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Flash Gordon in Pera

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Mavi Boncuk | Flash Gordon in Pera.



Sümer Sineması | Küçük Emek | Rüya

Ar Foto: Cezmi Ar, Cinematographer (1898–1976)


EU Watch | I Love Ameriki

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Mavi Boncuk |

The U.S. military has deployed a small number of forces in and around the Syrian city of Manbij as part of a new role to ensure that the different parties in the area do not attack each other, a Pentagon spokesman said on Monday.

Captain Jeff Davis told reporters the forces were stationed inside and to the west of Manbij starting last week to be a "visible sign of deterrence and reassurance."

While U.S forces have carried out training and advising missions in Manbij, this is the first time they have been deployed to make sure that Turkey- and U.S.-backed forces do not attack each other and focus on fighting Islamic State militants.

The villages west of Manbij have been a focus of fighting since Wednesday between Turkish-backed rebels opposed to the Syrian government and the Manbij Military Council, part of the U.S.-backed Syrian Democratic Forces (SDF) that includes the Kurdish YPG group.

Turkey views the YPG as an extension of the Kurdistan Workers' Party (PKK), which is waging an insurgency in Turkey.

Austria and Ottoman Empire

Bonne Marche | Bonmarşe

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Ottoman Grand bazzar was an early inspiration for the future department stores.

Mavi Boncuk |

Memories of 1908

Site Cinema

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Mavi Boncuk | Site Cinema in Sisli, Istanbul. Adverts on the curtain.

EU Watch | When Yes Means NO!

Erguven’s English-language Debut "Kings"

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Depending on who eventually gets the US rights should determine the theatrical release date, as the presence of Berry and Craig will most likely demand an awards consideration push. Erguven’s [*]English language debut is a passion project for the director, which may push this into a 2018 release if she’s not ready for the Fall festival cycle.


[*] She was born in Ankara (Turkey) in 1978, and received her cosmopolitan education in France, Turkey and the United States. She is a film buff and studied filmmaking at La Fémis in Paris after finishing her higher education of Literature and African History in Johannesburg. Her short film for graduation, 'Bir Damla Su', which she starred in, was shown at the Cinéfondation of the Cannes Festival and won a Leopardo del Mañana Award at the Locarno Festival. After graduating from La Fémis, she starting preparing for her debut with a feature film set in South Central Los Angeles and the riots in 1992. The project, entitled 'Kings', was selected by 'Emergence', the Cinéfondation workshop, and by the Sundance Script Laboratory, although it is was beaten by 'Mustang', a film whose script was created by this Turkish director herself and Alice Winocour during the summer of 2012. Filmography. 2006: "Bir damla su" (short), "Mon trajet préféré" (short). 2015: "Mustang". (Catalogue Valladolid International Film Festival 2015)

Mavi Boncuk |


Oscar-nominated (Mustang) French-Turkish director Deniz Gamze Erguven’s English-language debut "Kings", set against the Los Angeies riots[1] and starring Halle Berry and Daniel Craig, could be ready in time, although it would be a fast turnaround from its announcement last Cannes. This has been a passion project for Ergüven for years, dating back to her graduation from the French Fémis film school. She almost made it as her debut, but instead put it on hold to focus on Mustang. 

At first, Turkish-born, Paris-based director Deniz Gamze Erguven feared that she wouldn’t be able to make “Mustang,” simply because the material felt too close (the girls were inspired by one of her cousins back in Turkey). She actually started with an equal rowdy, but far less personal feature. Shortly after graduating from France’s La Femis film school, she traveled to Los Angeles to research the L.A. riots. She spoke to citizens, rode in police helicopters, and poured all she had into the script, which she called “Kings.” The project was invited to Cannes’ Cinefondation workshop, where she met future co-writer Alice Winocour, but baffled investors, who couldn’t understand why a French-Turkish helmer might be pitching such a story. “It was so obvious to me,” she says. “I was drawn to the tragedy, and the fact that it was five days in L.A. without laws.” 


When the project cratered, Erguven’s confidence was shot. “I was ready to move to Australia and sell ice cream, and Alice was the one who lifted me back up when I was really flat on the ground,” she says. “She made me write 20 hours a day.” Miraculously, some of the more anarchic moments from “Kings” found their way into “Mustang”: The scene where the woman breaks the electrical transformer, for example, or throwing burning pots out the window came from “Kings.” “One reason I was attracted to the L.A. riots, there was an amazing amount of raw energy, and also being a very dark story with a lot of potential for comedy,” she says.


Erguven began working on the screenplay in 2004 and has spent years working with the South Central neighborhood. After the success of Mustang, Erguven was able to revisit the project and snagged Halle Berry and Daniel Craig in lead roles. -

China’s Bliss Media and Maven Pictures[2] have come on board to finance “Kings,” the independent drama set against the backdrop of the 1992 Los Angeles riots. Principle photography began on December 27, 2016 in Los Angeles. Filming lasted until mid February 2017. 


The film has sold to the UK (Studiocanal), France (Ad Vitam), Italy (BIM), Spain (Vertigo)., Turkey (Fabula) and ex-Yugoslavia (Blitz). Charles Gillibert who produced Mustang as well as Olivier Assayas’s Personal Shopper was producing.

[1] A South Central recluse helps a woman's working-class mother during the 1992 civil unrest in Los Angeles. Craig portrays the loner who lives in South Central Los Angeles and falls in love with Berry’s character. When the riots erupt, he will help Berry in protecting her children from the violence.
[2] Bliss Media most recently wrapped production in Shanghai on “S.M.A.R.T. Chase,” starring Orlando Bloom. Bliss co-financed and executive produced Pablo Larraín’s “Jackie,” starring Natalie Portman, and acquired the Chinese distribution rights to Mel Gibson’s “Hacksaw Ridge,” which was released in China on Dec. 8 and set a box office record for imported war films in China. “Maven Pictures’ mission is to support films with women in front and behind the camera,” said Maven Pictures’ Celine Rattray and Trudie Styler. “Deniz is an extraordinary talent, and we look forward to being part of such an incredible project.” Maven’s credits include “The Kids Are All Right” and “American Honey.” Maven is partnered with Jessica Chastain in her production company Freckle Films, and is heading to Sundance with “Novitiate,” starring Margaret Qualley and Melissa Leo. CG Cinema’s credits include “Clouds of Sils Maria” by Olivier Assayas; “Eden” by Mia Hansen-Love”; “Personal Shopper,” which won the best director award at the 2016 Cannes festival for Assayas; and “Mustang” which won four awards at the French Cesars and was nominated for an Academy Award for best foreign film.

EU Watch | War of Tulips

Word origin | Kocakarı Soğukları

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Mavi Boncuk |

Sın, Sinnaber, Vabır, Amir, Mutemir, Muallel, Matfiyülcemer. 

Those 7  days between March 11th to 17th are together called Berdül’acüz or eyyamı husum[1]. Acüz is the sacrum, the name given to the last vertebrae of our backbone, symbolically the end of Winter. Or to some belief during those days the cold weather will be felt to the bottom of your backbone.

It sounds similar to "acüze" old women. Hence it is also called "old women's cold snap | kocakarı soğukları". Possibly there was an increase of deaths experienced at the end of the season. The misnomer stuck.

TDV Islamic Encyclopedia
BERDÜ’l-ACÛZ [2] برد العجوز yıl: 1992, cilt: 5, sayfa: 485-486 Kış mevsiminin sonlarında görülen şiddetli soğuklar için kullanılan bir tabir. 


[1] Eyyam:from AR ayyām أيّام günler from AR yawm يَوْم  [t.] gün TR; day EN.
Husumet: from AR χuṣūma(t) خصومة  düşmanlık TR; enmity EN, legal opposition, defence: defience EN; defi FRfrom AR χaṣama خصم çatıştı, karşı geldi TR; opposed EN

[2] BERDÜ’l-ACÛZ (برد العجوز) Kış mevsiminin sonlarında görülen şiddetli soğuklar için kullanılan bir tabir. EYYAMÜ’l-ACÛZ. Eyyam plural of yevm meaning day.

Arapça’da “soğuk” anlamına gelen berd ile “yaşlı, ihtiyar kadın” anlamındaki acûz kelimelerinden meydana gelen bir terkip olup “yaşlı kadın soğuğu” demektir. Rûmî takvime göre genellikle 26 Şubat-4 Mart, milâdî takvime göre ise 11-17 Mart arasındaki günlerde görülen bu soğuklar, Türkiye’de halk arasında daha çok “kocakarı soğukları” adıyla anılır. Bir rivayete göre Âd kavmini helâk eden rüzgâr bu günlerde ortaya çıkmıştır. Arap folklorunda “eyyâmü’l-acûz” (yaşlı kadın günleri) denilen bu yedi günün adları şöyledir: Sın, sınnebr, vebr, el-âmir, el-mü’temir, el-mu‘allil, mutfi’l-cemr. Ancak bazı kaynaklar bu günlerin sayısını beşe indirirken bazıları da sekize çıkarmış, ayrıca “eyyâmü’l-acûz” yerine “eyyâmü’l-acüz” ([kışın] son günleri) tabiri de kullanılmıştır.

Arap kaynaklarına göre kâhin olan yaşlı bir Arap kadını kış mevsiminin sonlarında ortaya çıkan bu soğukları önceden haber verdiğinden ona nisbetle bu günler berdü’l-acûz diye adlandırılmıştır. Bir başka rivayete göre ise sekiz oğlu olan yaşlı dul bir kadın oğullarından kendisini evlendirmelerini istemiş, onlar da, “Sekiz gece dışarıda kalmaya dayanabilirsen seni evlendiririz” demişler, kadın yedinci gece ölünce bu soğuklar ona nisbet edilmiştir. Vaktiyle bir kocakarının yedi keçisinin her birinin bu günlerde soğuktan ölmesi de adlandırmanın bir başka efsanevî kaynağıdır.

BİBLİYOGRAFYA:

Tâcü’l-Ǿarûs, “acz” md.; Türk Lugatı, I, 686; Ebû Zekeriyyâ el-Ferrâ‘, el-Eyyâm ve’l-leyâlî ve’ş-şühûr (nşr. İbrâhim el-Ebyârî), Beyrut 1400/1980, s. 80; Mes‘ûdî, Mürûcü’z-zeheb (Abdülhamîd), II, 200; Cevâd Ali, el-Mufassal, IV, 627; VI, 818; Semra Ertüre, “Takvimlerimizdeki Klimatolojik Verilerle İstanbul Meteorolojik Gözlem Bulguları Arasındaki İlişkiler”, İÜ Coğrafya Enstitüsü Dergisi, sy. 22, İstanbul 1977, s. 169-170; Pakalın, I, 206-207; R. Ekrem Koçu, “Berdülacûz”, İst.A, V, 2531-2532; “Berd”, ML, II, 196; P. Galand-Pernet, “Ayyām al-Adjūz”, EI² (Fr.), I, 816.


Abdülkadir Özcan 

Greek-Orthodox population of Istanbul 1844-1997

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Mavi Boncuk |



Data taken from: *Kamouzis Dimitrios[1], The Constantinopolitan Greeks in an era of secular nationalism, mid-19th century to 1930, 2010, University of London. King's College. Department of Byzantine and Modern Greek Studies, p. 32. 
*Darja Reuschke,Monika Salzbrunn,Korinna Schönhärl, The Economies of Urban Diversity: Ruhr Area and Istanbul, Palgrave Macmillan, 2013, ISBN 9781137338815, p. 117-122. 
*Σάββας Τσιλένης. Η μειονότητα των Ορθόδοξων Χριστιανών στις επίσημες στατιστικές της σύγχρονης Τουρκίας και στον αστικό χώρο. 
*Dundar Fuat, Turkiye Nufus Sayimlarinda Azinlikar. Doz, 1999, ISBN 9756876123. 9789756876121
Greek-Orthodox population of Istanbul (former Constantinople) 1844-1997

[1] Dimitris Kamouzis is a Researcher at the Centre for Asia Minor Studies, Athens, Greece. He completed his PhD in History at the Department of Byzantine and Modern Greek Studies, King’s College London with a four-year scholarship from the Alexander S. Onassis Public Benefit Foundation. 

In his capacity as Research Fellow for the John S. Latsis Public Benefit Foundation he co-edited the book 'State-Nationalisms in the Ottoman Empire, Greece and Turkey: Orthodox and Muslims, 1830-1945'. 

He is also a graduate of the Centre for Byzantine, Ottoman and Modern Greek Studies of the University of Birmingham (MPhil) and the Department of Turkish Studies, University of Cyprus (BA).

See also: 'Elites and the formation of national identity: The case of the Greek Orthodox millet, mid-19th century to 1922’

EU Watch | Referendum Blues

Chobani | Immigrant CEO Billionaire

1915-20 | Döner Movie by Pathe

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Mavi Boncuk | Döner Movie by Pathe

https://www.facebook.com/ottomanpictures/videos/1895455770699378/ Source: Ottoman Imperial Archives Oldest video of a döner kebab shop, Istanbul, 1915-1920

Yusuf Franko Kusa (1856–1933) | Puppetmaster of Pera

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YOUSSOUF BEY:  THE CHARGED PORTRAITS OF FIN-DE-SIÈCLE PERA
Edited by Bahattin Öztuncay

Published by the Ömer M. Koç Collection 
£160.00 / $199.58 / 720.63 TL 

Boxed two-volume set of facsimile edition plus book. English edition



 
Mavi Boncuk |

FEATURED IN CORNUCOPIA 55
Puppetmaster of Pera
By K Mehmet Kentel

EXTRACT

Sixty years ago, a rug dealer in the Grand Bazaar made a lucrative deal with an American diplomat who was on vacation in Istanbul with his wife. What he sold the American was not a rug, nor a carpet, and was quite unlike anything traded before or since in the bazaar or in any Istanbul antique shop. It was an 86-page album of unpublished caricatures from the Ottoman period, all dated to a span of 12 years from 1884 to 1896. That itself made it very interesting – but there was more to this album of curiosity. Titled Types et Charges, it was full of exceptionally well-crafted satirical drawings of members of the elite in fin-de-siècle Pera (today’s Beyoğlu). The artist himself was an aspiring member of this society with good connections in Ottoman bureaucracy as well as in Pera’s business circles. His name was Yusuf Franko Kusa (1856–1933).


Yusuf Franko was from a Melkite family (belonging to the Greek Catholic Church) who had emigrated from Lebanon at the end of the 18th century. Nasrî Franko, his father, had climbed the ranks of the Ottoman bureaucracy, eventually finding himself as the mutasarrıf (governor) of the Ottoman province of Mount Lebanon. His cousin and brother-in-law Naum Pasha Duhanî (1850–1911) was the nephew of Michel Naum, the owner of Pera’s famous Naum Theatre. Both Naum and Yusuf held important posts in the Ottoman foreign ministry, and, turning the governance of their ancestral homeland into virtually a family practice, both in turn became mutasarrıf of Mount Lebanon. Yusuf’s brothers were also diplomats.

Thanks to the roles he played in the busy diplomatic scene and to family connections, Yusuf enjoyed rare access to the private world of Pera’s crème de la crème. Among his entourage were ambassadors and chargés d’affaires. As one of them, the French diplomat Gabriel Hanotaux, related, “Youssouf was an amiable man, an excellent despatch writer, a skilled draughtsman, a witty cartoonist, a man about town, an enthusiastic bridge player who used to soundly beat the secretary of the Greek legation.” He also enjoyed the company of the most influential figures in Ottoman society and the patronage of two grand viziers, Tevfik Pasha and Said Pasha, as well as the friendship of the Levantine bankers of Galata. Unique, however, was his talent for caricature and his desire to satirise the “types” he encountered in his social world.

Among Yusuf’s targets were the stars who graced Pera’s stages, such as Jacques Damala and his wife, the actress Sarah Bernhardt (see this issue’s cover), who visited Istanbul four times from 1888 to 1908.

This world also included painters such as Jean Brindesi and Roberto Preziosi, son of the famous Amadeo Preziosi, who may have inspired his interest in drawing and provided him with some form of artistic training. Clearly, drawing satirical portraits was a social game for these talented individuals – Yusuf portrayed Roberto as running after women, and Roberto drew Yusuf as a puppetmaster pulling the strings of Pera society with his brush and pen (page 20). Both appear in Yusuf’s extravagant album.

This game continued to be played, in a different format, by Yusuf’s nephew, Naum Pasha’s son, Said Naum-Duhanî (1892–1970). Duhanî was the product of the fading world of fin-de-siècle Pera so masterfully documented by his uncle. He picked up where Yusuf left off and, using his pen rather than brushstrokes, embarked on a “social topography” of old Pera in Quand Beyoğlu s’appelait Péra (1956), narrating the stories he had heard from his father and uncle and his own experiences of this high life. He vividly described the contents of his uncle’s album: “Yusuf Bey left a caricature masterpiece that featured all the notables of the old Beyoğlu… The diplomatic cage that included Gabriel Efendi Noradungyan (as a parrot), Nişan Efendi Civanyan (as a macaque), and Nikolaki Efendi Sguridis (as an African monkey) was a way for Yusuf, as a young and witty caricaturist, to showcase his unbridled sense of humour.”

What happened to this album after it was bought in the Grand Bazaar in 1957? It stayed in the hands of the same family for 60 years, never exhibited, never published, acquiring legendary status as it travelled the world with the diplomat and his family, stopping in Afghanistan, Nepal, Burma, Cambodia, Vietnam, Indonesia, Japan and Vermont. In 1966, an article in the American arts magazine Horizon introduced it to connoisseurs and art historians; the article was translated into Turkish and published in Hayat Tarih Mecmuası in 1969, the album’s debut in the Turkish-speaking world. From then on, sporadic references to Yusuf Franko’s work appeared as a footnote to the history of Turkish–Ottoman caricatures.

And so it remained until the album was finally found in Toronto, after a brief stopover in Reykjavik, and added to the Ömer M Koç Collection in 2016. Now, 120 years after Yusuf drew his last caricature, the album is making a remarkable return to Pera, the very milieu where it was conceived. Koç University’s Research Center for Anatolian Civilizations (Anamed) is holding an exhibition at its gallery in the heart of Beyoğlu.

Yusuf Franko’s Characters: An Ottoman Bureaucrat’s Caricatures tells the exciting story of Yusuf, his album and the world it grew out of. Curated by Bahattin Öztuncay and designed by Yeşim Demir, the exhibition is accompanied by a publication in two volumes; one reproduces the album in its entirety, the other places it in a social and artistic context.

The historian Robert Darnton once suggested that the key to understanding the culture of an ancient or alien people was to explore what they laughed at. Now it’s our turn to laugh, and we are invited by Yusuf to play his game.

In Memoriam | Nurhan Nur (1930-2017)

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Mavi Boncuk |

Nurhan Nur was born on May 14, 1930 in Elazig, Turkey as Nur Gençsüer. 

Debut film in 1950 'Parmaksız Salih' 

 Selected Filmography: 'Bu Vatanın Çocukları', 'Düşman Yolları Kesti', 'Yılanların Öcü' Revenge of the Snakes (1962) , 'Bozuk Düzen', 'Son Kuşlar', 'Kanun Benim', 'Yaprak Dökümü', 'Fırat'ın Cinleri', 'Selvi Boylum Al Yazmalım' The Girl with the Red Scarf (1977), 'Maden' Mine (1978) and 'Susuz Yaz' Dry Summer version 2





Spouse: Atif Yilmaz(1952 - 62) 

Atif Yilmaz (1925-2006) got married three times. His first wife was actress Nurhan Nur. After divorcing his second wife, the playwright Ayşe Şasa, he made his last marriage with Deniz Türkali, daughter of Vedat Türkali, a Turkish novelist, film script writer and film director. Atıf Yılmaz has a daughter, born 1956 Kezban Arca (Batıbeki) [1] from his first marriage to Nurhan Nur. 







Filmography

Hicran sokagi as Hasta
 1991Aile baglari (TV Mini-Series)

- Episode #1.7 (1991)

- Episode #1.8 (1991)

- Episode #1.6 (1991)

- Episode #1.5 (1991)

- Episode #1.4 (1991)

Show all 8 episodes

 1990Eskici ve ogullari as Mehmet'in Annesi
 1988Arka Evin Insanlari

as Sükriye

 1986Kurulus (TV Movie)

as Hayme Ana

 1978Maden

 1977The Bad Spirits of the Euphrates

as Genco'nun Annesi

 1977The Girl with the Red Scarf

 1976Ask dedigin laf degildir

as Müzeyyen Hanim

 1975Bu Osman baska Osman

as Saziye

 1974Antar in the Land of the Romans

 1974Gerçek

Arkadas

 1974Susuz yaz

 1969Allah'in aslani Ali

 1969Hazreti Ali

 1969Köprüden geçti gelin

 1969Mezarimi tastan oyun

as Zübeyde

 1969Yasamak hakkimdir

 1968Öksüz

 1967Ah bu kadinlar

 1967Elveda

 1967Karaoglan - Bizansli zorba

as Kitya

 1967Woman Despiser

 1967Yaprak dökümü as Fikret
 1966Bozuk düzen

 1966Bitmeyen çile as Nurten
 1966Kanun benim

 1965The Last Birds

 1965The Streets Are Burning (as Nurdan Nur)

 1964Güzeller kumsali

 1964Yarin bizimdir

 1963Casus kardesler

 1962Revenge of the Snakes as Hatçe
 1961If I Lose You...

 1961Sensiz yillar

 1960King of the Swindlers

 1959Düsman yollari kesti as Makbule Hanim
 1958Bir soförün gizli defteri

 1958This Land's Children

 1955The First and the Last

 1954The North Star

 1953Ask istiraptir

 1951Mezarimi tastan oyun

 1951The Bloody Cry

 1950Parmaksiz Salih


 1950The Magic Treasure 





 [1] Kezban Arca (Batıbeki) Turkish painter, photographer, and filmmaker, best known for her works exploring female empowerment. Drawing on pop imagery, bright colors, and digital tools, Batibeki creates scenes in which women subjects are portrayed as dominant and powerful forces. Batibeki references pulp fiction, detective stories, and murder mysteries in these works, which are consequently infused with dark undertones, her characters brandishing weapons or chasing one another.



1882-1922 Map for Canfeda Çıkmazı

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Mavi Boncuk | 

Latest post in my micro area study of the  Canfeda Çıkmazı | cul-de-sac where I was born.

Poetry | I am listening to Istanbul, intent, my eyes closed.

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One of the best poems describing İstanbul written by Orhan Veli known as the poet of İstanbul.

First a little try to better Halman translation:

İstanbul'u dinliyorum, gözlerim kapalı 
Önce hafiften bir rüzgar esiyor; 
Yavaş yavaş sallanıyor 
Yapraklar, ağaçlarda; 
Uzaklarda, çok uzaklarda, 
Sucuların hiç durmayan çıngırakları 
İstanbul'u dinliyorum, gözlerim kapalı. 

stanbul'u dinliyorum, gözlerim kapalı; 
Kuşlar geçiyor, derken; 
Yükseklerden, sürü sürü, çığlık çığlık. 
Ağlar çekiliyor dalyanlarda; 
Bir kadının suya değiyor ayakları; 

İstanbul'u dinliyorum, gözlerim kapalı.

I am listening to Istanbul with my eyes closed
First a slight breeze blows;
Slowly, slowly ripple
Leaves in trees;
Far far, far away,
Bells of water carriers clang on and on
I am listening to Istanbul with my eyes closed.

I am listening to Istanbul with my eyes closed;
Then the birds fly by;
High up, in flocks, screaming.
The nets are drawn in the fishing weirs;
The feet of a woman touch the waters;

I am listening to Istanbul with my eyes closed.

MAM (2017)

Mavi Boncuk |

I’M LISTENING TO ISTANBUL, WITH MY EYES CLOSED

I am listening to Istanbul, intent, my eyes closed;
At first there blows a gentle breeze
And the leaves on the trees Softly flutter or sway;
Out there, far away,
The bells of water carriers incessantly ring;
 I am listening to Istanbul, intent, my eyes closed.

I am listening to Istanbul, intent, my eyes closed;
Then suddenly birds fly by,
Flocks of birds, high up, in a hue and cry
While nets are drawn in the fishing grounds
And a woman's feet begin to dabble in the water.
I am listening to Istanbul, intent, my eyes closed.

I am listening to Istanbul, intent, my eyes closed.
The Grand Bazaar is serene and cool,
A hubbub at the hub of the market,
Mosque yards are brimful of pigeons,
At the docks while hammers bang and clang
Spring winds bear the smell of sweat;
I am listening to Istanbul, intent, my eyes closed.

I am listening to Istanbul, intent, my eyes closed;
Still giddy since bygone bacchanals,
A seaside mansion with dingy boathouses is fast asleep,
Amid the din and drone of southern winds, reposed,
I am listening to Istanbul, intent, my eyes closed.

I am listening to Istanbul, intent, my eyes closed.
Now a dainty girl walks by on the sidewalk:
Cusswords, tunes and songs, malapert remarks;
Something falls on the ground out of her hand,
It's a rose I guess.
I am listening to Istanbul, intent, my eyes closed.

I am listening to Istanbul, intent, my eyes closed;
A bird flutters round your skirt;
I know your brow is moist with sweat
And your lips are wet.
A silver moon rises beyond the pine trees:
I can sense it all in your heart's throbbing.
I am listening to Istanbul, intent, my eyes closed.

Translated by Talat Sait Halman (1982)


İstanbul'u dinliyorum, gözlerim kapalı 
Önce hafiften bir rüzgar esiyor; 
Yavaş yavaş sallanıyor 
Yapraklar, ağaçlarda; 
Uzaklarda, çok uzaklarda, 
Sucuların hiç durmayan çıngırakları 
İstanbul'u dinliyorum, gözlerim kapalı. 

İstanbul'u dinliyorum, gözlerim kapalı; 
Kuşlar geçiyor, derken; 
Yükseklerden, sürü sürü, çığlık çığlık. 
Ağlar çekiliyor dalyanlarda; 
Bir kadının suya değiyor ayakları; 
İstanbul'u dinliyorum, gözlerim kapalı. 

İstanbul'u dinliyorum, gözlerim kapalı; 
Serin serin Kapalıçarşı 
Cıvıl cıvıl Mahmutpaşa 
Güvercin dolu avlular 
Çekiç sesleri geliyor doklardan 
Güzelim bahar rüzgarında ter kokuları; 
İstanbul'u dinliyorum, gözlerim kapalı. 

İstanbul'u dinliyorum, gözlerim kapalı; 
Başımda eski alemlerin sarhoşluğu 
Loş kayıkhanelerıyle bir yalı; 
Dinmiş lodosların uğultusu içinde 
İstanbul'u dinliyorum, gözlerim kapalı. 

İstanbul'u dinliyorum, gözlerim kapalı; 
Bir yosma geciyor kaldırımdan; 
Küfürler, şarkılar, türküler, laf atmalar. 
Bir şey düşüyor elinden yere; 
Bir gül olmalı; 
İstanbul'u dinliyorum, gözlerim kapalı. 

İstanbul'u dinliyorum, gözlerim kapalı; 
Bir kuş çırpınıyor eteklerinde; 
Alnın sıcak mı, değil mi, biliyorum; 
Dudakların ıslak mı, değil mi, biliyorum; 
Beyaz bir ay doğuyor fıstıkların arkasından 
Kalbinin vuruşundan anlıyorum; 
İstanbul'u dinliyorum. 

Orhan Veli 

EU Watch | A Lesson for Nay Sayers

Turkey | Energy Hub Report

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Mavi Boncuk |SOURCE 

Turkey is an increasingly important transit hub for oil and natural gas supplies as they move from Central Asia, Russia, and the Middle East to Europe and other Atlantic markets.

Turkey is well placed to serve as a hub for oil and natural gas supply headed to Europe and other Atlantic markets from Russia, the Caspian region, and the Middle East (Figure 1). Turkey has been a major transit point for oil and is becoming more important as a transit point for natural gas. Significant volumes of Caspian oil are sent to Black Sea ports (such as Novorossisyk, Russia and Supsa, Georgia) and then to Western markets by tanker via the Turkish Straits (Bosporus and Dardanelles waterways). Caspian oil and oil from northern Iraq also cross Turkey by pipeline, through the Ceyhan oil terminal on Turkey's Mediterranean coast.

Turkey is primed to become a significant natural gas pipeline hub. However, currently most of its natural gas pipeline connections only bring natural gas into the country because growing demands have left little natural gas for export. Since 2010, Turkey has experienced some of the fastest growth in total energy demand among countries in the Organization for Economic Cooperation and Development (OECD). Unlike several other OECD countries in Europe, Turkey's economy has avoided the prolonged stagnation that has characterized much of the continent for the past several years.

The country has, however, faced some recent challenges. On November 24, 2015, Turkey shot down a Russian jet near the Turkey-Syria border. After the incident, Russian-Turkish relations were tense. Russia imposed various economic sanctions on Turkey, and discussions related to the Turkish Stream natural gas pipeline were suspended. Since the attempted coup in Turkey in July 2016, relations between Turkey and Russia have improved, and the Turkish Stream pipeline project is again under discussion.



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