Quantcast
Channel: Mavi Boncuk
Viewing all 3498 articles
Browse latest View live

An Ottoman Map of United States

$
0
0




Visit the map's page in the digital collections of the Osher Map Library,
University of Southern Maine. 

Available also through the Library of Congress Web site as a raster image. Each map mounted on cloth. Black circle stamped on verso of each leaf. Decorative stamping and pencil or ink annotations in arabic or latin script on verso of some...


Mavi Boncuk | (1803) First map of the United States published in Turkey during the first Barbary War (1801-05). Ottoman translation of William Faden's "General Atlas of the World," London, 1790-99; Translated by Resmi Mustafa Aga [Resmi Mustapha Agha]; Published in Uskudar on the Asian of Constantinople [Istanbul] by Raif Efendi.  Tab'hane-i Hümayun (Istanbul, Turkey) - Faden, William - Mahmud Raif 

Bu evan-i yumn-i ikbalde mahruse-yi Üsküdar'da müceddeden bina ve inşa buyurlan Tab'hane-yi Hümayun'da tab' ve tekmili müyesser olmuşdur ve bi-Allah'l-tevfik, sene 1218 [1803 or 1804] 

Source: From Business Insider by Nick Danforth 

What did the United States look like to Ottoman observers in 1803?

In this map, the newly independent U.S. is labeled “The Country of the English People” (“İngliz Cumhurunun Ülkesi”).

The Iroquois Confederacy shows up as well, labeled the “Government of the Six Indian Nations.” Other tribes shown on the map include the Algonquin, Chippewa, Western Sioux (Siyu-yu Garbî), Eastern Sioux (Siyu-yu Şarkî), Black Pawnees (Kara Panis), and White Pawnees (Ak Panis).

The Ottoman Empire, which at the time this map was drawn included much of the Balkans and the Middle East, used a version of the Turkish language written in a slightly modified Arabic script. Ottoman script works particularly well on maps, because it allows cartographers to label wide regions by elongating the lines connecting individual letters.

This appears to be the first Ottoman map of the United States, but Ottoman maps of North America have a much longer history.

The first were the 16th-century nautical charts of the famous Ottoman cartographer Piri Reis. Some of the last, drawn before the new Turkish Republic switched to Latin script in 1928, show air routes spanning the continental U.S.
American relations with the Ottoman Empire in the 19th century were either commercial or missionary.

American missionaries to the empire first tried to win Christian converts.
But after meeting with little success, they turned to creating schools to spread the much more popular American gospel of English fluency and engineering excellence.



At times, the mercantile and missionary impulses came into conflict, such as when Greek Christians rebelled against the Ottoman sultan.
Many Americans felt their government had a moral duty to stand with co-religionists against a Muslim despot.

The U.S. government, however, felt a more pressing duty to stand with its merchants and sea captains, who’d been doing brisk business with the sultan.
Supposedly, it was in recognition of U.S. support of the establishment that the empire later sided with the Union during America’s own civil war.


Book | The disposition of Constantinople and Turkey, a World Problem of To-day

$
0
0
Mavi Boncuk | 

Book | The disposition of Constantinople Link to Book in Hatti Trust

Williams, Talcott,  Language(s): English Published: [Philadelphia, 1917]


Talcott Williams, journalist and educator, was born in Abeih, Turkey on July 20, 1849. He was the son of William Frederic Williams, a Congregational missionary, who helped to create both Robert College in Constantinople and the American College in Beruit. Talcott Williams' uncle, Samuel Wells Williams (1812-1884), was a prominent Sinologist, missionary, and expert in Chinese language and literature. With this background, Talcott Williams grew up with a strong knowedge of Eastern languages and cultures.

Williams traveled to New York in 1865, at the age of 15. The next year, he enrolled in Phillips Academy in Andover, Massachusetts, and then in 1869, he began his studies at Amherst College. After graduating in 1873, he got a job as an Albany legislative correspondent for the New York World. During his four year stint with the paper, Williams worked his way up to the position of night editor. At the end of 1876, the World transferred him to Washington D.C., where he became a political reporter. From 1877 to 1879, he was the Washington correspondent for the New York Sun. In 1879, he married Sophia Wells Royce, and that same year, he became an editorial writer for the Springfield Republican, where he remained until 1881.

After leaving the Republican, Williams began what would be a thirty-one year career, writing and editing for the Philadelphia Press. By the time he left the press in 1912, he had become the paper's associate editor. His interests and abilities were widespread; in addition to editorials, he also wrote reviews of art, literature, and theatre, as well as a weekly business column. Williams also traveled to Morocco twice, in 1889 and 1897, collecting artifacts and botanical specimens for the Smithsonian Institute and the University of Pennsylvania Archeological Museum.

In 1912, Williams left his longtime position at the Press and, after thirty-nine years of newspaper experience, became the first director of the Columbia University Pulitzer School of Journalism. His theories of education combined the practice of standard journalistic skills with courses designed to deepen his students' cultural knowledge. He is also credited with teaching and promoting the reporting of scientific news. In addition, he was able to create, by 1900 a collection of over 1,400,000 newspaper clippings for the school. Williams became professor emeritus in 1919 and remained so until his death. In addition to his work at Columbia, Williams was also a trustee of Amherst College from 1909 to 1919, and of the Constantinople College or Women. Between 1895 and 1915, he received at least eleven honorary doctorates, from such institutions as the University of Pennsylvania, Rochester University, and Brown College. He was also a member of numerous organizations throughout his career, including the American Philosophical Society and the American Oriental Society.

During the later years of his life, Williams published numerous articles, pamphlets, and lectures, including works on the Arabic language and a forward to an 1898 edition of The Rubaiyat of Omar Khayyam. He co-edited the second edition of the New International Encyclopedia in 1917, and contributed to the 10th edition of the Encyclopedia Britannica. He also wrote two books: Turkey, A World Problem of Today (1921) and The Newspaper Man (1922). Talcott Williams died on January 24, 1928.

See also: Turkey, a World Problem of To-day by Talcott Williams 
Doubleday,1921 - Eastern question - 336 pages

TIFF 2018 | Sibel and The Wild Pear Tree

$
0
0
Mavi Boncuk | 

Contemporary World Cinema
Sibel
by Çagla Zencirci[1], Guillaume Giovanetti
France, Germany, Luxembourg, Turkey, 2018, STC

Cast: Damla Sönmez, Erkan Kolçak Kôstendil, Emin Gûrsoy, Elit Iscan, Meral Çetinkaya

A young mute woman living as an outcast in a remote, superstitious mountain village near Turkey’s Black Sea finds her true voice when she comes to the aid of a mysterious injured fugitive, in this poetic fairy tale–inspired film from from Franco-Turkish directing duo Guillaume Giovanetti and Çagla Zencirci.

Masters Series
The Wild Pear Tree
Ahlat Agaci
Nuri Bilge Ceylan
Turkey, France, Germany, Bulgaria, 2018, STC

An aspiring young author returns home from college to pursue his passion for literature, but is faced with a complicated family dynamic caused by his father’s gambling addiction, in Nuri Bilge Ceylan’s (Winter Sleep) hypnotic and affecting tale of discovery.

[1] Çagla Zencirci was born in Ankara, Turkey, in 1976.

Along with Guillaume Giovanetti  (Lyon, 1978), they form a directorial duo based in Paris and Istanbul, and they directed several short films in the Middle-East, Europe, Central Asia and Far-East, (among which Ata, France/Turkey 2008 and Six, Japan/France 2009) selected in more than 200 Festivals worldwide (Berlinale, Locarno, Rotterdam, Tampere, FIDMarseille, Clermont-Ferrand, etc.) and awarded more than 40 times.

In 2012, the co-directors achieved Noor, their first feature film (France/Turkey/Pakistan), which they developed in France’s Moulin d’Andé and shot in Pakistan thanks to the support of the MEDIA Program. The film premiered at the ACID section of the 65th Cannes International Film Festival 2012, competed in the 47th Karlovy Vary Film Festival, was selected in Busan IFF, and was awarded several Grand Prix (Paris’ “Chéries-Chéris” Festival; Dieppe, France; New York Asian Film Festival; Bogota, Colombia; Missisauga, Canada) and many other Awards (Rome, Milan, Vancouver, Dublin, Toulouse, etc.). After more than 80 invitations from Festivals worldwide, the film has been theatrically released in France in april 2014, with a very good reception from Critics and Audience.

Çagla Zencirci and Guillaume Giovanetti have lately completed their second feature film Ningen (Japan/Turkey/France), they shot in Japan and wrote in a residence at the prestigious Villa Kujoyama, Kyoto. The Film Premiered at the Toronto International Film Festival 2013, and then received several Awards (Best Film, Best Actor and Best Cinematography) in Dublin, Ireland, the Best Film Award in Zadar, Croatia, and a Special Jury Mention in Tours Asian Film Festival in France. It is currently being selected in Festivals all around the World, before its theatrical release in France and Japan in spring 2015.


The filmmaking duo is currently developing their third feature film, to be shot in Turkey.

 

Berat Albayrak's Financial Conference Call

$
0
0
Mavi Boncuk |

Berat Albayrak, who has faced criticism for failing to tackle the country’s growing financial crisis, spoke to around 6,000 investors on a conference call[1] to rebuff concerns that a funding squeeze on Turkey’s banks and a damaging trade war with the US would force him to seek a rescue bailout from the International Monetary Fund (IMF).

Albayrak, who was appointed as finance minister last month by his father-in-law, president Recep Tayyip Erdoğan, said Turkey will not hesitate to provide support to the banking sector, which was capable of accessing funds itself during the current turmoil in financial markets. He added that deposit withdrawals by panicked investors remained low and manageable.

The Turkish lira was up 4% against the US dollar following the conference call and after reassuring words from the French president, Emmanuel Macron, and Germany’s chancellor, Angela Merkel, that Turkey’s stability was important. A pledge by Qatar to invest $15bn in the financial sector has also helped stabilise the situation.

However, Albayrak’s attempt to shore up confidence in the lira was quickly undermined by the US Treasury secretary, Steve Mnuchin, who reportedly told president Donald Trump in a cabinet meeting that he was preparing further sanctions against Ankara. 

The lira slipped back to settle at just 1% up on the previous day.

The finance minister’s intervention also touched on the impact of US trade tariffs, which Trump imposed after Turkey failed to release pastor Andrew Brunson.

Last week Trump said he would increase import duties on Turkish steel imports to 50% and on aluminium to 20%, tweeting: “Our relations with Turkey are not good at this time!”

Albayrak said the country will turn to other partners – such as China and Germany – to help it navigate the current situation. He added that major corporations that have large borrowings in US dollars were in a comfortable position to meet short-term liabilities.

Turkish officials announced on Wednesday that they would be increasing tariffs on imports of certain US products as a local court denied the pastor’s appeal to be released from house arrest.

Source: The Guardian

[1] David Lubin moderated Turkish Finance Minister Berat Albayrak’s conference with investors.

He is Managing Director and Head of Emerging Markets Economics

David Lubin is Managing Director and Head of Emerging Markets Economics at Citi, responsible for a team of 30 economists in 15 locations globally. Before joining Citi in 2006, he worked for many years at the HSBC Group where his responsibilities included representing Midland Bank in sovereign debt restructuring negotiations under the Brady Initiative in the early 1990s, with a number of developing countries including Argentina, Brazil and Bulgaria. His views on emerging economies are widely quoted in the press, and he was responsible for Citi's landmark 2012 study, China and Emerging Markets, which explored the interaction between China and other emerging economies. He has a degree in Philosophy, Politics and Economics from Oxford University.

Turkey Sanctions: Navigating a Historic Bilateral Crisis

$
0
0
Mavi Boncuk |

TURKEY SANCTIONS: NAVIGATING A HISTORIC BILATERAL CRISIS
Featuring Amanda Sloat, Max Hoffman, and Steven Cook
Policy Forum Report

August 17, 2018

Three experts examine the past drivers and near-term consequences of Washington's rapidly escalating diplomatic conflict with Ankara.

READ THIS ITEM OR WATCH EVENT VIDEO 

On August 16, Amanda Sloat, Max Hoffman, and Steven Cook addressed a Policy Forum at The Washington Institute. Sloat is a Robert Bosch Senior Fellow at the Brookings Institution's Center on the United States and Europe. Hoffman is the associate director of national security and international policy at the Center for American Progress. Cook is the Eni Enrico Mattei Senior Fellow for Middle East and Africa Studies at the Council on Foreign Relations. The following is a rapporteur's summary of their remarks.

AMANDA SLOAT

The detention of U.S. citizen Andrew Brunson was only the latest in a long list of bilateral grievances between Ankara and Washington. On the Turkish side, officials have domestic security concerns about U.S. cooperation with the Syrian Kurdish People's Defense Units (YPG), an offshoot of Ankara's domestic nemesis, the Kurdistan Workers Party (PKK). They are also worried that Halkbank, a major Turkish financial institution, may be heavily fined for violating sanctions against Iran. And they remain on edge about Washington's refusal to extradite Fethullah Gulen, whom many Turks blame for the failed 2016 coup.

On the U.S. side, some question whether Turkey is still a reliable ally. In their view, if Ankara procures both the Russian S-400 missile defense system and U.S. F-35 fighter jets, then critical U.S. military data could be leaked to Moscow once the two systems are integrated together. Another concern is the decline of rule of law in Turkey. President Recep Tayyip Erdogan is seemingly resorting to hostage diplomacy, with authorities arresting U.S.-Turkish dual nationals and three local hires working for the American foreign mission.

Until recently, the downslide in relations seemed like it might come to an end amid several positive developments: Secretary of State Rex Tillerson's February visit to Turkey culminated in bilateral working groups to address various concerns; a roadmap for easing tensions around the Syrian town of Manbij was declared in June; charges were dropped against eleven of the seventeen Turkish bodyguards who took part in a public melee during Erdogan's May visit to Washington; the FBI reportedly initiated an investigation into Gulen; and the Trump administration managed to keep Congress from implementing sanctions on Turkey. Yet this trajectory changed when Ankara refused to release Brunson, an American pastor accused of sedition and other crimes. In response, the White House adopted a harder line on Turkey than even Congress had proposed.

With U.S. relations in crisis, Erdogan may be pivoting to other allies. Qatar gave Turkey a $15 billion loan this week, and Ankara is moving forward with efforts to normalize relations with the Netherlands and Germany. The EU may decide to upgrade its customs union with Turkey, perhaps pressuring the government to implement much-needed reforms in exchange for economic incentives.

As for future relations with Washington, officials should keep in mind that countries are bigger than their leaders, and Turkey is bigger than Erdogan. Bilateral military dialogue remains strong and could serve as a bridge for repairing and expanding the alliance in the future. All of this comes down to the amount of economic pain Erdogan is willing to stomach while he tries to use Brunson as a political bargaining chip.

MAX HOFFMAN

Turkey is in the midst of an economic crisis. Its central bank could alleviate this stress by raising interest rates, but the institution no longer has the autonomy needed to overrule Erdogan's objections to the move.

Much of the ruling Justice and Development Party's domestic legitimacy has been built on economic growth fueled by construction projects, which in turn depended on loans and other credit. Beginning in the 1990s, Erdogan built an extensive patronage system as mayor of Istanbul by handing such projects to his cronies, and he realizes that these and subsequent debts are coming due. Foreseeing the economic crisis as early as 2013, he focused on blaming the West for this downturn, even though his own efforts to flout the rule of law, bureaucracy, and fair competition played a major role in turning investors away.

Yet the United States has also created problems in the relationship by adopting a seemingly bipolar stance toward Turkey. While the Defense Department stuck with its traditionally restrained approach, the White House swung between reaching out to Ankara and announcing sanctions and harsh warnings via Twitter. Going forward, the State Department will likely advise President Trump that he has made his point and built credibility for future U.S. warnings, so he should refrain from further action and give Erdogan the opportunity to save face. In all likelihood, however, Trump's next shoe will drop prior to Brunson's next hearing on October 12. Given the uncertain outcome of this crisis, the U.S. government needs to develop a contingency plan for losing Turkey as an ally.

A large fine for Halkbank's violation of Iran sanctions would be particularly devastating to both the Turkish financial sector and investor confidence. An IMF bailout would be a tough sale in Washington, since U.S. officials have been warning Ankara about its financial problems for years now. European governments are unlikely to offer such help either—besides being preoccupied with financial problems in Italy, Greece, and Spain, they also face the moral dilemma of whether to bail out a strongman.

On top of all this, Ankara is still struggling under the burden of 4 million Syrian refugees. If the Assad regime retakes the rebel stronghold of Idlib, another 3.5 million would likely flee to Turkish-controlled safe zones or Turkey itself, with potentially catastrophic effects on the country's stability.

In geopolitical terms, all of these pressures will likely push Erdogan even further toward confrontation rather than reconciliation. He constantly states that the world is bigger than "the five" (referring to the permanent members of the UN Security Council), and that the United States is in decline. His support base of conservatives and nationalists agrees, arguing that Turkey needs to thrust itself into global power status. This dangerously fervent brand of nationalism has backed Erdogan into a corner, and he needs a face-saving way out.

STEVEN COOK

President Trump's dramatic shift in Turkey policy is a welcome one; in fact, he should place even more public pressure and tariffs on Ankara. The problem with the relationship is not the personalities of Trump and Erdogan, but rather the fact that the glue holding the two countries together for decades—the Cold War—has disappeared, leaving Ankara with motivations and priorities that do not align with Washington's. Turkey was once thought to be a strategic model, a force for peace and stability in the region. Over the past ten years, however, Washington has talked about Turkey as if it were a strategic ally even when it did not act as such. Today, Ankara only creates headaches for U.S. policymakers and should no longer be considered such an ally.

It is difficult to make a case for retaining close relations given the many differences between the two countries: Turkey opposes U.S. sanctions against Iran, is trying to buy missiles from Russia, poses a threat to U.S. interests in Syria, has become a patron of Hamas, and has been increasingly aggressive toward Greece since 2016. The list goes on: fifteen to twenty Turkish Americans remain under arrest; the Halkbank case was the world's largest scheme for evading Iran sanctions; Turkish courts and media are no longer independent; and polls indicate that 80 percent of Turks believe the United States was complicit in the 2016 coup attempt and the current economic breakdown.

These problems could have repercussions on a number of looming political and economic decisions. Regarding the prospect of an IMF bailout, the Senate Foreign Relations Committee has already agreed to oppose any such assistance as long as Turkey continues to detain Brunson and others. This is one of the very few issues capable of mustering bipartisan support in a deeply divided Congress—a fact that should trouble Ankara.

Regarding NATO, there is no mechanism for throwing Turkey out of the alliance, and even if it left voluntarily, the sky would not fall. The above list of bilateral problems shows that there is little more Ankara could do to complicate U.S. policy if it were no longer a NATO member.

Regarding Ankara's latest charm offensive in Europe, EU governments are unlikely to side with Washington in pressuring Erdogan. The stakes are a lot higher for Europe than they are for the United States, since an unstable Turkey would create major headaches for the EU.

This summary was prepared by Egecan Alan Fay.

The Wild Pear Tree for the Academy Awards

$
0
0

Turkey nominates Nuri Bilge Ceylan’s The Wild Pear Tree for the Academy Awards. Fifth time lucky I hope.

Mavi Boncuk |

The Wild Pear Tree
Ahlat Agaci
Nuri Bilge Ceylan
Turkey, France, Germany, Bulgaria, 2018, STC

An aspiring young author returns home from college to pursue his passion for literature, but is faced with a complicated family dynamic caused by his father’s gambling addiction, in Nuri Bilge Ceylan’s (Winter Sleep) hypnotic and affecting tale of discovery. 
Directed byNuri Bilge Ceylan

Produced byZeynep Özbatur Atakan
Written byNuri Bilge Ceylan, Ebru Ceylan, Akın Aksu
Cast: Aydın Doğu Demirkol as Sinan,  Murat Cemcir, Bennu Yıldırımlar, Hazar Ergüçlü, Akın Aksu, Ahmet Rıfat Şungar, Serkan Keskin, Tamer Levent,  Kadir Çermikli,  Ercüment Balakoğlu,  Kubilay Tunçer,  Öner Erkan
CinematographyGökhan Tiryaki
Edited byNuri Bilge Ceylan
Distributed byMemento Films Production
Release date: May 2018 (Cannes)
Running time: 188 minute
CountryTurkey, France, Germany, Bulgaria, Macedonia, Bosnia, Sweden
LanguageTurkish



Le poirier sauvage (Ahlat agaci|Wild Pear) by Turkish director Nuri Bilge Ceylan, who won the Palme d'Or at Cannes in 2014 with Winter Sleep and has won several other awards at Cannes (the Grand Prix in 2003 and 2011 with Uzak and Once Upon a Time in Anatolia respectively, and the award for Best Director in 2008 with Three Monkeys . 



His (3:08:00)film centres around Sinan, who is passionate about literature and has always wanted to be a writer. Returning to the village where he was born, he pours his heart and soul into scraping together the money he needs to be published, but his father’s debts catch up with him… Commenting on the plot, Nuri Bilge Ceylan says: 

"Whether we like it or not, we can’t help but inherit certain defining features from our fathers, like a certain number of their weaknesses, their habits, their mannerisms and much, much more. The story of a son’s unavoidable slide towards a fate resembling that of his father is told here through a series of painful experiences." Le poirier sauvage will be produced by Parisian company (and Winter Sleep partner) Memento Films Production and Turkish company Zeyno Film.  

 “Whether we like it or not, we can’t help but inherit certain defining features from our fathers, like a certain number of their weaknesses, their habits, their mannerisms and much, much more. The story of a son’s unavoidable slide towards a fate resembling that of his father is told here through a series of painful experiences,” Ceylan says. 

 Nuri Bilge Ceylan's screenplay for The Wild Pear Tree, as usual, contains quotes from various sources including Anton Chekhov, Fyodor Dostoevsky, Friedrich Nietzsche, Ibn Arabi, Shams-i Tabrizi, Peyami Safa, Yunus Emre and Muhammed.  

US Premiere! | The Wild Pear Tree at Smithsonian's Freer and Sackler Galleries

$
0
0
US premiere!
In person: Nuri Bilge Ceylan, director
Watch the trailer.

Mavi Boncuk |

Smithsonian's Freer and Sackler Galleries
August 16 at 3:06 PM
US Premiere!
In Person: Nuri Bilge Ceylon, director

The Freer|Sackler is honored to welcome Nuri Bilge ("Once Upon a Time in Anatolia", the Palme d’Or winner "Winter Sleep"), Turkey’s most accomplished director, to screen and discuss his latest film, which debuted to near-unanimous accolades at this year’s Cannes Film Festival. In it, an aspiring writer returns to his hometown to try to further his career, only to be forced into a reckoning with his father’s shadowy past. Suffused with the philosophical, visual, and narrative richness that characterize Ceylan’s films, "The Wild Pear Tree" is “a gentle, humane, beautifully made and magnificently acted movie . . . It’s an unhurried, elegiac address to the idea of childhood and your home town, and how returning to both has a bittersweet savour" (Peter Bradshaw, "The Guardian"). (Dir.: Nuri Bilge Ceylan, Turkey/France/Germany/Bulgaria/Macedonia/Bosnia-Herzegovina/Sweden, 2018, 188 min., DCP, Turkish with English subtitles)

AND MORE

DC Turkish Film Festival
September 13–16

Spend the weekend enjoying the latest and best in Turkish cinema, including Turkey’s 2018 Oscar entry and the winner of the Grand Jury Prize at this year’s Sundance Film Festival. This festival is copresented with the Turkish Culture and Tourism Office, Embassy of the Republic of Turkey.


THURSDAY, SEPTEMBER 13, 2018

DC Turkish Film Festival: "Sideway"
Thursday, September 13, 7 pm
Watch the trailer.

The residents of a small town set between a stormy sea and an ominous forest are going insane. A black ship anchored far away, a shrill sound, strange cases of arson, missing people, and the sun suddenly turning black lead the townsfolk to believe that the Antichrist is around. A young, modest guy with a mysterious mark on his back arrives in this bizarre place. Could he be Christ arriving to save the town? Sideway is a political allegory of the absurdity in today’s world. Description adapted from the Museum of Fine Arts, Boston. (Dir.: Tayfun Pirselimoğlu, Turkey, 2017, 119 min., B&W, DCP, Turkish with English subtitles)

FRIDAY, SEPTEMBER 14, 2018
 
DC Turkish Film Festival: "Grain"
Friday, September 14, 1 pm
Watch the trailer.

Climate change has caused the near-extinction of human life in this spellbinding dystopian sci-fi film from Semih Kaplanoğlu (Honey, Milk). People are herded into detention centers, all hoping they can enter a protected city. Outside its walls, a sparse nomadic economy exists. But total disaster is imminent. Genetically engineered seeds, which have all but wiped out real grain, are mysteriously failing to work. While the…

 
DC Turkish Film Festival: "Big Big World"
Friday, September 14, 4 pm
Watch the trailer.

eenagers Ali and Zuhal grew up in an orphanage and share a bond as strong as that between brother and sister. When Ali moves out on account of his age, Zuhal is put into the dubious care of a foster family and kept away from Ali. In a desperate attempt to save Zuhal from an arranged marriage, Ali commits a terrible crime, and they find themselves on the run, away from civilization and into the woods. There, in a secluded space deep in the forest, they try to start a new life in a mystical natural environment full of wonders, strange residents, and concrete threats. Description by Picture Tree International. (Dir.: Reha Erdem, Turkey, 2016, 101 min., DCP, Turkish with English subtitles)

 
DC Turkish Film Festival: "Butterflies"
Friday, September 14, 7 pm
Sundance award winner!
Watch the trailer.
Siblings Cemal, Kenan, and Suzi have grown apart since leaving Hasanlar, the tiny village where they grew up, and going their separate ways. When their estranged father demands that they return home immediately, Cemal, the eldest, is tasked with convincing his brother and sister to journey back to places they have been striving to forget. As they try to reunite their dysfunctional family and confront their shared past, the siblings have to contend with each other’s peculiarities—even as the strangest elements of all await them in the village. A wildly inventive and explosive dark comedy that’s as thoughtful as it is surprising, Butterflies defies expectation, balancing playfulness and razor-sharp writing with a heartfelt look at family bonds. Winner of the Grand Jury Prize: Dramatic at the 2018 Sundance Film Festival. Description adapted from the Sundance Film Festival. (Dir.: Tolga Karaçelik, Turkey, 2018, 112 min. DCP, Turkish with English subtitles)

DC Turkish Film Festival: "Ayla: The Daughter of War "
Sunday, September 16, 6 pm
Watch the trailer.

In 1950, amid the ravages of the Korean War, Sergeant Süleyman stumbles upon a half-frozen little girl with no parents and no help in sight. Frantic and on the verge of death, the girl captures Süleyman’s heart. He risks his own life to save her, smuggling her into his army base and out of harm’s way. Unable to communicate with her, Süleyman names the girl Ayla. The two form an instantaneous and inseparable bond, and Ayla brings…


EU Watch | MAM Makes Trump Jump


Kraków Exhibit | Istanbul: Two worlds, one city

$
0
0
Mavi Boncuk | 

Istanbul: Two worlds, one city | Stambul Dwa swiaty jedno miasto

International Cultural Centre, Rynek Główny 25, 31-008 Kraków

9 May – 2 September 2018

The only city of its kind – the place where two continents are brought together and where two worlds meet. The only century of its kind – the time when the institution of sultanate was in decline, the republic was being born, and modernity was just about to revolutionise the old ways of life. The only story of its kind – a captivating narrative made from an assemblage of photographs, paintings, postcards, and posters. This splendid exhibition in Krakow’s handsome Ravens House is the perfect excuse to hop onto the next plane to Krakow, which is exactly what Cornucopia is planning to do: watch this space.



The energy and innovation of Istanbul in the mid-19th to the mid-20th century fascinated Polish artists, who went to the city in search of inspiration. The ICC Gallery features the works by Istanbul’s leading early photographers such as James Robertson. The core of the display comprises photographs, postcards and posters from the Suna & İnan Kıraç Foundation collection. In addition there are postcards and images from Piotr Nykiel’s personal collection, Oriental paintings and drawings by Jan Matejko, Jan Ciągliński, Stanisłąw Chlebowski, Wacław Pawliszak, Félix Ziem, and Marian Mokwa from the National Museum in Warsaw, National Museum in Krakow, as well as Regional Museum in Toruń.


Istanbul: Two worlds, one city
Polish-English catalogue

Date of issue: 2018
Volume: 24 x 28 cm
Pages: 348

978-83-63463-75-5

Istanbul – “the pearl of the Orient” and “the city of all cities” – has inspired fascination and imagination for centuries. It was visited by Ernest Hemingway, Agatha Christie, and Alfred Hitchcock. The 1883 launch of the luxurious Orient Express brought a growing number of guests from all over the world. Today, the city has its greatest admirer in the Nobel Prize winning writer Orhan Pamuk, who provides an unmatched portrait of its mysterious melancholy.

What can we learn today from the history of Istanbul’s modernity recorded in old photographs? This bilingual Polish-English catalogue tells the story of the city’s increasingly European features at the turn of the 19th and 20th centuries, about its transformation into a modern metropolis, as well as about the consequences of these processes. It features more than 200 photographs and postcards from Istanbul’s Pera Museum collection, which amounts to over seven thousand pictures. The publication in complemented by reproductions of art works by Jan Matejko, Kazimierz Pochwalski, Marian Mokwa, Jan Ciągliński, and the court painter of Sultan Abdülaziz – Stanisław Poraj Chlebowski, all of whom were charmed by the exceptional beauty of the city on the meeting point of two continents.


The catalogue features also Piotr Nykiel’s extensive essay on the Turkish route towards modernity, and Bahattin Öztuncay’s essay on the origins and development of photography in Istanbul. Of particular interest is Beata Nykiel’s text on the forgotten Krakow family of Henryk and Ludwika Groppler, whose Bosphorus-based home housed a “cultural embassy” that supported Polish artists visiting Istanbul, including Mickiewicz, Matejko, Styka, Sienkiewicz, and others.

Exhibit | Istanbul’s Seaside Leisure

$
0
0
"...Istanbul’s Seaside Leisure: Nostalgia from Sea Baths to Beaches, currently on display at the Pera Museum, attempts to remedy the loss by offering visitors an opportunity to reminisce about the city’s once-celebrated beaches. The exhibition tickles the senses with music from the 1920s and black-and-white clips of local beachgoers enjoying their weekends. The space is designed with wall panels, an incredible diving tower and a cosy changing closet. These panels and structures are struck in boxes of sand. Beach paraphernalia decorates the space. Elsewhere, visitors can leaf through old magazine covers featuring images of Istanbul beaches. These elements and the refreshing colour palette come together to create a nostalgic but familiar atmosphere of the Istanbul seaside. The vibe is further enlivened by the paintings, illustrations, magazine covers and photographs on display, which narrate vibrant stories from the beaches’ heydays, allowing visitors to live vicariously through them...." [1]

Mavi Boncuk | 

Pera Museum's [2] Current Exhibit
Istanbul’s Seaside Leisure
Nostalgia from Sea Baths to Beaches

05 April - 26 August 2018

The First World War played a critical role in shaping the transformation of the Ottoman people’s relationship with the sea. Swimming in the sea, regarded as a matter of privacy, was considered wrong and even illegal for a long period. During the second half of the nineteenth century, the inhabitants of a waterside city like Istanbul had to make do with “sea baths” that were enclosed with wooden panels, despite the effect of Westernization. As secularism was embraced within the founding of the Republic, individuality would become socially visible and free, leading to a more intimate relationship with the sea.


The change from sea baths to beaches was nothing less than a revolution. The White Russians escaping the Revolution in Russia caused numerous transformations in Istanbul, arguably the most important being beach habits that brought the people to the sea. The inhabitants of the city were quick to get used to beach going and the activity created its own forms of fun, fashion, and culture in time. Once the sea became part of urban life, Istanbul developed a unique sense of freedom as well. The golden era of beach culture lasted until the 1960s, after which the rapid sociological change in Istanbul took its toll.


Curated by Zafer Toprak, the Istanbul’s Seaside Leisure exhibition brings together photographs, magazines, comics, objects, and books from various private and institutional collections, and tells a nostalgic story while also addressing the change and socialization of the norms of how Istanbulites used their free time. Istanbul’s Seaside Leisure is a documentary testament of the radical transformations in the Republic’s lifestyle.

Catalogue

Istanbul’s Seaside Leisure
Nostalgia from Sea Baths to Beaches

Publication Date: 2018
Pages: 429

ISBN: 978-605-4642- 78-6

CONTENTS
7 Foreword Suna, | İnan & İpek Kıraç
8 From Sea Baths to Beaches A Story of Nostalgia | Zafer Toprak
86 Life on the Beaches of Istanbul| Gökhan Akçura
130 Architectural Traces of Social Transformation along the Coasts of Istanbul: From Sea Baths to Modern Beaches | Meltem Ö. Gürel


Istanbul’s Seaside Leisure: Nostalgia from Sea Baths to Beaches analyzes Istanbulites’ relation with the sea and swimming from a cultural and sociological perspective. It scrutinizes the transformations of this relation, which started with the sea baths in the second half of the 19th century and continued till the mid-20th century.

Having brought together photographs, published material, ephemera, videos and music from varying private and institutional collections, prominently from Suna and İnan Kıraç Photography Collection, the exhibition illustrates how a waterside city like Istanbul had to make do with “sea baths” that were enclosed with wooden panels, despite the effect of Westernization. It is a documentary testament of the radical transformations in the Republic’s lifestyle, socialization of the norms of howIstanbulites used their free time, and the notion of sea, which once only evoked the ideas of trade, travel and scenery.

The exhibition catalogue presents three articles, which approaches the relation of Istanbul with the sea between the second half of the 19th century and the mid-20th century from varying perspectives. The curator of the exhibition Zafer Toprak’s article on the social transformation in relation with the Istanbulites’ intimacy with the sea is accompanied by Gökhan Akçura’s work on sea and entertainment culture, and Meltem Ö. Gürel’s study in which she reads the architectural interventions in regard to people’s relation with the sea.

[1] See source: Cornicopia Article | High Tide for ModernitySea change on Istanbul’s Coasts BY SURAYA YUSOF | JULY 31, 2018

[2] About Pera Museum
Inaugurated on 8 June 2005, Pera Museum is a private museum founded by the Suna and İnan Kıraç Foundation. The aim of offering an outstanding range of diverse high quality culture and art services is as important today as when the Museum first opened its doors to the public.


Couched in the historic quarter of Tepebaşı, the impressive building was originally conceived as the Bristol Hotel, designed by architect Achille Manoussos. Restorer and architect Sinan Genim was given the daunting renovation operation in 2003; the triumph of transforming the interior into a modern and fully equipped museum is only matched by the architect’s mastery in simultaneously preserving the exterior façade, safeguarding an integral part of Istanbul’s architectural flavour.

Book | A Garden for the Sultan

$
0
0
Mavi Boncuk |

A Garden for the Sultan: Gardens and Flowers in the Ottoman Culture
By Nurhan Atasoy

Gül Irepoglu, ed.; Mary Isin, English ed.; Robert Bragner and Angela Roome, tr. 2011, Kitap Yayinevi, 978-9-75771-010-3

Reviewed by Caroline Stone on October 1, 2013

A Garden for a Sultan, first published in Turkish in 2002, is a treat on several levels. Not surprisingly, given previous works by Nurhan Atasoy, it is beautifully produced and filled with wonderful and novel illustrations from Topkapı Palace in Istanbul and other collections in Turkey. They include textiles and ceramics, besides numerous paintings and drawings of flowers and gardens and ceremonies involving both. The book considers the classic Islamic idea of the garden and then discusses how it was developed in the context of the Ottoman court. Its social importance is considered, along with the significance of the flowers themselves, which were selectively bred from the 16th century, triggering a similar interest when they were imported to Europe. Descriptions from contemporary sources and from the numerous handbooks on favorite Ottoman flowers—tulips, hyacinths, narcissi, carnations and roses—are particularly valuable. The book will appeal to art lovers and social historians, as well as those interested in flowers, garden design and plant transmission.

EU Watch | MAM Gets Rid of It

$
0
0
Mavi Boncuk |

The conflict between NATO allies is even more personalized because of U.S. President Donald Trump and Turkish President Recep Tayyip Erdogan, ... contribute to a sense that the tension will ratchet up before any possibility of a climbdown. The two countries already disagree over U.S. support for Kurdish fighters in Syria, as well as a plan by Turkey to buy Russian missiles.

Also Friday, in more verbal sparring, Turkey’s trade minister said her government would respond in kind to any new trade duties from the United States after U.S. Treasury chief Steve Mnuchin said the U.S. could put more sanctions on Turkey if the pastor is not released soon.

“We have responded to the measures the United States has taken, and will continue to do so based on our international trade law rights and in accordance to World Trade Organization rules,” said the minister, Ruhsar Pekcan.


The United States has imposed sanctions on two Turkish government ministers and doubled tariffs on Turkish steel and aluminum imports. Turkey retaliated with tariffs on some U.S. imports and said it would boycott U.S. electronic goods.

SOURCE

Exhibit | A Nomad's Art: Kilims of Anatolia

$
0
0






Mavi Boncuk |


A Nomad's Art: Kilims[1] of Anatolia
September 1 through December 23, 2018

Kilim (detail), Turkey, central Anatolia, late 18th century. The Textile Museum 2013.2.1. The Megalli Collection.

Woven by women to adorn tents and camel caravans, kilims are enduring records of life in Turkey’s nomadic communities, as well as stunning examples of abstract art. This exhibition marks the public debut of treasures from the museum’s Murad Megalli collection of Anatolian kilims dating from the eighteenth and nineteenth centuries.

Major support for this exhibition and its accompanying catalogue is provided by the Megalli Family Endowment, the Coby Foundation, Ltd., Jeremy and Hannelore Grantham, and the Markarian Foundation. Additional support is provided by the Bruce P. and Olive W. Baganz Fund for The Textile Museum Exhibitions and Publications, and Roger and Claire Pratt. 


Lecture: Turkish Legacy in Anatolian Kilims
Sumru Belger Krody, senior curator, The Textile Museum collections

August 05, 2018, 6:30 PM: Reception | 7 PM: Lecture

Nomadic Anatolian women, descended from Turkmen nomads, wove colorful, visually stunning kilims that reveal their culture’s aesthetic preferences for decorating their surroundings. Today, these kilims are the only surviving tangible evidence of their makers’ nomadic lifestyle—a poignant legacy given that women generally did not have an external voice in this patriarchal society. This presentation by Senior Curator Sumru Belger Krody aims to decipher the meaning behind these remarkable works. The exhibition A Nomad’s Art: Kilims of Anatolia will be open before the talk.

A collaboration with the American Turkish Association of Washington, DC. Free; but reservations are required. Register online or call 202-994-7394.


A nomad's art : kilims of Anatolia
Author:  Sumru Belger Krody; Şerife Atlıhan; Walter B Denny; Kimberly Hart;
George Washington University. Museum.,;
Publisher: Washington, D.C. : George Washington University Museum : Textile Museum, [2018] ©2018

Summary: Woven by women to adorn tents and camel caravans, kilims are enduring records of life in Turkeyʹs nomadic communities, as well as stunning examples of abstract art. This exhibition marks the public debut of treasures from the museumʹs Murad Megalli Collection of Anatolian Kilims dating to the eighteenth and nineteenth centuries.



[1] Kilim Etimoloji | perhaps of Mongolian origin.

From Farsi gilīm گليم her çeşit yaygı, battaniye, yatak örtüsü  Aramaic galīmā גלימא oldGR kálymma κάλυμμα örtü  from oldGR  kalýptō καλύπτō örtmek +ma → kulübe

Oldest source

"yer yaygısı" [ Mukaddimetü'l-Edeb (1300 yılından önce) : yüzi saçaklu kilīm ]
"kaba çuha" [ Filippo Argenti, Regola del Parlare Turco (1533) ]
[ Mesud b. Ahmed, Süheyl ü Nevbahar terc., 1354]
Şu kimse kim āsāyişin gözedir/ Ayağın gilīmi ḳadar uzadır

Persian (Iranian)

Gelim of Harsin in Kermanshah, Tarh-e-Aroosak (طرح عروسک, "Doll Design") Type
Ordinary kilims: this type of kilim is woven with hemp, cotton and also wool threads.
Gunny kilim: this special type is woven with varicolored pieces of cloth.
Suzāni kilim: this type is embroidered with raised figures after the ordinary kilim is woven.
Needlework kilim: this type of kilim is hung on the wall and is woven with cotton threads.
Jol (جل): this is a kind of kilim the surface of which is embroidered. With their decorative designs, they are used as horse saddles.
Palās or Palaz (پلاس): this is a kind of kilim in which each color is used for weaving several rajs, it does not have a pile. Palas is also the name used for the coarse woollen robes dervish wear.
Jājim (جاجیم) or chador-shab (چادرشب): this is a kind of striped carpet woven with colored threads and thinner than palas.
Zilu (زیلو): this is a kind of kilim woven with cotton threads and simple designs quite in harmony with rural life. It has a cotton warp and weft.
Rakht-e-khāb pich (رختخواب‌پیچ, "bed-packing"): this type of kilim is used by migrating tribes.
Charkhi-bāf kilim (چرخی‌باف): this is a kind of sturdy and thick kilim only one side of which can be used.
Khorjin (saddle-bags) and Juwals: these kilims are used for carrying goods.
Gilimcheh (گلیمچه, "small kilim"): these are woven like kilims but tiny and decorative.
Masnads: these are sturdy and fine-woven decorative kilimeches.
Navār-chādor (نوارچادر, "tent-band"): this type of kilim is decorative.
Sajādeh (سجاده, prayer kilims): these are woven with altar designs and are used for praying.
Ghigh: this kilim is used for the walls of tents; both of its side are the same and can be used alike.
Rah Rah (گلیم راه‌راه): These kilims (or, more precisely, soumak rugs) are woven mostly in the Sirjan region and are also called khatti design kilims. Ardebil and Moghan are woven in the same design but in lower qualities.
Kamoo Sofreh (سفره کامو): These Sofrehs are woven mostly in Kamoo and are also called Natural design Sofrehs.

Balkans and Eastern Europe
Chiprovski Kilim, of Bulgaria
Pirot Kilim, of Serbia

Anatolian (Turkish)
Perhaps the best known and most highly regarded, these kilims (or kelims) are traditionally distinguished by the areas, villages or cities in which they are produced, such as Konya, Malatya, Karapinar and Hotamis. Most Anatolian kilims are slit woven. Larger antique kilims were woven in two to three separate sections on small nomadic horizontal floor looms in three feet wide long strips, then carefully sewn together matching the patterns edges to create an ultimately wider rug. These pieces are still being produced in very limited quantities by nomadic tribes for their personal use and are commonly known as cicims.


Cicim or Jijim or Jajim: kilims woven in narrow strips that are sewn together.

Article | Turkey Is and Has Been a Reliable NATO Member

$
0
0
Mavi Boncuk |

Turkish Ambassador Serdar Kilic's letter to Wall Street Journal:

Turkey Is and Has Been a Reliable NATO Member
Turkey has been a proud and indispensable ally for over 60 years.

Aug. 19, 2018 1:01 p.m. ET

Bernard-Henri Levy falsely claims that Turkey has been an unreliable ally (“NATO Should Give Turkey the Boot,” op-ed, Aug. 14)[1], but that argument ignores decades of history. Turkey has been a proud and indispensable ally for over 60 years: as a front-line combatant against ISIS and other religious extremists, guardian of NATO’s southern flank and home to the alliance’s second-largest armed forces.

Mr. Levy accuses Turkey of spreading Islamist extremism and fomenting violence in Syria, but the opposite is true. We provide a safe haven for approximately four million Syrian refugees who, at this very moment, live free from terror and have access to homes, schools and health-care facilities established by our government. Perhaps he forgets the defeat of ISIS at the hands of Turkish troops in Jarabulus and other battles against ISIS waged and won by and with Turkish armed forces.

Like our NATO allies, Turkey is a democracy whose government is freely elected by its people—not a “caliphate” in the making, as Mr. Levy claims. With a huge voter turnout across the country, Turkey’s democracy is vibrant and dynamic. The numbers tell the story: An amazing 86.2% of eligible voters went to the polls to cast their votes in an election that was the most monitored by international observers in recent history. Over 50 million Turks cast ballots for six different candidates.

As NATO’s most strategically located member, Turkey ensures global security at a time of unprecedented challenges facing the alliance. We have committed to spending 2% of GDP on defense by 2024, and the share of our military equipment spending to the defense budget is already above the NATO guideline of 20%.

Turkey’s Incirlik air base also hosts a crucial staging ground for the international coalition to defeat ISIS. Located 60 miles from the Syrian border, the base’s proximity to the front lines allows coalition strike missions to stay in the air longer without refueling and to react more quickly. That saves American and coalition lives. Incirlik is playing a vital role in staging operations that have put our enemies on the run.

We stand by our NATO allies during this challenging time and proudly stand on guard at the front lines to face future threats to our collective security, and expect nothing less from our allies.

Serdar Kiliç
Ambassador of the Republic of Turkey
Washington

[1] OPINION  COMMENTARY
NATO Should Give Turkey the Boot

Ankara, helped by China and Russia, is vandalizing Western interests.
By Bernard-Henri Lévy[*]
Aug. 13, 2018 7:07 p.m. ET

U.S.-Turkish relations are mired in the worst crisis of their history. Turkish President Recep Tayyip Erdogan is demanding that President Trump turn over Mr. Erdogan’s sworn enemy, Fethullah Gülen. Mr. Trump, meanwhile, seeks the release of the American pastor Andrew Brunson, who was imprisoned on the pretext that he had been involved in Turkey’s July 2016 coup attempt. The U.S. government has levied economic sanctions on two senior Turkish officials, akin to those imposed on Russian oligarchs after the seizure of Crimea. Turkey responded by freezing the plainly nonexistent Turkish assets of two Trump cabinet members....

-and-

EXCERPT 


This sad farce has gone on too long. 


Unless the West comes to its senses, 2018 will live in infamy as the year that Turkey dropped an iron curtain over the Kurdish people.  

What coming to our senses means today is breaking off—not freezing—what has become the farce of negotiations on Turkey’s membership in the EU, dissolving the joint parliamentary commission that continues to operate within the European parliament, expelling Turkey from the Council of Europe (which has, incidentally, condemned the country 2,812 times since it joined the council), and reopening, in a serious way, the question of whether Turkey belongs in the Atlantic alliance. 

 Erdogan leaves the West no choice. If we fail to muster this basic degree of resolve, then the horror of the massacre of the Kurds will be added the shame of watching the killer gloat atop the ruins of our honor. 

{*] Bernard-Henri Lévy is a writer and documentary filmmaker. His Peshmerga! (2016), a Special Selection at the 2017 Cannes Film Festival, portrayed the struggle along the thousand-mile front line separating the Kurds from Islamic State. His subsequent La Bataille de Mossoul (2017) explored the fight to retake the city.


Lévy's involvement with the Kurdish cause goes back to the early 1990s.[53] On May 16, 2016, Bernard-Henri Lévy's new documentary film, Peshmerga, was chosen by the Cannes film festival as a special screening to its official selection.

The movie itself is, as stated in its official Cannes presentation: "The third part of a trilogy, opus three of a documentary made and lived in real time, the missing piece of the puzzle of a lifetime, the desperate search for enlightened Islam. Where is that other Islam strong enough to defeat the Islam of the fundamentalists? Who embodies it? Who sustains it? Where are the men and women who in word and deed strive for that enlightened Islam, the Islam of law and human rights, an Islam that stands for women and their rights, that is faithful to the lofty thinking of Averroes, Abd al-Qadir al-Jilani, Ibn Tufail, and Rumi?... Here, with this third film, this hymn to Kurdistan and the exception that it embodies, I have the feeling of possibly reaching my goal. Kurdistan is Sunnis and Shiites, Chaldeans, Assyrians, Aramaic-speaking Syrians living freely with Muslims, the memory of the Jews of Aqrah, secularism, freedom of conscience and belief. It is where one can run into a Jewish Barzani on the forward line of a front held, 50 kilometers from Erbil, by his distant cousin, a Muslim, Sirwan Barazi… Better than the Arab Spring. The Bosnian dream achieved. My dream. There is no longer really any doubt. Enlightened Islam exists: I found it in Erbil."

A year later, Lévy said that “Jews have a special obligation to support the Kurds,” and that he hopes "they will come say to the Peshmerga: ‘For years now you have spilled your blood to defend the values of our shared civilization. Now it is our turn to defend your right to live freely and independently.'” 

Cohen, Ben (September 25, 2017). "Bernard-Henri Lévy: Jews Have 'Special Obligation' to Support Kurdish Independence". Algemeiner.com. Retrieved April 3, 2018.

Recommended | A Short History of Comics in Turkey

$
0
0


Mavi Boncuk |

A Short History of Comics in Turkey SOURCE



Comics and comic strips have been published in Turkey for the last one hundred odd years with some interruptions, and for eighty years on a continuous basis. There have been some remarkable local productions published during this period. Yet, when comics are brought up in Turkey, the first creations that come to mind are those of foreign origin. The foremost reason for this is that comics production in Turkey has never developed into a full-fledged industry branch. Local comics that were financed and supported by newspaper publishers could not rival foreign publications, neither on a quantitative nor on a qualitative basis. Therefore it is of no surprise that even during the years 1955-1975, generally known as the golden age of comics in Turkey, no locally produced children’s comics attained widespread popularity.

Still, the country saw the creation of many significant comics, such as Karaoğlan by Suat Yalaz, Abdülcanbaz by Turhan Selçuk, and Sezgin Burak‘s Tarkan. In this period, comics were published daily in the form of comic strips in newspapers, which would mostly be compiled in full-length comic books after their daily publication. At a time when magazines for children could survive even on small sales figures, cartoonists turned first and foremost to periodicals, thus reinforcing the presence of comics across their pages. With growing income and influence, the artists were then able to develop their work more deeply, allowing their creations from then on to incorporate narrative forms according to the needs of the publication and readers’ profiles.



Turkish authors’ focus on historical themes, extravagant prose about heroic figures, and eroticism seem to have met readers’ expectations as well as publishers’, as these elements have firmly established themselves over the years. Traditionally, almost every newspaper (Hürriyet, Milliyet, Akşam, etc.) has reserved a space for comic strips, especially historical ones. The benefits to newspapers have not come solely from the growing interest in this genre—comic strips have contributed to newspaper design on the visual level, too. Due to insufficient printing technology before the 1970s, photographs were only scarcely used. Thus, artists who worked both with the newspapers and in the comic strip genre were able to shape the visual aspect of the Turkish press. Caricatures, vignettes, portraits, illustrations and various decorations were all used in place of photographs. Comics artists (such as Suat Yalaz, Bedri Koraman, and Turhan Selçuk) generally received good salaries and the comic strips they produced returned high royalties.

With the introduction of modern printers to Turkey, however, photographs soon took over on the visual level. This transformation would reduce both the standing of comic strips within the newspaper industry as well as the royalties paid for their creation. Due to subsiding royalties, newspaper illustrators and graphic artists gradually turned their attention away from the production of comic strips, and despite the continued importance of comic strips since then, they would never again match the high level of popularity they enjoyed leading up to the 1970s.

The evolution of comics in the highly popular magazine Gırgır is once again due to favorable economic conditions and the financial support from newspaper owners. It all began with the development of offset web printing facilities by famous media owner Haldun Simavi, which represented a great step forward in the evolution of print media. Up until then, it had been virtually impossible to produce hundreds of thousands of newspapers and distribute them across the entire country in a single day. But with his new, fast-printing facilities, Simavi revolutionized the press and printing industry by producing massive amounts of newspapers and magazines rich in photographs and illustrations. At the onset of the 1970s he also experimented with an erotic, comical, and to some extent political humour magazine—Gırgır. Along with its strong cultural and political identity, Gırgır’s commercial success cannot be disregarded. The emergence of many comics creators on the national level and their existence up until today is directly attributable to Gırgır’s strong sales and economic success. The magazine opened up a new path for artists who had previously been working mainly for newspapers. Many young people were able to make a good living in this way through their art, and under such favorable conditions, other magazines with the same format as Gırgır, sporting caricatures and humorous comic strips, have also become popular.


Nearly all the comics from the last forty years that have secured a place in the hearts and minds of the Turkish belong to the humor genre. The vast majority (Oğuz Aral‘s Utanmaz Adam, or “Shameless Man,” Küçük Adam by İlban Ertem, En Kahraman Rıdvan by Bülent Arabacioglu, Gaddar Davut by Nuri Kurtcebe, etc.) are based on irony, drawing heavily on exaggeratedly heroic characters and adventure-filled episodes by utilizing satirical language. Gırgır and other humour magazines (Çarşaf, Limon, Fırt) that emerged at the same time reached total sales figures of one million copies. Such a windfall of sales, as well as the magazines’ variety, had a great impact on comics, such that the richness of visual styles and narrative forms rose to an unforeseen level. Galip Tekin, Suat Gönülay, Kemal Aratan and Ergün Gündüz were among the most productive comics artists of those years and the ones that most strongly influenced the following generations of artists.

However, such burgeoning quality and quantity was abruptly reversed by the heavy erosion of sales caused by the negative impact of television, so that by the first half of the 1990s, sales of print media had fallen by 80 percent compared with figures from just a decade before. Confronted with the growth of commercial TV channels, many magazines (Leman, Deli, etc.) turned against mainstream taste and put a new emphasis on stories that could not be aired on TV. This evolution not only marginalized magazines in general but also affected comics, investing them with a rather grotesque touch.

The most important magazine of that period was L-Manyak. The main aim of the magazine is humor and all that relates to buffoonery. Openly obscene and scatological in character, it scorns the “sensitivities” of urban society. Typical targets of the magazine are predators, braggarts, the rich, gluttons, ambitious businessmen, and those who use their sexual attraction to climb up the social ladder. As opposed to its predecessors, however, one topic is not touched upon: politics. The cover focuses on grotesque characters and comical representations of violence and various sexual practices. Decidely vulgar in nature, the magazine’s humor does however serve as constructive criticism. Mainstays of the stories in L-Manyak include the use of violence against oppression and the oppressors, the wish to escape the masses, mistrust towards certain political agendas, strong and insatiable sexual desire, hedonism, general mistrust towards others, and indifference to money.

Nowadays comics in Turkey are styled on the narrative model of L-Manyak. It is thus important to understand the common aesthetic preferences at the base of the L-Manyak trend: as opposed to the very minimalistic approach cultivated by legendary editor Oğuz Aral, most editors now prefer drawings against a detail-loaded, photorealistic background and tiled page designs. Kötü Kedi Şerafettin (Şerafettin the Bad Cat) by Bülent Üstün showcases the punky past of the author and his aesthetic rebellion. In the L-Manyak “Martyrs” series by Mrmo Termbelçizer, the author recounts stories about his artist friends who find death in many different ways. Another subcultural story by influential artist Oky (Oktay Gençer), Cihangir’de Bi Ev (“A House in Cihangir”), revolves around a quarter of Istanbul, where Cihangir is shown as a bohemian space of the city, with a focus on adolescents’ sexual and emotional relations. Other typical examples of this period are Cengiz Üstün’s grotesque works that invert the logic of horror movies, like Kunteper Canavarı (The Kunteper Monster), and Gürcan Yurt’s Turkish take on Robinson Crusoe (Robinson Crusoe ve Cuma, or Robinson Crusoe and Friday). Other comics artists whose various works have recently made a splash are Bahadır Baruter, Kenan Yarar and Ersin Karabulut.


Finally it is of interest to expand on a few artists who have become prominent in the course of eighty years of local comics production. Suat Yalaz’s swashbuckling serial Karaoğlan (1962) and Turhan Selçuk’s formidable Turk in the last days of the Ottoman Empire, Abdülcanbaz (1957), were able to establish themselves on various platforms and keep up with the times, thus becoming classics in the Turkish comics scene. Sezgin Burak’s Tarkan is interesting because of its masterful originality and creative settings. Although Ratip Tahir Burak is considered by many to be a great painter who stands out for his artful drawing rather than his stories, he has become a model for the entire Gırgır generation. Oğuz Aral’s Utanmaz Adam has become a model as well for its successful scripts and well-conceived storylines. 


Engin Ergönültaş, born in 1951, deeply influenced the generations to come by creatively employing the original character of hınzır (originally meaning “swine,” “pork”; here in the sense of a boorish and unfeeling person) and through his literary visuality. Much of the production of today’s Turkish comics artists is deeply rooted in Ergönültaş’s influential artwork. With perhaps much more still to come.

8 Turkish Firms in ENR’s 2018 Top 100 International Contractors

$
0
0
Mavi Boncuk | 

32 OUT OF 42 TURKISH CONTRACTORS MOVED UP IN RANKING IN 2018

ENR’s 2018 Top 100 International Contractors (MOVING UP IN BOLD)

20182017Contractor
3638RENAISSANCE CONSTRUCTION, Ankara, Turkey
6885LIMAK INSAAT SANAYI VE TICARET AS, Ankara, Turkey
7076TAV CONSTRUCTION, Istanbul, Turkey
7392GAP INSAAT YATIRIM VE DIS TICARET AS, Istanbul, Turkey
7972ENKA INSAAT VE SANAYI AS, Istanbul, Turkey
8278YAPI MERKEZI INSAAT VE SANAYI AS, Istanbul, Turkey
8686ANT YAPI INDUSTRY & TRADE CORP., Istanbul, Turkey
98112TEKFEN CONSTRUCTION AND INSTALLATION CO. INC., Istanbul, Turkey

The market for international contractors is slowly beginning to turn around after several years of sluggish activity brought about by plummeting oil prices and political uncertainties. However, recovering oil prices are not resulting in any quick surges in work. Further, internal national and regional stresses, and concerns over a potential trade war over tariffs, have many international firms wary.

The Top 250 International Contractors reported $482.40 billion in contracting revenue in 2017 from projects outside their home countries, up 3.1%, from $468.12 billion, in 2016. This rise comes after three straight years of revenue declines among the Top 250. As a group, firms also reported $1.043 trillion in revenue from domestic projects in 2017, up 12.4%, from $927.94 billion in 2016. SOURCE

ENR’s 2018 Top 101-250 International Contractors 
(Ranking of 38 Turkish Contractors)

20182017Contractor

101         79           ALARKO CONTRACTING GROUP, Istanbul, Turkey

104         110         CALIK ENERJI SAN. VE TIC. AS, Istanbul, Turkey
108         162         GAMA, Ankara, Turkey†
116         125         SEMBOL ULUSLARARASI YATIRIM TARIM PEYZAJ INSAAT, Istanbul, Turkey
119         109         MAPA INSAAT VE TICARET AS, Ankara, Turkey
124         128         DOGUS INSAAT VE TICARET AS, Istanbul, Turkey
131         134         YUKSEL INSAAT CO. INC., Ankara, Turkey
142         130         KUZU GROUP, Istanbul, Turkey
147         140         ONUR TAAHHUT TASIMACILIK INSAAT TICARET VE SANAYI, Ankara, Turkey
150         158         ESER CONTRACTING, Ankara, Turkey
153         166         TEPE INSAAT SANAYI AS, Ankara, Turkey
154         151         NUROL CONSTRUCTION AND TRADING CO., Istanbul, Turkey
156         190         AE ARMA-ELEKCTROPANC, Istanbul, Turkey
159         168         ESTA INSAAT SANAYI LOJISTIK VE DIS TIC. ANONIM SIRKETI, Istanbul, Turkey
164         225         DEKINSAN GRUP INSAAT AS, Ankara, Turkey
165         175         IC ICTAS INSAAT SANAYI VE TICARET AS, Istanbul, Turkey
166         167         KAYI INSAAT SANAYI VE TICARET AS, Istanbul, Turkey
170         165         STFA CONSTRUCTION GROUP, Istanbul, Turkey
171         **             GULERMAK, Ankara, Turkey
176         200         ANEL ELEKTRIK PROJE TAAHHUT TIC. AS, Istanbul, Turkey
179         187         SMK GROUP, Ankara, Turkey
180        224         KOLIN INSAAT TURIZM SANAYI VE TICARET AS, Ankara, Turkey
183        186         METAG INSAAT TICARET ANONIM SIRKETI, Ankara, Turkey
189        216         GURBAG GROUP, Ankara, Turkey
194         156         ILK CONSTRUCTION, Istanbul, Turkey
195         196         BAYBURT GRUP AS, Ankara, Turkey
205         206         YENIGUN CONSTRUCTION INC., Ankara, Turkey
209        226         MAKYOL INSAAT SANAYI TURIZM VE TICARET AS, Istanbul, Turkey
213         154         GULSAN CONSTRUCTION, Ankara, Turkey
225         223         CENGIZ CONSTRUCTION INDUSTRY & TRADE CO. INC., Istanbul, Turkey
226         194         SUMMA TURIZM YATIRIMCILIGI AS, Istanbul, Turkey
228         239         POLAT YOL YAPI SAN. VE TIC. AS, Istanbul, Turkey
231         233         ZAFER TAAHHUT INSAAT VE TICARET AS, Ankara, Turkey
232        **             USTAY YAPI TAAHHUT VE TICARET AS, Istanbul, Turkey
235         **             OZKAR INSAAT SANAYI VE TICARET AS, Ankara, Turkey
237         **             KUR CONSTRUCTION INC., Ankara, Turkey
239         **             DORCE PREFAB. BLDG. AND CONSTR. INDUS. TRADE INC., Ankara, Turkey
247         250         MBD INSAAT SANAYI VE TICARET ANONIM SIRKETI, Ankara, Turkey

Victory Month of August | Menzikert, Mohács and Dumlupınar

$
0
0
August is the month of major victories. Menzikert[1] (1071), Mohács[2] (1526) and Dumlupınar[3] (1922)

Generals Mustafa Kemal Atatürk and İsmet İnönü pictured before the Battle of Dumlupinar in August 1922.



Mavi Boncuk |"Sovereignty is not given, it is taken."  Mustafa Kemal Ataturk

Mustafa Kemal Ataturk, the founder of the Republic of Turkey, who led the Turkish forces to decisive victory at the Battle of Dumlupınar on August 30, 1922. 

Turks pay tribute honor those who fought and sacrificed their lives on the 96th Anniversary of Turkish Victory Day, which commemorates the triumph of the War of Independence in the final decisive battle of the three year long struggle and a pivotal step towards the founding of an independent, sovereign, secular, and democratic Turkish Republic.  

Turkish citizens still tirelessly strive and sacrifice to uphold the universal principles upon which the Republic of Turkey was founded.

[1] The Battle of Manzikert was fought between the Byzantine Empire and the Seljuk Empire on 26 August 1071 near Manzikert, theme of Iberia (modern Malazgirt in Muş Province, Turkey). The decisive defeat of the Byzantine army and the capture of the Emperor Romanos IV Diogenes played an important role in undermining Byzantine authority in Anatolia and Armenia, and allowed for the gradual Turkification of Anatolia. Many of the Turks, who had been, during the 11th century, travelling westward, saw the victory at Manzikert as an entrance to Asia Minor.

The brunt of the battle was borne by the professional soldiers from the eastern and western tagmata, as large numbers of mercenaries and Anatolian levies fled early and survived the battle. The fallout from Manzikert was disastrous for the Byzantines, resulting in civil conflicts and an economic crisis that severely weakened the Byzantine Empire's ability to adequately defend its borders. This led to the mass movement of Turks into central Anatolia.

[2] The Battle of Mohács (Hungarian: [ˈmohaːt͡ʃ]; Hungarian: Mohácsi csata, Turkish: Mohaç Meydan Muharebesi) was one of the most consequential battles in Central European history. It was fought on 29 August 1526 near Mohács, Kingdom of Hungary, between the forces of the Kingdom of Hungary, led by Louis II, and those of the Ottoman Empire, led by Suleiman the Magnificent. The Ottoman victory led to the partition of Hungary for several centuries between the Ottoman Empire, the Habsburg Monarchy, and the Principality of Transylvania. Further, the death of Louis II as he fled the battle marked the end of the Jagiellonian dynasty in Hungary and Bohemia, whose dynastic claims passed to the House of Habsburg. The Battle of Mohács marked the end of the Middle Ages in Hungary.

[3] The Battle of Dumlupınar (Greek: Μάχη του Τουμλού Μπουνάρ; Turkish: Dumlupınar (Meydan) Muharebesi or Başkumandanlık Meydan Muharebesi, literally "Field Battle of the Commander-in-Chief") was the last battle in the Greco-Turkish War (1919–1922) (part of the Turkish War of Independence). The battle was fought from 26 to 30 August 1922 near Dumlupınar, Kütahya in Turkey.

Word Origin | Zafer, Galip

$
0
0
Mavi Boncuk |

Zafer: victory[1], triumph[2] EN

fromAR ẓafar ظَفَر  [#ẓfr faˁal ] düşmanı veya avı alt etme AR ẓafira ظَفِرَ pençeledi, alt etti fromAR ẓufr/ẓifr ظُفْر tırnak, pençe, özellikle yırtıcı kuşların pençesi (Aramaic ṭephərā טפרא tırnak; Akadian ṣupru/ṣuppāru.

source:
[ anon., Mukaddimetü'l-Edeb terc., y. 1300] ẓafar bérilmiş er
[ Aşık Paşa, Garib-name, 1330] ol sebebden Nemrud'a buldı ẓafer

Galip: winner, victor , triumphant[2]

fromAR  ġālib غالب  yenen, üstün AR ġalaba غَلَبَ üstün idi, üstün geldi

source:
[ anon., Mukaddimetü'l-Edeb terc., y. 1300] ġalebe kıldı anıŋ üze = ġālib boldı
[ anon., Ferec ba'd eş-şidde, 1451] Meliküŋ şefkati oğlancuğa ġālib-idl.

[1] victory (n.) c. 1300, "military supremacy, victory in battle or a physical contest," from Anglo-French and Old French victorie (12c.) and directly from Latin victoria "victory," from past participle stem of vincere "to overcome, conquer" (from nasalized form of PIE root *weik-  "to fight, conquer"). 


V.E. ("victory in Europe") and V.J. ("victory in Japan") days in World War II were first used Sept. 2, 1944, by James F. Byrne, U.S. director of War Mobilization ["Washington Post," Sept. 10, 1944].

[2] triumph (n.) late 14c., "success in battle, conquest," also "spiritual victory" and "a procession celebrating victory in war," from Old French triumphe (12c., Modern French triomphe), from Latin triumphus "an achievement, a success; celebratory procession for a victorious general or admiral," from Old Latin triumpus, probably via Etruscan from Greek thriambos "hymn to Dionysus," a loan-word from a pre-Hellenic language.

triumph (v.) mid-15c., from Old French triumpher (13c.), from Latin triumphare, from triumphus

First Balkan War | Serbia

$
0
0





Mavi Boncuk | 

Serbia called upon about 255,000 men (out of a population of 2,912,000 people) with about 228 heavy guns, grouped in 10 infantry divisions, two independent brigades and a cavalry division, under the effective command of the former War Minister Radomir Putnik.The Serbian High Command, in its pre-war wargames,[clarification needed] had concluded that the likeliest site of the decisive battle against the Ottoman Vardar Army would be on the Ovče Pole plateau, before Skopje. Hence, the main forces were formed in three armies for the advance towards Skopje, while a division and an independent brigade were to cooperate with the Montenegrins in the Sanjak of Novi Pazar.

The First Army (132,000 men) was the strongest and was commanded by General Petar Bojović, forming the center of the drive towards Skopje. The Second Army (74,000 men) was commanded by General Stepa Stepanović, and consisted of one Serbian and one Bulgarian (7th Rila) division. It formed the left wing of the Army and advanced towards Stracin. The inclusion of a Bulgarian division was according to a pre-war arrangement between Serbian and Bulgarian armies, but that division ceased to obey the orders of Gen. Stepanović as soon as the war began, following only the orders of the Bulgarian High Command. The Third Army (76,000 men) was commanded by General Božidar Janković and, being the army on the right wing, had the task to take Kosovo. It would then join the other armies in the expected battle at Ovče Polje. There were two other concentrations in northwestern Serbia across the Serbo-Austrohungarian borders, the Ibar Army (25,000 men) under General Mihailo Živković and the Javor brigade (12,000 men) under Lt Colonel Milovoje Anđelković.

MORE FROM SEARCH

The delegates at the Çatalca armistice; General Ivan FichevNazim Pasha and General Mihail Savov are seen in the first row.


Bulgarian advance to Catalca

Firsy Balkan War | Naval Theater

$
0
0

Mavi Boncuk | 

Torpedo boat Nikopolis of the Royal Hellenic Navy sailing in the Saronic Gulf in 1913.


She was build by Ansaldo, Armstrong & Cie at Sestri Ponente in 1905 as ANTALYA and along with the torpedo boat TOKAT and two small gunboats they were based in 1912 in the Turkish Naval Base at Preveza. 


Once the Greek Army liberated on 3.11.1912 the two torpedo boats were scuttled. ANTALYA was in a better condition and was promptly salvaged with the assistance of the salvage tug COSTANCE GRECH (soon renamed ΤΕΝΕDΟS). 

The salvaged ANTALYA was towed to Salamis Naval Base arriving on 14/27 November. Once repaired she was renamed NIKOPOLIS and commissioned in January 1913 under the command of N.Votsis, until then commander of torpedo-boat 11 that had sunk the ironclad FETH-I BULEND in Salonika. 

ΝΙΚΟPΟLIS was pressed in patrols and inspections in the Saronic Gulf and the Ionian Sea. She was decommissioned in 1919.[1] 

The torpedo boat NIKOPOLIS was auctioned in 1923 to Prodromos Vaianis and was converted into a barge, without a name change. Vaianis was a prominent figure in the Piraeus bunkering business during the interwar years. He owned several barges, water carriers and tankers like PRODROMO. In May 1942, 50% of the ship's ownership went to G.Moundreas & Bros (along with the barge PIPINA, ex-Turkish torpedo-boat TOKAT


[1] Antalya-class torpedo boats Ottoman torpedo boats, scuttled in Preveza in 1912 during the First Balkan War, later salvaged by Greece. 

Nikopolis (1913–1916), ex-Ottoman Antalya 
Tatoi (1913–1916), ex-Ottoman Tokat





Naval operations in the Aegean and Ionian seas | SOURCE


The Greek fleet assembled at Phaleron Bay on 5/18 October 1912, before sailing for Lemnos
The Greek fleet assembled at Phaleron Bay on 5/18 October 1912, before sailing for Lemnos
On the outbreak of hostilities on 18 October, the Greek fleet, placed under the newly promoted Rear Admiral Pavlos Kountouriotis, sailed for the island of Lemnos, occupying it three days later (although fighting continued on the island until 27 October) and establishing an anchorage at Moudros Bay. This move was of major strategic importance, as it provided the Greeks with a forward base in close distance to the Dardanelles Straits, the Ottoman fleet's main anchorage and refuge.  In view of the Ottoman fleet's superiority in speed and broadside weight, the Greek planners expected it to sortie from the straits early in the war. Given the Greek fleet's unpreparedness resulting from the premature outbreak of the war, such an early Ottoman attack might well have been able to achieve a crucial victory. Instead, the Ottoman Navy spent the first two months of the war in operations against the Bulgarians in the Black Sea, giving the Greeks valuable time to complete their preparations and allowing them to consolidate their control of the Aegean.

By mid-November Greek naval detachments had seized the islands of Imbros, Thasos, Agios Efstratios, Samothrace, Psara and Ikaria, while landings were undertaken on the larger islands of Lesbos and Chios only on 21 and 27 November respectively. Substantial Ottoman garrisons were present on the latter, and their resistance was fierce. They withdrew into the mountainous interior and were not subdued until 22 December and 3 January respectively. Samos, officially an autonomous principality, was not attacked until 13 March 1913, out of a desire not to upset the Italians in the nearby Dodecanese. The clashes there were short-lived as the Ottoman forces withdrew to the Anatolian mainland, so that the island was securely in Greek hands by 16 March.

At the same time, with the aid of numerous merchant ships converted to auxiliary cruisers, a loose naval blockade on the Ottoman coasts from the Dardanelles to Suez was instituted, which disrupted the Ottomans' flow of supplies (only the Black Sea routes to Romania remained open) and left some 250,000 Ottoman troops immobilized in Asia. In the Ionian Sea, the Greek fleet operated without opposition, ferrying supplies for the army units in the Epirus front. Furthermore, the Greeks bombarded and then blockaded the port of Vlorë in Albania on 3 December, and Durrës on 27 February. A naval blockade extending from the pre-war Greek border to Vlorë was also instituted on 3 December, isolating the newly established Provisional Government of Albania based there from any outside support.

Lieutenant Nikolaos Votsis scored a major success for Greek morale on 31 October: he sailed his torpedo boat No. 11, under the cover of night, into the harbor of Thessaloniki, sank the old Ottoman ironclad battleship Feth-i Bülend and escaped unharmed. On the same day, Greek troops of the Epirus Army seized the Ottoman naval base of Preveza. The Ottomans scuttled the four ships present there, but the Greeks were able to salvage the Italian-built torpedo-boats Antalya and Tokat, which were commissioned into the Greek Navy as Nikopolis and Tatoi respectively. A few days later, on 9 November, the wooden Ottoman armed steamer Trabzon was intercepted and sunk by the Greek torpedo boat No. 14 under Lt. Periklis Argyropoulos off Ayvalık.

The main Ottoman fleet remained inside the Dardanelles for the early part of the war, while the Greek destroyers continuously patrolled the straits' exit to report on a possible sortie. Kountouriotis suggested mining the straits, but was not taken up for fear of international reactions.[80] On 7 December, the head of the Ottoman fleet Tahir Bey was replaced by Ramiz Naman Bey, the leader of the hawkish faction among the officer corps. A new strategy was agreed, whereby the Ottomans were to take advantage of any absence of Georgios Averof to attack the other Greek ships. The Ottoman staff formulated a plan to lure a number of the Greek destroyers on patrol into a trap. A first such effort on 12 December failed due to boiler trouble, but the second try two days later resulted in an indecisive engagement between the Greek destroyers and the cruiser Mecidiye.

The war's first major fleet action, the Battle of Elli, was fought two days later, on 16 December [O.S. 3 December] 1912. The Ottoman fleet, with four battleships, nine destroyers and six torpedo boats, sailed to the entrance of the straits. The lighter Ottoman vessels remained behind, but the battleship squadron moved on north under cover of the forts at Kumkale and engaged the Greek fleet, coming from Imbros, at 9:40. Leaving the older battleships to follow their original course, Kountouriotis led the Averof into independent action: utilizing her superior speed, she cut across the Ottoman fleet's bow. Under fire from two sides, the Ottomans were quickly forced to withdraw to the Dardanelles.[80][82] The whole engagement lasted less than an hour, in which the Ottomans suffered heavy damage to the Barbaros Hayreddin and 18 dead and 41 wounded (most during their disorderly retreat), and the Greeks one dead and seven wounded.

In the aftermath of Elli, on 20 December the energetic Lt. Commander Rauf Bey was placed in effective command of the Ottoman fleet. Two days later he led his forces out, hoping again to trap the patrolling Greek destroyers between two divisions of the Ottoman fleet, one heading for Imbros and the other waiting at the entrance of the straits. The plan failed as the Greek ships quickly broke contact. At the same time the Mecidiye came under attack by the Greek submarine Delfin, which launched a torpedo against it but missed; the first such attack in history.[82] During this period, the Ottoman Army continued to press upon a reluctant Navy a plan for the re-occupation of Tenedos, which the Greek destroyers used as a base, by an amphibious operation. The operation was scheduled for 4 January. On that day, weather conditions were ideal and the fleet was ready, but the Yenihan regiment earmarked for the operation failed to arrive on time. The naval staff nevertheless ordered the fleet to sortie, and an engagement developed with the Greek fleet, without any significant results on either side.[84] Similar sorties followed on 10 and 11 January, but the results of these "cat and mouse" operations were always the same: "the Greek destroyers always managed to remain outside the Ottoman warships' range, and each time the cruisers fired a few rounds before breaking off the chase."

In preparation for the next attempt to break the Greek blockade, the Ottoman Admiralty decided to create a diversion by sending the light cruiser Hamidiye, captained by Rauf Bey, to raid Greek merchant shipping in the Aegean. It was hoped that the Georgios Averof, the only major Greek unit fast enough to catch the Hamidiye, would be drawn in pursuit and leave the remainder of the Greek fleet weakened.[80][86] In the event, Hamidiye slipped through the Greek patrols on the night of 14–15 January and bombarded the harbor of the Greek island of Syros, sinking the Greek auxiliary cruiser Makedonia which lay in anchor there (it was later raised and repaired). The Hamidiye then left the Aegean for the Eastern Mediterranean, making stops at Beirut and Port Said before entering the Red Sea. Although providing a major morale boost for the Ottomans, the operation failed to achieve its primary objective, as Kountouriotis refused to leave his post and pursue the Hamidiye.

Four days later, on 18 January [O.S. 5 January] 1913, when the Ottoman fleet again sallied from the straits towards Lemnos, it was defeated for a second time in the Battle of Lemnos. This time, the Ottoman warships concentrated their fire on the Averof, which again made use of its superior speed and tried to "cross the T" of the Ottoman fleet. Barbaros Hayreddin was again heavily damaged, and the Ottoman fleet was forced to return to the shelter of the Dardanelles and their forts. The Ottomans suffered 41 killed and 101 wounded.[80][88] It was the last attempt of the Ottoman Navy to leave the Dardanelles, thereby leaving the Greeks dominant in the Aegean. On 5 February [O.S. 24 January] 1913, a Greek Farman MF.7, piloted by Lt. Moutousis and with Ensign Moraitinis as an observer, carried out an aerial reconnaissance of the Ottoman fleet in its anchorage at Nagara, and launched four bombs on the anchored ships. Although it scored no hits, this operation is regarded as the first naval-air operation in military history.

General Ivanov, commander of the 2nd Bulgarian Army, acknowledged the role of the Greek fleet in the overall Balkan League victory by stating that "the activity of the entire Greek fleet and above all the Averof was the chief factor in the general success of the allies".

See:Langensiepen & Güleryüz (1995)

Viewing all 3498 articles
Browse latest View live