Vue de Kadikieui
↧
↧
Award | Beyazıt State Library
BEYAZIT STATE LIBRARY
LOCATION: ISTANBUL
CLIENT: REPUBLIC OF TURKEY, MINISTRY OF CULTURE AND TOURISM / AYDIN DOGAN FOUNDATION
YEAR: 2016 RENOVATION
STATUS: BUILT
TYPE: CULTURE
USABLE AREA: 2,925m²
Mavi Boncuk |
Beyazıt State Library Renovation
Conveying the knowledge and the building into 21st century and beyond
eyazıt State Library is one of the oldest state libraries in İstanbul, founded in 1884 as the “Kütüphane-i Umumi-i Osmani”. The Library can be found in Beyazıt Square adjacent to Beyazıt Mosque built by Sultan Beyazıt II and completed in 1506. Beyazıt Square is today the most vibrant space in the old part of the city. The restoration of the State Library has involved the sensitive reorganization of the interior and careful restoration of the building fabric with its prominent multi-domed roof. A modest extension, respectful of the scale of the existing building has been added to the northeast façade of the existing Library. The area around the State Library is infused with historical connections of a literary nature. The book bazaar, a courtyard on the site of the Byzantine book and paper store, can be found to the south east of the Mosque and can be entered either from Beyazıt Square or from the Grand Bazaar via the Beyazıt Gate. The restoration of the Beyazıt State Library is exemplary. The ‘minimal intervention’ approach ensures the spirit of the place survives while modern facilities are grafted onto the historic fabric.
Beyazıt State Library is one of the oldest libraries, and the first state library in Turkey, founded in 1884. The library is located at the most important public space in the historical peninsula of Istanbul in an environment that has strong ties to literature and history. The exemplary updating and fine-tuning of the State Library involved sensitive re-organization of the interior and careful restoration of the building fabric. The ‘minimal intervention’ approach of the project ensures the spirit of the place survives while modern facilities are grafted onto the historic fabric. The exterior shell is renovated and returned to its original state while the additions enhance the spatial qualities, without suppressing the existing, on the contrary, respectfully aggrandising the inheritance.
Originally the soup kitchen and inn of the Beyazıt Complex, dating back to the 16th Century, the library was in a derelict state with 25.000 rare books and manuscripts within its collection in dire conditions. The project aimed further for environmental betterment, and urban regeneration of the public realm by reviving all the traces and capacities, principally of the complex and of Beyazıt Public Square that is charged with the echoes of the literary connections, from surrounding Istanbul University to the neighboring Booksellers Bazaar and memory of Küllük Kahvesi -gathering place for the intelligentia for many decades. Re-organization of the library introduced a public flow from the square to the backyard through spaces devoted to the display the books and reading rooms grouped around the courtyard. To provide an optimal reading and research atmosphere and a protected archive for the books, and to introduce a contemporary infrastructure for a library as a public space, the authentic aura of the complex were brought to the fore by injecting contrasting but harmonious details to modern facilities.
Utilizing contemporary materials and techniques in harmony with environment, yet different from the original elements of the building the overall attitude of “minimal intervention” is reflected in material level with an approach that is true to the nature of the building’s historicity and values while respecting the spirit of the complex.
Monolithic, transparent black boxes, housing the rare books, stand in stark contrast to its surroundings while at the same time reflecting the original space. Transparency provides visual contact, moreover, the books are accessible yet in a protective envionment. All of the infrastructure and technical needs for a fully functioning library is placed under raised floors, retracted from the historic walls, and following its contours, the lighting design contributes another layer enhancing the perception of depth,.
Hovering above, a light and transparent inflatable membrane covers the courtyard filtering the daylight and providing a controlled atmosphere. Another transparent structure, a glass roof, covers the Byzantine Church that was discovered during the construction, through which it can be observed.
Tabanlıoğlu Architects is established in 1990 by Murat Tabanlıoğlu and his father Hayati Tabanlıoğlu, and Melkan Gürsel (AIA Int.) joined the group as partner in 1995.
İstanbul-based architectural firm, with its long family tradition since 1950, started with Dr. Hayati Tabanlıoğlu, architect of Çankaya Mosque, Erzurum Atatürk University, Atatürk Cultural Center, İstanbul Atatürk Airport and Galleria ‘the first shopping mall of Turkey’. Spanning over six decades, the office demonstrates a professionalism based on rigor and know-how.
Tabanlıoğlu Architects develop innovative, yet efficient and economically viable design alternatives for residential buildings, offices, industrial facilities, shopping malls and transformation projects considering the uniqueness of the “place” and the individuality of “requirements”.
Tabanlıoğlu renders services of projects and counselling in architecture, urban planning, and interior design, in national and international scales.
The practice is currently engaged in major assignments worldwide, from Dakar to Kazakhstan, Ukraine etc., with offices in New York and London. Tabanlıoğlu projects comprise wide range of building types, with various awards including RIBA International in 2011 and 2013. The quantity and quality of projects, awards and publications endorse its solvency.
Searching for new efficiencies in terms of global and environmental needs and developments and respecting resources and existing values, the office aims high to benefit new technologies, envisioning the needs of people of our era of novelties and rapid changes.
Operating mainly in Turkey, MENA and CIS Countries with almost 200 architects, office’s keen to design high-quality urban space that attracts both local and international users/visitors, through projects providing immediate presence at its location as well as making a positive urban impact, targeting betterment, contemporary development and content end-users.
Murat Tabanlıoğlu (RIBA, Chartered Member, Int’l. Assoc. AIA) studied architecture at Vienna Technical University and graduated in 1992. Besides his atelier program at Istanbul Bilgi University, he lectures at universities and various international platforms. In addition to his national and international contributions as a jury member, such as at AIA and WAF, Murat served on the Master Jury for the 2013 Cycle of the Aga Khan Award for Architecture. In 2014 he has been granted with the great honor of curating the first Pavilion of Turkey at the 14th International Architecture Exhibition at the Venice Biennale. In 2015, he has been the curator of “Port City Talks. Istanbul. Antwerp.” exhibition at MAS Antwerp, as a major event of Europalia 2015 Turkey.
Melkan Gürsel (Int’l. Assoc. AIA) studied architecture at Istanbul Technical University. Following her graduation in 1993, she attended Polytechnic University of Metropolitan Catalonia for her Master of Architecture. She is the partner of Tabanlıoğlu Architects where percentage of women architects rises to almost 60%. Melkan gives lectures at various national and international platforms and serves as jury member at several programs, one of her contributions being RIBA Annie Spink Award for Excellence in Architectural Education. She has co-curated an exhibition at London Design Festival 2015 with French artist Arik Levy. Besides many other awards, Melkan has been selected as one of the “Europe 40 under 40” for 2008 and as “Fifty under Fifty: Innovators of the 21st Century”, in 2015. In 2010, together with Murat Tabanlıoğlu, Melkan selected as “Architect of the Year” by Big Project Middle East Awards.
TABANLIOGLU ARCHITECTS | ISTANBUL HEAD OFFICE
Passage Petits-Champs
Mesrutiyet Caddesi No:67
Beyoglu 34430 Istanbul
TURKEY
Phone: +90 212 251 2111 | Fax: +90 212 251 2332
NEW YORK OFFICE
111 John St #2650
New York, NY 10038
USA
Phone: +1 (917) 415 1404
LONDON OFFICE
71 Newman Street
London W1T 3EQ
UNITED KINGDOM
Phone: +44 (0) 203 151 0353
DUBAI OFFICE
Alfattan Marine Towers
First Floor No:14
P.O. Box 34521
Dubai UAE
Phone: +971 4 3927666 | Fax: +971 4 3927600
DOHA OFFICE
Alfardan Center
Grand Hamad Street No:119
6th floor Old Al Ghanim-6
P.O. Box 6194
Doha QATAR
Phone: +974 40 290852 | Fax: +974 40 299687
↧
New AKM
An iconic cultural center in Istanbul's teeming Taksim Square will be rebuilt anew as an opera house, scheduled to open in the first quarter of 2019, Turkish President Recep Tayyip Erdogan announced on Monday.
Speaking at Halic Congress Center to introduce the project, Erdogan said the new Ataturk Cultural Center, known by its Turkish initials AKM, would be a “symbolic” site of Istanbul.
Expressing regret over delays in beginning construction of the new AKM building, he said: “Turkey is able today to get to business that needed to be done 10 years ago.”
![]()
Recent AKM Articles from Mavi Boncuk |
![]()
![]()
![]()
![]()
![]()
![]()
![]()
Speaking at Halic Congress Center to introduce the project, Erdogan said the new Ataturk Cultural Center, known by its Turkish initials AKM, would be a “symbolic” site of Istanbul.
Expressing regret over delays in beginning construction of the new AKM building, he said: “Turkey is able today to get to business that needed to be done 10 years ago.”
Recent AKM Articles from Mavi Boncuk | 
↧
Two New Books | Archeology of Ottoman Cineama
Mavi Boncuk |
![]()
Milli Sinema Osmanlı'da Sinema Hayatı ve Yerli Üretime Geçiş
Yazar: İ. Arda Odabaşı
Yayınevi : Dergah Yayınları , İletişim Dizisi
2017 yılı, Türk sinemasının ilk kurmaca filmlerinin yüzüncü yıldönümüdür. 1917’de Sedat Simavi’nin yönettiği Casus ve Pençe gibi dramatik filmler, Bican Efendi gibi komediler Osmanlı yazarlarınca yerli veya milli sinemacılığın başlangıcı sayılmıştır.
İ. Arda Odabaşı, bir sinema arkeolojisi görüntüsü veren bu kitabında, Türk sinemasının ilk kurmaca filmlerini, bu filmlerin üretim ve gösterim süreçlerini mercek altına alıyor. Bir yandan geleneksel sinema tarihi anlatılarını ve yerleşik kalıpları sorgularken, öte yandan bu süreç hakkındaki yanlışları birincil kaynaklara dayanarak düzeltiyor. Sinemanın daha Osmanlı döneminde sıradan insanın kitle eğlencesi haline geldiğini, 1917-1918’de kayda değer büyüklükte bir seyirci kitlesi bulunduğunu belgeliyor. I. Dünya Savaşı’nın Türkiye’de sinema için bir dönüm noktası sayılabileceğini ortaya koyuyor.
İlk müstehcen film konusunun, sinemacılığın gelişiminde İttihat ve Terakki Cemiyeti’nin rolünün, Ayastefanos filminin Türk sinemasındaki gerçek yerinin tartışıldığı bu eser, Osmanlı dönemi İstanbul’undaki sinema hayatını zengin bir kaynakçaya yaslanarak resmediyor. Türk sinemasında yerli üretime I. Dünya Savaşı sırasında geçilmesinin bir tesadüf olmadığının altını çizerken; Osmanlıların, gerçek dünyaları yıkılırken kurmaca dünyalarını inşa etmeye koyuluşlarının öyküsünü anlatıyor.
Sayfa Sayısı : 216
Ebat : 13,5 x 21
İlk Baskı Yılı : 2017
Baskı Sayısı : 1. Basım
ISBN: 9789759958497
![]()
Sinemanın İstanbul'da İlk Yılları | Modernlik ve Seyir Maceraları
Yazar: Nezih Erdoğan
Yayınevi : İletişim Yayıncılık - Tarih Dizisi
Sinemanın memleketteki ilk günleri, karmaşası, temaşası, şayia ve iştahı… Kalabalığı ve seyrekliği, ara durakları… Mekânlar, işletmeler,
ilk gösterimler, isimler ve teferruatlar… Nezih Erdoğan, sinemanın İstanbul’daki ilk günlerini anlatıyor, arkeolojik bir kazıyı andıran titizlikle, sabır ve emek isteyen bir tutkuyla kayıp bir geçmişin izinden gidiyor.
Sinemanın İstanbul’daki İlk Yılları, modernleşme tarihimizin seyir ve sinemayla gelen büyük dönüşümünü resmediyor. Bir başvuru
kitabından fazlası. “Modernliğin İstanbul dediğimiz coğrafyada ete kemiğe bürünüşünde sinemanın nasıl bir payı olmuş olabilir? Arzunun 19. yüzyılda en çok görsel yollardan ifade bulduğunu ileri sürmek yanlış olmayacaktır. Bir Osmanlı şehri olarak İstanbul, çeşitleri gittikçe artan görüntüleme ve izleme aygıtlarının mutlaka yöneldikleri bir şehir idi. Bununla birlikte, bu aynı zamanda modern ve (kısmen de olsa) Avrupai başkent bir arzu nesnesi olmakla kalmadı, modern yaşamın bir koşulu olan bakma ve bakılma arzusunu kendi uzamı içinde tekrar tekrar üretti. Sinemanın şehre gelişiyle modernliğin şehrin dokusuna nüfuz etmesi, biraz da bu
nedenle, bir arada düşünülmelidir.”
Sayfa Sayısı : 320
Ebat : 15 x 21,5
İlk Baskı Yılı : 2017
Baskı Sayısı : 1. Basım
Milli Sinema Osmanlı'da Sinema Hayatı ve Yerli Üretime Geçiş Yazar: İ. Arda Odabaşı
Yayınevi : Dergah Yayınları , İletişim Dizisi
2017 yılı, Türk sinemasının ilk kurmaca filmlerinin yüzüncü yıldönümüdür. 1917’de Sedat Simavi’nin yönettiği Casus ve Pençe gibi dramatik filmler, Bican Efendi gibi komediler Osmanlı yazarlarınca yerli veya milli sinemacılığın başlangıcı sayılmıştır.
İ. Arda Odabaşı, bir sinema arkeolojisi görüntüsü veren bu kitabında, Türk sinemasının ilk kurmaca filmlerini, bu filmlerin üretim ve gösterim süreçlerini mercek altına alıyor. Bir yandan geleneksel sinema tarihi anlatılarını ve yerleşik kalıpları sorgularken, öte yandan bu süreç hakkındaki yanlışları birincil kaynaklara dayanarak düzeltiyor. Sinemanın daha Osmanlı döneminde sıradan insanın kitle eğlencesi haline geldiğini, 1917-1918’de kayda değer büyüklükte bir seyirci kitlesi bulunduğunu belgeliyor. I. Dünya Savaşı’nın Türkiye’de sinema için bir dönüm noktası sayılabileceğini ortaya koyuyor.
İlk müstehcen film konusunun, sinemacılığın gelişiminde İttihat ve Terakki Cemiyeti’nin rolünün, Ayastefanos filminin Türk sinemasındaki gerçek yerinin tartışıldığı bu eser, Osmanlı dönemi İstanbul’undaki sinema hayatını zengin bir kaynakçaya yaslanarak resmediyor. Türk sinemasında yerli üretime I. Dünya Savaşı sırasında geçilmesinin bir tesadüf olmadığının altını çizerken; Osmanlıların, gerçek dünyaları yıkılırken kurmaca dünyalarını inşa etmeye koyuluşlarının öyküsünü anlatıyor.
Sayfa Sayısı : 216
Ebat : 13,5 x 21
İlk Baskı Yılı : 2017
Baskı Sayısı : 1. Basım
ISBN: 9789759958497
Yazar: Nezih Erdoğan
Yayınevi : İletişim Yayıncılık - Tarih Dizisi
Sinemanın memleketteki ilk günleri, karmaşası, temaşası, şayia ve iştahı… Kalabalığı ve seyrekliği, ara durakları… Mekânlar, işletmeler,
ilk gösterimler, isimler ve teferruatlar… Nezih Erdoğan, sinemanın İstanbul’daki ilk günlerini anlatıyor, arkeolojik bir kazıyı andıran titizlikle, sabır ve emek isteyen bir tutkuyla kayıp bir geçmişin izinden gidiyor.
Sinemanın İstanbul’daki İlk Yılları, modernleşme tarihimizin seyir ve sinemayla gelen büyük dönüşümünü resmediyor. Bir başvuru
kitabından fazlası. “Modernliğin İstanbul dediğimiz coğrafyada ete kemiğe bürünüşünde sinemanın nasıl bir payı olmuş olabilir? Arzunun 19. yüzyılda en çok görsel yollardan ifade bulduğunu ileri sürmek yanlış olmayacaktır. Bir Osmanlı şehri olarak İstanbul, çeşitleri gittikçe artan görüntüleme ve izleme aygıtlarının mutlaka yöneldikleri bir şehir idi. Bununla birlikte, bu aynı zamanda modern ve (kısmen de olsa) Avrupai başkent bir arzu nesnesi olmakla kalmadı, modern yaşamın bir koşulu olan bakma ve bakılma arzusunu kendi uzamı içinde tekrar tekrar üretti. Sinemanın şehre gelişiyle modernliğin şehrin dokusuna nüfuz etmesi, biraz da bu
nedenle, bir arada düşünülmelidir.”
Sayfa Sayısı : 320
Ebat : 15 x 21,5
İlk Baskı Yılı : 2017
Baskı Sayısı : 1. Basım
↧
Cins'i a'la cigara kağıdı | Ottoman Cigarette papers Redux
Mavi Boncuk |
![]()
Mavi Boncuk | Source
Mair de Botton, Tahtakale, Istanbul
Avram Mayorkas, Azaria Han no. 17, Marpuccular, Istanbul
The history of Modiano began in 1868 when David Saul Modiano, born in Greece moved to Trieste, Italy and around about 1889 began to manufacture cigarette papers. In europe at this time there was a considerable demand for cigarette papers and tubes and the company he set up began to manufacture them with different markings, Over several hundred brand names are recorded but most notable is the Club brand. The Graphic Art was entrusted to Giuseppe Sigon (1864-1922). The company had factories in Trieste and Bologna and many of the papers were produced for the european and middle eastern markets. Many of the booklets were produced in Austria.
![]()
See also: History of cigarette papers in the Ottoman Empire. = Cins'i a'la cigara kagidi by UGUR A. YEGıN Paperback – 2015
Cins'i a'la cigara kağıdı. Sigara kağıdı ambalajları üzerinden Osmanlıda grafik sanatına bakış = History of cigarette papers in the Ottoman Empire. İstanbul: İstanbul Müzayede Yayınları, 2015 359pp. Color illustrations. Turkish and English. Limited edition of 750 manually numbered copies. This copy is one of first 250, from 001 to 250 with specal cloth binding.
Paperback: 359 pages
Publisher: İstanbul: İstanbul Müzayede Yayinlari (2015)
Language: English
ISBN-10: 6056046028
ISBN-13: 978-6056046025
Contents of the book:
1) Preface 2) History 3) The Early Days 4) Maritime 5) War and the Young Turks 6) Charities 7) Railways and Maps 8) Istanbul and Cities 9) People 10) Animals and Flowers 11) The Sun 12) The War of Liberation 13) Money & Stamps 14) Others 15) Documents 16) History of Cigarette Papers in the Ottoman Empire 17) Bibliography and Index. As you can see from the contents of the book, the history of the Ottoman tobacco industry is studied thoroughly. Also the political and sociological structure and developments in late 19th and early 20th centuries can be observed with all ethnic groups and cultures, from Turks to Greeks and Armenians, as well as places like Salonica and Beirut or Trieste. Also there is an insight to the illustration of the same period. OTTOMANIA Collection Ephemera Turkish - Greek culture Tobacco Graphic arts Collectible Box Objects Cigarette papers.
![]()
![]()
![]()
Mair de Botton, Tahtakale, Istanbul
Avram Mayorkas, Azaria Han no. 17, Marpuccular, Istanbul
![]()
Saul D. Modiano
The history of Modiano began in 1868 when David Saul Modiano, born in Greece moved to Trieste, Italy and around about 1889 began to manufacture cigarette papers. In europe at this time there was a considerable demand for cigarette papers and tubes and the company he set up began to manufacture them with different markings, Over several hundred brand names are recorded but most notable is the Club brand. The Graphic Art was entrusted to Giuseppe Sigon (1864-1922). The company had factories in Trieste and Bologna and many of the papers were produced for the european and middle eastern markets. Many of the booklets were produced in Austria.
![]()
C. H. Dragonis | Tchaoussi Freres & Cie
Several brands of booklet produced by these manufacturers at factory in Constinople/Istanbul
See also: History of cigarette papers in the Ottoman Empire. = Cins'i a'la cigara kagidi by UGUR A. YEGıN Paperback – 2015Cins'i a'la cigara kağıdı. Sigara kağıdı ambalajları üzerinden Osmanlıda grafik sanatına bakış = History of cigarette papers in the Ottoman Empire. İstanbul: İstanbul Müzayede Yayınları, 2015 359pp. Color illustrations. Turkish and English. Limited edition of 750 manually numbered copies. This copy is one of first 250, from 001 to 250 with specal cloth binding.
Paperback: 359 pages
Publisher: İstanbul: İstanbul Müzayede Yayinlari (2015)
Language: English
ISBN-10: 6056046028
ISBN-13: 978-6056046025
Contents of the book:
1) Preface 2) History 3) The Early Days 4) Maritime 5) War and the Young Turks 6) Charities 7) Railways and Maps 8) Istanbul and Cities 9) People 10) Animals and Flowers 11) The Sun 12) The War of Liberation 13) Money & Stamps 14) Others 15) Documents 16) History of Cigarette Papers in the Ottoman Empire 17) Bibliography and Index. As you can see from the contents of the book, the history of the Ottoman tobacco industry is studied thoroughly. Also the political and sociological structure and developments in late 19th and early 20th centuries can be observed with all ethnic groups and cultures, from Turks to Greeks and Armenians, as well as places like Salonica and Beirut or Trieste. Also there is an insight to the illustration of the same period. OTTOMANIA Collection Ephemera Turkish - Greek culture Tobacco Graphic arts Collectible Box Objects Cigarette papers.
↧
↧
Istanbul | Tram Lines
↧
Turkish DARE
(pictured) Turk's Head Cake Pan c. 1937
watercolor and graphite on paper | overall: 22.3 x 29.2 cm (8 3/4 x 11 1/2 in.)
Original IAD Object: 11" in diameter; 7" high | Index of American Design
Mavi Boncuk |DARE[1] is shutting down.
- Definitions(8) | Quotations(23) | Full Text(32)
Turkish
barbudi n [CanFr barbote from Turkish barbut]
bosh n [From Turkish bosh empty, worthless..]
Definitions
Turk’s head, n
turkey, n
Turk’s turban, n
Turk’s-cap, n
Turk’s-head (cake) pan, n
Turk, n
Turk’s beard, n
Turkish rugging, n
For the curious
Arabic
burgoo n • [Perh Arabic burghul cracked wheat]
cush n1 • [Of Afr orig, ult from Arabic..]
wolf grape n • [Calque of Arabic name for a species of Solanum..]
Greek
hieronymous n • [Perh < Gk hieron osteon sacrum]
hoi polloi n • [Orig Gk “masses, rabble”..]
soothsayer n • [Transl of Gk mantis]
windflower n • [OED2 1551 ➝ as a transl of the Gk anemone]
[1] The Dictionary of American Regional English (DARE) is a multi-volume reference work that documents words, phrases, and pronunciations that vary from one place to another place across the United States. Harvard’s publication of digital DARE represents a 50-year effort that began at the University of Wisconsin in Madison under the legendary lexicographer Frederic Cassidy.
Challenging the popular notion that our language has been "homogenized" by the media and our mobile population, DARE demonstrates that there are many thousands of differences that characterize the dialect regions of the U.S.
DARE is based on face-to-face interviews carried out in all 50 states between 1965 and 1970 and on a comprehensive collection of written materials (diaries, letters, novels, histories, biographies, newspapers, government documents, etc.) that cover our history from the colonial period to the present.
The entries in DARE include regional pronunciations, variant forms, some etymologies, and regional and social distributions of the words and phrases.
↧
Word origin | Tuğla, Kiremit, Beton, Alçı, Sıva, Taş, Mermer, Harç
See also : GEÇ OSMANLI İNŞAAT ORTAMINDA “BİNÂ EMÎNLİĞİ Oya ŞENYURT OSMANLI DÖNEMI İNŞAAT BELGELERINE GÖRE ANITSALYAPILARDA ÖRTÜ VE DUVAR SISTEMLERIİlknur Aktuğ Kolay
Osmanlı Dönemi Mimarlık Sözlüğü ISTILÂHÂT-I Mİ’MÂRİYYEISBN: 9789752565388
Celal Esat Arseven (1876 – 13 November 1971) From 1921 to 1941 he gave courses in Architecture History and Urbanism at the Fine Arts Academy. In addition to his duties at the Academy, he served as the Darülbedayi Directorate after 1923. In addition to his duty at the academy, he also worked as an architectural consultant in the city of Ankara between 1925 and 1927, besides Hermann Jansen. 2017
Mavi Boncuk |
Tuğla: brick EN[1]
[ Filippo Argenti, Regola del Parlare Turco, 1533]
tuulá: mattone cotto [pişmiş toprak tuğla][ Evliya Çelebi, Seyahatname, 1683]
taş binā ile ve kırmızī tuvla bir sedd-i metīn kalˁa etmişdir
from GR toúvla τούβλα pişmiş topraktan yapılan çatı örtüsü, kiremit ~ Latin tegula [küç.] çatıcık, kiremit Latin tegere, tect- örtmek +ul° IE *(s)teg- a.a.
Not: İng tile, Fr tuile, Alm Ziegel "kiremit" biçimleri Latininceden alıntıdır. Aynı IE kökünden Alm Decke, İng thatch "çatı örtüsü", Latin toga "dış giysi", tegumen "örtü, kabuk".
Kiremit: tile (roof) EN[2]
[ Mesud b. Ahmed, Süheyl ü Nevbahar terc., 1354]
kiremidi [tuğlası?] altun diregi gümiş[ Filippo Argenti, Regola del Parlare Turco, 1533]
chieremítt: embrice, tegolo [tuğla]
from GR keramídion κεραμίδιον [dim.] pişmiş topraktan yapma şey, tuğla oldGR kéramos κέραμος çömlekçi kili, pişmiş kilden yapılan çanak ve çömlek, tuğla +ion IE *kerə-mo- IE *ker-4 ateş, yakma
→ karbon
Beton: beton, concrete EN[3]Borrowed from French béton (“concrete”), from Latinin bitūmen (“asphalt”).
[ Tıngır & Sinapian, Istılahat Lugati, 1892]
Béton [Fr.]: temel harcı, dondurma taşı, beton.betonlaşma "betonarme binalarla dolma" [ Milliyet - gazete, 1972]
sahillerimizi betonlaşmadan kim kurtaracak?
fromFR béton her türlü duvarcı harcı, özellikle çimento harcı Latin bitumen 1. akçaağaçtan elde edilen reçine, 2. genelde reçine, zift, yapıştırıcı madde from Keltic *betu- akçaağaç. Alder tree EN. Acer is a genus of trees or shrubs commonly known as maple. The genus is placed in the Sapindaceae family.
Latin betula "akçaağaç" from Gallic.
Alçı: gypsum, plaster, stucco EN[4]
OTü: [ İbni Mühenna, Lugat, 1310]
alçuġ: al-caṣṣ [alçı]Çağ: [ Pavet de Courteille, Dictionnaire Turc Oriental, 1500]
alçu taşı: talc TartarTR: [ Filippo Argenti, Regola del Parlare Turco, 1533]
alcj [alçı]: gesso
OTü alçu sıva yapımında kullanılan ak toprak, talk, OldTR aşu boya yapımında kullanılan kızıl toprak, aşı boya
Sıva: gypsum, plaster, stucco EN[4]
TTü: [ 1477]
endūden [FA.]: Sıvamak, meselâ bal¬çığı ve bir sıvak nesneyi dīvāra veyāχod gövdeye (...) dūs-ger [Fa.]: Sıvacı.
TartarTR sıvağ sıvanan şey TartarTR sıva- +I(g)
Mongolian sibar "balçık, kil, sıva", Yakut sıbaχ "sıva".
Taş: stone EN[5]
OldTR: "... dikilitaş" [ Orhun Yazıtları, 735]
taş tokıtdım köŋülteki sabınım urturtum [taş diktirdim gönüldeki sözümü yazdırdım] OldTR taş
Mermer: marble EN[6]
[ Aşık Paşa, Garib-name, 1330]
yiri ak mermer döşenmiş düpdüzi
(AR/Persian marmar مرمر mermer ) GR mármaron μάρμαρον . old GR mármaros μάρμαρος parıldayan taş, old GR marmaírō μαρμαίρω parlamak, parıldamak; shine
Harç: mortarEN[7] Duvar örmeğe, sıva ve saireye yarayan kireç, kum ve saire mahlûtu.
χarc: (...) (tr.) bir şeyin imaline yarayan mevadd, kereste.
[ İbrahim Alaattin (Gövsa), Yeni Türk Lugatı, 1930]
"gider" [ Codex Cumanicus, 1303]
espensa - Fa & Tr: χarc ... espendo - Tr: χarc etarmen
"... vergi" [ Meninski, Thesaurus, 1680]
χarc: Proventus, reditus, pec. Regni [gelir, özellikle devlet geliri] &
Tributum [haraç, sorma-ver vergisi]
"... üretim ögesi" [ Şemseddin Sami, Kamus-ı Türki, 1900]
[1] brick (n.)
"rectangular block of artificial stone (usually clay burned in a kiln) used as a building material," early 15c., from Old French briche "brick," probably from a Germanic source akin to Middle Dutch bricke "a tile," literally "a broken piece," from the verbal root of break (v.).
Of a brick-shaped loaf by 1735. Meaning "a good, honest fellow" is from 1840, probably on notion of squareness (as in fair and square), though in English brick and square when applied to persons generally are not meant as compliments. Brick wall in the figurative sense of "impenetrable barrier" is from 1886. Brick-and-mortar (adj.) as figurative of "physically real" is from 1865. To do something like a ton of bricks "vigorously" is from 1929 (earlier thousand of bricks, 1836), probably from the notion of how hard such a weight of them falls or hits.
[2] tile (n.)
early 14c., from Old English tigele "roofing shingle," from Proto-Germanic *tegala (Old Saxon tiegla, Old High German ziagal, German ziegel, Dutch tegel, Old Norse tigl), a borrowing from Latinin tegula "roof-tile" (source also of Italian tegola, French tuile), from tegere "to roof, to cover," from PIE root *(s)teg- "to cover." Also used in Old English and early Middle English for "brick," before that word came into use.
[3] concrete (adj.) late 14c., "actual, solid," from Latin concretus "condensed, hardened, thick, hard, stiff, curdled, congealed, clotted," figuratively "thick; dim," literally "grown together;" past participle of concrescere "to grow together," from com- "together" (see com-) + crescere "to grow" (from PIE root *ker- (2) "to grow"). A logicians' term until meaning began to expand 1600s. Noun sense of "building material made from cement, etc." is first recorded 1834.
[4] gypsum (n.)
substance (hydrated calcium sulphate) used in making plaster, late 14c., from Latin gypsum, from Greek gypsos "chalk," according to Klein, a word perhaps of Semitic origin (compare Arabic jibs, Hebrew gephes "plaster").
plaster (n.)
late Old English plaster "medicinal application," from Vulgar Latin plastrum, shortened from Latin emplastrum "a plaster" (in the medical as well as the building sense), from Greek emplastron "salve, plaster" (used by Galen instead of more usual emplaston), noun use of neuter of emplastos "daubed on," from en- "on" + plastos "molded," verbal adjective from plassein "to mold" (see plasma). The building construction material is first recorded in English c. 1300, via Old French plastre, from the same source, and in early use the English word often had the French spelling.
plaster (v.)
"to coat with plaster," early 14c., from plaster (n.) and partly Old French plastrier "to cover with plaster" (Modern French plâtrer), from plastre. Related: Plastered; plastering. Figurative use from c. 1600. Meaning "to bomb (a target) heavily" is first recorded 1915. Sports sense of "to defeat decisively" is from 1919.
stucco (n.)
fine plaster used as a wall coating, 1590s, from Italian stucco, from a Germanic source (compare Old High German stukki "crust, piece, fragment"), from Proto-Germanic *stukkjam, from PIE root *(s)teu- (1) "to push, stick, knock, beat" (see stock (n.1)). The verb is attested from 1726. Related: Stuccoed; stuccoing.
[5] stone (adj.)
"made of stone," Old English (which also had stænan "stonen"); see stone (n.). As an intensifying adjective recorded from 1935, first recorded in African-American vernacular, probably from earlier use in phrases like stone blind (late 14c., literally "blind as a stone"), stone deaf, stone-cold (1590s), etc. Stone cold sober dates from 1937.
stone (n.)
Old English stan, used of common rocks, precious gems, concretions in the body, memorial stones, from Proto-Germanic *stainaz (source also of Old Norse steinn, Danish steen, Old Saxon sten, Old Frisian sten, Dutch steen, Old High German stein, German Stein, Gothic stains), from PIE *stoi-no-, suffixed form of root *stai- "stone," also "to thicken, stiffen" (source also of Sanskrit styayate "curdles, becomes hard;" Avestan stay- "heap;" Greek stear "fat, tallow," stia, stion "pebble;" Old Church Slavonic stena, Russian stiena "wall").
Sense of "testicle" is from late Old English. The British measure of weight (usually equal to 14 pounds) is from late 14c., originally a specific stone. Stone-fruit, one with a pit, is from 1520s. Stone's throw for "a short distance" is attested from 1580s. Stone Age is from 1864. To kill two birds with one stone is first attested 1650s. To leave no stone unturned is from 1540s.
[6] marble (n.)
type of stone much used in sculpture, monuments, etc., early 14c., by dissimilation from marbra (mid-12c.), from Old French marbre (which itself underwent dissimilation of 2nd -r- to -l- in 14c.; marbre persisted in English into early 15c.), from Latin marmor, from or cognate with Greek marmaros "marble, gleaming stone," of unknown origin, perhaps originally an adjective meaning "sparkling," which would connect it with marmairein "to shine." The Latin word was taken directly into Old English as marma. German Marmor is restored Latin from Old High German marmul. Meaning "little balls of marble used in a children's game" is attested from 1690s [7] mortar (n.1) "mixture of cement," late 13c., from Old French mortier "builder's mortar, plaster; bowl for mixing" (13c.), from Latin mortarium "mortar," also "crushed drugs," probably the same word as mortarium "bowl for mixing or pounding" (see mortar (n.2)). Dutch mortel, German Mörtel are from Latin or French.
↧
Interview | Istanbul and Beyond by Robyn Eckhardt
FOOD
THIS BOOK IS YOUR NEW GUIDE TO THE SOUL OF TURKISH COOKING
An interview with travel writer and culinary polyglot Robyn Eckhardt, the author of Istanbul and Beyond
BY MAX FALKOWITZ NOVEMBER 3, 2017 source
Istanbul and Beyond: Exploring the Diverse Cuisines of Turkey
If you’ve ever dreamed about quitting your job to travel the world, meet new people, cook their food, and write about it, know that Robyn Eckhardt has done it first. For over 20 years, the journalist and culinary polyglot has documented the local foods and cultures of the Eastern hemisphere, in publications like the Wall Street Journal and the New York Times, but even more excitingly, also on Eckhardt’s excellent blog, Eating Asia.
There, she and her husband, the photographer David Hagerman, spin captivating yarns—punctuated with jaw-dropping photos—about Chengdu tofu diehards and Malaysian raw-sugar masters, with occasional recipes, thorough and compassionate reporting, and a complete disregard for all the usual tropes of travel writing. Eckhardt is a journalist’s journalist, exacting and endlessly curious, which is why I love working with her on stories whenever I can.
Last month, she and Hagerman published Istanbul and Beyond: Exploring the Diverse Cuisines of Turkey, a culmination of decades of criss-crossing the country in search of family recipes and hyperlocal traditions. The book sheds particular light—for Western audiences at least, but probably some Istanbul residents, too—on Turkey’s less-reported-on culinary regions, such as eastern cities like Van and Hakkari, and on the food of ethnic minorities like the Kurds living along the Syrian border. The result is a picaresque portrait of a country that doesn’t really have a national cuisine at all; it has dozens.
I caught up with Eckhardt over Skype while she and Hagerman were moving “a lot of boxes and cats” to their new home in Italy’s Piemonte region—a move in part to be closer to Turkey. Below, Eckhardt on the essential qualities of Turkish cooking, and how the country’s tumultuous political situation of the past few years is impacting the hearts and minds of locals.
There’s so much food in here that most people don’t think of as Turkish: paper-thin noodles with blue cheese, cookies fragrant with oranges. Was that an intentional decision to challenge our preconceived ideas about Turkish cooking?
The impetus for the book was traveling across the country for years and eating things I never would have thought of as Turkish food, like collards and cornbread in the Black Sea. Just as people are learning about Italy and China, there’s no one single Turkish cuisine. It’s a place of regions, each with their own cooking, like most other places in the world.
We traveled by car in Turkey, and I was struck by the major differences in topography and climate between relatively short distances. You can be on the Black Sea and it's very lush, then drive six or eight hours inland and it's a totally different landscape—and a totally different diet. There are dishes you’ll never find outside their home regions. Sometimes you won't even find them in one village, when they make it in another village 30 minutes away.
Even now, Turkey is a country where people eat extremely locally. It’s not a trend, it’s just how it’s always been. In Istanbul you’re starting to see more variation in the food, but in places like Van, the Black Sea, or Hakkari, people focus on the food growing around them. I wanted to bring that understanding home.
Is industrial agriculture starting to change that, though?
Sure, around the lower Agean and south coast there are farms growing produce like tomatoes year-round, and at every local market, there are five to ten sellers of conventional vegetables who’ve bought them from a wholesaler.
But it’s different out of the big cities. There people live off what they can grow in their backyard gardens, or what they preserve. For instance, in Hakkari, in the far southeast, the landscape is really inhospitable to farming. It's mostly animal husbandry. But in the spring, there’s six weeks where everything is in bloom. The hills are covered with all kinds of wild herbs and vegetables. People go out and they collect tons of them, literally. Plants like fennel, wild garlic, sorrel, purslane, thyme. They’ll salt them and put them in the local cheese, or sun-dry them, and that’s what they live on from then until the winter comes.
Turkish people are keen preservationists, even in urban areas where you have access to fresh produce year-round. If you go into a city and you look up at apartment balconies, people are always making pickles. They’ll hang peppers to dry on the clothesline so they can stuff them later, in winter. They like to do it themselves.
You’ve been working on this book for years; what did the reporting process look like? Especially when you were visiting people’s homes, I can’t imagine they had anything written down.
I’ve been thinking about that myself recently, and I think it comes down to thinking like a journalist, not an anthropologist. I wasn’t super organized and didn’t do a lot of research ahead of time.
When Dave and I are reporting somewhere, our modus operandi is to just go and meet people. Then eat a lot of stuff and talk to them about it. We go the market—always start with the market, the first we see—and ask questions. See what leads to where.
This sounds like a good foundation the for Robyn Eckhardt School on How to Travel.
One advantage we have is how we kept going back to places again and again, which you can’t do if you’re just going on vacation. Because the more you learn, the more you realize how much you have to learn. So we'd go somewhere, and then it would be like, “Okay, it was like this, but that was just the spring. Now I need to go in the fall to see how it’s different. And the winter, because I wonder what these people will do when there’s no food growing anywhere.”
Once we figured out the regions we’d focus on, we started planning visits years in advance, keeping the seasons in mind. But it still comes down to meeting people.
At markets, I’d just start asking the ladies questions. “What do you do with this?” “How do you make it?” Silly stuff like that. From there, maybe you see someone who makes bread, and hey, I’m interested in bread. “Well, if I came to your village, would you show me how to make it?” Sometimes it's yes, sometimes it's no. Or we'd go to a local restaurant, and listen to the cooks and ask how they made something. I would never say this is an encyclopedic book on Turkish food. This is my Turkey, as I experienced it.
Everyone says it, but it’s true: food is an entryway into culture. Everyone wants to talk about food. And it’s non-threatening. I’m not a rabble-rouser or anything. I just want to talk about your cheese. And people trust me, because I really do want to talk about their cheese.
We can’t talk about Turkey today without talking about the political situation there, which started getting really volatile after you finished your reporting in 2015. What was it like when you were on the ground?
Probably the minority that we spent the most time with was the Kurds. We were very fortunate, too, that our research coincided with a strengthening of the peace process that was started by Erdogan. We had actually just been assigned a story on southeast Turkey because it had become a newly safe and easy place to travel through. Then riots started in fall of 2014, and the story was cancelled.
When we returned in January of 2015, things had kind of settled down, and by the time we went for our last trip in April and May of 2015, it was just the best time to be traveling in that part of Turkey. The elections were approaching, the peace process was going really well. People were hopeful and happy. As the election approached, it looked like the Kurds would win enough votes to claim a place in the parliament.
Then the elections happened in June. A month later, there was a bombing in Suruc near the Syrian border that killed a lot of Kurds, and everything fell apart. We haven't been back to that part of Turkey since. We have friends there that we miss, in Van and Hakkari.
Did the government’s conservative shifts come as a surprise to the people there?
I’d say so. Before the 2015 elections, people really were so hopeful. We met a lot of Kurds from all walks of life, and spent time in Kurdish homes. And I’d never bring up politics, because that’s not why I was there, but of course it always came up.
I want to make clear that not a single Kurd I ever met wanted to separate from Turkey. I heard more than one time, “We do not want to be part of Kurdistan, we want to be a part of Turkey, we just want our rights as Kurdish citizens.” I'm not advocating separation, and most people I met weren't either.
How are your contacts dealing with the changes?
I think you either decide you're going to leave, or you find ways to get joy out of life. For people in the tourism business, it’s certainly been hard. When we were in Istanbul last year, we saw so many vacant shops for rent. People are hurting because of the drop in tourism. And I really would tell Americans: Go to Istanbul. It’s just as safe as Paris, Nice, or Brussels.
I have some Jewish extended family in Istanbul, and they’ve been laying low because of the recent rise of anti-semitic sentiment.
I’d certainly believe it. There’s been a rise of nasty feelings. I don’t know how it happened so fast.
We’ve been wondering the same in the States. Did you notice any parallels when you came back to the U.S.?
I think it's surreal in the same way. I had to take a lot of planes when I was in the U.S. this last time. Everyone's all crammed in, and it's summer travel, and every flight's full. But people were so nice with each other, and helping each other with their bags. “Here, you go first,” “Oh, I’m sorry to take the middle seat.”
Then when I look at the political spirit, it’s confusing to me. I’m looking around wondering, “who’s the Trump supporter, who’s the liberal?” It’s strange like that in Turkey, too. Turks are so kind to each other still. And I don’t know, maybe in this environment, people just know to avoid talking about anything but trivial things to someone they don’t know, because hey, you never know where it’s going to lead.
↧
↧
Word Hunter | Veri Madenciliği Data Mining
Mavi Boncuk |
Veri Madenciliği - Big Data | Data Mining[1]
Data mining is the computing process of discovering patterns in large data sets involving methods at the intersection of machine learning, statistics, and database systems. It is an essential process where intelligent methods are applied to extract data patterns. It is an interdisciplinary subfield of computer science. The manual extraction of patterns from data has occurred for centuries. Early methods of identifying patterns in data include Bayes' theorem (1700s) and regression analysis (1800s). The proliferation, ubiquity and increasing power of computer technology has dramatically increased data collection, storage, and manipulation ability. As data sets have grown in size and complexity, direct "hands-on" data analysis has increasingly been augmented with indirect, automated data processing, aided by other discoveries in computer science, such as neural networks, cluster analysis, genetic algorithms (1950s), decision trees and decision rules (1960s), and support vector machines (1990s). Data mining is the process of applying these methods with the intention of uncovering hidden patterns in large data sets. It bridges the gap from applied statistics and artificial intelligence (which usually provide the mathematical background) to database management by exploiting the way data is stored and indexed in databases to execute the actual learning and discovery algorithms more efficiently, allowing such methods to be applied to ever larger data sets.
Big data is a term for data sets that are so large or complex that traditional data processing application software is inadequate to deal with them. Big data challenges include capturing data, data storage, data analysis, search, sharing, transfer, visualization, querying, updating and information privacy.
Lately, the term "big data" tends to refer to the use of predictive analytics, user behavior analytics, or certain other advanced data analytics methods that extract value from data, and seldom to a particular size of data set. "There is little doubt that the quantities of data now available are indeed large, but that’s not the most relevant characteristic of this new data ecosystem." Analysis of data sets can find new correlations to "spot business trends, prevent diseases, combat crime and so on." Scientists, business executives, practitioners of medicine, advertising and governments alike regularly meet difficulties with large data-sets in areas including Internet search, fintech, urban informatics, and business informatics. Scientists encounter limitations in e-Science work, including meteorology, genomics, connectomics, complex physics simulations, biology and environmental research.
[1] mine (n.1) "pit or tunnel in the earth for obtaining metals and minerals," c. 1300, from Old French mine "vein, lode; tunnel, shaft; mineral ore; mine" (for coal, tin, etc,), of uncertain origin, probably from a Celtic source (compare Welsh mwyn, Irish mein "ore, mine"), from Old Celtic *meini-. Italy and Greece were relatively poor in minerals, thus they did not contribute a word for this to English, but there was extensive mining from an early date in Celtic lands (Cornwall, etc.). From c. 1400 as "a tunnel under fortifications to overthrow them."
↧
Turkish BD | Karabala by Hikmet Yamansavaşçılar
Turkish BD | Karabala by Hikmet Yamansavaşçılar
Mavi Boncuk |
Karabala - Baskın (Karabala, #1)
Paperback, 144 pages
Published April 14th 2016 by ArkaBahçe Yayınları
ISBN139786059209229
Karabala - Parçalanmış Yurtlar ve Delicesine Takip (Karabala, #2)
Hardcover, 104 pages
Published April 2017 by Gezegen Yayınları
ISBN139786058645998
↧
M. K. Atatürk | 1917 Diyarbakır
Mavi Boncuk |Second Ottoman Army Commander Mustafa Kemal Paşa, Diyarbakır, 1917
↧
ICAO | Turkish National Airlines
Mavi Boncuk |
Area Country/Region Airline | IATA 2LC | IATA member | Website| Total governmental shares Formed
EE Turkey Atlas Global KK http://www.atlasjet.com.tr 0.00% 90% ETS, 10% Öger Holdings 2001
ME Turkey Onur Air 8Q http://www.onurair.com.tr 0.00% 100% private 1992
ME Turkey Pegasus Airlines PC http://www.flypgs.com 0.00% 65.5% ESAS Holding A.S 1990
ME Turkey Sun Express XQ* http://www.sunexpress.com 0.00% 50.0% Turkish Airlines, 50% Lufthansa Group (joint Venture) 1989
EE Turkey THY Turkish Airlines TK http://www.turkishairlines.com/ 49,12% 49,12% state-owned 1933 2006 1990, 2004
AS Turkey Corendon Airlines XC http://www.corendon-airlines.com 0.00% Owned by Corendon Group 2004
AS Turkey Freebird Airlines FH http://www.freebirdairlines.com 0.00% 100% Gözen Holding
Area Country/Region Airline | IATA 2LC | IATA member | Website| Total governmental shares Formed
EE Turkey Atlas Global KK http://www.atlasjet.com.tr 0.00% 90% ETS, 10% Öger Holdings 2001
ME Turkey Onur Air 8Q http://www.onurair.com.tr 0.00% 100% private 1992
ME Turkey Pegasus Airlines PC http://www.flypgs.com 0.00% 65.5% ESAS Holding A.S 1990
ME Turkey Sun Express XQ* http://www.sunexpress.com 0.00% 50.0% Turkish Airlines, 50% Lufthansa Group (joint Venture) 1989
EE Turkey THY Turkish Airlines TK http://www.turkishairlines.com/ 49,12% 49,12% state-owned 1933 2006 1990, 2004
AS Turkey Corendon Airlines XC http://www.corendon-airlines.com 0.00% Owned by Corendon Group 2004
AS Turkey Freebird Airlines FH http://www.freebirdairlines.com 0.00% 100% Gözen Holding
↧
↧
Poetry in Translation | These fine days have been my ruin
Mavi Boncuk |
GÜZEL HAVALAR
Beni bu güzel havalar mahvetti,
Böyle havada istifa ettim
Evkaftaki memuriyetimden.
Tütüne böyle havada alıştım,
Böyle havada aşık oldum;
Eve ekmekle tuz götürmeyi
Böyle havalarda unuttum;
Şiir yazma hastalığım
Hep böyle havalarda nüksetti;
Beni bu güzel havalar mahvetti.
Orhan Veli
These fine days have been my ruin.
On this kind of day I resigned
My job in 'Pious Foundations'
On this kind of day I started to smoke
On this kind of day I fell in love
On this kind of day I forgot
To bring home bread and salt
On this kind of day I had a relapse
Into my versifying disease.
These fine days have been my ruin.
Translated by Bernard Lewis (1982)
by Orhan Veli Kanik
See also: Istanbulu Dinliyorum...
↧
Word Origin | Süt, Inek, Ağıl, Ahır, Avlu, Imrahor, Mandıra, Mendirek
Süt: milk EN[1]OldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
sǖt: al-laban. from OldTR sǖt süt from OldTR süd- (sıvı) sızdırmak, damlatmak
süz- TR root strain, drain EN. Mongolian sün. OldTR sül "ette ve ağaçta olan yaşlık", süz "sıvısını çıkarmak TR; extract liquid EN", possibly from (according to Nisanyan) sügrüg "kadın cinsel organı / kadının avret yeri ". [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
Inek: cow EN[2] OldTR: [ Irk Bitig, from900]
ürüŋ esri iŋek buzaġulaçu bolmış [ak benekli inek buzağılayacak olmuş]Oğ: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
ingek [[dişi kaplumbağa - Oğuzcadır]]
from OldTR ingek dişi hayvan, özellikle dişi sığır
Not: Karş. OldTR ingen "dişi deve", Mongolian ünige(n) "inek".
Benzer sözcükler: ineklemek
Ağıl: stable EN[3] OldTR: [ Irk Bitig, from 900]
ağılıŋta yılkıŋ bolzun [ağılında davarın olsun], özüŋ uzun bolzunOldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
aġıl [[koyun barınağı. Oğuzlar arasında bu sözcük "koyun pisliği" anlamına gelir.]]
from OldTR aġıl hayvan barınağı, çitle çevrili alan
Ahır: stable EN[3] OldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
aḳur: al-isṭabl [ahır] (...) sıpaḳur [[yem torbası. Aslı 'sıp aḳurı' yani iki yaşında tayın yemliğidir.]]
~ Fa/OFa āχʷar آخور yemlik, hayvan besleme yeri (Sogdian aχwr) from oldFR χʷar yemek (ad) from OFa χʷartan yemek (fiil)
Avlu: yard, courtyard EN [3] [ Dede Korkut Kitabı, c.1400] bu ḥavliye doldurup Oğuz yigitlerine bunu dām itmiş-idi
[ Ahmed b. Kadı-i Manyas, Gülistan tercümesi, 1429]; ḥavlüŋ ḥarem-mis̠āl kapuŋ kaˁbe-i emel [ Meninski, Thesaurus, 1680] avli & havli: Impluvium, area [iç avlu veya dış avlu].
fromGR avlí αυλή çitle çevrili alan, ağıl, avlu from oldGR aulḗ αυλή a.a.
Imrahor: marshal [4] [ Dede Korkut Kitabı, from1400?]
Allah menüm evümü kurtaracak olurısa seni emīraχūr eyleyin, dedi.
~ Fa mīr-i āχōr مير آخور ahır beyi, süvari kumandanı § Fa mīr مير bey + Fa āχʷar/āχōr آخور ahır
→ mir, ahır
Not: Haçlı Seferleri döneminde Fr condestable "ahır emiri" unvanının karşılığı olarak Doğu dillerine girmiş bir deyimdir.
Mandıra: dairy farm, cow shed, creamery[5] EN [TartarTR c.1530] mahsūl-i mandra ... mandralık[ Evliya Çelebi, Seyahatname, from1683] Esnāf-ı mandıracıyān: İslāmbolun cānib-i erbaˁasında ve Levend çiftliği karyelerinde cümle iki biŋ mandıradur. From GR/oldGR mándra μάνδρα ağıl, hayvanların kapatıldığı yer
Mendirek:[ Kahane & Tietze, The Lingua Franca in the Levant, 1525]
[ Evliya Çelebi, Seyahatname, from1683] Bu diyārda [Mora Y.ad.] liman ağızlarında ve liman ortalarında binā olunan kullelere mendirek derler. OldGR mandrákion μανδράκι [küç.] «ağılcık», liman ağzına inşa edilen koruma suru from EYun mándra μάνδρα ağıl, etrafı çevrili alan +akion
[1] milk (n.)
Old English meoluc (West Saxon), milc (Anglian), from Proto-Germanic *meluks "milk" (source also of Old Norse mjolk, Old Frisian melok, Old Saxon miluk, Dutch melk, Old High German miluh, German Milch, Gothic miluks), from *melk- "to milk," from PIE root *melg- "to wipe, to rub off," also "to stroke; to milk," in reference to the hand motion involved in milking an animal. Old Church Slavonic noun meleko (Russian moloko, Czech mleko) is considered to be adopted from Germanic.
Of milk-like plant juices from late 14c. Milk chocolate is first recorded 1723; milk shake is first recorded 1889, for a variety of creations, but the modern version is only from the 1930s. Milk tooth (1727) uses the word in its figurative sense "period of infancy," attested from 17c. To cry over spilt milk is first attested 1836 in writing of Canadian humorist Thomas C. Haliburton. Milk and honey is from the Old Testament phrase describing the richness of the Promised Land (Numbers xvi.13, Old English meolc and hunie). Milk of human kindness is from "Macbeth" (1605).
milk (v.)
Old English melcan, milcian, meolcian "to milk, give milk, suckle," from Proto-Germanic *melk- "to milk" (source also of Dutch melken, Old High German melchan, German melken), from PIE root *melg- "to rub off; to milk." Figurative sense of "exploit for profit" is first found 1520s. Related: Milked; milking.
[2] cow (n.)
Old English cu "cow," from Proto-Germanic *kwon (source also of Old Frisian ku, Middle Dutch coe, Dutch koe, Old High German kuo, German Kuh, Old Norse kyr, Danish, Swedish ko), earlier *kwom, from PIE root *gwou- "ox, bull, cow."
[3] stable (n.)
early 13c., "building or enclosure where horses or cows are kept, building for domestic animals," from Old French stable, estable "a stable, stall" (Modern French étable), also applied to cowsheds and pigsties, from Latin stabulum "a stall, fold, aviary, beehive, lowly cottage, brothel, etc.," literally "a standing place," from PIE *ste-dhlo-, suffixed form of root *sta- "to stand, make or be firm." Meaning "collection of horses belonging to one stable" is attested from 1570s; transferred sense of "group of fighters under same management" is from 1897; that of "group of prostitutes working for the same employer" is from 1937.
yard (n.1)
"patch of ground around a house," Old English geard "fenced enclosure, garden, court; residence, house," from Proto-Germanic *gardaz (source also of Old Norse garðr "enclosure, garden, yard;" Old Frisian garda, Dutch gaard, Old High German garto, German Garten "garden;" Gothic gards "house," garda "stall"), from PIE *ghor-to-, suffixed form of root *gher- (1) "to grasp, enclose," with derivatives meaning "enclosure." As "college campus enclosed by the main buildings," 1630s. Shipyard is from c. 1700. In railway usage, "ground adjacent to a train station or terminus, used for switching or coupling trains," 1827. Yard sale is attested by 1976.
yard (n.2)
measure of length, Old English gerd (Mercian), gierd (West Saxon) "rod, staff, stick; measure of length," from West Germanic *gazdijo, from Proto-Germanic *gazdjo- "stick, rod" (source also of Old Saxon gerda, Old Frisian ierde, Dutch gard "rod;" Old High German garta, German gerte "switch, twig," Old Norse gaddr "spike, sting, nail"), from PIE root *ghazdh-o- "rod, staff, pole" (source also of Latin hasta "shaft, staff"). The nautical yard-arm retains the original sense of "stick."
Originally in Anglo-Saxon times a land measure of roughly 5 meters (a length later called rod, pole, or perch). Modern measure of "three feet" is attested from late 14c. (earlier rough equivalent was the ell of 45 inches, and the verge). In Middle English and after, the word also was a euphemism for "penis" (as in "Love's Labour's Lost," V.ii.676). Slang meaning "one hundred dollars" first attested 1926, American English. Middle English yerd (Old English gierd) also was "yard-land, yard of land," a varying measure but often about 30 acres or a quarter of a hide.
courtyard (n.) 1550s, from court (n.) + yard (n.).
[4] marshal (n.)
early 13c. as a surname; mid-13c. as "high officer of the royal court;" from Old French mareschal "commanding officer of an army; officer in charge of a household" (Modern French maréchal), originally "stable officer, horse tender, groom" (Frankish Latin mariscaluis) from Frankish *marhskalk or a similar Germanic word, literally "horse-servant" (compare Old High German marahscalc "groom," Middle Dutch maerschalc), from Proto-Germanic *markhaz "horse" (see mare (n.1)) + *skalkaz "servant" (source of Old English scealc "servant, retainer, member of a crew," Dutch schalk "rogue, wag," Gothic skalks "servant").
Cognate with Old English horsþegn. From c. 1300 as "stable officer;" early 14c. as "military commander, general in the army." For development history, compare constable. Also from Germanic are Italian scalco "steward," Spanish mariscal "marshal."
marshal (v.)
early 15c., "to tend (horses)," from marshal (n.). Meaning "to arrange, place in order" is from mid-15c.; that of "to arrange for fighting" is from mid-15c. Figurative use by 1690s. Related: Marshaled; marshaling.
Anglo-Norman marescal, marschal, Old French marescal, mareschal (“farrier; military commander”), from Medieval Latin mariscalcus (“groom, army commander, court dignitary”), either from Frankish *marhskalk[1], or from Old High German marah-scalc (“horse-servant”), from Proto-Germanic *marhaz + *skalkaz (whence Old Saxon maraskalk, marahscalc). Compare English mare + shalk.
Maréchal is the French equivalent of English Marshall. Maréchale is the feminine form mainly used to denote the wife of a marshal in France.
constable (n.)
c. 1200, "chief household officer, justice of the peace," from Old French conestable (12c., Modern French connétable), "steward, governor," principal officer of the Frankish king's household, from Late Latin comes stabuli, literally "count of the stable" (established by Theodosian Code, c.438 C.E.), hence, "chief groom." See count (n.1).
Second element is from Latin stabulum "stable, standing place" (see stable (n.)). Probably a translation of a Germanic word. Meaning "an officer of the peace" is from c. 1600, transferred to "police officer" 1836. French reborrowed constable 19c. as "English police."
constabulary (n.)
1630s, "district under a constable," from Medieval Latin constabularia, from constabulus, Latinized form of Old French conestable (see constable). Meaning "organized body of constables" is from 1837. Earlier (mid-15c.) as an adjective, "pertaining to a constable."
[5] creamery (n.)
1808, from French crémerie, from crème.
cream (n.)
early 14c., creyme, from Old French cresme (13c., Modern French crème) "chrism, holy oil," blend of Late Latin chrisma "ointment" (from Greek khrisma "unguent;" see chrism) and Late Latin cramum "cream," which is perhaps from Gaulish. Replaced Old English ream. Re-borrowed 19c. from French as creme. Figurative sense of "most excellent element or part" is from 1580s. Cream-cheese is from 1580s.
cream (v.)
mid-15c., "to foam," from cream (n.). Meaning "to beat, thrash, wreck" is 1929, U.S. colloquial. Related: Creamed; creaming.
↧
In Memoriam | Naim Süleymanoğlu (1967-2017)
Multiple World and Olympic weightlifting champion Naim Süleymanoğlu has died at the age of 50 after having been placed into intensive care at the Ataşehir Memorial in Istanbul, Turkish media said Saturday.
Bulgarian-born Suleymanoglu was admitted to the Memorial Atasehir Hospital on Sept. 28 due to liver failure caused by cirrhosis and underwent a liver transplant on Oct. 6. He remained in intensive care following a brain hemorrhage and underwent further surgery on Nov. 11, according to a medical statement.
Mavi Boncuk |
Naim Süleymanoğlu (b.January 23, 1967 , Ptichar, Bulgaria- d November 18, 2017 istanbul, Turkey)
The 50-year-old athlete, nicknamed "Pocket Hercules" due to his short stature, became a global star after setting six world records, winning three Olympic gold medals and out lifting the winner of the weight class above him at the 1988 Seoul Olympic Games.
Although Suleymanoglu set his first world record when he was 15, he missed his first chance at Olympic success in 1984 when Bulgaria joined the Soviet boycott of the Los Angeles games.After winning the world championship in 1988, he retired at the age of 22. However, he returned in 1991 to win a second Olympic gold at Barcelona in 1992.
Four years later, he finally retired after winning a third Olympic gold in Atlanta.
In 2000 and 2004 he was elected to the International Weightlifting Federation Hall of Fame. He was awarded the Olympic Order, the highest award of the Olympic movement, in 2001.
Süleymanoğlu is the only weightlifter in history to win gold medals in three different Olympics.
Naim Süleymanoğlu on a Paraguayan stamp
Years active1983-2000
Height1.47 m (4 ft 10 in) (2000)
Weight62 kg (137 lb) (2000)
Sport
CountryBulgaria (1983-1986)
Turkey (1986-2017
)
SportOlympic weightlifting
Event(s)56 kg (1983), 60 kg (1985-1992), 64 kg (1993-1996), 62 kg (2000)
Turned pro1983
Retired2000
Achievements and titles
Personal best(s)
Snatch: 152.5 kg (1988, WR)
Clean & Jerk: 190.0 kg (1988, WR)
Total: 342.5 (1988, WR)
↧
Dröm vidare by Rojda Sekeröz
Mavi Boncuk |Rojda Sekersöz |Stockholm
Director
Dramatiska Institutet (Stockholm Academy of Dramatic Arts) 2009-2012
rojdasek@gmail.com
BIO
Born and raised in Stockholm and Dalarna, 27 year old Rojda Sekeröz already has achieved plenty in film. After studies at Swedish dramatic institute Rojda has directed a number of short films
such as Fast (Stuck), Fittbacka-ett jävla ungdomshem, Selvi ska sova and Jungfrufärd (The Voyage). ON VIMEO
Now Rojda´s first feature film was released in March 2017 and has so far received outstanding reviews. The much acclaimed drama ”Dröm vidare” (Beyond dreams) was nominated at Göteborgs film festival Dragon awards for Best movie, later won the public´s choice for best film aswell as the Angelos award. Dröm vidare also received awards for best picture at The Norwegian film festival aswell as at Duhok film festival. Rojda is currently in pre-production of her second feature “En komikers uppväxt” by author/scriptwriter Jonas Gardell.
2017 Dröm vidare Beyond Dreams 90 mins
Original version: Swedish, Finnish Genre: Drama
BEYOND DREAMS is a drama about Mirja and her friends in the suburbs. Where friendship and dreams are put to the test when Mirja comes out of her prison sentence.
from Internationales Filmfestival Mannheim-Heidelberg
"Following a jail sentence, Mirjana has to find her place in the outside world anew. She finds work as chambermaid in a hotel, but her everyday life becomes a double existence. It seems that she is torn between looking after her sick mother and her younger sister, and spending her time with a group of girlfriends, who are more “family” to her than the biological ones. This film about the difficulty of finding one’s identity is full of worldly wisdom and begins with a fast and warmheartedly noisy scene as the girlfriends and Mirjana’s little sister pick her up from jail. The exuberant gang of girls lives on the outskirts of Stockholm in a suburb of high-rises and is exuberantly happy about Mirjana’s return. She, in turn, seems genuinely moved by their reaction. With the appearance of the ailing mother, the film quickly changes its tone. The atmosphere becomes oppressive and almost non-verbally quiet. “You are now no longer a child, and I will not treat you as one again”, the mother tells Mirjana, who leans back with a sigh, carefully observed by her little sister Isa. These depictions of the view of others, consistently used in a masterful and knowing way, make Rodja Sekersöz’s directorial debut so noteworthy. It all starts in the initial shot, in which Mirjana, walking down a corridor in jail, suddenly turns 180 degrees and executes a choreographically understated bow to the camera. Look here, here I am… Her exit from this brilliantly calibrated debut film, that finds an equilibrium between dense melodrama and juvenile enthusiasm, underlines the importance of dance or movement. At that moment, the extraordinary lead actress seems more mature and grown up in this coming of age story with an all-female cast."
DIRECTOR Rojda SekersözPRODUCERS Agneta Fagerström-Olsson Annika Hellström
WRITER Johanna Emanuelsson
EDITORS Linda Jildmalm Hanna Storby
CINEMATOGRAPHY Gabriel Mkrttchian
PRODUCTION DESIGN Elle Furudahl
COMPOSER Lisa Holmqvist
Cast:Evin Ahmad, Gizem Erdogan, Malin Persson, Anna Bjelkerud, Outi Mäenpää, Michael Lindgren, Inger Nilsson, Diar Said, Segen Tesfai, Ella Åhman, Adel Ahmod, Stina Almquist, Jimmy Backman, Anna Denarp, Charlotte Lindmark, Best Mbemda, Gabriella Carlsson, Alexi Carpentieri, Ulrika Persson, Byron Reimer Ward. Noordelijk Film Festival, The Netherlands – Closing Film.
Göteborg Film Festival 2017, Sweden - Audience Dragon Award Best Nordic Film, Angelo Award - the Swedish Church’s Award
The Norwegian IFF Haugesund, Norway - FIPRESCI Award
Duhok IFF, Iraq - Best Female Actor and the Best Film Awards
Evin Ahmad, who played the main character Mirja, received the Silver Leaf Award. "Lively, touching and powerful, she plays a young girl, torn between two worlds. She carries the film by expressing a great spectre of feelings – courage, hope, fear, despair, joy, friendship and hatred – in a convincing way,"– the jury statement read.
BEYOND DREAMS also swiped the prize for the Best Film. "This story of courage and failure through no fault of her own is told from the perspective of the young woman, who is portrayed in an unsentimental but emphatic way. The film is at the same time tough and funny, the almost all-women-cast is directed brilliantly, the cinematography is excellent and the story moves forward at a fast pace. A very impressive achievement, politically relevant and highly entertaining."
Helsinki International Film Festival – Love & Anarchy, Finland
Nordic Film Days Lübeck, Germany – Opening Film – Feature Films Competition
European Film Forum Scanorama, Lithuania
Internationales Filmfestival Mannheim-Heidelberg, Germany
2015 Fast
2012 Fittbacka- ett jäkla ungdomshem
2011 Selvi ska sova
2010 Jungfrufärd
SOURCE
ON VIMEO
↧
↧
1950 Paris | Şadi Çalık, Can Yücel, İlhan Koman
Mavi Boncuk |1950 Paris - Şadi Çalık, Can Yücel, İlhan Koman1951 Şadi Çalık | return from Paris
↧
Sundance | Butterflies by Tolga Karaçelik
Sundance Institute showcases bold, independent storytelling at the 2018 Sundance Film Festival, announced feature films selected across all categories. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 18–28. Mavi Boncuk |
WORLD CINEMA DRAMATIC COMPETITION Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles and includes Karacelic’s upcoming third feature “Butterflies,” which is in the Antalya Film Forum’s Work in Progress platform, is a comedy of sorts prompted by the death of the director’s late uncle Mazhar Candan, who was a poet.
Tolga Karacelik, was born in Istanbul in 1981. He got a law degree in Turkey before moving to New York to study film, after writing some short stories and poems. His 2010 first feature “Toll Booth,” about a Turkish toll-station worker with a vivid imagination, scored critical kudos on the international fest circuit. He second film “Ivy,” set aboard a stranded cargo ship, premiered at Sundance in 2015, was shown at more than 30 festivals and scored multiple nods.
Kelebekler / Butterflies Teaser 2 from Karacelik Film on Vimeo.
World Premiere
In competition SUNDANCE Butterflies / Turkey (Director and screenwriter: Tolga Karaçelik, Producers: Tolga Karaçelik[1], Diloy Gülün[2], Metin Anter[3])
In the Turkish village of Hasanlar, three siblings who neither know each other nor anything about their late father, wait to bury his body. As they start to find out more about their father and about each other, they also start to know more about themselves. Cast: Tolga Tekin, Bartu Küçükçağlayan, Tuğçe Altuğ, Serkan Keskin, Hakan Karsak.
Close-up of an astronaut’s face. The astronaut is Cemal. Kenan dubs home videos for a living. In a classroom, kindergarten teacher Suzan weeps frantically. They are the sons and daughter of Mazhar. Now, after being 30 years apart, their father calls them back home to their village of Hasanlar. They don’t know why. When they arrive to Hasanlar, they realise that their father is dead and in his will he asks to be buried when the butterflies come to the village to die; one of the many strangeness of this village. Three siblings who neither know each other nor anything about their father will have to kill time in this village while waiting for the time of the butterflies. As they start to find out more about their father and about each other, they also start to know more about themselves.
DIRECTOR'S STATEMENT
Mazhar is dead; Mazhar Candan was my uncle and a poet, he died. My mother will die, my grandmother will die, my father will die, I will die. They’re still alive, I’m still alive, Mazhar Candan was my uncle and a poet and he died. He made me enjoy Odyssey when I was 9 years old. We took a journey through the kingdoms which Herodotus told about. When I was 11, he introduced me with Mayakovski and Yesenin. When I was 13, he said “Aysel, go away, I’m not the one for you”. My favorite poem of his started as “The sun sets, “maestro” silenced everyone with a shaky voice, holding one hand up like an actor”. Everyone remained silent and listened to him as he talked. As far back as I can remember, he used to say “this is my last year”. He said this for 20 years. That scared me when I was a kid; later on I just smiled it just made me smile. He wouldn’t die and I would smile. Until three years ago. I didn’t become aware of his death. One day my maternal uncle invited me over for lunch, saying “Mazhar and I are waiting for you”. I saw my maternal uncle and Mazhar, and sat across them. As I lifted my head up, I saw it was Hasan not Mazhar sitting next to my uncle. That day I realized Mazhar had died. I felt a knot in my throat, I could not breathe. I left the table without saying anything. I misheard him. He said Hasan, I heard Mazhar. I dragged myself to the street and cried for Mazhar for the first time, that day. When I went home I started thinking about death. Mazhar was gone and it hurt me. I pictured in my mind the faces of everyone I loved. One by one, I made them say “this is my last year” in my head. Then I sent them all to Hasanlar Village. This is how Hasanlar Village came to be and gave birth to its characters. I’m 35 years old. I feel like death is still far away. While I still feel stronger than death, I wanted to write a comedy where death is a character but not significant enough to be the lead. At Mazhar’s funeral I gave a speech and said “He always wanted to be an underground poet; he finally is”. No one laughed, but I thought it was funny. And I’m sure Mazhar was there and he also found it funny.
I wrote this movie to make Mazhar smile.
[1] TOLGA KARAÇELİK directed two feature films and several award winning shorts. His debut film Toll Booth screened on festivals around the world winning thirteen awards including best first film, best actor and best cinematography at Turkey’s important film festival Golden Orange. The movie was screened at prestigious venues such as MOMA New York and Smithsonian. His second film Ivy premiered in Sundance and was shown at more than thirty festivals so war including prestigious festivals like Toronto, Karlovy Vary, Sao Paolo, Sydney. Ivy had been awarded more than 20 awards world wide including Best Film at East End Film festival of London and Best Film, Best director, Best script, Best Actor at Golden Orange and Best director and best actor at Adana Film Festival. Tolga Karaçelik was jury at Karlovy Film Festival’s East West Competition 2016.
[2] DİLOY GÜLÜN was born in Istanbul, graduated from Istanbul University Conservatory Violin department in 1988, received her BA degree from Bogazici University Economics Department in 1992 and Diplôme d’accès aux études universitaires from Sorbonne Paris 1 in 1995. She started working as production assistant in IFR in 1996. In 2001, she produced Ahmet Ulucay’s “Making Boats out of Watermelon Rinds” which won 8 awards in several international festivals. She founded Karma Films in 2003 and line produced several feature films including “Inferno” (Ron Howard / Sony Pictures), Taken 2 (Olivier Megaton / Europacorp), The Reluctant Fundamentalist (Mira Nair / Cine Mosaic), The International (Tom Tykwer / Sony Pictures), Narrow Frame of Midnight (Tala Hadid / Autonomous UK) and many others as well as documentaries and over 200 commercials. For more information: www.karma-films.com [*]
[3] METİN ANTER started his career as director of Trimark Pictures International Production and Sales between 1996-2000. He settled in Turkey and founded Chantier Films in 2001 in the field of cinema film production and distribution. While bringing foreign productions to Turkey, Chantier Films has always aimed to offer high quality and successful productions to filmlovers and to undertake production of movies which will bring sound both in our country and abroad. His producer & distributor credits include Sofra Sırları/2017, Housewife/2017, Mihrez: Cin Padişahı/2015, Oh My God /2009, Son Buluşma/Last Meeting/2007
[*] KARMA Films | Contact ADDRESSNecati Cumali Sok. Pinar Apt. A Blok No:34 D.8 Akatlar - Istanbul / TURKEY OFFICE+90 212 352 7099 MOBILE+90 532 441 7732 EMAIL info@karma-films.comEMAILdiloy@karma-films.com
↧
Tokyo Win for Grain While Turkish media was sleeping...
Mavi Boncuk |
Turkish filmmaker Semih Kaplanoglu’s Grain was awarded the Tokyo Grand Prix at the closing ceremony of the 30th Tokyo International Film Festival (TIFF), while Italian drama Crater took the special jury prize.
Set in the near future, Grain follows a seed geneticist who lives in a city protected from immigrants by magnetic walls. US actor Tommy Lee Jones, who headed the TIFF competition jury, said: “We were impressed by this movie’s appreciation of the common understanding among all people through a shared mythic experience.”
Directed by Silvia Luzi and Luca Bellino, Crater revolves around a fairground vendor who attempts to turn his daughter into a pop star.
See More
Turkish filmmaker Semih Kaplanoglu’s Grain was awarded the Tokyo Grand Prix at the closing ceremony of the 30th Tokyo International Film Festival (TIFF), while Italian drama Crater took the special jury prize.
Set in the near future, Grain follows a seed geneticist who lives in a city protected from immigrants by magnetic walls. US actor Tommy Lee Jones, who headed the TIFF competition jury, said: “We were impressed by this movie’s appreciation of the common understanding among all people through a shared mythic experience.”
Directed by Silvia Luzi and Luca Bellino, Crater revolves around a fairground vendor who attempts to turn his daughter into a pop star.
See More
↧
