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Articles on this Page
- 11/01/17--12:28: _EU Watch | An APP f...
- 11/01/17--14:07: _The Smyrna Cassaba ...
- 11/02/17--08:24: _The Jacobins in Con...
- 11/02/17--08:40: _A Map of Moda
- 11/02/17--09:18: _Club de Constantino...
- 11/02/17--10:05: _Word origin | Hodri
- 11/03/17--11:49: _1919 | Moda Palace ...
- 11/03/17--11:55: _Vue de Kadikieui
- 11/06/17--07:06: _Award | Beyazıt Sta...
- 11/06/17--07:37: _New AKM
- 11/06/17--09:22: _Two New Books | Arc...
- 11/06/17--14:12: _Cins'i a'la cigara ...
- 11/07/17--13:43: _Istanbul | Tram Lines
- 11/07/17--14:16: _Turkish DARE
- 11/09/17--07:13: _Word origin | Tuğla...
- 11/09/17--07:21: _Interview | Istanbu...
- 11/09/17--07:46: _Word Hunter | Veri ...
- 11/09/17--11:14: _Turkish BD | Karaba...
- 11/09/17--16:47: _M. K. Atatürk | 19...
- 11/13/17--10:05: _ICAO | Turkish Nati...
- 11/15/17--07:47: _Poetry in Translati...
- 11/17/17--07:05: _Word Origin | Süt, ...
- 11/18/17--04:57: _In Memoriam | Naim ...
- 11/18/17--05:36: _Dröm vidare by Rojd...
- 11/18/17--09:32: _1950 Paris | Şadi Ç...
- 11/01/17--12:28: EU Watch | An APP for This
- 11/01/17--14:07: The Smyrna Cassaba Railway
- 11/02/17--08:24: The Jacobins in Constantinople
- 11/02/17--08:40: A Map of Moda
- 11/02/17--09:18: Club de Constantinople Redux
- 11/02/17--10:05: Word origin | Hodri
- 11/03/17--11:49: 1919 | Moda Palace Hotel
- 11/03/17--11:55: Vue de Kadikieui
- 11/06/17--07:06: Award | Beyazıt State Library
- 11/06/17--07:37: New AKM
- 11/06/17--09:22: Two New Books | Archeology of Ottoman Cineama
- 11/06/17--14:12: Cins'i a'la cigara kağıdı | Ottoman Cigarette papers Redux
- 11/07/17--13:43: Istanbul | Tram Lines
- 11/07/17--14:16: Turkish DARE
- Definitions(8) | Quotations(23) | Full Text(32)
- 11/09/17--07:13: Word origin | Tuğla, Kiremit, Beton, Alçı, Sıva, Taş, Mermer, Harç
- 11/09/17--07:21: Interview | Istanbul and Beyond by Robyn Eckhardt
- 11/09/17--07:46: Word Hunter | Veri Madenciliği Data Mining
- 11/09/17--11:14: Turkish BD | Karabala by Hikmet Yamansavaşçılar
- 11/09/17--16:47: M. K. Atatürk | 1917 Diyarbakır
- 11/13/17--10:05: ICAO | Turkish National Airlines
- 11/15/17--07:47: Poetry in Translation | These fine days have been my ruin
- 11/18/17--04:57: In Memoriam | Naim Süleymanoğlu (1967-2017)
- 11/18/17--05:36: Dröm vidare by Rojda Sekeröz
- 11/18/17--09:32: 1950 Paris | Şadi Çalık, Can Yücel, İlhan Koman
The advert taken from Indicateur Commercial of 1898-99 by the Smyrna-Cassaba Railway Company, detailing the service offered including the neighbourhood stations, as referred above.
Mavi Boncuk | See also: Rail History on a Cigarette paper
The Ottoman Government gave a concession to build a railway from İzmir to Cassaba on July 4, 1863. The concession was awarded to an English company "The Smyrna Cassaba Railway". The railway choose to have their terminus closer to İzmir's city center. Construction began ın 1864. The rail line opened to Manisa on October 10, 1865 and to Cassaba on January 10, 1866. The SCR then built a line to Bornova (splitting from the main line at Halkapınar), which opened on October 25, 1866. They were going to extend the line to Cassaba, but the SCR went bankrupt during the stock market crash in 1866. The SCR recovered after a second concession to Alaşehir. SCR completed the line to Alaşehir in 1875, however the construction was funded by the Ottoman Government.
A third concession was awarded to the SCR in 1887 to build a branch to Soma from Manisa. This was completed in 1890 but the Ottoman Government once again financed the construction. The Ottoman Government always in need of finance decided to rationalize the structure of the Smyrna Cassaba Railway. It exercised its right to purchase the concession and the part of the line it not already owned.
The concession was then sold to Georges Nagelmackers, the founder the International Sleeping Car Company on February 17, 1893. The railway operation was transferred on 12 July 1893 to a new French company, the "Société Ottomane du Chemin de fer de Smyrne-Cassaba et Prolongements" (SCP), which was founded on July 16, 1893. The SCP received a concession to build from Alaşehir to Afyon.
The SCP made an agreement with the Central Railway of Anatolia (CFOA) to connect the SCP's line with theirs at Afyon. The line to Afyon was completed in 1899. The SCP continued the line from Soma to Bandırma, which was completed in 1912. This became the shortest route between İzmir and İstanbul via ferry connection at Bandırma. After the Republic of Turkey was formed in 1923, Turkey has nationalized all railways in the country, thus the SCP was taken over by the Turkish State Railways in 1934.
The Jewish Expositor, and Friend of Israel: Containing Monthly Communications Respecting the Jews, and the Proceedings of the London Society, Volume 10 Front Cover Printed at the London Society's Office., 1825 - English periodicals
In 1913, at the insistence of the director of the Alliance Israélite Universelle, Hemsi moved to Italy after receiving a scholarship to study at the Conservatorio Royal di Milano. At the conservatorio, Hemsi was taught by internationally acclaimed professors such as Bossi Pirinello (composition, harmony, and counterpoint), Galli (orchestration), Pozzoli Delochi (theory and solfeggio), and Giusto Zampieri (music history). During his studies, Alberto Hemsi asked his music history professor about Jewish music. The response given was that although Jewish music is important, he could not recall any melodies because few existed. Perplexed and sceptical of this response, largely due to his exposure to many Jewish melodies in childhood, Hemsi proceeded to ask the cantor of his synagogue back in Cassaba / Turgutlu for more information about traditional Jewish melodies.
After returning from Italy to his homeland, Hemsi followed in the folkloric footsteps of Bartók and Constantin Brăiloiu. He focuses on the Hispano-Judeaic traditional music of his ancestors. The traditional Hispano-Judeaic melodies were transmitted orally for generations by the women of the communities and infused with the medieval Spanish literature. Hemsi proceeded to dedicate more than 17 years of his life to collect traditional chants throughout the former Ottoman Empire, particularly in Smyrne, Salonica or Thessaloniki, Rhodes, Istanbul, and Alexandria. At the end of these travels, Hemsi wrote out harmonizations for piano of sixty traditional melodies. This work was the first of the ten books known as "Coplas Sefardies." Harmonization of the traditional Sephardic chants proved to be a challenge since the harmonization of monodic modal chants is not possible in a tonal sense. Hemsi did not wish to alter the traditional melodies nor utilise modern harmonic techniques of the epoch. In addition to the Coplas Sefardies, Hemsi composed numerous other works for a variety of ensembles including orchestra, string quintets, choir, cello, and piano. He drew inspiration equally from liturgical music of the synagogue as well as music from Egypt, Turkey, and Greece.
 Georges Lambert Casimir Nagelmackers (born 24 June 1845 in Liège, Belgium; deceased 10 August 1905 in Villepreux, France) was the founder of the Compagnie Internationale des Wagons-Lits, the company known for the Orient Express trains.
1–4, 7–13Beyer-Peacock111864-74B1 n2Fünf Stück (SCR 9–13) ab 1891 in C-Kuppler umgebaut
7–8, 14Beyer-Peacock31865–741B n2t
61–69Sigl, Maffei91900–19112'C n4vBaugleich mit CFO VIII der Orientbahn, alle Exemplare als Reihe 35.001–009 an die TCDD, vor 1956 ausgemustert
31–35Maffei51911–1912C n2tAlle Exemplare als Reihe 33.51–55 an die TCDD, Lokomotive 3355 als Museumslokomotive in Çamlik erhalten
101–112Humboldt1219121'D h2Alle Exemplare als Reihe 45.121–132 an die TCDD, weitgehend baugleich mit CFO 241–262
1–6 (Zweitbesetzung)Corpet-Louvet619231'C1' n2tAlle Exemplare als Reihe 35.11–16 an die TCDD, nach 1955 ausgemustert
51–60Linke-Hofmann101924D h2Preußische G 8, alle Exemplare als Reihe 44.047–056 an die TCDD
81–88Corpet-Louvet819261'E h2Alle Exemplare als Reihe 56.011–018 an die TCDD, ab 1940 als 56.911–918 bezeichnet, 56911 als Denkmallokomotive in Nazilli aufgestellt, 56914 als Museumslokomotive in Çamlik erhalten
Forget Gezi uprising and Buyukada meetings...Roll the dates back to look into the Jacobin heritage of Turkish Left and the red color for revolution.
Mavi Boncuk |
"The effects of the French Revolution reached far beyond the confines of France itself. The Ottoman Empire, ancient ally and major trading partner of France, was not immune from the repercussions of the 'Age of Revolutions', especially since it was home to permanent French communities with a certain legal autonomy. French Revolutionaries in the Ottoman Empire examines, for the first time, the political and cultural impact of the French Revolution on Franco-Ottoman relations, as well as on the French communities of the Ottoman Empire. The modern interpretation of revolutionary ideological expansionism is strongly influenced by the famous propaganda decree of 19 November 1792 which promised 'fraternity and help to all peoples who wish to recover their liberty', as well as the well-studied efforts to export the Revolution into the territories conquered by the revolutionary armies and to the various Sister Republics. Against all expectations, however, French revolutionaries in the Ottoman Empire exhibited neither a 'crusading mentality' nor a heightened readiness to use force in order to achieve ideological goals. Instead, as this volume shows, in matters of diplomacy as well as in the administration of French expatriate communities, revolutionary policies were applied in an extremely circumspect fashion. The focus on the effects of the French regime change outside of France offers valuable new insights into the revolutionary process itself, which will revise common assumptions about French revolutionary diplomacy. In addition, Pascal Firges takes a close look at the establishment of the new political culture of the French Revolution within the transcultural context of the French expatriate communities of the Ottoman Empire, which serves as a thought-provoking point of comparison for the emergence and development of French revolutionary political culture."
 The Jacobin Club was one of several organizations that grew out of the French Revolution, and it was distinguished for its left-wing, revolutionary politics. A Jacobin was a member of the Jacobin Club, a revolutionary political movement that was the most famous political club during the French Revolution (1789–99). The club was so called from the Dominican convent where they originally met, in the Rue Saint-Jacques (Latin: Jacobus) in Paris.Today, Jacobin and Jacobinism are used in a variety of senses. Jacobin is sometimes used in Britain as a pejorative for radical, left-wing revolutionary politics, especially when it exhibits dogmatism and violent repression. In France, Jacobin now generally indicates a supporter of a centralized republican state and strong central government powers and/or supporters of extensive government intervention to transform society.
The most prominent political clubs of the French Revolution were the Jacobin Clubs that sprung up throughout Paris and the provinces in August of 1789. By 1791, there were 900 Jacobin clubs in France associated with the main club in Paris. According to Spielvogel, "Members were usually the elite of their local societies, but they also included artisans and tradesmen".
Jacobin clubs served as debating socitites where politically minded Frenchmen aired their views and discussed current political issues. Many members of Jacobin clubs were also deputies and used the meetings to organize forces and plan tactics. The most notorious deputy connected with the Jacobin club is Robespierre. Marat was also aligned with the Jacobin club, and this association caused his death. Charlotte Corday, his murderer, targeted Marat because she thought that he represented the worst of the Jacobin movement .
The club supported and participated in some of the most shocking events of The Revolution. Members of Jacobin clubs were among the mob invaded the Tuileries on August, 10, 1792. They also supported the execution of Louis XVI. Druing the Terror, local Jacobin clubs turned the provinces into nightmares of fear and destruction as members took it upon themselves to be agents of the Terror, and sent thousands to the guillotine (Dowd, 129). The clubs were also strictly anticlerical, and during the Terror some clubs wages a crusade against the church, imprisoning priests and looting churches.
The Jacobin clubs were closed soon after Robespierre was killed in 1794, but not before they became synonomous with revolutionary fervor and fear.
 (pictured) Columbia wearing a Phrygian cap, personification of the United States (World War I patriotic poster).
The Phrygian cap is a soft conical cap with the top pulled forward, associated in antiquity with several peoples in Eastern Europe and Anatolia, including Phrygia, Dacia, and the Balkans. In early modern Europe it came to signify freedom and the pursuit of liberty through a confusion with the pileus, the felt cap of manumitted (emancipated) slaves of ancient Rome. Accordingly, the Phrygian cap sometimes is called a liberty cap; in artistic representations it signifies freedom and the pursuit of liberty.
In 1675, the anti-tax and anti-nobility Stamp-Paper revolt erupted in Brittany and north-western France, where it became known as the bonnets rouges uprising after the blue or red caps worn by the insurgents. Although the insurgents are not known to have preferred any particular style of cap, the name and color stuck as a symbol of revolt against the nobility and establishment. Robespierre would later object to the color, but was ignored. The use of a Phrygian-style cap as a symbol of revolutionary France is first documented in May 1790, at a festival in Troyes adorning a statue representing the nation, and at Lyon, on a lance carried by the goddess Libertas. To this day the national allegory of France, Marianne, is shown wearing a red Phrygian cap.
Mavi Boncuk | Section of a larger map showing the Moda peninsula from 1922, done by ‘Société Anonyme Ottomane d’études et d’entreprises urbaines’.
(Click image for full map)
Mavi Boncuk |
"One only needs to cast a glance at the Young Turks who are the leaders of fashion in the "Club de Constantinople"—after the English and French members are absent—with German officers who have been admitted as temporary members at a reduced subscription, and one will find there, as in the more exclusive "Cercle d'Orient," and in the "Yachting Club" in Prinkipo in the summer-time, individuals belonging to the "Committee" whose lowly origin and bad manners are evident at the first glance. Talaat, who is himself President of the Club, knows exactly how to get his adherents elected as members without one of them being blackballed. People who used not to know what an International Club was, and who perhaps, in accordance with their former social status, got as far as the vestibule to speak to the Concierge, are now great "club men" and can afford, with the money they have amassed in "clique" trade and by the famous system of Requisitions, to play poker every evening for stakes of hundreds of Turkish pounds. One single kaleidoscopic glance into the perpetual whirl of any one of these clubs, which used to be places of friendly social intercourse for the best European circles, is quite sufficient to see the class of degenerate, greedy parvenus that rule poor, bleeding, helpless, exhausted Turkey. One cannot but be filled with a deep sympathy for this ..."
Harry Stuermer  Zwei Kriegsjahre in Konstantinople, Skizzen Deutsch-Jungturkischer Moral Und Politik | Two War Years in Constantinople: Sketches of German and Young Turkish Ethics and Politics | Published 1917 by Payot in Lausanne 
See also: Statuts du Club de Constantinople | Imprimerie Française L.Mourkides, 1912 48 pages
 Harry Stuermer (Sturmer) — a German journalist — was the correspondent of Kölnische Zeitung newspaper in Constantinople during the war years of 1915–16.unfortunate land.  First published in neutral Switzerland, Germany bought the German language rights, but was unable to procure the translation rights. Consequently, English language (Hodder & Stoughton | Translated from the German by E. Allen and the Author) copies are available, but remain very scarce to the market.
From the Club de Constantinople reading room 1896
Gorkiewicz, Evelyn [Eveline] Alice Wanda OBE (painter (artist))
Watercolour over pencil
Credit Line: Purchased with the assistance of The Art Fund, the National Heritage Memorial Fund, Shell International and the Friends of the V&
Mavi Boncuk |
Hodri: An expression for inviting to fight.
[ Cumhuriyet - gazete, 1935] sürmezse ne âlâ, sürerse bunu yapacağımıza emin olsun! Hodri meydan! ünl hayde bre teşvik ünlemi (Rumeli ağzı) haydi, bre.
BEYAZIT STATE LIBRARY
CLIENT: REPUBLIC OF TURKEY, MINISTRY OF CULTURE AND TOURISM / AYDIN DOGAN FOUNDATION
YEAR: 2016 RENOVATION
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
Mesrutiyet Caddesi No:67
Beyoglu 34430 Istanbul
Phone: +90 212 251 2111 | Fax: +90 212 251 2332
NEW YORK OFFICE
111 John St #2650
New York, NY 10038
Phone: +1 (917) 415 1404
71 Newman Street
London W1T 3EQ
Phone: +44 (0) 203 151 0353
Alfattan Marine Towers
First Floor No:14
P.O. Box 34521
Phone: +971 4 3927666 | Fax: +971 4 3927600
Grand Hamad Street No:119
6th floor Old Al Ghanim-6
P.O. Box 6194
Phone: +974 40 290852 | Fax: +974 40 299687
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.”
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
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
Mavi Boncuk |
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.
Several brands of booklet produced by these manufacturers at factory in Constinople/Istanbul
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)
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.
(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 is shutting down.
barbudi n [CanFr barbote from Turkish barbut]
bosh n [From Turkish bosh empty, worthless..]
Turk’s head, n
Turk’s turban, n
Turk’s-head (cake) pan, n
Turk’s beard, n
Turkish rugging, n
For the curious
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..]
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]
 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.
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
[ 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
[ 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
Beton: beton, concrete ENBorrowed 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
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
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
OldTR: "... dikilitaş" [ Orhun Yazıtları, 735]
taş tokıtdım köŋülteki sabınım urturtum [taş diktirdim gönüldeki sözümü yazdırdım] OldTR taş
Mermer: marble EN
[ 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 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]
 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.
 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.
 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.
 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").
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.
"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.
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.
 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.
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.
 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  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.
Mavi Boncuk |
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.
Veri Madenciliği for Data Mining sounds a bit awkward. Veri Oyma(pit, tunnel) or Veri Kazma(dig) sounds better.
Mavi Boncuk |
Veri Madenciliği - Big Data | Data Mining
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.
 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
Mavi Boncuk |
Karabala - Baskın (Karabala, #1)
Paperback, 144 pages
Published April 14th 2016 by ArkaBahçe Yayınları
Karabala - Parçalanmış Yurtlar ve Delicesine Takip (Karabala, #2)
Hardcover, 104 pages
Published April 2017 by Gezegen Yayınları
Mavi Boncuk |Second Ottoman Army Commander Mustafa Kemal Paşa, Diyarbakır, 1917
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
Mavi Boncuk |
Beni bu güzel havalar mahvetti,
Böyle havada istifa ettim
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.
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...
Mavi Boncuk |
Süt: milk ENOldTR: [ 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 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 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 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  [ 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  [ 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 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
 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).
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.
 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."
 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.
"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.
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.).
 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."
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, 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.
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."
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."
 creamery (n.)
1808, from French crémerie, from crème.
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.
mid-15c., "to foam," from cream (n.). Meaning "to beat, thrash, wreck" is 1929, U.S. colloquial. Related: Creamed; creaming.
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
Mavi Boncuk |
Rojda Sekersöz |Stockholm
Dramatiska Institutet (Stockholm Academy of Dramatic Arts) 2009-2012
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 Sekersöz
PRODUCERS 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
2012 Fittbacka- ett jäkla ungdomshem
2011 Selvi ska sova