral Fellow at the Hebrew University and a Krietman Post-Doctoral Fellow at Ben-Gurion University. He is the co-editor of the Social History Workshop, a public history blog in Haaretz Newspaper (in Hebrew).He resides with his family in Jerusalem.

312 pages | 14 halftones, 1 table 


Up until the end of the eighteenth century, the way Ottomans used their clocks conformed to the inner logic of their own temporal culture. However, this began to change rather dramatically during the nineteenth century, as the Ottoman Empire was increasingly assimilated into the European-dominated global economy and the project of modern state building began to gather momentum.  In Reading Clocks, Alla Turca, Avner Wishnitzer unravels the complexity of Ottoman temporal culture and for the first time tells the story of its transformation. He explains that in their attempt to attain better surveillance capabilities and higher levels of regularity and efficiency, various organs of the reforming Ottoman state developed elaborate temporal constructs in which clocks played an increasingly important role. As the reform movement spread beyond the government apparatus, emerging groups of officers, bureaucrats, and urban professionals incorporated novel time-related ideas, values, and behaviors into their self-consciously “modern” outlook and lifestyle. Acculturated in the highly regimented environment of schools and barracks, they came to identify efficiency and temporal regularity with progress and the former temporal patterns with the old political order.

Drawing on a wealth of archival and literary sources, Wishnitzer’s original and highly important work presents the shifting culture of time as an arena in which Ottoman social groups competed for legitimacy and a medium through which the very concept of modernity was defined. Reading Clocks, Alla Turca breaks new ground in the study of the Middle East and presents us with a new understanding of the relationship between time and modernity.

CONTENTS
Acknowledgments
Note on Terms, Names, and Transliteration
Introduction

Chapter 1 Reading Clocks, Alaturka
Chapter 2 Clerk Work
Chapter 3 Military Time
Chapter 4 On Time for School
Chapter 5 Ferry Tales
Chapter 6 No Time to Lose

Conclusion Reading Clocks, Alafranga

Notes
Bibliography
Index

Benjamin Fortna, SOAS, University of London

“Wishnitzer’s Reading Clocks, Alla Turca breaks new ground in the study of the late Ottoman Empire by examining the shift from old-style to new-style—mean-time—temporal reckoning. By focusing on the important but overlooked question of this crucial transition in its many vicissitudes, ranging from the way that schedules increasingly regulated daily activities to an internalized clock consciousness, Wishnitzer skillfully demonstrates the value of what he aptly terms ‘temporal culture’ for elucidating some of the many changes affecting late Ottoman society. At the same time, the book is alive to both the continuities and the changes—the losses as well as the gains—involved in adjusting to the new temporal order and is careful to include these in the elegant analysis offered in these pages.”

Journal of the Ottoman and Turkish Studies Association

“Reading Clocks Alla Turca puts Ottoman studies in particular, and Middle Eastern history in general on the map of the ‘temporal turn’ that lately has been receiving a renewed interest. . . . Wishnitzer employs sophisticated approaches to modernity, state-society binary, and the issues of agency. . . . With the accounts of sunset-time sadness, the ferry-waiting wife at the window, the anxiety of running late, Wishnitzer brings in the creative forces of poetry and fiction, and strongly weaves a universe sufficiently chaotic that is irreducible neither to state-compelled reforms nor a world saturated with homogenous time.”

New Perspectives on Turkey

“From sociology via anthropology to social and cultural history, time as an aspect of social relationships has recently become an object of empirical scholarly inquiry. Reading Clocks, Alla Turca is the first extensive study that brings the insights from these fields to bear on Ottoman history. It is a study of the changing temporal regimes, daily rhythms, and the meaning of time among the Ottoman state elite from the eighteenth century to the establishment of the Republic of Turkey. . . . While Reading Clocks is a study in social history, it is highly relevant for scholars working in other fields as well.”

International Journal of Turkish Studies


“Drawing on a wealth of sources, from erotic poetry to military timetables, ferry schedules, police reports, and political cartoons, Wishnitzer's book engages the reader in a deeply tangible experience of late Ottoman temporality. . .an original and highly readable study.”
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