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In Memoriam | Nabi Şensoy (1945 - 2018)

February 8, 2018, 9:52 am
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Ambassador (Ret.) Nabi Sensoy,  passed away at age of 73 in Izmir, Turkey.

Pictured Ambassador Şensoy and Mrs Şensoy attending the Turkish Republic Day Ball in 2008 in Washington DC.

Mavi Boncuk |

Nabi Şensoy (born May 25, 1945, in Istanbul- died February 7, 2018, in İzmir, Turkey) is a former ambassador of Turkey to the United States. 

Ambassador Nabi Şensoy was Turkey’s Ambassador to the United States between 2006-2009. He was recalled to Turkey in October 2007 after the United States House Committee on Foreign Affairs passed a resolution condemning the Armenian Genocide in the Ottoman Empire. He returned to his position shortly afterwards. He resigned in December 2009.


During his tenure in Washington DC Ambassador Şensoy was very supportive of the Turkish American Organizations. He and his wife Mrs. Gulgun Şensoy held many cultural programs at the Turkish Embassy open to friends of Turkey and Turkish Americans at large.

In the spirit of his predecessor Ambassador Munir Ertegun who actively opposed segration in the United States in the face of fierce opposition from Capitol Hill and the State Department, Ambassador Şensoy and Mrs. Şensoy, supported the DC "Adopt a School Program" which reached out to mostly Black American children in DC rundown public schools in disadvantaged zip codes.

TASC, the Turkish American Community and many American friends remember Ambassador Şensoy fondly and offer deepest condolences to his family during this difficult time. 


Ambassador Sensoy had an impressive career at the Ministry of Foreign Affairs (MFA).  Before his assignment to the U.S., Ambassador Sensoy served as Deputy Undersecretary of General Political Affairs at the Ministry of Foreign Affairs (2002-05), Ambassador to Russia (1998-2002), Deputy Undersecretary of Political Affairs for the European Union (1997-98), Director-General of the Department of Policy Planning at the Foreign Affairs Ministry (1995-97), and Ambassador to Spain (1990-95). He was also Chief of Staff to the president (1988-90), Consul General in London (1985-88), advisor to the prime minister (1983-85), as well as Counselor at the Turkish Embassy in Washington, DC (1980-83) and in Cuba (1979-80). Before that, he served as Head of Section at the Department of Bilateral Political Affairs for Western Europe (1977-79), First Secretary at the Turkish Embassy in Venezuela (1975-77), Vice Consul at the Turkish Consulate General in New York (1972-75), and Third Secretary and Second Secretary at the Department of Research in the Foreign Affairs Ministry (1970-72). 

Ambassador Sensoy was a graduate of Faculty of Political Sciences at the University of Ankara.

Source : The Turkish American Steering Committee
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Word Origins | Ejderha, Canavar, Öcü, Gulyabani, Dev,

February 8, 2018, 10:10 am
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Mavi Boncuk |


Ejderha: dragon EN[1]fromPE ajdahāk/ajdahā أژدهاك/أژدها İran mitolojisinde efsanevi yılan-kral, dragon oldPE aji-dahāk yılan-kral, Dahak from Avesta aji-dahāka aji yılan IE *eghi-/*angʷhi-
The root in persian came from "ajd" (dragon=ejderha) which means "snake", but the turkish dragon "evran", rooted from "evr" which means to turn, to evolve
ejdehā [ Aşık Paşa, Garib-name (1330) ]
ejderhā [ Dede Korkut Kitabı (1400 yılından önce) : Yedi başlu ejderhaya yetüp vardum ]
ejder [ Selanikli Mustafa Âli (1600 yılından önce) ]

Canavar: monster EN[2] fromPE cānvar جانور canlı yaratık, her çeşit hayvan → can, +aver
canver "canlı yaratık" [ Atebet-ül Hakayık (1300 yılından önce) ]
canver vulg. canavar "hayvan, özellikle yabani hayvan, domuz" [ Meninski, Thesaurus (1680) ]
KTü: [ Codex Cumanicus, 1303]

animal [hayvan]: tinle [tinli, i.e. canlı], ianauar (...) bestia - Fa: ayuan - Tr: yanauar.

[ Meninski, Thesaurus, 1680]
cānver vul. canavar: Animal, fera, & pec. aper. [hayvan, yabani hayvan, özellikle yaban domuzu]
fromPE cānvar/cānāvar جانور canlı yaratık, her çeşit hayvan → can, +aver

öcü: ogre, orc, ghoul EN [3] TTü: [ Müstakimzade, Kanunü'l-Edeb terc., 1769]
ol şeydir ki oğlancıkları anıŋla korkuturlar, lisan-i sıbyanda aŋa böcü derler.
<< TTü böcü umacı, korkutucu mahluk < çoc

gulyabani: [ Meninski, Thesaurus, 1680] ġūl-i biyābān. fromPE ġūl-i yābānī غول يابانى bir efsane yaratığı, kurt adam fromAR ġūl غول  [#ġwl] a.a. PE yābānī يابانى vahşi, barbar

dev: giant EN[4] [ Aşık Paşa, Garib-name, 1330]
χalḳuŋ ol yidinci cinsi dīv-durur / kūh-i ḳaf mülki bulara īv-durur [yaratılmışların yedinci cinsi devlerdir, Kaf Dağı bunların evidir]
[ Meninski, Thesaurus, 1680] dīv: Diabolus, daemon, gigas [iblis, cin, dev].

fromPE/olsPE dēv ديو İran mitolojisinde kötü ruhlu efsane yaratığı, iblis << EFa daiva- a.a. ≈ Ave daēva- Zerdüşt inancında kötülük tanrısı, iblis IE *deiwos tanrı IE *dyeus gün, güneş, güneş tanrısı

Sanskrit deva- देव = Lat deus "tanrı" = oldGR Zeus "güneş tanrısı". Zerdüşt inancında daēva adı verilen eski çağ tanrıları yenilgiye uğrayıp Ehrimen'in yönettiği kötülük tanrılarına dönüşmüştür. 

[1] dragon (n.) early 13c., from Old French dragon, from Latin draconem (nominative draco) "huge serpent, dragon," from Greek drakon (genitive drakontos) "serpent, giant seafish," apparently from drak-, strong aorist stem of derkesthai "to see clearly," from PIE *derk- "to see." Perhaps the literal sense is "the one with the (deadly) glance."

The young are dragonets (14c.). Obsolete drake "dragon" is an older borrowing of the same word. Used in the Bible to translate Hebrew tannin "a great sea-monster," and tan, a desert mammal now believed to be the jackal.

sea-monster (n.) 1580s, from sea + monster. Sea serpent is attested from 1640s. In Old English a sea-monster might be called sædraca "sea dragon," or sædeor.

[2] monster (n.) early 14c., "malformed animal or human, creature afflicted with a birth defect," from Old French monstre, mostre "monster, monstrosity" (12c.), and directly from Latin monstrum "divine omen, portent, sign; abnormal shape; monster, monstrosity," figuratively "repulsive character, object of dread, awful deed, abomination," from root of monere "to admonish, warn, advice," from PIE *moneyo-, suffixed (causative) form of root *men- (1) "to think."

Abnormal or prodigious animals were regarded as signs or omens of impending evil. Extended by late 14c. to imaginary animals composed of parts of creatures (centaur, griffin, etc.). Meaning "animal of vast size" is from 1520s; sense of "person of inhuman cruelty or wickedness" is from 1550s. As an adjective, "of extraordinary size," from 1837. In Old English, the monster Grendel was an aglæca, a word related to aglæc "calamity, terror, distress, oppression."

chimera (n.) fabulous monster of Greek mythology, slain by Bellerophon, late 14c., from Old French chimere or directly from Medieval Latin chimera, from Latin Chimaera, from Greek khimaira, name of a mythical fire-breathing creature, slain by Bellerophon, with a lion's head, a goat's body, and a dragon's tail; literally "year-old she-goat" (masc. khimaros), from kheima "winter season," from PIE root *gheim- "winter."

Supposedly a personification of snow or winter, but the connection to winter might be no more than the ancient habit of reckoning years as "winters." It was held by the ancients to represent a volcano; perhaps it was a symbol of "winter storms" (another sense of Greek kheima)  and generally of destructive natural forces. The word was used generically for "any grotesque monster formed from parts of other animals;" hence the figurative meaning "wild fantasy" first recorded 1580s in English (13c. in French).

Beestis clepid chymeres, that han a part of ech beest, and suche ben not, no but oonly in opynyoun. [Wyclif, "Prologue"]

[3] ogre (n.) "man-eating giant," 1713, hogre (in a translation of a French version of the Arabian Nights), from French ogre, first used in Perrault's "Contes," 1697, and perhaps formed by him from Italian orco "demon, monster," from Latin Orcus "Hades," perhaps via an Italian dialect. In English, more literary than colloquial.

The conjecture that it is from Byzantine Ogur "Hungarian" or some other version of that people's name (perhaps via confusion with the bloodthirsty Huns), lacks historical evidence. Related: Ogrish; ogrishness.

orc (n.) "ogre, devouring monster," Old English orcþyrs, orcneas (plural), perhaps from a Romanic source akin to ogre, and ultimately from Latin Orcus "Hell," a word of unknown origin. Revived by J.R.R. Tolkien (1892-1973) as the name of a brutal race in Middle Earth.

But Orcs and Trolls spoke as they would, without love of words or things; and their language was actually more degraded and filthy than I have shown it. ["Return of the King," 1955]

ghoul (n.) 1786, goul, in the English translation of William Beckford's Orientalist novel "Vathek" (which was written in French), from Arabic ghul, an evil spirit that robs graves and feeds on corpses, from ghala "he seized."

[4] giant (n.) c. 1300, "fabulous man-like creature of enormous size," from Old French geant, earlier jaiant "giant, ogre" (12c.), from Vulgar Latin *gagantem (nominative gagas), from Latin gigas "a giant," from Greek Gigas (usually in plural, Gigantes), one of a race of divine but savage and monstrous beings (personifying destructive natural forces), sons of Gaia and Uranus, eventually destroyed by the gods. The word is of unknown origin, probably from a pre-Greek language. Derivation from gegenes "earth-born" is considered untenable.

In þat tyme wer here non hauntes Of no men bot of geauntes. [Wace's Chronicle, c. 1330]

It replaced Old English ent, eoten, also gigant (from Latin). The Greek word was used in Septuagint to refer to men of great size and strength, hence the expanded use in modern languages; in English of very tall and unusually large persons from 1550s; of persons who have any quality in extraordinary degree from 1530s. As a class of stars, from 1912. As an adjective from early 15c. Giant-killer is from 1726.


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Turkish Cinema Newsletter | UPDATES

February 8, 2018, 1:13 pm
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Istanbul Hilton Redux

February 13, 2018, 10:35 am
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Mavi Boncuk |
Istanbul Hilton under construction. My father M.A.Munir Sr. was the account executive for Turkish State Employee retirement Funds | Emekli Sandığı that paid 100% of the construction costs.

Turkish co-author of the hotel Sedat Hakki Eldem was one of my instructors later at State Academy of Fine Arts | DGSA now Mimar Sinan University.

Mavi Boncuk |



By 1950, Conrad Hilton had a singular goal: going beyond America and opening Hilton’s doors to Europe. Istanbul was close and was one of the cities with a bright future, waiting to be rediscovered.
The Turkish Foreign Ministry and Hilton Hotels International signed an agreement on August 9, 1951 regarding the establishment of Hilton Istanbul.
The hotel was completed in 21 months and rose like a monument at one of the finest locations of Istanbul.

 



The hotel was designed by the renowned American architectural and engineering firm Skidmore, Owings and Merrill (SOM) which was also carrying out some other urban planning and building projects in Turkey. Award-winning Turkish architect Sedat Hakkı Eldem was appointed as an advisor.

On December 19, 1950, Conrad N. Hilton revealed to the New York Times that he had recently reached an agreement with the Turkish Government to build a new Hilton hotel in Istanbul with 300 rooms costing US$5 million. The U.S. governmental agency Economic Cooperation Administration (ECA), which administered the Marshall Plan, the post-war aid program for Europe, was the main financier of an investment project totalling US$50 million in the whole of Europe. Hilton would bring up the operation capital and run the hotels while keeping one third of the profits.

The groundbreaking took place in the summer of 1952. German company Dyckerhoff, Widmann & Julius Berger [1] was signed for the construction. The labor at the construction site was carried out by up to around 500 Turkish workers and engineers. Critical construction materials were imported. White Portland cement, glass and structural steel came from Germany, marble and ceramic fittings from Italy, and aluminum window castings, air-conditioning units and elevators from the United States.

The building is a combination of the modern lines of Gordon Bunshaft with the rich artistic and romantic elements of Ottoman and Turkish architecture, implemented by Sedat Hakkı Eldem. As an example of Orientalism, the roof of the main entrance, designed by Eldem, resembles a flying carpet. The decorative tiles came from Kütahya, and the carpets for the rooms covering 12,500 m2 (135,000 sq ft) were woven in Konya by hand. After completing the construction work in a record time of 21 months, the hotel became the largest in Eastern Europe and the Middle East.

The hotel was temporarily opened on May 20, 1955. The official opening took place in a ceremony on June 10, 1955 in presence of Conrad N. Hilton, Fahrettin Kerim Gökay, Governor and Mayor of Istanbul, as well as American guests and celebrities, who came the day before on a chartered flight. Among them were Terry Moore, Olivia de Havilland, Mona Freeman, Irene Dunne, Sonja Henie, Diana Lynn, Merle Oberon, Ann Miller, Lon McCallister, Keefe Brasselle, Leo Carrillo and Elaine Shepard.

At the time, Istanbul was growing in tourism, economy and commerce, but lacked high-class accommodation sites except six luxury hotels (Park Hotel, Konak/Tokatlıyan Hotel, Tarabya Konak Hotel, Pera Palace Hotel, Deniz Park Palace Hotel and Splendid Palace Hotel) as well as six first-class hotels (Continental Hotel, Bristol Hotel, Londra Hotel, Öz İpek Palace Hotel, Çınar Hotel and Akasya Hotel). The total number of rooms conforming to internationally acceptable comfort standards was 290. The project would more than double the city's accommodation capacity at the international level.

[1] Dyckerhoff & Widmann AG (Dywidag) was a construction company based in Munich, Germany (formerly based in Karlsruhe, Wiesbaden and Berlin, Germany).The company was founded under the name Lang & Co. in 1865 by the German cement pioneer Wilhelm Gustav Dyckerhoff (1805–1894) in Karlsruhe, Germany. In the early years the company was mainly engaged in the production of concrete components. In 1866 Dyckerhoff's son Eugen Dyckerhoff (1844–1924) entered the company. He and his father-in-law Gottlieb Widmann changed the company's name to Dyckerhoff & Widmann and made it one of the leading companies for concrete construction in Germany.The company Dyckerhoff & Widmann also played an important role for the establishment of prestressed concrete and the cantilever method in Germany.


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Oldest Love Letter | Istanbul Archaeological Museum

February 14, 2018, 8:01 am
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Mavi Boncuk | Love letter Istanbul Archaeological Museum[1]

A Sumerian letter.

A number of these songs have actually been found in Nippur and elsewhere, but the contents of most of them are fragmentary and obscure. One of the best preserved is a passionate love song inscribed on a Nippur tablet now in the Istanbul Museum of the Ancient Orient, which was probably recited by a priestess and votary of the goddess Inanna, selected to be the holy bride of king Shu-Sin who reigned over Sumer about 2000 B.C. 

Scholars say, this  was a  ritual taking place in  Mesopotamian festivals for  fertility and power which also included the initiation  of a sacred Marriage. The  new year for the Sumerians is  around the spring equinox, and every new year the Sumerian king “married” the Sumerian goddess of love and war, namely  Inanna. Inanna  is the Babylonian version of Ishtar.  Inanna’s  powers  included   renewing  the land’s fertility.

Every summer at the  special festival Inanna’s high priestess of Inanna  representing Inanna married  the King : The King would provide offerings ; and  the priestess would accept the king into her bed, preceded by   an invitational  love  poem  : In the one below Sumerian king is Shu-Sin,  and we are introduced to Enlil, the high priestess. This  is the oldest love poem known in the world. Addressing her king and husband-to-be, she sings:

Bridegroom, dear to my heart,
Goodly is your beauty, honeysweet,
Lion, dear to my heart,
Goodly is your beauty, honeysweet.
You have captivated me,
Let me stand tremblingly before you.
Bridegroom, I would be taken by you to the bedchamber,
You have captivated me,
Let me stand tremblingly before you.
Lion, I would be taken by you to the bedchamber.
Bridegroom, let me caress you,
My precious caress is more savory than honey,
In the bedchamber, honey-filled,
Let me enjoy your goodly beauty,
Lion, let me caress you,
My precious caress is more savory than honey.
Bridegroom, you have taken your pleasure of me,
Tell my mother, she will give you delicacies,
My father, he will give you gifts.
Your spirit, I know where to cheer your spirit,
Bridegroom, sleep in our house until dawn,
Your heart, I know where to gladden your heart,
Lion, sleep in our house until dawn.
You, because you love me,
Give me pray of your caresses,
My lord god, my lord protector,
My Shu-Sin, who gladdens Enlil’s heart,
Give my pray of your caresses.
Your place goodly as honey, pray lay your hand on it,
Bring your hand over like a gishban-garment,
Cup your hand over it like a gishban-sikin-garment.


[1] When it was found, the cuneiform tablet of The Love Song for Shu-Sin was taken to the Istanbul Museum in Turkey where it was stored in a drawer, untranslated and unknown, until 1951 CE when the famous Sumerologist Samuel Noah Kramer came across it while translating ancient texts. Kramer was trying to decide what works to translate next when he found the love song in the drawer. He describes the moment in his work History Begins at Sumer:[2]


The little tablet numbered 2461 was lying in one of the drawers, surrounded by a number of other pieces. When I first laid eyes on it, its most attractive feature was its state of preservation. I soon realized that I was reading a poem, divided into a number of stanzas, which celebrated beauty and love, a joyous bride and a king named Shu-Sin (who ruled over the land of Sumer close to four thousand years ago). As I read it again and yet again, there was no mistaking its content. What I held in my hand was one of the oldest love songs written down by the hand of man (245). 

Once a year, according to Sumerian belief, it was the sacred duty of the ruler to marry a priestess and votary of Inanna, the goddess of love and procreation, in order to ensure fertility to the soil and fecundity to the womb. The time-honored ceremony was celebrated on New Year's day and was preceeded by feasts and banquets accompanied by music, song, and dance. The poem inscribed on the little Istanbul clay tablet was in all probability recited by the chosen bride of King Shu-Sin in the course of one of these New Year celebrations (245-246). 

Samuel Noah Kramer (September 28, 1897 – November 26, 1990) was one of the world's leading Assyriologists and a world-renowned expert in Sumerian history and Sumerian language. 

 [2] Which civilization had the first system of law? The first formal educational system? The first tax cut? The first love song? The answers were found in excavations of ancient Sumer, a society so developed, resourceful, and enterprising that it, in a sense, created history. The book presents a cross section of the Sumerian "firsts" in all the major fields of human endeavor, including government and politics, education and literature, philosophy and ethics, law and justice, agriculture and medicine, even love and family. History Begins at Sumer is the classic account of the achievements of the Sumerians, who lived in what is now southern Iraq during the third millennium B.C. They were the developers of the cuneiform system of writing, perhaps their greatest contribution to civilization, which allowed laws and literature to be recorded for the first time.

See also: The Biblical “Song of Songs” and the Sumerian Love Songs  By: Samuel Noah Kramer

PDF of Article


"...In Sumer, then, practically all the love songs recovered to date–and no doubt many more like them are still lying in the ancient ruins–relate in one way or another to the Dumuzi-Inanna cult and its joyous sacred marriage rites. Similarly the love songs of which the Biblical book, “Song of Songs,” is composed, must originally have been cultic in character–a priori, it is hardly likely that the Hebrew men of letters spent their time and labor on collecting frivolous romantic love ballads current in the street and market place. Then, too, the imagery found in the songs–the similes, metaphors, and rhapsodic adjurations–bespeak court poetry rather than idyllic love lyrics between a man and a maid. And since the lover is designated repeatedly as both king and shepherd, it is not unreasonable to assume that his beloved was an Astarte votary, and that at least some of the “canticles” were recited during a sacred marriage ceremony not too different from that which featured the Sumerian Dumuzi-Inanna cult. ..."
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Berlinale 2018 | The Pigeon, The Pillar of Salt and Araf (World Premieres)

February 15, 2018, 9:37 am
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Mavi Boncuk |

Generation 14plus |Güvercin / The Pigeon by Banu Sıvacı


Turkey 2018 | Turkish | 76 min · Colour | World premiere | Video 

Maverdi. Won’t you talk to them? Why are you not going over there? They are your kind.’ 

On a rooftop in Adana, Yusuf cares for the pigeons in his dovecote. His favourite bird is called Maverdi. To lure it even closer, he sometimes puts a seed between his lips for it to peck. The light grey pigeon is an outsider in the dovecote, just as Yusuf is in society, where he has to face ignorance and violence. The young man’s face rarely brightens up, and the pressure from his brother to go out to work makes things even worse. In her debut feature film, Banu Sıvacı evokes a genuine sense of empathy for the apparently fragile then fiercely rebellious loner who is fighting for a small joy that most people seem to begrudge him.

WITH
Kemal Burak Alper (Yusuf)
Ruhi Sarı (Halil)
Michal Elia Kamal (Gülfem)
Demet Genç (Rümeysa)
Mazlum Taşkıran (İrfan)
Evren Erler (Seymen)
Emin Özdenvar (İsmet)
Maverdi (Maverdi)
CREW
Written and directed by
Banu Sıvacı
Director of Photography
Arda Yıldıran
Editing
Mesut Ulutaş
Music
Canset Özge Can
Sound Design
Uğur Akagündüz
Sound
Abidin Tan
Production Design
Tuğba Gül Poyraz
Costumes
Sultan Sıvacı
Assistant Director
Sema Aytaç
Production Management
Ertan Erdal
Producers
Mesut Ulutaş, Banu Sıvacı
Co-Producers
Zeynep Koray, Levent Arslan









BIOGRAPHY

Banu Sıvacı

Born in Adana, Turkey in 1987, she studied fine arts with a focus on painting at Çukurova University in Adana. She has worked on various films as an assistant director and has directed several short films.

Filmography
2003 Hayalim Tahtadan (My Wooden Dream); short film 2005Başka Dokunuş (Another Touch); short film 2012 Savaş Alanı(Battle Zone); short film 2015 Faik; short film 2018 Güvercin(The Pigeon)

PRODUCED BY
Anagraf Film
Istanbul, Turkey
info@anagraffilm.com
www.anagraffilm.com/
WORLD SALES
WIDE Management
Paris, France
+33 1 53950464
infos@widemanagement.com

Forum | Tuzdan kaide / The Pillar of Salt by Burak Çevik


Turkey 2018 | Turkish | 70 min · Colour | World premiere | Video

A pregnant young woman who lives in a sort of cave is looking for her vanished sister, yet this plot summary hardly does justice to the charm, richness and radical nature of Burak Çevik’s first feature – all of which a result of the liberties he takes in creating an extravagant cinematic world to tell this story. The protagonist leaves her almost fairytale-like cave to set out across a river, taking up her sister’s trail. This trail leads her to a botanical garden, a bird shop, and a darkroom. The photo lab technician compares the effect of photographs to God turning Lot’s wife into a pillar of salt because she couldn’t resist the temptation of turning around to see Sodom be destroyed. Captured for eternity, transfixed for eternity – should we take it at face value when the protagonist tells the boatwoman that she is a part-time vampire? The dreamlike way in which the film digresses to show us a plant, a strip of negatives, or a table tennis match contributes considerably to the strange fascination it develops. Some things remain mysterious – which only makes us even more curious about what they might be referring to.


WITH
Zinnure Türe
Dila Yumurtacı
Esme Madra
Banu Fotocan
Elit İşcan
Nihal Koldaş
Reyhan Özdilek
Ayşe Demirel
Nazan Kesal
Nalan Kuruçim

CREW
Written and directed by
Burak Çevik
Director of Photography
Burak Serin
Editing
Burak Çevik
Music
Ozan Tekin
Sound Design
Ozan Tekin
Sound
Ömür Müldür
Producers
Burak Çevik, Fol Film, Arda Çiltepe, Semih Gülen, Cem Celai Bilge, Selman Nacar

BIOGRAPHY

Burak Çevik

Born in Istanbul, Turkey in 1993. He completed studies in Film and Television at Istanbul Bilgi University in 2016. Tuzdan kaide is his debut film.


PRODUCED BY
Fol Film
Istanbul, Turkey
+90 532 5950706
cevikburak@gmail.com




Forum Expanded |Araf by Didem Pekün



Greece / Turkey / Bosnia and Herzegovina 2018 | English | Documentary form
47 min · Black/White

World premiere

Araf is an essayistic road movie and diary of a ghostly character, Nayia, who travels between Srebrenica, Sarajevo, and Mostar in Bosnia. She has been in exile since the war and returns for the 22nd memorial of the Srebrenica genocide. The film is guided by her diary notes of the journey, which merge with the myth of Daedalus and Icarus – Icarus being the name given to the winner of a bridge diving competition in her home country. The story of Icarus and Daedalus, a myth symbolic of man’s over-ambition and inevitable failure, is woven throughout the film as a way to think about exorcizing the vicious cycle of such events happening in the future and of a possible reconciliation. Nayia also thinks of Icarus from a different perspective, that of seeing the optimism of such a leap, his braveness in taking a leap into the unknown in this era of radical instability, that perhaps Icarus wanted to write a different narrative. Araf thus traces these paradoxes through Nayia’s displacement and her return to her home country post-war – that of a constant terror and a permanent standstill, and the friction between displacement and permanence.

WITH
Dino Bajrić (Icarus)

CREW
Written and directed by
Didem Pekün
Director of Photography
Petros Nousias
Editing
Didem Pekün
Music
Elena Kakaliagou, Ingrid Schmoliner, Ellen Arkbro
Sound Design
Fatih Rağbet, Eli Haligua
Sound
Theophilos Botonakis
Assistant Director
Dino Omerović
Producers
Maria-Thalia Carras, Olga Hatzidaki, Didem Pekün


BIOGRAPHY

Didem Pekün

Didem Pekün was born in 1978 in Istanbul, Turkey. Her work explores both artistic research and practice; conceptually it deals with the production of subjectivities within violent geographies, displacement, and the different forms they take on screen. Her studio practice includes documentaries and video installations, which have screened internationally and received awards. She is a founding member of the Center for Spatial Justice (MAD). Following a BA in music at SOAS University of London and an MA on documentary at Goldsmiths, she holds a practice-based PhD from Visual Cultures, Goldsmiths. She is a faculty member at the Media and Visual Arts Department at Koç University, a Research Fellow at Visual Cultures, Goldsmiths and a Teaching Fellow at the Institute of Advanced Studies, CEU, Budapest.

Filmography
2007 The tree that smiles at me 2010 Tülay German; Years of Fire and Cinders 2016 of dice and men; video installation, 43 min. 2018 Araf


PRODUCED BY
locus athens
Athen, Greece
+30 6974 859827
maria@locusathens.com
locusathens.com

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Istanbul | Rail Systems 2019

February 22, 2018, 7:34 am
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Historic Alsancak Power Plant

February 22, 2018, 12:58 pm
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Mavi Boncuk | Construction 1926-8 by the Belgian Company'Traction & Electricité'.

The electric tramway[2] was also operated by the Belgian company: Société Générale de Tramways, de Transports et d'Electricité à Smyrne s.a., then Electricité et Tramways de Smyrne s.a. This company was the subsidiary of a Belgium transport group: Compagnie mutuelle de tramways. The electric tram system, which opened on Oct. 18, 1928, ran from the Parc de la Caserne to the suburb of Resadiye. The last electric tram was decommissioned in 1954.   SEE ALSO



[1] Tractebel traces its beginning to Gaz Belge, a holding company founded in 1862 to provide gas lighting and heating - and three other pioneering enterprises specialised in trams, railways and electricity: Société Générale de Chemins de Fer Economiques (1880), Compagnie Mutuelle de

Tramways and Société Générale Belge d'Entreprises Electriques (both in 1895). By 1901, all four companies had set up design offices and were carrying out investment projects and managing the resulting operations. These included power supply and public transport in Belgium, the first electric trams in Damascus - Syria and Odessa - Ukraine, railways in Egypt and power stations in Argentina.

In 1929, three of the companies merged to form the engineering consultancy Electrobel, and went on to construct several “new” Belgian power plants. The fourth, 'Mutuelle des Tramways' changed its name to 'Traction & Electricité' and later to 'Tractionel'. These two entities established their core business with projects such as the extension and upgrade of the Belgian power grid after the Second World War and the installation of Belgium’s nuclear power plants from 1969. More infrastructures; pipelines, dams, hydropower stations and complex buildings were also commissioned – locally and abroad. In 1977, Coyne et Bellier (France) famous for their hydroelectric dams joined the Electrobel group.

Finally after decades of collaboration on many projects Electrobel and Tractionel merged in 1986. The name Tractebel was born – along with a new engineering division: Tractebel Engineering grew, establishing its own divisions and a worldwide network of affiliates; acquiring Cheming (Czech Republic) in 1992 and founding Citec (Poland) in 1993. The group’s Flemish subsidiaries merged under the name of Technum in 1995. Trapec (Romania) joined in 1997, followed Leme (Brazil) in 2000 – the same year that Tractebel Engineering Italy and TECPL in India were set up.

In 2003, Tractebel merged with Société Générale de Belgique. The company created was SUEZ-Tractebel, a wholly owned subsidiary of SUEZ. In 2008, SUEZ itself then merged with Gaz de France to form GDF SUEZ - and Tractebel Engineering became, overnight, the engineering consultancy for the world’s no.1 independent energy Group.

In 2009, Tractebel Engineering became a legal entity and a fully fledged independent company within the GDF SUEZ Energy Services business unit of GDF SUEZ.

[2] 

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Word Origins | Şoför

March 1, 2018, 10:30 am
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Mavi Boncuk | 

Şoför: chauffeur[1] driver[2]

[ Mehmed Bahaeddin (Toven), Yeni Türkçe Lugat, 1924] şoför: Otomobil sevk ve idare eden. Buhar kazanının ateşini yakan. ~ Fr chauffeur 1. buharlı gemi veya lokomotifte ateşçi [esk.], 2. motorlu araç sürücüsü < Fr chauffer ısıtmak +()tor → şofben 

[1] chauffeur (n.)
1896, "a motorist," from French chauffeur, literally "stoker," operator of a steam engine, French nickname for early motorists, from chauffer "to heat," from Old French chaufer "to heat, warm up; to become hot" (see chafe). The first motor-cars were steam-driven. 

Sense of "professional or paid driver of a private motor car" is from 1902.

The '95 Duryea wagon, which won the Chicago contest last Fall, was exhibited at the Detroit Horse Show last week. Charles B. King, treasurer of the American Motor League, acted as "chauffeur," as the French say. ["The Horseless Age," April 1896]

chauffeur (v.) "convey by car, drive as a chauffeur," 1902, from chauffeur (n.). Related: Chauffeured; chauffeuring.

Borrowed from French chauffeur. 

chauffeur 
Czech: šofér  
Dutch: chauffeur  
English: chauffeur  
Persian: شوفر‎ (šufer)  
Polish: szofer  
Portuguese: chofer  
Russian: шофёр (šofjór)  
Serbo-Croatian: шо̀фе̄р m/šòfēr  
Spanish: chofer  
Swedish: chaufför 

chafe (v.)
c. 1300, chaufen, "be provoked, grow or be excited;" late 14c. in literal sense "to make warm, to heat" (also intransitive, "to grow warm or hot"), especially (early 15c.) "to warm by rubbing, excite heat by friction," from Old French chaufer "heat, warm up, become warm" (12c., Modern French chauffer), from Vulgar Latin *calefare, from Latin calefacere "to make hot, make warm," from calere "be warm" (from PIE root *kele- (1) "warm") + facere "to make, do" (from PIE root *dhe- "to set, put").


From 1520s as "abrade the skin by rubbing." Figurative senses from late 14c. include now-obsolete "kindle (joy), inspire, make passionate" as well as "provoke, vex, anger." Related: Chafed; chafing. Chafing-dish is from late 15c.

[2]

driver (person who drives a motorized vehicle, such as a car or a bus)driver (n.) "one who drives" in various senses, c. 1400; agent noun from drive (v.). Slavery sense is attested by 1796. Driver's seat is attested by 1867; figurative use by 1954.
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Cinéfondation Atelier | Black Box by Turkey’s Aslı Özge

March 2, 2018, 11:41 am
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Mavi Boncuk | 


A total of 15 feature-film projects hailing from 15 countries have been selected for the 14th edition of the Cinéfondation Atelier, which is set to unspool as part of the 71st Cannes Film Festival (8-19 May).

Also taking part is Black Box by Turkey’s Aslı Özge, who has already helmed three features that all made quite a splash: Men on the Bridge [+] (selected at Locarno and Toronto in 2009), Lifelong [+] (Berlinale Panorama in 2013) and All of a Sudden [+] (Panorama Special at the Berlinale in 2016).



A PORTRAIT OF DIRECTOR ASLI ÖZGE Geoff Andrew

photo © Emre Erkmen
"If you want to say something about people, you need to understand their culture. Values differ from country to country; that affects judgements and behavior. And to understand a place, you should spend time there. I’ve lived in Germany for 15 years now, so I felt ready to make a film here.”
Aslı Özge is referring to ALL OF A SUDDEN, her third feature as writer-director, and her first set in Germany, following MEN ON THE BRIDGE (2009) and LIFELONG (2013), both shot in her native Turkey. Özge is undoubtedly one of the most talented filmmakers to have emerged from that country; small wonder she has received encouragement from Nuri Bilge Ceylan. The Istanbul festival has repeatedly recognized her gifts: her debut feature (made after several shorts and documentaries) was awarded the Golden Tulip for Best Turkish Film, her second won the Best Director and Best Cinematography prizes, and the third carried off the FIPRESCI award. Clearly, however, her work also has international appeal; after their Panorama Special screenings at the Berlinale, LIFELONG and ALL OF A SUDDEN traveled widely around the world. And in Germany itself, the latter film rightly received extremely favorable reviews; the fact that it was a success with both critics and audiences testified to Özge’s firm grasp not only of the German language but of the country’s culture, customs and mores.
Poster MEN ON THE BRIDGEPoster LIFELONG

Born in Istanbul, Özge decided in her teens that she wanted to make movies. “My mother died when I was 17; I felt lost and was going to the cinema every day. That opened up new perspectives. I remember telling myself I’d become a director, though I can’t recall how I would have defined exactly what a director did back then! Anyway, since then I’ve never stopped thinking about film.”
She pursued her ambition by studying at the universities of Istanbul and Marmara, and then in Berlin, where she studied Philosophy and set up a production outfit with Emre Erkmen, the cinematographer responsible for the supremely elegant, expressive imagery that distinguishes her films.
Her work to date is notable not only for its consistently high standards – in writing, mise-en-scène, performance, sound design or whatever – but for its range in terms of content and style. MEN ON THE BRIDGE, an account of the lives of various people linked by their daily use of the Bosphorus Bridge, feels at times almost like a documentary; LIFELONG, a study of a troubled marriage which occasionally brought to mind no less a master than Antonioni, impresses with its subtly expressionist images, pregnant pauses and meticulously measured pace; while ALL OF A SUDDEN, about the effects of a young woman’s death on the lives of a group of friends who barely met her, performs a precarious but expert balancing act that mixes mystery and suspense, psychological study and social commentary, ethical rumination and bracing black humor.
Poster AUF EINMAL

I like to take risks,” explains Özge, “so I try to do something different each time. That said, I think my overall approach and my way of looking at things remain pretty constant. In fact, I’ve now realized – though only with hindsight – that all my movies deal in one way or another with being stuck, having nowhere to go. It’s not that I choose a particular theme – I’ve never done that. I just follow my instincts; I observe daily life and follow images, moments or situations that captivate me.”
“So MEN ON THE BRIDGE came from seeing street hawkers selling roses amidst all the traffic pollution. The contrast between the red roses and the dust was what drove me to make that film. For LIFELONG, I had an image in my head of a couple living with each other in a glass box and avoiding all confrontation – never quarrelling or discussing their problems. And with ALL OF A SUDDEN, I read about a woman’s death in the newspapers, and was immediately hooked by a question: what if a stranger suddenly dies right next to you? Couldn’t that change everything in your life?”
Özge’s comment that her films so far have dealt with characters who feel somehow stuck or stifled is highly pertinent: all three movies are notable for their sure sense of place and space, be it topographical or architectural. Whether set in Turkey or Germany, they are at once wholly convincing and vividly evocative.
“Because I want the audience to experience places in a film almost as if they’ve been there themselves, the main location, whether it’s a house or a city, becomes a character in my movies. Our lives are affected by where we live, and I like to reflect that on screen. Places can become obstacles: crossing the Bosphorus Bridge for two or three hours in a traffic jam feels like going through the eye of a needle!”
“So I involve Emre in every film at a very early stage. Our starting point is always the content: we try to find locations that reflect how the characters feel. For example, in ALL OF A SUDDEN, we wanted a location that would suggest how the main character feels trapped, so we looked for a town surrounded by mountains; in other words, it’s as if he can’t tell where his future lies. But we also work on building a color palette for all the elements of a film’s design: the costumes, furniture and so on. LIFELONG was about a couple feeling isolated from one another, so we chose icy colors: blue and grey. And to evoke feelings of loss and melancholy in ALL OF A SUDDEN we opted for autumnal hues. We completely avoided blue so that what predominated were harmonized reds, yellows and browns.”
Evidently, Özge is someone who prepares her films meticulously. When writing a script, she is careful not to reveal too much – “I prefer things not to be too explicit, and leave room for audiences to make guesses about what’s happening and why, to make their own judgements about characters” – and then, after what can be a lengthy casting process, she likes to discuss the characters and their backstories with her actors in detail. That said, she also acknowledges the value of serendipity and surprise.
“I’m never so in love with a script that I think it can’t be improved on. That’s why I like to allow space to take advantage of surprises, improvisations, coincidences, even mishaps that might occur during filming. But also I don’t give any of the actors a full script: they only get to know as much as their characters know, so they can’t foresee what the other actors will do or say. That makes for more authentic performances. Also, I like to surprise myself as well as the viewer!”

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Turkish Forests

March 5, 2018, 1:44 pm
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Mavi Boncuk | 

Nearly all the forests in Turkey are state-owned and administrated by the General Directorate of Forestry.

Privately owned forested lands constitute less than 1 percent of the total amount. Turkey’s forests are managed by forest chief enginers in line with management plans that run on cycles of 10 to 20 years. 

As part of the forestry management plans, inventory works are conducted that cover the issues of forest resoruce potential, health, tree species and productivity etc. The data obtained from these works are numerically assessed and management plans are organized according to assessment results. According to the data obtained as a result of updating the forest management plans that were renewed between the years of 2005 and 2012 in the ENVANIS database, the country’s forests occupy a 21.7 million hectares of land, which correspond to 27.6 percent of the country’s overall territory.

The average annual allowable cut that is slated to be obtained from forests in terms of wood output differs according to their operation forms. While this amount is 3,725,583 cubic meters for coppice[1]  forests, it is 13,269,618 cubic meters for high forests. So, the total amount was calculated as 16,995,201 cubic meters.

When a general assessment is made, current forested lands are on the increase in terms of their areas and growing stock when compared to the past. Regarding other product and service functions of forests apart from non-wood output, the latest planning and implementing activities affected this change. Also, the activities conducted for the protection and improvement of forests have been influential in effecting an increase of forests in terms of area and the stock.

The tree stock of Turkey’s forests is the total of growing stock of barked cylindrical stem volume of the trunks with diameters of 8 cm or more. According to this, there was around a 560 million-cubic-meter increase in tree stock of the country’s forests between 1973 and 2012. The main reasons for this achievement are the increase in forested lands and improvements in degraded forest lands. 

Three categories of forests

Forests can be categorized into three groups in terms of their forms of management. These groups include high forests, coppice forests and high coppice forests. While about 12 million hectares of forests in the country are high forests (more than 50 percent of the overall forested lands), the remaining 10 million hectares are dergraded forests. Turkey does not have any high coppice forests.

Some 12.6 million hectares of the forests are pure (which means that about 90 percent of the trees in the forest are of the same type). The proportion of pure forested areas to the total forested land is 59 percent. About 10 million hectares of forest lands are mixed.

 Forests with broad-leaved species (oak, fagus, alder, chestnut and others) constitute 39 percent of the overall forested lands, while 61 percent are of coniferous species such as pine, abies, spruce and cedar.

In terms of their size and the changes they go under and according to the forest inventory assessment results obtained so far, the size of general forested lands was revealed to be 20.2 million hectares (26.1 percent), between 1963 and 1972, and 21.7 million hectares (27.6 percent) in 2012, which is the latest inventory year. According to these inventory results, the forest lands have increased by 1.5 million hectares over the last 40 years.

The data on Turkey’s forests regarding their area, growing stock, increment, tree species and other factors are highly reliable since they are collected with a great effort from a series of detailed data for the preparation of forest management plans. Since forest management plans form the basis of all the activities on forests, the needs of new data and information that emerge parallel to forestry improvement are met in the phase of management planning.Many publications have estimates on the area of the forests before the foundation of the republic. But these figures are quite different from each other. All of these figures are not based on scientific findings and hence are not much regarded. The first regular and scientific inventory was done between 1963-1972. Management plans for all forests were completed in this period. According to the plans the total forest area amounted to 20.199.296 ha, of which 11.342.889 ha unproductive. The total forest area was divided almost by half to high forests and coppices. 

Since 1972, each year plans for almost one tenth of the forest area have been renewed. But, because of the frequent changes in borders and planning units, the Management Planning Department was not been able to compare the results of inventories at yearly basis until 1997. At that time, the need for the updated figures was underlined (mainly for FRA reporting) and since then updated figures for forest area have been released yearly (except for years 2000-2001). The figures indicate that there has been an increase of 857.147 ha forest area for the last 30 years. 

The Koppen[2] climate Types of Turkey

Forests are generally located on mountainous areas and they are usually natural and semi-natural with high biodiversity value . The country has 9000 plant species of which 3000 is endemic. Most of these plants are located in forest areas. Deciduous forests are prevalent and relatively uninterrupted at moderate elevations along northern Turkey. Coniferous forests, depending on the species and locations, are found at varying altitudes from sea level to the timber line. Forest formations of the country include species belonging to different floristic regions, namely Irano-Turanion, Mediterranean and Euro-Siberian. Approximately 800 woody taxa occur in the country's forests. The predominant species are Pinus brutia, Pinus nigra, Pinus silvestris, Abies spp. ( A. cilicica, A. nordmannia, A. equi-trojani are unique ), Picea orientalis, Cedrus libani, Juniperus spp., Pinus, pinea, Cupressus sempervirens, Pinus halepensis, Fagus orientalis, Quercus spp., Alnus spp., Castanea sativa, Carpinus betulus. The forests in Turkey are also home to most of 120 mammals, 454 birds and 93 reptiles found in the Country.

[1] Coppicing is a traditional method of woodland management which exploits the capacity of many species of trees to put out new shoots from their stump or roots if cut down. In a coppiced wood, which is called a copse, young tree stems are repeatedly cut down to near ground level, known as a stool.

[2] The Koppen climate classification system is a widely-utilized vegetation-based climate classification system that was created by the German botanist and climatologist Wladimir Koppen. The Koppen climate classification system is an attempt to come up with a formula to delineate climatic boundaries in correspondence with vegetation zones or biomes across the globe.
These biomes were in the process of being formulated and mapped for the first time during the time Koppen formulated his climate classification system in 1900. Koppen published a revised edition of his Koppen climate classification system in 1918, and afterwards continued to revise his system until he passed away in 1940 (A.J. Arnfield, 2017).
Throughout history, many attempts have been made in classifying the Earth’s climates into climatic regions. The great Greek Philosopher Aristotle divided Earth into torrid, temperate and frigid zones, whose finer details are now redundant.
After this many attempts were made to classify the Earth’s climatic regions, but none were as influential as the Koppen climate classification system. The Koppen climate classification system was introduced as a map in 1928 as one co-authored with Rudolph Geiger – a student of Koppen (M. Rosenberg, 2017). Since then the Koppen climate classification system has been modified by various geographers.

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In Memoriam | Prof. Dr. Muhibbe Darga ( 1921-2018)

March 6, 2018, 11:20 am
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Pictured Muhibbe Darga and Nihal Ongunsu copying inscriptions at Karatepe. 

 Mavi Boncuk |


Prof. Dr. Muhibbe Darga (b. 13 June 1921, İstanbul - d. 6 March 2018, İstanbul)
 
Academic / archaeologist

Prof. Muhibbe Darga was born in Istanbul in 1921. After she finished Erenköy High School for Girls, she entered the Department of Archaeology, Faculty of Letters in Istanbul University. She worked as an assistant of Prof. H. Th. Bossert for two years after graduation. In 1947 she completed her doctorate. After doing research on Archeology in Germany and France, Darga decided to concentrate on philology and then attained her professorship.

Between 1950 and 1959, she taught history, art history and French language at several high schools in Anatolia. She began work as an assistant at Istanbul University, Faculty of Letters in 1960. She became an associate professor in 1965, a tenured professor in 1973. Prof. Darga had taught the class of Hittitology: Hittite Art and Hittite Language. In 1983-1985 she was the chair of the Department of Ancient Language and Culture in Istanbul University.

Prof. Darga participated in the excavation projects in: Karatepe, Gedikli, and Değirmentepe. In 1978-1979 she started to preside over the Şemsiyetepe historical site in the southeast of Turkey, which is now under water after a regional dam construction. After a decade of excavation efforts in Şemsiyetepe, just near the river Euphrates, she commenced the excavation of  Dorylaion, a Phrygian-Hittite settlement located in Eskişehir, Central Anatolia.


She has given many lectures in Turkey and abroad and has published numerous books and articles. In her book: Woman in Anatolia, she indicated the status of women in this land and in her Hittite Art where she drew the attention of not only intellectuals but also of the general public. Presently Prof. Darga is the president of the Dorylaion excavations and as well as an honorary member of the Turkish Antiquities’ Sciences Institute and a reporting member of the German Archeological Institute.


(Reference: wikipedia.org)

WITH HER FATHER... İzmir... (1953) 





INTERVIEW

Fırtına Tanrıçası Muhibbe Darga
Eşber Güvenç
31 Aralık 2002
  
Eşber Güvenç: Konuğumuz Türkiye İş Bankası Yayınları’ndan çıkan ‘Arkeoloji’nin delikanlısı’ Mühibbe Darga ile birlikte Emine Çaykara. ‘Arkeolojinin delikanlısı’ çok hoş bir tanım olmuş sanıyorum, hem de bir kitap başlığı olarak... Öncelikle Mühibbe Darga ismi sizin için, hayatınızda bambaşka bir yer ifade ediyor zannediyorum, buradan başlayalım.

Emine Çaykara: Muhibbe Darga benim önsözde de belirttiğim gibi, başlangıçta klasik arkeoloji okumamdan ötürü hoca olarak sevdiğim bir insandı. Fakat seçmeli ders olarak aldığım Hitit Mühürcülük Sanatı’nda hocamdı, dolayısıyla çok yoğun birlikte olduğum bir hocam değildi, fakat ders dışında, daha sonraki yaşantımda karşılaştığımda sürekli konuştuğum, sıcaklığını hissettiğim, çok enerjik, çok hoş bir insandı. Çok yakın arkadaş, hatta anne gibi ama aslında anne değil, çünkü müthiş genç ruhu olan, gençliğini size de geçiren bir insan. Çok iyi arkadaş olduk, diyebilirim.

EG: Bazı anneler de çok iyi arkadaştırlar ama. Kitaba baktığımda bölüm bölüm de olsa, Mühibbe Darga’nın hayatının inanılmaz büyük ve Türkiye tarihinde çok önemli bir yer kapladığını görüyorum; başından beri neredeyse, bugüne kadar... Yaptığı iş de sanıyorum o zamanlarda bir kadının en son yapabileceği şey olarak düşünülüyormuş ve o ilklerden birisi.

EÇ: Evet, evet, kesinlikle. Zaten örnek aldığı kadınlar arasında George Sand, Gertruth Bell, Isodora Duncan gibi dönem için hayli iddialı kadınlar var ve tabii ki o dönemde Hititoloji gibi bir bölümü seçmek, bu yolda derinliğine inceleme yapmak bir kadın için hayli öncü bir davranış ve seçim. Bunu bence daha çok ailesine borçlu. Çünkü çok iyi eğitim almış, -klasik bir tabirle belki- aydın bir aileden geliyor, sofrada Roma tarihi konuşuluyor bu ailede. Böyle aileler çok fazla yok takdir edersiniz, böyle bir ortamda büyüyünce, dedesi de sarayda Abdülhamit’in mabeyinciliğini yapmış, kitapları, çevirileri olan aydın bir insan, Jules Verne’i çevirmiş Abdülrahim Efendi. Aile de çok ilginç, dolayısıyla ona hep yol gösteren, farklı ufuklar açan bir babası olmuş. Babası hayatında çok önemli bir insan.

EG: Kitapta bir söz geçiyor: “Geçmişini bilmeyen hep çocuk kalır.”

EÇ: Evet, o Çiçero’nun bir lafı yanlış hatırlamıyorsam.

EG: O sözü neredeyse hayatının bir merkezi, bir donesi olarak alıp onun üstüne herkesi, ailesi ile birlikte bütün geçmişini biliyor, araştırmış. Belki gidip görmemiş ya da görmeye gerek görmemiş, ama hepsini çok detaylarıyla biliyor ve en ince ayrıntısına kadar anlatmış kitabının oldukça önemli bir bölümünde.
Attilla İlhan'ın şiiri ve...

EÇ: Tabii bu tür kitaplar sözlü tarih çalışması olduğu için, hem ilgilendiği alanın hem o kişinin büyüdüğü semtin, yaşadığı dönemin pek çok ayrıntısını da içeriyor. Dolayısıyla böylece çoğumuzun bilmediği bir dönem de ortaya çıkıyor.

EG: Yine bir kadın olarak o günlerde neredeyse onlarca erkeğin arasında dağlarda, tepelerde, çamurlar içinde, çadırlar içinde yıllarca ve yıllarca bugüne kadar gelmiş Muhibbe Darga. İlk olarak isterseniz Muhibbe Darga’nın kendi özel hayatındaki gelişimine bakalım, sizin sorularınız eşliğinde. Nasıldı ilk karşılaşmanız ve söyleşiye başlarken ilk olarak neyi sordunuz kendisine?

EÇ: Açıkçası ilk olarak evine girdiğimde duvarlarındaki resimler çok ilgimi çekti. Bir kere –tesadüf eseri diyeyim- benim de çok sevdiğim ressamların resimleri asılı idi ve sanattan konuşmaya başladık. Benim onunla ortak bir zevki paylaşmam ve duvarlarındaki resimleri ile ilgilenmem çok hoşuna gitti. Daha önce belki bir kişi girip de onunla böyle resim üzerine konuşmuş. Tanışıklığımız da olduğu için kısa bir süre sonra hoşlandığımız insanlar, hayata yaklaşım, çalışmaya yaklaşım olarak pek çok konuda birbirimizle ortak noktalarımız olduğunu gördük ve daha çok sevdik. İlk sorumu doğrusu hatırlamıyorum, çünkü kitabı biraz onun enerjik, dinamik, farklı kişiliğini yansıtmak üzere kurguladım, soruları alt üst ettim ki, başta düz, kronolojik bir özyaşamöyküsü ile gitmesin diye kitap.

EG: Zaten çok da önemli değil sanıyorum, böylesine inanılmaz güzel bir araştırma ile ortaya çıkan bir hayatı bize satır satır veren bir kitap Muhibbe Darga kitabı. Devam ederken, onun bütün hayatı boyunca, hem özel hayatına hem de iş hayatına girmenizle –kendisi bile söylüyor, bazen işi arkeoloji evinin, ailesinin çok daha önüne geçmiş- nerelere girip çıktınız, nasıl şeylerle karşılaştınız, mesela bir araya tümüyle bırakıp eşi ile birlikte çok büyük bir aşk yaşayarak, herhalde 3-5 sene kadar bırakmış, belki arada bir öğretmenlik yapmış, belki daha uzun...

 EÇ: Onun için epey uzun bir süre aslında, çünkü mesleğinde ilerlemek isteyen bir kadınken anneliği seçiyor, duygusal bir ilişki söz konusu oluyor ve onu tercih ediyor ama sonradan aslında bunun doğru bir karar olmadığını anlıyor ve şiddetle okula geri dönmek istiyor. Bu bölümleri doğrusu biraz kısa geçtik, çünkü kendisinin de fazla hatırlamak istemediği birtakım anılar vardı, özel yaşama saygı duymak gerekiyor. Dolayısıyla eşinden ‘oğlumun babası’ diye söz edildi, belki anlamışınızdır, ismini de vermedik. Hayatının bu bölümünü değiştiren iki önemli eser var denebilir, biri Atilla İlhan’ın bir şiiri, onu çok hırslandırıyor, “İnadım nagant gibi koltuğumun altında yaşamaya direnmek ne demektir biliyor musun?” diye, diğeri de Pierre ve Marie Curie’nin hayatı; Pierre Curie’ye “Bana bir şey olursa, soğuk bir taş gibi olsan –galiba yanlış ifade ediyor olabilirim- robota dönüşsen bile çalışmaları sürdüreceksin” diye ondan söz alması. Bu da onu çok etkiliyor ve üniversiteye geri dönme kararını kesin alıyor. Başta kısa bir
dönem kütüphaneye girerek çalışıyor, çünkü evleniyor diye reddetmiş kariyerini, okulda da biraz küskünlük var. Ama tabii neden bu değil, kadro gerekçesi ile kütüphanede kısa bir süre çalıştıktan sonra tekrar üniversite kariyerine devam ediyor.
EG: Sanıyorum evlenmeden önce o dönemde bütün kazılara gidiyor yine, gerek yurt içinden gerek yurtdışından profesörlerin yanında değil mi?

EÇ: Tabii. Daha önceki dönemde öyle, bir sürü bu alanda tanınmış uluslararası bilim adamları ile tanışıyor, yabancı dili çok iyi olduğu ve Almanca’yı da kısa sürede öğrendiği için –aslında Almanca’yı iyi öğrenmesi daha sonraki dönemine denk geliyor- ama Fransızca biliyor, çok iyi konuşuyor, bu da o dönemde büyük bir kazanç. Zaten uluslararası bilim adamlarını da çok şaşırtıyor, çok modern, çok dinamik, çok kültürlü bir kadın, sadece Roma tarihini değil kendi kültürüne de sahip. Zaten hocası Bossert ona bir ufuk açıyor, bu konuda ayrıca Arif Müfit Mansel gibi çok değerli hocalar ile birlikte yetişiyor.

EG: Dönem 1940’lar değil mi?

EÇ: Evet 1940’lar. 1939’da üniversiteye giriyor ve Atatürk’ün çağrısı ile buraya gelip Hititoloji bölümünü kuran Alman hocalardan Prof. Bossert, moda tabir ile ‘vizyonu’ olan bir hoca, sadece bir batılı gibi bakmıyor hiçbir şeye; sanata da, tarihe de, bütün ayrıntılara, Osmanlı sanatının da Selçuklu sanatının da, diğerlerinden aşağı kalmadığını, kültürlerin birbirini etkilediğini ve Anadolu’nun aslında pek çok uygarlığın doğduğu yer olduğunu örnekleri ile gösteriyor öğrencilerine ve “Bu bakış açınızı kaybetmeyin, taraflı olmayın, araştırın, bunu da sağlam dayanaklara dayandırın” diye hep onlara telkinde bulunuyor gezdirirken.

10 ay çalıştık

EG: Kendisi de zaten hep öğrencileri ile bu şekilde yaşamış.

EÇ: Evet. Sonra bütün gezilerini sürdürüyor Muhibbe hanım öğrencileri ile, tabii iyi öğrencileri seçiyor, böyle gezilere zorla götürülmez. Geziler yapıyor, o da hocalarından gördüklerini uyguluyor, hocaları gibi yerinde gösteriyor, anlatıyor bütün ayrıntısı ile. Çok hoş tabii. Böyle hocalar yok artık ne yazık ki.

EG: Bir de kapakta kullandığınız fotoğraf sanıyorum tam da denk düşüyor buraya, ‘iğne ile kuyu kazmak’ deyimi tam arkeolojiye uyan bir laf, elde minik aletlerle günlerce, aylarca, bazen yüzyıllarca uğraşarak bir hayali bulma, geçmişi yeniden var etme çabası içindedirler; hiç kimsenin zorla böyle bir şeyi yapabilmesi bir yana herhalde çok yürekli olanların ya da çok yürekten isteyenlerin bile kolaylıkla vazgeçip geri dönebilecekleri bir bilim dalı. Peki bu tür söyleşilere –oldukça uzun zaman gerektiren bir çalışma bu- ne kadar zamanınızı alıyor? Sanıyorum daha önce de yaptınız böyle bir çalışma?

EÇ: Bu biraz karşılıklı iki kişinin zamanına bağlı, haftada iki gün görüşebilirseniz iyi bir tempo bu, ama bazen araya hastalıklar, seyahatler giriyor, bu haftada bire inebiliyor bazen üçe çıkabiliyor, dolayısıyla zamanlama karşılıklı iki tarafın zamanına bağlı bir şey. Biz Muhibbe hanımla yaklaşık 10 ay çalıştık, arada aralıklar oldu. Bu çalışmalar sürerken bir yandan kasetler çözülüyor, bir yandan onlar tasnif ediliyor, hepsi birlikte gidiyor, tabii bunları kısa sürede çıkarmak mümkün değil.

EG: Bunu planlıyor musunuz ilk başladığınızda? Bu çalışma ikinci kitabınız mı?

EÇ: Nehir söyleşisi dizisinden ikinci kitabım.

EG: Bir plan var mı? Mesela önce şu kişiyi alalım, sonra bu kişiyi alalım gibi bir dizi, bir liste, ya da kafanızda bir programınız var mı?

EÇ: Öncelikle bulabildiğim kaynaklardan hayat hikayesini okuyorum. Muhibbe hanımla tabii ben, -meslektaş diye demiyorum- artık arkeoloji yapmayan bir insanım ama en azından sorunlara hakimim, kendi yaşadığım deneyimlerden de biraz bilgim var, belli başlıklar belirleyip, gideceğim günkü çalışmaya göre sormak istediklerimi sıralayıp, ondan gelen cevaplarla açıp, deşmeye çalışıyorum.

EG: Bazen çok farklı yerlere de gidiyordur herhalde değil mi?

EÇ: Tabii, muhakkak.

EG: Bu da bir tat sanıyorum, gerek çıkarttıklarınız gerek sizin kitaba katmak istedikleriniz, kişilere, okurlara ulaştırmak istediklerinize bir tat katıyor.

EÇ: Tabii. Bir amaç belirlemek gerekiyor, bir biyografi kitabı bile olsa şahsen öyle yapıyorum, belli bir amacım oluyor, burada da Muhibbe hanımla nacizane amacımız arkeolojiyi biraz daha geniş kitlelere duyurmak, sevdirmek, bu alanda insanların neler yaptıklarını, nelerle karşılaştıklarını, Türkiye’nin ne kadar zengin olduğunu göstermekti. Bunu da tabii bir kişi aracılığı ile yapıyoruz.

EG: Kitaptaki fotoğraflar da çok özel, sanıyorum kendine ait arşivinden fotoğraflar var. Burada benim en çok ilgimi çeken, 1940 yılında Küçük Çekmece gölü yakınındaki Region kazısında Justinyen sarayı kalıntılarının kaybolması.
EÇ: Böyle bir kalıntı bugün yok, benim bildiğim.

EG: Ben de ilk defa görüyorum ve ben de birçok kişiye gösterdim, inanamayarak defalarca baktık

 Küçük Çekmece yakınındaki Region kazısı (1940)

EÇ: Maalesef pek çok yer gibi bugün kaybolmuş yerler arasında. Sanıyorum oradan çıkan parçalar Arkeoloji müzesinde, umut ediyorum... Çünkü Arkeoloji müzesinin İstanbul bölümü sık sık kapalı, çok rahat gezilemiyor çeşitli nedenlerde. Ama orada böyle büyük bir kazı yapılmış ve Muhibbe hanımın da katıldığı ilk kazı. Buraya bisikleti ile gidiyor.
Eski Anadolu'da kadın

EG: Çok hoş anılar var tabii, o yıllarda Türkiye’yi o hali ile görmek. Söyleşilerde siz nerelere gittiniz? Hem o yıllar, hem bu yıllar, hem kadının konumu, hem arkeolojinin konumu olarak kendini nasıl hissediyor Muhibbe hanım?

EÇ: Muhibbe hanım çok güçlü bir kadın, zaten herhalde o anlaşılıyor kitaptan da, kendi kararlarını kendi veriyor. Tabii ki zor dönemleri olmuş ama onlarla başa çıkabilen bir kadın. Genelde kronolojik olarak gitmek daha sağlıklı oluyor, ara ara bazı büyük parantezler açılıyor, ki onlar da kitapta yer alması gereken önemli bölümler. Bir şeyi atlamamak için yavaş yavaş kronolojik olarak gitmek, bu tür kitaplarda daha sonuç alıcı ve sağlık oluyor.

EG: Muhibbe Darga gibi bir bilim kadınını bütün çalışma detayları ile okurlara ulaştırmak farklı bir çalışma olsa gerek, hele hele tanımayanlar için –ben de çok fazla tanımıyordum doğrusu- arkeoloji deyince büyük isimler aklımıza gelir ama bir hanımın ismi en son gelecektir herhalde, onu siz soktunuz hayatımıza bu kitapla birlikte. Sizin için nasıl bir önemi vardı Muhibbe Darga’nın, hem okuldan olsun hem bu kişiyi bir Nehir söyleşi için seçmeniz olsun, ne ifade ediyordu bu kitap sizin için?

EÇ: Muhibbe hanım ilk olarak ’Eski Anadolu’da Kadın’ diye bir kitap yazmış ve eski Anadolu’da kadını araştırmış tek Türk kadını aslında, pek çok insan üniversite yayını olarak çıktığından ötürü okumamış olabilir, eminim, böyle çok önemli bir kitabı gerçekleştirmiş. Kadın konusuna özellikle zaten eğiliyor, Hitit kadınları ile ilgili bölümü var, eski Anadolu’da kadın. Dünyada bu tür kitaplar çıkmış ama hep Anadolu kısmı çok geçiştirilmiş kitaplar. Muhibbe Darga çok iyi bir filolog, filoloji ile arkeolojiyi birleştiriyor en önemli özelliği. Pek çok şeyi bambaşka açıdan size yansıtabiliyor. ‘Hitit mimarlığı’ kitabı var, mimari ile filolojiyi birleştirerek arkeoloji ile tarihle ilgili mimarların iyi bildiği bir kitaptır. Akbank Kültür Yayınları’ndan çıkan ‘Hitit Sanatı’ kitabı var, o da Hititler’i çok güzel ve herkesin anlayabileceği bir dilde anlatan bir kitaptır. Dolayısıyla arkeolojiyi herkese sunma yolunu seçmiş, yabancı dilde yazmamış özel bir insan aynı zamanda. Bu yüzden de benim için fırtına tanrıçası gibi kişiliğinin dışında yaptıkları ile çok değerli birisi.

EG: Bu çalışmanın sonucunda siz nerelere gidiyorsunuz? Sadece konuşmak 10 ay sürdü, ama bunun deşifresi, hazırlanması, sıraya konulması ve bize bu şekliyle ulaştırılması oldukça yoğun bir çalışma olsa gerek.

EÇ: Tabii. Ben klasik arkeoloji okumuştum ve ‘Mısır tarihi gibi Hititler de ileriki dönemlerde bir gün derinlemesine okuyacağım, öğreneceğim’ dediğim konulardandı. Bir şeyi geçiştirmeyi sevmiyorum, fakat tabii bu kitapla beraber ileriki dönemi bekleyemedim, Hititler’le ilgili kendi çapımda kitaplar okudum ki iyi sorular çıkarabileyim, bir şeyi atlamayayım. Sağ olsun Muhibbe hanım da zaten çok fazla misyoner yanı olan birisi, bana sürekli bir şeyler öğretti, kütüphanesinden kitaplar çıkararak, kabartmaları, mimariyi, ayrıntıları göstererek. Zaten öğrenmek zorundaydınız, öğrenmezseniz pek hoş bir ortam olmazdı. Ayrıca Mısır tarihinde önemli bir yeri olan Haçepsut’un kitabını hazırladı, yakında o da yayınlanacak, bu sırada aynı zamanda onunla uğraşıyordu. Bu vesile ile Mısırlıları da bana anlattı. Ben çok fazla anlayamadım ama Mısır tarihi, o dönemdeki yapılanlar, Hititler’le karşılaştırmalı tarih gibi çok güzel ortamlarımız oldu. Böyle bir ortama her zaman sahip olamazsınız.

EG: Siz yavaştan, yeniden arkeolojiye, eski tarihlere dönüyorsunuz galiba?

EÇ: Tabii, hobi olarak, bilgilenmek adına evet.

EG: Hem Mısır hem Hitit tarihine bakarken bu kadar zamanda, son yarım yüzyıla da baktınız sanırım, hem kadının gelişmesi olarak hem yetişmek, üniversite yaşamı olarak, çünkü bizim okuduğumuz dönemden çok daha farklı, çok daha zor bir yaşam; hem güzel hem çok daha yaratıcı ve geniş ama aynı zamanda da çok kısıtlayıcı bir yaşam biçimi sanıyorum. Onun araştırmasını nasıl yaptınız?

EÇ: Kısıtlayıcıdan kastınız?

EG: Yani bir kadın olarak üniversiteye, arkeolojiye, kazılara gitmek açısından. Muhibbe Darga o dönemde bunları yenmiş bir insan.

EÇ: Kısıtlayıcı denebilir ama çok iyi bir dönem, yani şimdiki arkeoloji öğrencileri böyle bir ortama sahip değil. Herşeye rağmen daha çok değeri biliniyor arkeolojik yerlerin, hocalar çok değerli, çok derinlemesine anlatıyorlar, karşılaştırmalı tarih yapıyorlar. Dolayısıyla çok şanslı imiş bence, çok kısıtlayıcı bir ortamda büyümemiş. Zaten özgürlük yanlısı kadınlardan, o açıdan da tabii çok özel birisi, ilginç de.

 Muhibbe Darga, Emine Çaykara ile... 

EG: Sizin çalışmalarınız nereye gidiyor, bu tür nehir söyleşilere başladığınıza göre ne tarafa gidiyor? Yeni bir çalışma var mı?

EÇ: Şu anda benim bitirmem gereken bir anı kitabım var, ismini söylemeyeyim, kendisi anılarının yazılmasını isteyen birisi. O da ilginç, daha farklı bir alan, araştırmam gereken şeyler var ve Halil İnalcık’la buluşacağız, kendisi ‘Türk Einstein’ı’ kitabını okumuş ve hayatını, ister söyleşi şeklinde ister öykü, roman tarzında hazırlamamı istedi. Benim için çok onur verici bir davranıştı. Ancak Kasım ayı ortasında onunla buluşup ilk söyleşilere başlayabileceğiz. Sonra Şubat ayından sonra devam edecek, dolayısıyla şu an iki kişi var hayatı ile derinlemesine ilgileneceğim.

EG: Siz nehirleri gerçekten seviyorsunuz ama güzel araştırmalar sonucunda çok güzel nehirler buluyorsunuz kendinize.

(4 Kasım 2002’de Açık Radyo Açık Dergi programında yayınlanmıştır.)
↧

Word Origin | Slang Expressions From Angut to Yosma

March 7, 2018, 8:16 am
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Angut, Dallama, Dangalak, Denyo, Deyyus, Dümbük, Dürzü, Gavat, Hödük, İbne, Kahpe,  Kaltak, Kodoş/godoş:, Köftehor, Lavuk, Pezevenk,  Orospu, Puşt,  Zibidi, Yavşak, Yosma

Mavi Boncuk |


Angut: ETü: [ Kaşgarî, Divan-i Lugati't-Türk, 1073]
anġıt/aŋıt: an-nuḥām [kaza benzer kızıl bir kuş]
Çağ: [ Pavet de Courteille, Dictionnaire Turc Oriental, 1500]
anḳut, anḳur: oiseau aquatique, plus petit que l'oie et plus grand que le canard
TartarTR: [ A. Fikri, Lugat-ı Garibe, 1889]
angut: Budala, sarsak.
Armenian  angirt անկիրթ "terbiyesiz, kaba saba" 

Dallama: jerk, prick, asshole EN  Aptal, enayi TR; sucker, chump EN
"kaba ve küstah erkek (argo)" [ 1960]
TartarTR  dalyarak

Dangalak: TTü: [ Meninski, Thesaurus, 1680]
dengel, dingel: ebleh, bī-endām, deyyūs
TartarTR: [ Ahmed Vefik Paşa, Lehce-ı Osmani, 1876]
dangalak: dangıl dungul lakırdı eden, kaba adam
"aptal, ahmak (argo)" [ Cumhuriyet - gazete, 2005]
Haddimizi aşmış olmayalım, ama galiba bizi 'dıngıl' yerine koyuyorlar.
< onom dank/dangıl boş bir nesneye vurma sesi

Akılsız, düşüncesiz kimse.’ 1871 Evangelinos Misailidis[1] Temaşa-i Dünyası

“ . . . Yetişir artık cehalette uyuduğunuz, artık tevrat-ı şerifin varuhu ve yunan asrının giritli epimenidis feylozofu ve asr-ı iseviyenin agiasuluklu yedi nevcivanları tarzı uyanın cehalet gafletinden ve görün ki, dünya tebdil olmuş, asır başkalaşmış, dangalaklığın eseri kalmamış.”

Dangıl: onom boş kutu veya teneke sesi

dangel/dıngıl "ebleh, bi-endam kişi, deyyus" [ Meninski, Thesaurus (1680) ]
dangalak "dangıl dungul konuşan kimse, kaba adam" [ Ahmet Vefik Paşa, Lugat-ı Osmani (1876) ]
Similarly: dandun/tantun, dangır dungur/ tangır tungur.


Denyo: "orta oyununda aptal çocuk karakteri" [ Ahmed Rasim, Şehir Mektupları, 1899]
"(argo)" [ Osman Cemal Kaygılı, Argo Lugatı, 1932]
denyo: Zıpır, kaçık, yarı deli, serserinin meczubu.
Roma denilo

Gerçek anlamı ‘emanet, rehin’ olan bu kelime zamanla gündelik kullanımda ‘dengesiz, delibozuk’ gibi anlamlar kazanmış. 

Deyyus: [ Mesud b. Ahmed, Süheyl ü Nevbahar terc., 1354]
Eşek ḳaltabānsın u ebleh deyyūs̠
fromAR dayyūṯ ديّوث  karısını satan veya karısı tarafından aldatılan erkek

Dümbük: [ Ahmed Vefik Paşa, Lehce-ı Osmani, 1876]
dümbük: Tembük, dümbelek.
[ Hamit Zübeyr & İshak Refet, Anadilden Derlemeler, 1932]
dümbük (Niğde): deyüs.
fromFA tambuk تنبك davul, dümbelek, tulum (çalgı)  TartarTR tablek/deblek dümbelek

Armenian tmpug դմբուկ "davul"  timpani.
"orkestra davulu" [ Cumhuriyet - gazete, 1947]
timpani'nin tonik ve dominant arasında dolaşan tokmakları
fromIT timpani [çoğ.] davullar, perküsyon from İt timpano tek yüzlü davul.
oldGR  týmpanon τύμπανον Kybele ve Dionysos ayinlerine özgü davul, dümbelek Hebrew/Aramaic  tūp, tuppā תוף dümbelek

Gerçek anlamı, Osmanlı devrinde hadım edilerek ters ilişkiye girmek amacıyla pazarlanan erkek fahişe. 

Dürzü: "hakaret sözü" [ İbrahim Alaattin (Gövsa), Yeni Türk Lugatı, 1930]
dürzü: Hıyanetlik, katı yüreklilikten kinaye olarak söylenir tahkir sözü.
fromAR  durzī درزى  [nsb.] Suriye ve Lübnan'da yaşayan bir dini topluluğun mensubu ; öz Muḥammad İsmāil al-Darzī Dürzi dininin kurucusu (ö. 1019) +ī from Fa darzī درزى terzi

Gavat:“Karısını pazarlayan kişi” anlamında kullanılan kelimenin hikayesi ilginç. Sasani İmparatorluğu’nun hükümdarı olan 1. Kavad, Mazdek ve öğrencilerinin isyanına karşı koyamamasının üzerine, komün hayata saygı duyduğunu göstermek için karısının Mazdek ile yatmasına izin verir.

Hödük:"kabalık" [ Deşişî Mehmed Ef., Et-Tuhfetu's-Seniyye, 1580]
Türkīde bir kimse yoldaşını üşendirse 'baŋa hödük virme' dir
"kaba" [ Ahmed Vefik Paşa, Lehce-ı Osmani, 1876]
hödük هودوك: Kaba, ahmak, gabî, köylü, ümmî, rustâî.
Türkçede farklı kullanımları en yaygın olan kelime olabilir. Şaka bir yana, genellikle ‘kaba, anlayışsız kimse’ anlamında kullandığımız bu kelime: ‘korkak’, ‘uyuşuk, beceriksiz’, ‘acemi’, ‘kısa boylu ve göbekli’, ‘aceleci’, ‘kabadayı’ gibi birçok anlamda kullanılıyor.

İbne: "pasif eşcinsel" [TezhibK 1897]
fromAR ibna(t) إبنة  [fem.] kız evlat fromAR ibn إبن oğul, evlat
→ bin2
Similarly: hibino, ibneleşmek, ibnelik, ibnetor

Kahpe: [ Codex Cumanicus, 1303]
meretrix [fahişe] - Fa: χagba
[ Osmanlı Kanunnameleri,  1520]
ve daχı bir kimesneyi χırsūzdur veya ḳahbedir déyu mahallesi ve kur'ası cemaˁati şikāyet idüb
fromAR ḳaḥba(t) قحبة  fahişe possibly AR ḳaḥaba قحب öksürdü

Kaltak: KTü: [ Codex Cumanicus, 1303]
rofian [pezevenk] FA: guidi [gidi] - TR: kaltak (...) rofiana [fahişe] - TR: χaltak
Çağ: [ Pavet de Courteille, Dictionnaire Turc Oriental, 1500]
kaltak: cuir de la selle, la selle elle-même [eyer köselesi ve eyerin kendisi]
[ Anonim Tevarih- Al-i Osman, 1555]
Kaltak eyerlü ve yırtmac kürklü, örmec kuşaklı ve kabalak dülbendlü at oğrılarını dévşürüb göndermiş.
TartarTR: [ Şemseddin Sami, Kamus-ı Türki, 1900]
kaltak: (...) 3. Namussuz ve mübtezel kadın.
from oldTR kaltak 1. eyer köselesi, 2. ahlaksız adam, deyyus from oldTR kalıt- kaldırmak +(g)Ak

Kodoş/godoş: first mentioned in 1680 Meninski, Thesaurus [1680], facsimile printing Simurg 2000.  Kodoş قودوش a man who pimps his wife, cockolded man TR karısını pazarlayan adam, karısı tarafından aldatılan adam  from Armenian godoş կոտոշEN all types of animal horn TR her çeşit hayvan boynuzu
Persian  gudāş گداش (horn),Georgian godoşi გოტოში (horn).

Köftehor:  first mentioned in 1500 Neşrî, Kitab-ı Cihannümâ [1492]ed. Unat & Köymen, 1949. Osmanlı Kanunnameleried. Ahmet Akgündüz, İstanbul 1997. A forgiving husband after extra marital relationship (zina) from Persian kūftaχʷar كوفته خور  köfte+hor   person eating ground food. Kōfte كوفته (in a mortar) EN beaten, chewed TR dövülmüş, çiğnenmiş  Persian kōftan, kōs- كوفتن, كوس En beat, flatten with a pestle TR dövmek, tokmakla vurmak, ezmek.

Lavuk: "adam (argo)" [ Metin Kaçan, Ağır Roman, 1991]
from Kurdish lawik [küç.] oğlan çocuğu Kurdish law oğlan, oğul

Genel evlerde çıkışta kolonya tutan, iki film birden sinemacılarında konuklara peçete ikram eden kişiye verilen isimmiş.

Pezevenk: [ 1477]
dellāle [Fa.]: pūzeveng پوزونك ˁavrat
[ Osmanlı Kanunnameleri,  1512]  pūzeveng
[ Filippo Argenti, Regola del Parlare Turco, 1533] buseuenchlúch [büzevenklık]
[ Evliya Çelebi, Seyahatname,  1683] pāzveng
possibly Armenian pozavak բոզաւագ fahişe-başı (Dankoff ALT sf. 63.) Armenian poz բոզ fahişe + Armenian avak աւագ bey, ağa, reis

Similarly: pezo
Bizim ‘kadın pazarlayan kişi’ anlamında kullandığımız kelime aslen Farsçadır ve ‘kapı tokmağı’ veya ‘sürgü’ anlamına gelir. Türkçeye ‘kapıda bekleyen adam’ olarak geçmiş ve sonunda bu anlamı kazanmıştır.

first mentioned ibefore 1500 Osmanlı Kanunnameleri, ed. Ahmet Akgündüz, İstanbul 1997.

Orospu: Para karşılığı cinsel ilişki yaşayan kadın’ anlamında kullandığımız kelime, Farsça bir kelime olan ‘ruspî’den gelmektedir. Persian ru: yüz, sepid: ak, beyaz “yüzü ak, temiz kadın."

[ Ebu Hayyan, Kitabu'l-İdrak, 1312]
ersek wa yaḳūl uruspī [ersek, uruspī de denir]: al-ḳaḥba
[ Ahmed b. Kadı-i Manyas, Gülistan tercümesi, 1429]
karı ˁavrat ki rusbī ola nice ide ki nā-bekārlığa tevbe ede
[ Meninski, Thesaurus, 1680]
oruspī fromFA ruspī رسپى fahişe, evlilik dışı ilişiye giren kadın oldFA rōspīk 
Similarly: orço, orostopollu          
[ Şemseddin Sami, Kamus-ı Türki, 1900]
rostopollu ('ruspī oğlu'dan galat) zebanzedi orostopollu: Hilekâr, düzenbaz.
possibly TartarTR rospî oğlu

Puşt : [ Aşık Paşa, Garib-name, 1330]
ayakdan yokaru puşt ü şikem [göt ve karın]
[ Filippo Argenti, Regola del Parlare Turco, 1533]
pusct: uno che uole le pesche [balık hırsızı??]
FA/oldFA puşt پشت sırt, arka, (mec.) göt Avesta parşti- arka Sanskrit prişṭa 
Similarly: püştipa, harpuşta (harmandalı, hergele), peştamal
Persian ‘arka, kıç’ anlamına gelen bu kelimeyi günlük hayatta ‘eşcinsel erkeklerin cinsel zevklerine hizmet eden erkek çocuk.’ 

Zibidi: 
 [ Evliya Çelebi, Seyahatname,  1683]
Küçük Mehemmed Paşa bir zibīdī mīr-i mīrān iken
[ A. Fikri, Lugat-ı Garibe, 1889]
zibidi, zirzop: Çulsuz, delişmen.
fromFA zībīdī زيبيدى süslü, yakışıklı from FA zībīdan زيبيدن süslemek, yakışmak FA zīb زيب süs, güzellik

Yavşak:
yavşak1
from oldTR yaŋşak konuşkan, geveze from oldTR yaŋşa- konuşmak, gürültü etmek +Uk
yavşak2
from OTü yafşak/yavşak bit yavrusu from ETü yapış- +(g)Ak
Çoğu kişinin bildiği üzere yavşak bitin yavrusuna denir.
[ Meninski, Thesaurus, 1680]

Yosma:  يوسمه, يوصمه: Crassus, bardus, stupidus. Gros, lourd [kaba, hantal, aptal]. [Faz-TS 1810]
ey benim yer güneşi māh-veşim / eşbehim, yosma civānım, keleşimOsmanlı döneminde, ‘şen, güzel, şuh’ kadınlar için kullanılan bir kelime. Günlük kullanımda ‘ahlaksız kadın’ şeklini almış.




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EU Watch | MAM Remembers

March 7, 2018, 9:08 am
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Balkan Unity

March 8, 2018, 6:59 am
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Mavi Boncuk |


Having received assurances that coveted territories denied them in the Second Balkan War would be returned, Bulgaria joined the Central Powers. Its added weight proved decisive to the offensive that finally broke the Serbian army in the fall of 1915. A number of Italian publishers portrayed this as a stab in the back even though Italy had been persuaded to change sides with the same sort of territorial promises from Britain just five months earlier. These cards didn’t have to make sense, just sir hatred.

There was a danger of producing too many cards that depict enemy atrocities for it implied the national army could not protect the homeland. This message was extremely dangerous when the Italian army began its long retreat in the Caporetto campaign. After October 1917 all news was filtered through the minister of propaganda, which had a huge effect on the type of images that found their way onto postcards. As soon as a new line was established on the Piave, more aggressive propaganda began to be produced even though the Italian army largely remained on the defensive. It not only depicted the enemy being defeated, but often in a gruesome or sadistic manner in order to satisfy the public’s taste for revenge. SOURCE
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Word Origins | Pusu, hücum, saldırı, gaza

March 8, 2018, 10:34 am
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Mavi Boncuk |


Pusu: Ambush EN[1] oldTR: [ Kaşgarî, Divan-i Lugati't-Türk, 1073] busuġ: al-kamīn [pusu] TartarTR: [ Hoca Sa'deddin Ef., Tacü't-Tevârih, 1574] pusu yérde oldTR busuġ tuzak < ETü bus- tuzak kurmak +I(g) → pus- 


Hücum: Attack EN[2] AR hucūm هجوم saldırı AR hacama هجم üstüne vardı, saldırdı
"üstüne varma" [ Danişmend-Name, 1360] 'Bizüm hālimüz n'olur?' diyü Şattat'a hücūm idüp: 'Bu nice belālar başımuza senüŋ kızuŋ getürdi' didiler.

Saldırı: Attack EN[2] newTR: [ Osmanlıcadan Türkçeye Cep Kılavuzu, 1935] saldırım = Taaddi, taarruz, tecavüz TartarTR:  saldır- +I(g)

Gaza: religious war, jihad EN[3] crusade [4] from AR ġazā ͭ/ġazwa ͭ غزاة/غزوة akın etme, yağma, saldırı AR ġazā غزا 1. çabaladı, gayret etti, 2. akın yaptı, istila etti "din uğruna savaş" [ Atebet-ül Hakayık (1300 yılından önce) ]

[1] ambush (n.) late 15c., embushe, "troops concealed to surprise an enemy," from the English verb or from Old French embusche "an ambush, a trap" (13c., Modern French embûche), from embuschier "to lay an ambush" (see ambush (v.)). Non-military sense from 1570s. Figurative use by 1590s. Earlier was ambushment (late 14c.), from Old French embuschement, Medieval Latin imboscamentum. 

ambush (v.) c. 1300, from Old French embuschier (13c., Modern French embûcher) "to hide, conceal, lay an ambush," from en- "in" (from PIE root *en "in") + busch "wood," which is apparently from Frankish *busk "bush, woods," or a similar Germanic source (see bush (n.)). The notion probably is "hide in the bush," or "lure into the bush." Related: Ambushed; ambushing.

[2]attack (n.) 1660s, "violent onset, a falling on with violence and force," from attack (v.). Meaning "fit of a disease" is from 1811. Compare Middle English attach "a seizure or attack" (of fever), late 14c.

attack (v.) c. 1600, "assault, assail, begin hostilities against," from French attaquer (16c.), from Florentine Italian attaccare (battaglia) "join (battle)," thus the word is a doublet of attach, which was used 15c.-17c. also in the sense now reserved to attack. Meaning "endeavor to bring into discredit by writing, proposals, etc." is from 1640s. General sense of "begin action" is from 1670s, originally of diseases. Related: Attacked; attacking.

[3] jihad (n.) also jehad, 1852, from Arabic, usually translated as "holy war," literally "struggle, contest, effort," from infinitive of jahada "he waged war, he applied himself to." Originally and for long in English purely in reference to the duty of religious war against unbelievers. Used in English since c. 1880 for any sort of doctrinal crusade. 

mujahidin (n.) also mujahideen, 1958, in a Pakistani context, from Persian and Arabic, plural of mujahid "one who fights in a jihad" (q.v.); in modern use, "Muslim guerilla insurgent. 

[4] a medieval military expedition, one of a series made by Europeans to recover the Holy Land from the Muslims in the 11th, 12th, and 13th centuries. 

The Crusades were a series of Holy Wars launched by the Christian states of Europe against the Saracens. The term 'Saracen' was the word used to describe a Moslem during the time of the Crusades. The Crusades started in 1095 when Pope Claremont preached the First Crusade at the Council of Claremont. 



The Pope's preaching led to thousands immediately affixing the cross to their garments - the name Crusade given to the Holy Wars came from old French word 'crois' meaning 'cross'. The Crusades The Crusades were great military expeditions undertaken by the Christian nations of Europe for the purpose of rescuing the holy places of Palestine from the hands of the Mohammedans. They were eight in number, the first four being sometimes called the Principal Crusades, and the remaining four the Minor Crusades. In addition there was a Children's Crusade. There were several other expeditions which were insignificant in numbers or results.

crusade (n.) 1706, respelling of croisade (1570s), from Middle French croisade (16c.), Spanish cruzada, both from Medieval Latin cruciata, past participle of cruciare "to mark with a cross," from Latin crux (genitive crucis) "cross." Other Middle English forms were croiserie, creiserie. Figurative sense of "campaign against a public evil" is from 1786. 

pilgrim (n.) c. 1200, pilegrim, from Old French pelerin, peregrin "pilgrim, crusader; foreigner, stranger" (11c., Modern French pèlerin), from Late Latin pelegrinus, dissimilated from Latin peregrinus "foreigner" (source of Italian pellegrino, Spanish peregrino), from peregre (adv.) "from abroad," from per- "beyond" + agri, locative case of ager "country, land" (from PIE root *agro- "field"). Change of first -r- to -l- in most Romance languages by dissimilation; the -m appears to be a Germanic modification. Pilgrim Fathers "English Puritans who founded Plymouth colony" is first found 1799 (they called themselves Pilgrims from c. 1630, in reference to Hebrews xi.13)." 
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Balkan Unity 2

March 8, 2018, 1:36 pm
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Word Origin | Lök

March 8, 2018, 1:46 pm
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Mavi Boncuk | 

Lök devesi gibi çökmek. "Lök gibi oturmak." A Turkish putdown expression. Someone that hardly moves. 


Lök: from FA lōk لوكbir tür kılsız yük devesi, bir cins deve" [ Ebu Hayyan, Kitabü-l İdrak (1312) ] Male camel reaching age 7.[1]

The Bohoor camel sometimes reaching eight feet in height. The pure Arabian is designated by the Turks as the hairless camel, in contradistinction to the Bactrian. They are mostly used for speed, and carry comparatively light -weights. The popular color of these animals is that of sepia. 

[1] Develer yaşına ve cinsine göre kükürt, lök, daylak, dorum, kayalık (kayalak), kirinci (kipinci), boz, tülü, yoz, nacır gibi adlar almaktadır. Köşek (küçük ?) “deve yavrusu” demektir ve Yörükler’de anneler çocuklarını “kuzum” gibi “köşeğim” diye de severler. Deve yavrusuna yer yer bidi ve potuk da denir. Devenin çeşitli Türk lehçelerinde daha birçok adı vardır. Meselâ Kara Kırgızlar genel olarak deveye tö, erkek deveye buğra, dişi deveye ingen, deve yavrusuna taylak veya tö botusu demektedirler.
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The 'Turkish Terror' in Sweden

March 9, 2018, 1:27 pm
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Mavi Boncuk | 

 The 'Turkish Terror' in Sweden ...  | Luna Turcica Eller Turkeske Måne..., Jönköping 1694. 

Author Erland Dryselius (1641-1708)[1] , parish priest of Jönköping town, wrote several learned works, mainly on history. This book with several woodcuts describes the Turks as cruel tyrants but gives also a factual description of their social and political system, based on Claes Rålamb's reports.

[1] Erland (Benedikt, Brodderi) Dryselius (1641 – 24 April 1708) was a Swedish Lutheran minister, historian, and translator.
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bOOK | Orientalism and Musical Mission: Palestine and the West

March 16, 2018, 7:56 am
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Mavi Boncuk |
Orientalism and Musical Mission: Palestine and the West 

by Rachel Beckles Willson[1]

Hardcover: 380 pages
Publisher: Cambridge University Press (June 10, 2013)
Language: English
ISBN-10: 1107036569
ISBN-13: 978-1107036567

The book explores music in religious and development missions sent from Europe to Arabs in Palestine and Israel from 1840 to 2010. It will be crucial reading for researchers in Orientalism and cultural imperialism, as well as music and ethnomusicology students interested in the sociology of western classical music and the Middle East.

Orientalism and Musical Mission presents a new way of understanding music's connections with imperialism, drawing on new archive sources and interviews and using the lens of 'mission'. Rachel Beckles Willson demonstrates how institutions such as churches, schools, radio stations and governments, influenced by missions from Europe and North America since the mid-nineteenth century, have consistently claimed that music provides a way of understanding and reforming Arab civilians in Palestine. Beckles Willson discusses the phenomenon not only in religious and developmental aid circles where it has had strong currency, but also in broader political contexts. Plotting a historical trajectory from the late Ottoman and British Mandate eras to the present time, the book sheds new light on relations between Europe, the USA and the Palestinians, and creates space for a neglected Palestinian music history.

[1] Rachel Beckles Willson is Associate Professor of Music at Royal Holloway, University of London. She has published numerous articles and two monographs on music politics, giving special attention to the former Eastern Bloc and Israel/Palestine. Her most recent book was Ligeti, Kurtág, and Hungarian Music during the Cold War (2007). Rachel originally trained as a pianist at the Royal Academy of Music in London and the Liszt Academy of Music in Budapest, before reading for a Ph.D. at King's College London. She has taught a wide range of courses, including Music and Orientalism, Communism and Music, and Intercultural Performance. Between 2008 and 2010 she was based at the Humboldt University in Berlin, supported by a Fellowship for Experienced Researchers from the Alexander von Humboldt Foundation. Alongside her scholarly pursuits, she is an active musician, performing as a pianist, saxophonist and 'ūd player.



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