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Musa Dağdeviren's Anatolian dishes on Netflix

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Mavi Boncuk |

Anatolian dishes expand to Netflix
GÜLİZ ARSLAN

SOURCE

The Netflix documentary “Chef’s Table,” which tells the stories of world-famous chefs, last week featured the life of a Turkish chef for the first time. Musa Dağdeviren, the owner of the Çiya Kebap and Çiya Sofrası restaurants in Istanbul’s Kadıköy neighborhood and the founder of the magazine “Yemek ve Kültür” (Food and Culture), aims to protect generations-old local recipes. 

Born in 1960 in Turkey’s southeastern province and gastronomic paradise of Gaziantep’s Nizip district, Dağdeviren is the youngest of six siblings. He remembers a childhood where he spent most of his time at home with his mother in the kitchen. He was interested not only in food, but anything old, to revive dying values and tastes in the face of changes. 

“This is still the same for me. I buy albums of people I never knew. I collect everything, pots, pans, forks and spoons. But all of them should have one thing in common: They should all belong to this geography,” he says. 

He is in pursuit to record all foods of this geography.

“I went to school for three weeks only in 1976. I lost my father in a traffic accident at 12. I had to leave school to earn money. After losing my father, one of my brothers was handed over a bookstore, which I went to frequently. Most of the books were left-wing ones and classics. I read about many things, including social sciences, philosophy, and history. I realized in these books that what belongs to the memory of our geography and city have gone. We can find them only in antique sellers, bibliopoles and flea markets. But it is possible to keep them surviving, which is the goal of my life.” 

He says he learned earth from his father’s side and fire from his mother’s side. His father was a farmer and uncles were bakers, whose bakeries he grew up in. The bakeries at the time were not like modern-day ones, according to him. Those bakeries served as places that carried the collective memories of the city. 

While rushing from the bookstore to the bakery every day, Dağdeviren’s life changed direction. He was aged 17-18 when he started working at a different bakery. But Dağdeviren grew increasingly uneasy at the working conditions of the workers there. The workers were not insured, and he could not turn a blind eye to their plight. He formed a committee with two bakers and began meeting them in local coffeehouses. Having mobilized a few bakers, he called a strike, leading to the closure of all bakeries across the city. His uncle’s bakery was one of them. 


But his political awakening forced him to leave his hometown of Nizip after receiving threats and their workplace being shot. 

He came to Istanbul, like many who fled for better opportunities, where his uncles ran restaurants. He worked with them and at the same time visited community centers. He watched theater plays, went to concerts and attended cultural events. He had friends who were university students, with whom he organized reading days. One day, they decided to travel the world together. Their travels lasted for 27 months, visiting the Soviet Union, China, Iraq, Syria and the Balkans. Their route resembled the Silk Road. 

Not only a chef, an anthropologist, too 

After his two-year travels, he was conscripted into the army to do his mandatory service. Even there, he worked in the kitchen. 

“When I was there, they cooked everything separately and mixed them all in the end. Even meat and onion were not cooked together. That is why the foods were not tasty and almost nobody ate them. I changed the recipes; then the meals were not enough.” 

When he finished his compulsory military service, he decided to open a restaurant with his childhood friends. He opened Çiya. But things did not go as planned. Dağdeviren was arrested in the 1980 military coup, the brutal aftermath of a series of fatal clashes between radical left and right groups in the 1970s, for attending protests. 

After being released, his friends no longer wanted to be associated with him, leaving him with hefty debts. His life took a turn, however, when he met his wife Zeynep. “I worked in the kitchen, she handled the finances. She is still the real boss,” he says. 

In the Netflix episode on Dağdeviren, cooking historian Özge Samancı describes him as “not only a chef, but a food anthropologist.” “His restaurant Çiya is a food museum,” she says. 

“When you visit his restaurant, it is like you visit all cities and villages in Turkey at the same time,” Vogue’s food editor Cemre Narin says. 

Çiya has become a cornerstone in Turkish gastronomy. At a time when kebabs and lahmacun, a pizza-like dish with spicy minced meat topping, were underappreciated, he served traditional Turkish tastes with Bach, Chopin and Vivaldi playing in the background in his restaurant. 

“The goal was to eliminate this division and we did it. This is how our customer profile was created. We had customers from all walks of life. In 1995, we bought the shop next to us. I wanted to gather my works on food culture in a book and had an idea to make a food atlas. My wife told me to try them in the restaurant and I started using these recipes. This is how Çiya Sofrası was born,” he said. 

Dağdeviren says he was surprised when he got the offer from Netflix. “I knew about Netflix but I never watched it. I saw that they featured the chefs that I loved and joined conferences together with in the past. Then I accepted it. I produced a project on Turkey’s food and beverage culture. I am proud that people outside this country have acknowledged it,” Dağdeviren says. 

Now his biggest dream is to open a cuisine institute, which is why he is making a collection of everything from Turkey.

The Antalya Film Forum wraps its fifth edition

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The winners of the Fiction Pitching Platform: The team behind Everything in its Right Place (producer Engin Palabıyık, director Berrak Çolak and producer Müge Özen) and Deskmate director Ferit Karahan

Mavi Boncuk | SOURCE

The Antalya Film Forum has wrapped its fifth edition by handing out awards to some of the projects that participated in its six different platforms, with the financial support totalling 533,000 Turkish lira (€75,000). Running for four days, from 30 September-3 October, the intensive industry event included a series of master classes as well as tailored one-on-one meetings with specialist consultants, and other activities focused on both the Turkish and the international market.

Antalya Film Forum director Zeynep Atakan focused on extending the scope of this year’s edition and broadening the range of parallel events, such as the first Women with Movie Cameras Platform, which aims to focus on female directors and producers from the Middle East, Asia and the Balkans. Also, Béla Tarr’s workshop was a particular highlight, with the Hungarian auteur himself handing over the participation certificates to the 12 up-and-coming directors who had been working with him.

As for the awards, starting with the Fiction Pitching Platform, there were twice as many projects participating as there were last year, totalling 18, and three of them received the forum’s awards. The big winners of the section were as follows:

Everything in its Right Place by Berrak Çolak, a debut feature. The film follows Nedret, who feels lost after her husband disappears after 40 years of marriage. Her dolce-vita lifestyle also disappears along with him, and she ends up in uncharted waters. However, a woman from her past then forces herself back into her life. Previously awarded at Istanbul’s Meetings on the Bridge  and presented at the last edition of Transilvania Pitch Stop , the project is being produced by Engin Palabıyık (Harikulade Film), with Müge Özen’s Solis Film (Radiogram [+]). Çolak also won the Villa Kult Cultural Residency Award.

Deskmate by Ferit Karahan, his third feature. The movie is set in a secluded and strict boarding school, where 12-year-old Yusuf is anxious to bring his mysteriously sick schoolmate to hospital, as his condition is deteriorating rapidly. His task will not be easy, as snowdrifts block their way and they are forced to spend more time in school, where secrets and unexpected conflicts slowly rear their heads. The film is being produced by Kanat Doğramacı. Also, the drama Graft by Ahmet Küçükkayalı, produced by İnci Gülen Oarr, won the TRT Project Development Award.

Seven documentaries were pitched in the Documentary Pitching Platform, and the big winners were as follows:

New Dawn Fades by Gürcan Keltek (Meteors [+]), which follows a man who is losing touch with his real self and who lives surrounded by his own “devils” and “demons”. The project, which was previously awarded the CNC Prize at Istanbul’s Meetings on the Bridge (see the news), is being produced by Arda Çiltepe.

Turkish Heavy Metal Is Not That Bad by Ketche and Necati Tüfenk, which focuses on the creation of the heavy-metal scene in Turkey by a group of young rebels during the 1980 military coup, while the documentary also follows its evolution over the last 30 years. It is being staged by Uğur Can Gürsözlü.

Women With Purple Violets by Sezen Kayhan, produced by Beste Yamalıoğlu, which follows a group of female fans who, since 1967, have been utterly devoted to a small football team in Anatolia. The project received the TRT Special Award.

In the Work in Progress Platform, five projects competed for the main award, and the main winner was The Hunt by Emre Akay, a thriller in which Ayşe is fighting for her own survival after her boyfriend is killed by the police. The film received the Sümer Tilmaç Antalya Film Support Fund last year, and is being produced by Tolga Topçu and Diloy Gülün.

Also, The Hive, directed by Eylem Kaftan and produced by Canol Balkaya, received the Mojo FX Post-Production Award, and the documentary Mimaroğlu by Serdar Kökçeoğlu, produced by Dilek Aydın and Esin Uslu, won the Postbıyık Sound and Colour Correction Award.

The Projects Looking for Producers Platform awarded two projects: A Small Mistake, directed by Levent Türkan and written by Ceyda Aşar, and Dark Blue Night, written and directed by Muhammet Çakıral. Also, Catalog, written by Alpgiray Uğurlu and İlke Keleşoğlu Uğurlu, received the RTNT Film Production Consultancy Award in this section. Finally, four short films were awarded in the Short Film Work in Progress Platform.

Here is the complete list of winners at the fifth Antalya Film Forum:

Fiction Pitching Platform
Everything in its Right Place - Berrak Çolak; producers: Engin Palabıyık, Müge Özen
Deskmate - Ferit Karahan; producer: Kanat Doğramacı

TRT Project Development Award
Graft - Ahmet Küçükkayalı; producer: İnci Gülen Oarr

Villa Kult Cultural Residency Award
Everything in its Right Place - Berrak Çolak

Documentary Pitching Platform
New Dawn Fades - Gürcan Keltek; producer: Arda Çiltepe
Turkish Heavy Metal Is Not That Bad - Ketche, Necati Tüfenk; producer: Uğur Can Gürsözlü

TRT Special Award
Women With Purple Violets - Sezen Kayhan; producer: Beste Yamalıoğlu

Work in Progress Platform
The Hunt - Emre Akay; producers: Tolga Topçu, Diloy Gülün

Mojo FX Post-Production Award
The Hive - Eylem Kaftan; producer: Canol Balkaya

Postbıyık Sound and Colour Correction Award
Mimaroğlu - Serdar Kökçeoğlu; producers: Dilek Aydın, Esin Uslu

Sümer Tilmaç Antalya Film Support Fund
The Pot - Ahmet Toklu

Projects Looking for Producers
A Small Mistake - Levent Türkan; writer: Ceyda Aşar
Dark Blue Night - Muhammet Çakıral

RTNT Film Production Consultancy Award
Catalog - Alpgiray Uğurlu, İlke Keleşoğlu Uğurlu

Short Film Work in Progress Award
The Photograph - Ozan Takış; producer: Ozan Takış

Postbıyık Sound and Colour Correction Award
Colours of Germiyan - Aziz Alaca; producer: Ayşe Çiğdem Tunçkanat

TRT Special Award
Lack - Volkan Budak; producer: Volkan Budak

Peri İstanbul Festival Award
A Fine Line - Mirjam Orthen; producers: Dilek Aydın, Erkal Taşkın, Matthias Nerlich

Hünnap | Jujube

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Mavi Boncuk |
Hünnap: jujube

Ziziphus jujuba (from Greek ζίζυφον, zízyphon), commonly called jujube, red date, Chinese date, Korean date, or Indian date. n Arabic-speaking regions the jujube and alternatively the species Z. lotus are closely related to the lote-trees (sing. "sidrah", pl. "sidr") which are mentioned in the Quran, while in Palestine it is rather the species Z. spina-christi that is called sidr.

On his visit to Medina, the 19th-century English explorer, Sir Richard Burton, observed that the local variety of jujube fruit was widely eaten. He describes its taste as "like a bad plum, an unrepentant cherry and an insipid apple." He gives the local names for three varieties as "Hindi (Indian), Baladi (native), Tamri (date-like)." 

In Palestine a hundred years ago, a close variety was common in the Jordan valley and around Jerusalem. The bedouin valued the fruit, calling it nabk. It could be dried and kept for winter or made into a paste which was used as bread.

In Persian cuisine, the dried drupes are known as annab, while in neighboring Azerbaijan, it is commonly eaten as a snack, and is known as innab.




Antalya IFF 2018 | Awards

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“The festival films drew a huge turnout. We searched for peace, we became refugees and we came together with 1,200 guests. Some 34,900 people watched the films,” said Menderes Türel, mayor of the Antalya Metropolitan Municipality, which hosted the festival.

Mavi Boncuk |

Iranian director Jafar Panahi’s film “Three Faces” has won the Best Film award at the 55th International Antalya Film Festival.

The festival’s closing ceremony took place at the Glass Pyramid Congress and Exhibition Center on Oct. 5.

“Three Faces” outperformed 10 other films for the award.[1]

Samal Yeslyamova, appearing in the Russian-Kazakhstani drama film directed by Sergey Dvortsevoy, won the award for Best Actress.

Thirteen-year-old Zain al-Rafeea, was awarded Best Actor for the Lebanese film “Capernaum.”

The award for Best Director was given to Japanese director Hirokazu Koreeda, for directing the film “Shoplifters.”

Iconic Turkish musician İbrahim Tatlıses received the Honor Award.

Tatlıses made his first appearence on screen with “Ayağında Kundura” in 1978, which is the name of his first album published in 1977. After releasing several hit albums in the 80s, his popularity earned him more apperances on-screen. Throughout his movie career, Tatlıses directed 20 movies, wrote three movies and acted in 36 movies.

Turkish comedian, screenwriter and actor Cem Yılmaz and acclaimed Turkish director Ferzan Özpetek were also given the Lifetime Achievement Award at this year’s festival.

The honorary awards of the festival were presented to Hungarian director Bela Tarr, Turkish actress Itır Esen and producer Ömer Vargı.

Turkish female directors and producers also come together under the roof of “Women with Movie Cameras” platform.

Founded by Turkish female film industry members, the platform members who are joined by female directors and producers from Middle-East, Asia and Balkans, had a discussion panel about “equality of opportunity” and “sexual harrasments in movie sets at Anltaya Film Forum as a part of the 55th Antalya International Film Festival. Founder Burçak Üzen explained their goals:


“We are hand-to-hand because we will create a network and a bond all around the world to support each other. We want equality of opportunity because we are against the discrimination both in our sets and in film industry, not only for ourselves. We believe there must be equal share of fund resources and festivals. We say you will hear more from us because we will not be silent especially sexual harrasments and mobbings in movie sets. We are careful about masculine phrases and discriminative, sexist, scornful representation of women in our movies. And we are here to always say “You can do it”. We are here to be the support you need when you are afraid and when you need”. Europe’s biggest women platform EWA (European Women’s Audiovisiul Network) also announced their support for “Women with Movie Cameras”.

[1] 3 Faces (Persian: Se rokh – سه رخ‎) is a 2018 Iranian drama film directed by Jafar Panahi and starring Behnaz Jafari and Panahi as themselves. It was selected to compete for the Palme d'Or at the 2018 Cannes Film Festival. At Cannes, Panahi and co-writer Nader Saeivar won the award for Best Screenplay


Behnaz Jafari, a popular Iranian actress, searches for a young girl in northwestern Iran with her friend Jafar Panahi, a director, after seeing a video of the girl asking for help to leave her conservative family. 


Khalil Bey and L’Origine du Monde

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Mavi Boncuk | 

The depiction of a naked female torso scandalised and shocked Paris when Gustave Courbet painted it in 1866. However, Courbet omitted the head, which has left critics to puzzle over the identity of the model who sat for L’Origine du Monde (The Origin of the World). 

The painting caused such uproar that the artist was forced to sell it on the black market and the model’s identity remained secret. Now Claude Schopp, a historian, has come across the answer. He discovered that the woman who posed for Courbet was Constance Quéniaux, a ballet dancer at Paris Opera and later the mistress of Halil Serif Pasha, an Ottoman diplomat known as Khalil Bey. Bey commissioned L’Origine du Monde. 

Mr Schopp made the discovery while studying historic correspondence. 

For more continue to Mavi Boncuk PDF files.

1887 | A Map of Bosphorus

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Mavi Boncuk |from Diversions of Diplomat in Turkey, by Cox[1]  PDF Link

[1] Samuel Sullivan "Sunset" Cox (September 30, 1824, Zanesville, Ohio – September 10, 1889, New York City) was an American Congressman and diplomat. He represented both Ohio and New York in the United States House of Representatives, and also served as United States Ambassador to the Ottoman Empire. 



Editorial cartoon by Thomas Worth. Congressman Samuel Cox fanning Turkish official, possibly a Sultan, who is surrounded by servants.

Profile | Joseph von Hammer-Purgstall (1744-1856)

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Mavi Boncuk |

SOURCE

Joseph von Hammer-Purgstall 
Birth: 9 Jun 1744  Graz, Graz Stadt, Styria (Steiermark), Austria
Death: 23 Nov 1856 (aged 112)  Vienna (Wien), Austria
Burial :Klosterneuburg-Weidling 
Weidling, Sankt Pölten-Land Bezirk, Lower Austria (Niederösterreich), Austria 

Born Joseph Hammer in Graz, Styria, he received his early education mainly in Vienna. Entering the diplomatic service in 1796, he was appointed in 1799 to a position in the Austrian embassy in Constantinople, and in this capacity he took part in the expedition under Admiral William Sidney Smith and General John Hely-Hutchinson against France. In 1807 he returned home from the East, after which he was made a privy councillor. In 1835, upon inheriting the estates of the Countess Purgstall, he acquired the title Freiherr.

For fifty years Hammer-Purgstall wrote prolifically on the most diverse subjects and published numerous texts and translations of Arabic, Persian and Turkish authors. By traversing so large a field, he lay himself open to the criticism of specialists, and he was severely handled by Friedrich Christian Diez (1794–1876), who, in his Unfug und Betrug (1815), devoted to him nearly 600 pages of abuse. He also came into friendly conflict on the subject of the origin of The Thousand and One Nights with his younger English contemporary Edward William Lane.

Hammer-Purgstall's principal work is his Geschichte des osmanischen Reiches (10 vols., 1827–1835). Among his other works are *"Ancient Alphabets & Hieroglyphic Characters Explained,

" (1806)(Bio by: Wikipedia)

His knowledge of Oriental languages was extensive but not thorough. This detracts seriously from the value of his work; his text editions are unreliable and his translations often inaccurate. Much of his work is today antiquated. But his wide range of studies enabled him to make valuable contributions to the field of Oriental history, while his translations have exerted a noteworthy influence, especially on German literature. His version of the Persian poems of Hafiz inspired Goethe's "Westöstliche Divan" (1815-1819); Rückert and Platen were also indebted to him. 

His chief historical works are: "Die Staatsverfassung und Staatsverwaltung des osmanischen Reichs" (Vienna, 1814, 2 vols.); "Geschichte der Assassinen" (Stuttgart and Tübingen, 1818); "Geschichte des osmanischen Reichs" (Pest, 1827-35, 10 vols.); "Gemaldesaal der Lebensbeschreibungen grosser moslimischer Herrscher" (Darmstadt, 1837-39, 6 vols); "Geschichte der Goldenen Horde in Kiptschalk" (Pest, 1840); "Geschichte der Ilchane" (Darmstadt,1843, 2 vols.); and "Geschichte der Chane der Krim" (Vienna, 1856). His translations are numerous. From the Arabic he translated the poems of Mutanabbi (Vienna, 1824), and the "Atwak al-dhahab" of Zamahsharl under the title "Samachscharis Goldene Halsbander" (Vienna, 1835). From the Persian he translated the entire "Divan" of Hafiz (Stuttgart and Tübingen, 1812-13). Unfortunately this rendering is in German prose and does scant justice to the original but it was the first time the poems of Persia's greatest lyrist were made known to Europe in their entirety. He also published the Persian text with a German version of Mahmud Shabistarl's famous Sufi poem "Gulshan-i-raz" under the title of "Mahmud Schabisteris Rosenflor des Geheimnisses" (Pest, 1838), and a part of the "Ta'rikh-i-Wassaf", under the title "Geschichte Wassafs" (Vienna, 1856). From the Turkish he made a translation of the "Divan" of Baki (Vienna, 1825), of Fazli's romantic poem "Gul u Bulbul", i.e. "Rose and Nightingale" (Pest, 1834), and of the "Baznamah", a treatise on falconry, which he published with two other treatises on the same subject, one Greek and one German, under the title "Falknerklee" (Vienna, 1840). 

Hammer's contributions to literary history were very important. Together with Count Reviczky he founded the "Fundgruben des Orients" (Vienna, 1809-19, 6 vols.), a periodical devoted to Oriental subjects. His "Geschichte der schönen Redekünste Persiens" (Vienna, 1818), based on Daulatshah's "Taz-kirat-ushu'ara", a sort of history of Persian poetry although now wholly antiquated, had great influence on German poetry. Goethe and Rückert made liberal use of it. Hammer also wrote a history of Turkish poetry, "Geschichte der osmanischen Diehtkunst" (Pest, 1836-3S, 4 vols.), and one of Arabic literature, "Literaturgeschichte der Araber" (Vienna, 1850-56, 7 vols), which today has little more than historic value. His original poems, based mostly on Oriental models, are devoid of literary merit. 


SOURCE: SCHLOTTMAN, Joseph von Hammer-Purgstall (Zurich, 1857); AHLWARDT, Chalef Elahmars Quasside, nebst Wurdigung Joseph von Hammer als Arabistan (Greifswald, 1859). 

See also GOETHE, Westosliche Divan, notes.


The Monastery of Stoudios

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The Monastery of Stoudios, more fully Monastery of Saint John the Forerunner "at Stoudios" (Greek Μονή του Αγίου Ιωάννη του Προδρόμου «εν τοις Στουδίου» Monē tou Hagiou Iōannē tou Prodromou "en tois Stoudiou"), often shortened to Stoudios, Studion, or Stoudion, (Latin: Studium), was historically the most important monastery of Constantinople (modern-day Istanbul), the capital of the Byzantine Empire. 

The residents of the monastery were referred to as Stoudites (or Studites). Although the monastery has been derelict for half a millennium, the laws and customs of the Stoudion were taken as models by the monks of Mount Athos and of many other monasteries of the Orthodox world; even today they have influence. 

Mavi Boncuk |

Byzantine miniature depicting the Stoudios Monastery and the Propontis (Sea of Marmara), from the Menologion of Basil II (c. 1000).

Studion (Latin Studium), the most important monastery at Constantinople, situated not far from the Propontis in the section of the city called Psamathia. It was founded in 462 or 463 by the consul Studios (Studius), a Roman who had settled in Constantinople, and was dedicated to St. John the Baptist. Its monks came from the monastery of Acoemetae. At a later date the laws and customs of Studion were taken as models by the monks of Mount Athos and of many other monasteries of the Byzantine Empire; even today they have influence. The Studites gave the first proof of their devotion to the Faith and the Church during the schism of Acacius (484-519); they also remained loyal during the storms of Iconoclastic dispute in the eighth and ninth centuries. They were driven from the monastery of Studion and the city by Emperor Constantine Copronymus; after his death (775), however, some of them returned. Abbot Sabbas zealously defended the Catholic doctrines against the Iconoclasts at the Seventh Ecumenical Council in Nicaea (787). 

His successor was St. Theodore of Studion to whom the monastery owes the most of its fame, and who especially fostered study. During St. Theodore's administration also the monks were harassed and driven away several times, some of them being put to death. Theodore's pupil Naucratius re-established discipline after the Iconoclastic dispute had come to an end. Abbot Nicholas (848-5 and 855-58) refused to recognize the Patriarch Photius and was on this account imprisoned in the Studion. He was succeeded by five abbots who recognized the patriarch. The brilliant period of the Studion came to an end at this time. In the middle of the eleventh century, during the administration of Abbot Simeon, a monk named Nicetas Pectoratus (Stethatos) made a violent attack on the Latins in a book which he wrote on unleavened bread, the Sabbath, and the marriage of priests. 

In 1054 he was obliged to recant in the presence of the emperor and of the papal legates and to throw his book into the fire, but he began the dispute again later. As regards the intellectual life of the monastery in other directions it is especially celebrated for its famous school of calligraphy which was established by St. Theodore. In he eighth and eleventh centuries the monastery was the centre of Byzantine religious poetry; a number of the hymns are still used in the Greek Church. Besides St. Theodore and Nicetas, a number of other theological writers are known. In 1204 the monastery was destroyed by the Crusaders and was not rebuilt until 1290; the greater part of it was again destroyed when the Turks captured Constantinople (1453). 


The only part now in existence is the Church of St. John Baptist, probably the oldest remaining church in Constantinople, a basilica which still preserves from the early period two stories of columns on the sides and a wooden ceiling, and which is now the mosque Imrachor-Dschamissi. 


APA citation. Löffler, K. (1912). Studion. In The Catholic Encyclopedia. New York: Robert Appleton Company. Retrieved October 9, 2018 from New Advent:

Mechitarists Moda School

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The Mıhitaryan Armenian Catholic School in Moda, Kadıköy (pre-world war I)

Mavi Boncuk | SOURCE

In the 19th century, the Mechitarists opened schools in several cities. In Istanbul, both the Venice and the Vienna branches of the order founded schools. The Venice branch-affiliated institutions provided elementary education, whereas the Vienna branch schools provided high-school level education.15

In the 19th century, the Surp Ğazar Armenian Catholic Mechitarist Priests Association, an affiliate of the Venice branch of the order, established three schools in Istanbul. The first one opened in Galata in 1803; yet it was not a full-fledged institution at the time. This school began offering regular classes at the building near the Galata Saint George Latin Church in 1808. The second one, the all-male Mechitarist [Mıhitaryan] Armenian Primary School, was opened at no. 30 Sakızağacı Avenue in Pera, in 1830. The last school opened in Moda, Kadıköy, in the late 1850s.


The Mıhitaryan School and its lands in Kadıköy in the insurance maps prepared by Charles Goad in the beginning of the 20th century (on the right, the school building which had burnt down in 1916 and sold by the foundation in 1958; on the left, the land with four wooden buildings, also sold in 1958)

The school in Sakızağacı was temporarily closed after it was burnt down in a fire in 1870. Meanwhile, its students continued attending classes at a different location, the Mechitarist Armenian School in Moda, Kadıköy.17 On July 12, 1888, Sultan Abdülhamid II issued a decree to rebuild the school at the same spot in Sakızağacı for the use of Catholic Armenian children.

During the First World War, the school in Moda, Kadıköy was allocated to the army; the Second Regiment of the 31st Battalion was based there. On January 21, 1915, blazes consumed the building due to the soldiers'"lighting a fire at the basement to do laundry." The school remained closed after the end of the war.

Affiliated with the Istanbul Catholic Bishops Council and administered by the Foundation of Surp Ğazar Armenian Catholic Mıhitaryan School and Monastery, the school in Sakızağacı moved to Bomonti, Şişli in 1958. With the proceeds from the sale of the plot of the burnt-down school in Moda, the building in Bomonti was bought from Emine Tevfika Ayaşlı for 710 thousand lira on June 4, 1958, and the property was registered at the land office on the same day the sale took place. Upon moving to the new building, the name of the school was changed to "Bomonti Private Armenian Catholic School."


EU Watch | MAM Goes Fishing

Word Origin | SEVEN CANONS of ETYMOLOGY

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Mavi Boncuk |

SEVEN CANONS of ETYMOLOGY | SOURCE

modified and abbreviated from W.W. Skeat, 1879

1. Before attempting an etymology, ascertain the earliest form and use of the word; and observe chronology.

2. Observe history and geography; borrowings are due to actual contact.

3. Observe phonetic laws, especially those which regulate the mutual relation of consonants in the various Indo-European languages, at the same time comparing the vowel-sounds.

4. The whole of a word, and not a portion only, ought to be reasonably accounted for; and, in tracing changes of form, any infringement of phonetic laws is to be regarded with suspicion.

5. Mere resemblances of form and apparent connection in sense between languages which have different phonetic laws or no necessary connection are commonly a delusion, and are not to be regarded.

6. When words in two different languages are more nearly alike than the ordinary phonetic laws would allow, there is a strong probability that one language has borrowed the word from the other. Truly cognate words ought not to be too much alike.

7. It is useless to offer an explanation of an English word which will not also explain all the cognate forms

EU Watch | MAM Says EUW

EU Watch | MAM Finds Agreement

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Mavi Boncuk | 

A Turkish court has ruled for the release of an American pastor at the heart of a diplomatic dispute between Turkey and the United States after a hearing on Oct. 12 during which key witnesses flipped and the prosecution softened.

The fourth hearing against Andrew Brunson began at 10:40 a.m. in a prison complex in the Aliağa district of the coastal city of İzmir, ending at 4:28 p.m. with the court’s ruling.

The evangelical pastor was accused of terror-related charges and espionage, facing up to 35 years in prison.

After an eventful hearing, the court sentenced Brunson to three years and one month in prison for aiding a terrorist organization, while ruling for his release from house arrest pending appeals procedures.

The court did not adopt a travel ban, enabling Brunson to leave Turkey immediately.

Freya Stark | Books on Turkey

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Many famous writers throughout history have traveled extensively around Turkey. Mark Twain and Evliya Çelebi are two examples. 

The third most prolific example is Freya Stark[1] who was a British woman with a burning passion and love for the Middle East.

Freya Stark discovered a new interest in Asia Minor in the 1950s. This soon led to her learning Turkish and setting out on a series of difficult journeys, often on horseback, to the far corners of Anatolia. Ionia: A Quest (1954), The Lycian Shore (1956), Alexander's Path (1958), Riding on the Tigris (1959), and Rome on the Euphrates (1966) were published as a result.

FROM 1998 Freya Stark | John C. Hawley Santa Clara Univeristy, jhawley(at)scu(dot)edu

This pause in her travel writing also offered Stark the occasion to reassess her position in the world in such a way that she was able to accept Stewart Perowne's offer of marriage when it arrived by telegram. They were married in London in October 194 7. Her reasons for marrying Perowne, a rather dull civil servant who was eight years her junior and apparently a homosexual, seem to have involved some desire for domesticity. By summer 1951 they had decided to divorce. Later that year she dropped his name and from then on called herself "Mrs. Stark."… Her divorce from Perowne freed Stark to begin a new phase of her career, which focused on Asia Minor. 

In 1952 she set out for Smyrna (Izmir) on the west coast of Turkey, hoping to retrace the journey described by Herodotus. Typically, she prepared for this new adventure by learning Turkish. She dedicated the resulting book, Ionia: A Quest (1954), to Harold Nicolson and Vita Sackville-West. In autumn 1952 Stark traveled about the western coast of Asia Minor, visiting fifty-five ruined sites. In only one of them did she meet another tourist. Her letters from this period reveal the sense of loneliness that resulted from her failed marriage, but Ionia shows her customary energy and fascination for cultures that were new to her and perhaps to all, or most, of her readers. Some of her observations along the way-such as "the art of government is in the management of people's feelings"-may have arisen from her internal struggle, but she was usually more grandiose in her musing, more inspirational in her imagining: Some of these vanished cities were buried in the earth, or had sunk away in swamp, so that only a few places of wall, a cornice or shaft of column, remained, neglected or forgotten: in many, the steps of their theatres were split by the roots of trees or hidden, hardly accessible, in thorns. Here, like a manuscript of which most of the words are rubbed away, lay the record of our story, of what-trickling down slopes of time towards us by devious runnels-has made us what we are today. A great longing came to me to know more, and to bring a living image out of these dots and dashes of the past. More particularly, to discover what elements in that breeding ground of civilization can still be planted to grow among us now. The picture she painted of Asia Minor as she moved away from Ionia and followed the Maeander (Menderes) upstream is of a formless, vast, human dwarfing geography that was historically humanized by the Greeks and conquered by Rome. Having suffered in her personal life and having seen the vast devastation of World War II, she was prompted by the remains of past civilizations to consider the purpose of so much creation and destruction, so much similarity in the midst of diversity. 

Stark was so interested in what she saw in Turkey that she spent more time learning Turkish in Crete in 1954 and then undertook a lighter travel book, The Lycian Shore (1956), which includes such observations as the following: The life of insecurity is the nomad's achievement. He does not try, like our building world, to believe in a stability which is non-existent; and in his constant movement with the seasons, in the lightness of his hold, puts something right, about which we are constantly wrong. His is in fact the reality, to which the most solid of our structures are illusion.

Stark's next book was the heavily researched and well-received Alexander's Path (1958), which focuses on the western and southern coasts of Turkey. Stark had intended to follow the route of Alexander the Great as it had been described by Arrian, but she began to suspect that Arrian had left out some details, including the "whole route between Xanthus and Phaselis, and the campaign against the hillmen." She decided to live along that route for several months, coming in closer contact with country people than she had on her previous visit. She also decided to include more information than former writers had on the geography of Anatolia, the site of the first and most formative year or so of Alexander's adventure, and on the area of Caria and its queen, Ada, who had made Alexander her adopted son when he was only a nineteen-year-old Macedonian prince who had decided to marry her niece . Stark tried to learn what Alexander did between Xanthus and Sagalassus, but she went in the opposite direction from that taken by Alexander. Although critics at the time appreciated her account, it seems speculative and a bit narrowly focused . Stark's Riding to the Tigris (1959), an account of her travels in the interior of Turkey, includes some of her finest reflection on the enterprise of travel to which she had devoted her life. Asking the same fundamental questions that she had raised early in her career, she now had more-pointed responses. I began to wonder again why I, and so many others like me, should find ourselves in these recondite places. We like our life intensified, perhaps. Travel does what good novelists also do to the life of every day, placing it like a picture in a frame or a gem in its setting, so that the intrinsic qualities are made more clear. Travel does this with the very stuff that everyday life is made of, giving to it the sharp contour and meaning of art: and unless it succeeds in doing this, its effect on the human being is not, I believe, very great .. . . Most people anyway try to avoid having their feelings intensified: for indeed one must be strong to place oneself alone against the impact of the unknown world.

The statement is emblematic of Stark's life . Riding to the Tigris is also one of the best demonstrations of her complex relationship with her native country and with the lands to which she came as a visitor. At one moment she could yearn almost palpably to be an Arab: "It was many years since I had spent a night among the tents; the sight of them, seventy or so in the hollow of the mountain, filled me as it always does with delight and pity; for they seem to me to show what our houses forget or disguise-a security based not on strength but on fragility, at rest on the surface of the world like a seagull on a wave." Yet she could also sound as patriotic as anyone in the Home Office might have hoped, as in this incredible paean to her native country : 

With a nostalgia that hurt like a pain I thought of England; perhaps it was the singing of the waters in the night that brought her so poignantly before me. But it was of her people that I thought: a modest people, where this terrible nationalism is rare and one is not always being told about virtues that one likes to discover for oneself: where, almost alone in the world today, the variety of tastes and opinions, the entrancing variety of the world is still encouraged and respected. People, I thought longingly, who when they go about are able here and there to care for other and different people as much as for their own. Perhaps it is only the best of any nation that can do this, and when we owned much of the world we often sent our best: but I was not thinking of being fair in the darkness of the night. The flint, I thought, is fire and the pebble mere stone: and people are civilized when ideas, however foreign, will strike a spark inside them: and England is now perhaps among those rare and happy nations where the fierce intellectual qualities of Greece have been toned down to a native goodness like the Turkish-a mixture that could produce civilisation. If that is so, it is the treasure of treasures-and better to be conquered having it than to lack it among the threatening barbarians of our day. 


At this point in her life Stark, who was in her early seventies, began to slow her pace. After writing a fourth volume of autobiography, Dust in the Lion’s Paw (1961), she produced Rome on the Euphrates (1966), an account of the Romans' activities along one of the frontiers of their empire over a period of eight hundred years-from 200 B.C. to the Age of Justinian. Her last major travel account, the book is overly derivative and a cumbersome read, but it was an interesting topic for a woman who had lived so long as a bold adventurer on an amazing series of fronti ers. Stark admitted that she was only an amateur historian and that she could read little Greek. Why, she wondered, did the Romans fight along this rich Euphrates frontier ? Every impartial reading of the evidence suggested that it was a great blunder for two trading communities to fight over this lengthy period rather than seek mutual gain through commerce and traffic. The perennially recurring pattern in the history of northwest Asia, she wrote, is an east-west horizontal of trade cut at recurring intervals by a north-south vertical of war. Though interested in the vast movements of history, Stark seems to have been most interested in the common people. In Riding to the Tigris she had written that "the sheep, plodding through the ages, nose the ground and bury their eyes each in the coat of the one before it, kicking up their own troubles from their own soil, patient, unquestioning, and like mankind resolute to hide their faces from the goal of their marching, trusting to a shepherd that only their leader can see ." Rome on the Euphrates was inspired by a visit to a group of old women in chadors: "nothing but the hands and the eyes were left to see, but in those outstretched hands and longing eyes such love and sorrow, such timid uncomplaining hope, that I have never forgotten, and think of them, and see them as Euripides saw the Trojan Women, a background or chorus for the quarrelsome nature of man." Feted by diplomats and the powerful in many countries of the West and the East, Stark seems increasingly to have identified with the anonymous individuals who appear outside the flow of political history and completely at home in the larger flow of time.

Mavi Boncuk |

Ionia: A Quest
Published in 1954, this book was one of Freya’s first about Turkey. She describes her journey to explore history through ancient sites while observing local people deal with the after effects of the Greek population exchange 30 years earlier.

During her tour of ancient sites, she met just one tourist, which is a big difference to the hundreds of tourists that now descended on the ruins of Ephesus daily.

The Lycian Shore: A Turkish odyssey
Published in 1956, the emphasis of this book is purely on the history of the Lycian kingdom and the remains they left behind in Turkey.

Running along the southwest coast, travellers today can explore the Lycian way on foot while Freya Stark did it traveling by boat along the coastline.

Her lasting words about the Lycian remains were “There are not so many places left where magic reigns without interruption and of all those I know, the coast of Lycia was the most magical.’

Alexander’s Path
Published in 1958, this book recalls her experiences as Freya travels alone on a horse following the footsteps of the brave conqueror Alexander the Great.

Once again, she did not encounter places succumbing to the trappings of mass tourism. Instead, this is a hard-core look at the normal lives of people in a time when a woman traveling alone was unheard of.

Riding to the Tigris
This book was published in 1959 and it tells about Freya’s travels through south eastern Turkey, an area which even today is not high on any list of touristic places. She travelled alone with help from muleteers provided by the Turkish government.

She talks about chance meetings with a schoolmaster and a police escort who were excited to see the first western woman in their area. While she normally focuses on history, her tales in this book are mainly of the local people, culture, and traditions.

Rome on the Euphrates: The Story of a Frontier
Many have classed this book as one of Freya’s greatest works. Published in 1966, it is an exploration into history of the Roman Empire in the Euphrates area of Turkey

Turkey:A Sketch of Turkish History (1971)
This is a collection of Freya’s favourite places in Turkey including the diverse city of Istanbul. Written in her retirement years, she also collaborated with an Italian photographer to bring photographs to the inspiring tales of her travels.

FREYA STARK ARCHIVES Collection at the Harry Ransom Center

[1] Freya Madeline Stark was born in Paris on 31 January 1893 to Robert and Flora Stark. The elder Starks--the father of British birth, the mother born on the continent--were cousins and artists. After several years of living at Chagford, Devon and in northern Italy, Robert and Flora Stark separated, and Flora, with Freya and a younger sister Vera, remained in Italy, first at Dronero, and then at Asolo, near Venice.

Freya's fascination with exotic lands is said to have dated from her earliest reading of the British romantic poets, as well as FitzGerald's translation of the Rubaiyat. The future travel writer and explorer developed a keen interest in the Middle East, and, aided by a remarkable skill with languages, quickly began a life-long program of self-education, mastering modern European tongues and eventually classical and Oriental languages. Her principal formal education was at Bedford College, University of London, in the years 1911 to 1914.
After service in World War One as a military nurse in Italy and a postwar period of commercial gardening, Freya decided upon travel in the Near East. This decision was supported by additional language preparation at the London School of Oriental Studies, as well as by her desire to escape from her domineering mother and various family obligations.

Freya Stark's first trip to the Levant began in November, 1927 and was eventually chronicled in Letters from Syria (1942). Her small frame hid a fierce will and a hardy constitution, and Freya refused the usual cosseting tours, preferring to eat, live, and travel as the local populations did. Many of her fellow Britons feared she had gone native, but she realized this was the only path to an authentic knowledge of the Middle East and its peoples.
Stark returned to Lebanon in 1929, and eventually found her way to Baghdad, where her first published work, Baghdad Sketches, appeared in 1932. Journeys into Iran during the years 1929 to 1931 resulted in The Valleys of the Assassins (1934), her first work to achieve wide recognition. Valleys was in fact reprinted three times within a year of its appearance.

At the end of 1934, Freya Stark's first expedition into Arabia was eventually terminated when she contracted measles and, upon relapse, had to be rescued by the British Royal Air Force. Another Arabian expedition was also ended by serious illness in 1938. Despite these hardships enough was accomplished for her to publish The Southern Gates of Arabia, Seen in the Hadhramaut, and A Winter in Arabia between 1936 and 1940.

During the Second World War Freya Stark placed her knowledge of the Middle East at the service of Britain's Ministry of Information. She worked to counter Axis propaganda among the populations of the region and helped found the Arab Brotherhood of Freedom, an anti-Nazi organization.

In 1947, Freya Stark married Stewart Perowne, a British diplomat she had known since the late 1930s, and with him she moved first to Barbados and then to Libya. The marriage did not prosper, and in 1952 they separated. Despite this setback and her absence from the Middle East, Stark was able to publish three volumes of autobiography in the years between 1950 and 1953, followed by a fourth in 1961.

After Freya Stark was, in 1972, created a Dame of the British Empire she continued her arduous regimen with travel by horseback in the Himalayas, as well as rafting down the Euphrates. Only as infirmity overcame her in her final decade did she slow down. Dame Freya died a centenarian at Asolo on 9 May 1993.

Book | The Cypriot Mule Corps, imperial loyalty and silenced memory

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Image of a muleteer and pack mule from ‘The Story of the Salonica Army’ by G. Ward Price (1918). The caption reads: The steep tracks up which all ammunition, supplies and water have to be carried to much of our front line (Official photograph).


Mavi Boncuk | 




Publication date 1918 Topics World War, 1914-1918 -- Campaigns Balkan Peninsula Publisher London : Hodder and Stoughton Collection Robarts; Toronto  PDF LINK


Serving the empire in the Great War
The Cypriot Mule Corps, imperial loyalty and silenced memory
By Andrekos Varnava[1]

Format: HardcoverISBN: 978-1-5261-0367-3 Pages: 272 Publisher: Manchester University PressPrice: £75.00 Published Date: February 2017

This book contributes to the growing literature on the role of the British non-settler empire in the Great War by exploring the service of the Cypriot Mule Corps[2] on the Salonica Front, and after the war in Constantinople. Varnava encompasses all aspects of the story of the Mule Corps, from the role of the animals to the experiences of the men driving them both during and after the war, as well as how and why this significant story in the history of Cyprus and the British Empire has been forgotten. The book will be of great value to anyone interested in the impact of the Great War upon the British Empire in the Mediterranean, and vice- versa.

CONTENTS
Introduction 
1 Historiography and theories 
2 British Cyprus, 1878-1918: from backwater to bustling war
base 
3 The formation of the Cypriot Mule Corps 
4 Mule and muleteer recruitment: pushed or pulled? 
5 Contracts, challenges, hardships and the 'liminal space' 
6 Conditions for mules and muleteers 
7 Muleteer behaviour during service 
8 Veterans and their families after service
9 Remembering and forgetting the Cypriot Mule Corps
Conclusion
Select bibliography
Index

[1] Andrekos Varnava is Associate Professor in Imperial and Military History at Flinders University.


Associate Professor Andrekos Varnava, FRHistS, was born (1979) and raised in Melbourne to Cypriot-born parents, obtained his BA(Honours) from Monash University (2001) and his PhD (2006) from the University of Melbourne. He is the author of two books in the Studies in Imperialism Series, Manchester University Press: Serving the Empire in the Great War: The Cypriot Mule Corps, Imperial Loyalty and Silenced Memory (2017) and British Imperialism in Cyprus, 1878-1915: The Inconsequential Possession (2009; paperback 2012). He has edited/co-edited six volumes: The Great War and the British Empire: Culture and Society (Routledge, 2017); Australia and the Great War: Identity, Memory, Mythology (Melbourne University Press, 2016); Imperial Expectations and Realities: El Dorados, Utopias and Dystopias (Manchester University Press, 2015); The Archbishops of Cyprus in the Modern Age: The Changing Role of the Archbishop-Ethnarch, their Identities and Politics (Cambridge Scholars Publishing, 2013); The Minorities of Cyprus: Development Patterns and the Identity of the Internal-Exclusion (Cambridge Scholars Publishing, 2009); and Reunifying Cyprus: The Annan Plan and Beyond (I.B. Tauris, 2009; paperback 2011). Additionally, he has co-edited a special issue of Itinerario, 38(3), 2014. He has published many book chapters and articles in major journals, including English Historical Review(2017), The Historical Journal(2014), Historical Research(2014 & 2017), War in History(2012, 2015, 2016), Itinerario(2014), Britain and the World(2017) and First World War Studies(2017), with others forthcoming in Journal of Modern History(2018), Social History of Medicine(2019) and Contemporary British History(2020). He previously worked at the European University-Cyprus (Sept 2006-Jan 2009).

andrekos.varnava(at)flinders(dot)edu(dot)au

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See also: THE IDENTITY CONFLICT OF THE CYPRIOTS THE CYPRIOT MULE CORPS IN THE FIRST WORLD WAR by  Nur ÇETİNER

PhD student, Boğaziçi University, The Atatürk Institute for Modern Turkish History. 

This article was written based on the author’s master thesis at Sabancı University. 

Abstract 


Cypriot muleteers served in the British army in the Macedonian front during the First World War. Both Cypriot men and island mules were used in the war. Mules were used in the war due to their carrying ability under harsh geographical conditions. The British government utilized the existing economic problems in Cyprus to attract Cypriot support. For some Cypriots joining the war serving in the army was the only way to provide for the livelihood of their family. In fact, Turkish Cypriots participated in the Great War against the Ottoman Empire. Furthermore, there were differences in terms of religious creed between Greek Cypriots and the British: the Greek Cypriots were Orthodox while the British people were Protestant. Hence, both Greek Cypriots and Turkish Cypriots had some troubles about joining the Great War. Despite these differences, Greek and Turkish Cypriots set aside their national and religious feelings and were united in the same army to serve Great Britain. Another important aspect of the Cypriot Mule Corps lies in the fact that the Turkish Cypriots joined the British army not only against their former Sultan but also against their compatriots who migrated to Anatolia and were subsequently recruited to the Ottoman army. Overall, this article aims to illustrate this complex situation of the Cypriot Mule Corps from the standpoint of Cypriots and to show that people can ignore their national and religious identities when they have to. Keywords: Identity troubles, Cyprus, Cypriot Mule Corps, Muleteers. 

READ PDF

 Michalis Konstantes, Macedonian Mule Corps, Salonika Front


[2] THE CYPRIOT MULE CORP AND THE GREAT WAR
In many parts of the world there are giant monuments and shrines dedicated to the men and women who served in the Great War (1914 - 1918. In Australia we have a Shrine of Remembrance in nearly every town and city and even a public holiday to commemorate and remember the sacrifices made by so many during the First World War. There have been countless books published on the subject by many historians and academic scholars marking the Great War as one of the most significant events in the history of our planet.
Unfortunately, in Cyprus there are no monuments or plaques commemorating the Great War even though over 12,000 Cypriots served as muleteers. If not for the single-minded effort of Cypriots like Associate Professor Andrekos Varnava there would not be even a single book published about these brave Cypriot men who risked their lives to support the British armed forces at the Macedonian Front. In fact this article for Tales of Cyprus about the Cypriot Mule Corp was written largely because of the book 'Serving the Empire in the Great War' written by Varnava.
In June 1916, the French and British forces were stationed in Salonika ready to face the Bulgarian army in an attempt to liberate Serbia. The harsh conditions however and the difficult and treacherous terrain halted their advance through the Macedonian mountains. That is when General Mahon from the British Salonika Force requested the formation of a Cypriot Mule Corp.
When the Colonial government of Cyprus placed a ban on emigration (for men of military age), it forced many Cypriots to join the Mule Corp as the only way off the island and to make some money. According to Varnava, most were paid around three pounds and twelve piasters (grossi) a month plus clothes, cigarettes and food.
A quarter of the male population in Cyprus aged between eighteen and thirty-five decided to enlist and join the Cypriot Mule Corp. Most were single but around twenty-eight percent were married or engaged. Almost sixty percent came from the rural areas of Cyprus since poverty was one of the main reasons many men decided to sign up. A high proportion of those rural conscripts were Orthodox Christian while the Muslim conscripts (around 9 percent) came from the urban areas on the island such as Nicosia.
The muleteers did fifteen days basic training at a vast camp outside Famagusta before being transported in Egyptian cargo boats to Salonika.
The prospect of earning a steady wage was incentive enough however, some Cypriots signed up for the thrill of adventure. The financial stability that came with joining the Mule Corp attracted many first-born males who were often lumbered with the responsibility of taking care of their parents or grandparents or were required to contribute towards the marriage dowries of their sisters as was the custom at the time.
By the end of August 1916 over 2,200 Cypriot mules were purchased by the British Government and sent to Salonika to join the war effort there. A majority of the mules came from breeders in Platres and Nicosia. By the end of 1916 around 3000 mules, 1200 donkeys and 140 ponies were sent to Salonika. Some expects speculate that over 5000 mules and around 3000 donkeys were bought for military purposes.
Many Cypriot mule breeders profited and became very wealthy as a result of the Great War. The breeders would cross a donkey mare with a pony stallion to create a Cypriot mule. They would sell each animal for around twenty pounds. Standing between 13-14 hands high the Cypriot mule was regarded as the essential beast of burden and the ideal animal for pack transportation in the world.
With so many Cypriot men serving overseas with the British and Allied Forces the burden of looking after the family farm was left mainly to the elderly parents, wives and children. The removal of such large numbers of able-bodied men (rural workers and farmers) from the island made it difficult for many villagers to maintain a level of self-sufficiency. The agricultural resources in Cyprus were almost depleted by the military authorities who purchased great volumes of crops and food groups to feed their troops fighting in Salonika and the Balkan front. They bought almost the entire annual crop of carob beans to provide forage for the horses and pack animals. They bought 100,000 tons of wheat and barley, tens of thousands of goats and close to half a million eggs. The most important products that were bought and exported from Cyprus were potatoes, carobs (locust beans) and wood. The Forestry Department in Cyprus was the most impacted during the war with so many trees felled and sent to sawmills to meet the demand in Salonica and later Egypt. New sawmills were constructed as were roads and mountain paths.
The demand for cigarettes by the soldiers, officers and volunteers meant that tobacco began to be cultivated in Cyprus for the first time.
Many peasant farmers did in fact prosper and managed to pull themselves out of poverty as a result of selling their crops and produce to the military. Many families were able to pay off inherited debts for the first time in generations. As life became easier for many people living off the land because of the Great War, the German submarine blockade in the Mediterranean had a devastating impact on merchant shipping in the region. In 1916, the German submarines sank half a million tons of Allied shipping every month. Cyprus was forced to become self-sufficient. The cost of imported goods such as, petrol, coffee and sugar increased because of the German assault on shipping. Those who lived in towns or urban areas such as Nicosia struggled to cope with the high prices.
Before they could serve as muleteers, the Cypriot volunteers had to signed contracts that outlined the conditions of service and military law. For instance a muleteer could face execution if they were caught spying for the enemy. Fines and even imprisonment were imposed for misconduct. All volunteers were paid a monthly wage for their service during the war and received food and clothing (army uniform) for free.
The contracts also stipulated that the muleteers (and foremen) would not be entitled to any payment if they fell sick or were on leave. The most significant clause in the contract stated that no compensation would be paid to a muleteer's next of kin if they died or were wounded during their service.
With regards to salary, most volunteers agreed to have a portion of their pay sent back home to Cyprus to help their loved ones survive in their absence or to pay the interest of existing debts. Many mothers and wives whose sons and husbands had enlisted became increasingly dependent on the money sent home from abroad. Unfortunately some payments did not reach their intended destination and many families faced starvation and suffered extreme poverty. In many cases the money was overdue, held up and even stolen by government administrators or village officials. There is the sad case of muleteer Christodoulos Onoufriou who was sending around twenty-four pounds a year to his wife Athena only to discover when he returned to his village of Yeroskipou in Paphos that his wife had died and had not received any money.
The main role of the Cypriot muleteer was to transport supplies (weapons, ammunition, food, etc.) to the front line and return to their camp with any wounded or dead soldiers. The average load for a pack mule was around 160 pounds which was a ridiculous weight considering the treacherous terrain and steep ravines the poor animals had to navigate. It came as no surprise that many mules and donkeys were injured or died of fatigue. Quite a few mules became sick by contracting a contagious parasite called mange (scabies) resulting in severe skin lesions and scabs. The bitter winters and blizzards also affected the health of mules and their handlers. Many animals were also injured or killed by landmines, stray bullets and exploding shells and bombs.
The muleteers were also exposed and plagued by disease and illness such as cholera, malaria, meningitis and pneumonia. Many muleteers and officers were dismissed from duty for contracting venereal disease such as gonorrhea by visiting already infected prostitutes who worked at the many brothels located near their training camp at Famagusta. The men infected were sent to the quarantine station in Larnaca and had to pay for their treatment. The cost of quarantine was a further burden on the already dwindling savings of the unfortunate volunteers.
Vermin (fleas and lice), rheumatism, hernia and weak eyes were other main reasons why some Cypriot men were not chosen for the mule corp.
Most of the mule transportation was carried out at night making the trek along the narrow paths and steep ravines even more dangerous. Visibility was severely hampered for both man and beast with many experiencing falls or becoming stuck in swamps or icy rivers.
Hundreds of Cypriot mules were evacuated due to their poor physical condition. In the later stages of the Great War, the British and the Cypriot muleteers developed a better understanding of how to care for their animals.
After the war, the mules were either sold or transported to other areas of conflict such as Egypt and Constantinople while others were destroyed. No mules were returned to Cyprus.
Although the recruitment campaign and the advertising posters for the Cypriot Mule Corp promised adventure and a safe environment, a total of 177 Cypriots were killed during the Great War with many dying from disease and enemy fire.
I would like to thanks Andrekos Varnava for allowing me to paraphrase and use his book as reference for this article. I would also like to thank Andrekos for meeting with me to discuss key aspects of the Great War with regards to the Cypriot Mule Corp. I would like to take this opportunity to congratulate him on his incredible achievement in researching and publishing the first-ever comprehensive book about the Cypriots who served in the Great War.
I was also able to access information from the book Sweet and Bitter Island by Tabitha Morgan as well as online sources such as www.europeana.eu/portal/en and www.nationalarchives.gov.uk.
Once again, I would like to invite my readers today to shed more light on this forgotten and somewhat hidden chapter of Cypriot history.
Perhaps you had a grandfather or great, grandfather who served in the Great War. Perhaps you have a family story to share. Even better, if you have any documents or photos related to the Great War please do not hesitate to contact me.
conemmanuelle@talesofcyprus.com

Müteferrika Matbaası | Turkish Posting

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İbrâhim Müteferrika’nın terekesinden iki sayfa (İstanbul Müftülüğü Şer‘iyye Sicilleri Arşivi, Kısmet-i Askerî Mahkemesi, nr. 98, vr. 39a-b)

Mavi Boncuk | MÜTEFERRİKA MATBAASI


1727’de İbrâhim Müteferrika tarafından kurulan ilk Türk matbaası.

Müellif: KEMAL BEYDİLLİ

Erdelli bir mühtedi olan İbrâhim Müteferrika ve Yirmisekizçelebizâde Mehmed Said Efendi tarafından kurulmuş, bir müddet sonra Mehmed Said Efendi’nin devlet memuriyetleri sebebiyle bu işi bırakması üzerine İbrâhim Müteferrika tarafından tek başına yürütülmüş ve oldukça yoğun bir faaliyet göstermiş, onun ölümüne kadar (1747) ayakta kalmıştır. Matbaanın gerekliliğine dair 1726 tarihli risâlesinde İbrâhim Müteferrika, bunun eğitim alanında getireceği faydaları ve özellikle basmaların yazmalara nazaran daha ucuza elde edileceğini, basılacak eserlerin lugat, tarih, tıp, fizik, astronomi ve coğrafyaya dair olacağını, din kitaplarının basılmayacağını ve Arap harfleriyle basım imtiyazının yabancılara verilmemesi gerektiğini özellikle vurgulamaktaydı (Ersoy, s. 32-33; Sabev, s. 139-140). “Evâsıt-ı Zilka‘de” 1139 (1727 Temmuz başları) tarihli imtiyaz beratı, burada belirtildiği üzere ulemâdan dört kişinin musahhih olması ve on altı kişinin matbaayı destekleyen takrizler yazması, yerine getirilmesi icap eden resmî formaliteler olarak önemli ve gerekli görülmekle beraber bütün bunlar, muhtemelen kuruluş aşamasını çoktandır tamamlamış olan matbaaya neticede meşrû bir kimlik kazandırıyordu. İbrâhim Müteferrika kendi ifadesine göre 1719’dan beri matbaa işleriyle uğraşmaktadır ve elinden çıktığına inanılan Marmara Denizi Haritası’nın aynı tarihi taşıması bu ifadeyi destekleyen bir husus olarak kabul edilmektedir (Sabev, s. 152).

İbrâhim Müteferrika’nın Orlin Sabev tarafından bulunup yayımlanan 20 Rebîülevvel 1160 (1 Nisan 1747) tarihli tereke defterinden anlaşıldığı kadarıyla bütün matbaa mevcudatı, kâğıt topları ve basılan kitaplar onun şahsî malıdır. Terekede kaydedilen malların mirasçısı da karısı Hatice ve kızı Ayşe olup bu ikisi arasında İslâm miras hukukuna göre paylaşılmış, kitapları satma hakkı ise sadece kızına tanınmıştır. Ancak bu, Mehmed Said Efendi’nin ortaklıktan ayrılmasından sonraki durumu göstermektedir. Mehmed Said Efendi’den sonra İbrâhim Müteferrika, talebi doğrultusunda verilen beratla (1145 [1732 sonu-1733 başları]) matbaa işletmesine tek başına sahip olmuştur (berat metni için bk. Ahmed Refik, s. 123-125). Matbaanın şirket durumu ve ortakların hukukî vaziyeti hakkında çeşitli varsayımlar ileri sürülmüş, ortaklığın hangi şirket türüne girdiği tartışılmıştır. Konunun kesin olarak çözümü Şeyhülislâm Yenişehirli Abdullah Efendi’nin verdiği bir diğer fetva sûretinde görülmektedir. Burada, Mehmed Said ve İbrâhim Müteferrika’nın kâr ve zararda eşit katkılı iki ortak olduğuna ve hisse iddiasındaki üçüncü şahsın yalnızca yaptığı iş karşılığında ücret talebinde bulunma hakkı bulunduğuna karar verilmiştir. Fetvada sözü edilen üçüncü şahsın yahudi hurufatçı Yona olduğu anlaşılmaktadır. Abdullah Efendi meşihattan 30 Eylül 1730 tarihinde ayrıldığından fetvanın Mehmed Said Efendi ile İbrâhim Müteferrika’nın matbaayı müştereken yönettikleri döneme işaret ettiği açıktır. Bu fetvaya göre ikisi arasındaki ortaklık akd-i şirket tipinde, masrafta ve kârda eşitlik (mufâvada) türündendir. Her ikisinin matbaa ile ilgili ilk başvurularında, “levâzım ve mühimmatına iktiza eden mesârifi kendileri iştiraken görmek üzere” diye ifade ettiği husus esasen bu ortaklığın cinsini ortaya koymaktadır (Sabev, s. 174-176).

Bulunan tereke sayesinde matbaanın yeri, İbrâhim Müteferrika’nın evi, eşyaları, evindeki kitapları, basılı olanların yer aldığı deposu, satılan veya elde kalanların dökümü, bunların fiyatları, alacak veya borçları gibi ayrıntılar Müteferrika Matbaası ile ilgili bilinenlere yeni katkılar sağlayacak önemdedir. Buna göre İbrâhim Müteferrika’nın evi Sultan Selim Camii’nin yanında Mismârî Şücâ mahallesinde olup matbaa tezgâhları da önceleri bu evde kurulmuş, daha sonra caminin bitişiğinde, Tophane semtinde basılan kitapların da depolandığı kârgir odaya taşınmıştır. Matbaada kitap basımı için dört, harita için iki tezgâh bulunmakta ve beş kişi çalışmaktadır. Hurufatçı olarak yahudi usta Yona ile İbrâhim Müteferrika’nın kalfası kaydedilmiştir. Bu sonuncusu İbrâhim Müteferrika’nın ölümünden sonra halefi olan “Küçük” İbrâhim (1747 başlarında kadı) olmalıdır. Burada 1729-1742 arasında yirmi iki cilt halinde -Râşid ve kronolojik devamı olan Küçükçelebizâde tarihlerini müstakil saymak şartıyla- on yedi veya bir arada sayarak on altı kalem eser basılmıştır (a.g.e., s. 231), basım miktarı ise genelde 500 adettir. Bazı eserler 1000 (Tuhfetü’l-kibâr) veya 1200 (Târîh-i Seyyâh) adet basılmıştır. Basılan kitapların toplam cilt sayısı hesaplanış biçimine göre 10-11.000 adet arasında değişmektedir. Bunların % 70’i satılmış olup 2981 kitap satılmamış halde kaydedilmiştir. Basılan kitaplardan bazı örnekler Rus, İsveç, Avusturya ve Fransa hükümdarlarına hediye olarak götürülmüştür. Matbu kitapların satış fiyatlarının ise beklendiği gibi ucuz olmadığı anlaşılmaktadır.

İbrâhim Müteferrika’nın vefatından sonra matbaa işletmesi, bu işe tâlip olan Rumeli ve Anadolu kadılarından İbrâhim ve Ahmed efendilere havale edilmiş, ancak bunlar Vankulu Lugatı’nın ikinci baskısı dışında (1170/1757) bir etkinlik gösterememiş, matbaa kısa bir süre içinde kapanmış ve basım işleri tamamen terkedilerek unutulup gitmiştir. Dolayısıyla geniş bir okuyucu sayısına erişilememiş olması bu gelişmede önemli rol oynamıştır. Basılan eserlerin satış miktarından hareketle matbaanın pek de başarısız sayılamayacağını öne sürmek mümkündür. Müteferrika Matbaası’nın bir okur kitlesi hazırlamakta ve bunları matbu eserlere ısındırmakta önemli bir hizmeti yerine getirdiği inkâr edilemez. Müteferrika Matbaası’nda basılan kitaplar şunlardır: Vankulu Lugatı, Tuhfetü’l-kibâr fî esfâri’l-bihâr, Târîh-i Seyyâh, Târîhu’l-Hindi’l-garbî, Timur Tarihi, Mısır Tarihi, Gülşen-i Hulefâ, Grammaire turc, Usûl-i Hikem fî Nizâmi’l-ümem, Füyûzât-ı Mıknatisiyye, Cihânnümâ, Takvîmü’t-tevârîh, Naîmâ Târihi, Râşid Târihi, Küçükçelebizâde Âsım Târihi, Ahvâl-i Gazavât der Diyâr-ı Bosna, Ferheng-i Şuûrî.

BİBLİYOGRAFYA :

N. Jorga, Geschichte des Osmanischen Reiches, Gotha 1908, IV, 362; Fr. Babinger, Stambuler Buchwesen im 18. Jahrhundert, Leipzig 1919, tür.yer.; Ahmed Refik [Altınay], Hicrî On İkinci Asırda İstanbul Hayatı (1100-1200), İstanbul 1930, s. 123-125; Osman Ersoy, Türkiye’ye Matbaanın Girişi ve İlk Basılan Eserler, Ankara 1959, tür.yer.; G. Toderini, İbrahim Müteferrika Matbaası ve Türk Matbaacılığı (trc. Rikkat Kunt), İstanbul 1990; Kemal Beydilli, Türk Bilim ve Matbaacılık Tarihinde Mühendishâne, Mühendishâne Matbaası ve Kütüphânesi: 1776-1826, İstanbul 1995, tür.yer.; a.mlf., “Müteferrika ve Osmanlı Matbaası, 18. Yüzyılda İstanbul’da Kitabiyat”, Toplumsal Tarih, sy. 128, İstanbul 2004, s. 44-52; O. Sabev, İbrahim Müteferrika ya da İlk Osmanlı Matbaa Serüveni: 1726-1746, İstanbul 2006, tür.yer.; H. Wurm, “Entstehung und Aufhebung des osmanischen Generalkonsulat zu Wien, 1726-1732”, Mitteilungen des österreichischen Staatsarchives, XLII, Wien 1992, s. 152-187; Taner Timur, “Matbaa, Aydınlanma ve Diplomasi: Said Mehmed Efendi”, Toplumsal Tarih, sy. 128 (2004), s. 54-61.
Bu madde ilk olarak 2016 senesinde TDV İslâm Ansiklopedisi’nin EK-2. cildinde, 347-348 numaralı sayfalarda yer almıştır.

In Memoriam | Ara Güler (1928-2018)

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Mavi Boncuk | SEE MAVI BONCUK PROFILE

Ara Güler Biography  OFFICIAL SITE
(b. Istanbul August 16, 1928- d. Istanbul October 17, 2018)

Born on 16th August 1928, Ara Güler was a Turkish photojournalist, also known as Istanbul's Eye. He studied at Getronagan Armenian High School. His father owned a pharmacy, but had many friends that belonged to the world of art. Ara came into contact with these people and they inspired him to opt for a career in films/cinema. He worked in film studios and joined courses of drama under Muhsin Ertuğrul. Later, he leaned towards journalism and abandoned cinema. In 1950 he joined Yeni Istanbul, a Turkish newspaper, as a photojournalist. During the same time, he studied economics from University of Istanbul. Then he started working for Hürriyet.

In 1958 when Time-Life, an American publication opened its Turkey branch, Ara Güler became its initial correspondent. Soon enough he started to get commissioned by other international magazines, such as Stern, Paris Match, and Sunday Times, London. In 1961, he was hired by Hayat magazine as the chief photographer.

In this time, he met Marc Riboud and Henri Cartier-Bresson, who recruited him to join Magnum Photos. Ara was presented in 1961 British Photography Yearbook. In the same year, the American Society of Magazine Photographers made him the first Turkish photographer to become the member of this organization.

In 1960s, Ara’s work was used in books by notable authors as a means of illustration and were shown at different exhibitions around the world. In 1968, his work was displayed at the Museum of Modern Art in New York in a show called, Ten Masters of Color Photography. Moreover, his photographs were also shown in Cologne’s fair, Photokina in Germany. Two years later,Türkei, his photography album was published. His images related to art and its history were featured in magazines, like Horizon, Life, Time, andNewsweek.



Ara traveled for photography assignments to countries, such as Kenya, Borneo, New Guinea, India, Pakistan, Afghanistan, Kazakhstan, Iran and other cities of Turkey. In 1970s, he also took photography interviews with noteworthy artists and politicians, like Salvador Dalí, Marc Chagall, Ansel Adams, Alfred Hitchcock, Imogen Cunningham, Willy Brandt,John Berger,Maria Callas, Bertrand Russell, Pablo Picasso, Indira Gandhi, and Winston Churchill.

In addition, Ara also directed The End of the Hero, a 1975 documentary based on fiction on a World War I battle cruiser.

Ara's work is included in the collections of institutions worldwide, such as Paris's National Library of France; New York's George Eastman Museum; Das imaginäre Photo-Museum; Museum Ludwig Köln; and Sheldon Memorial Art Gallery.

Foto Muhabiri, a book by Nezih Tavlas recounts the life of Ara in a chronological method and the book also highlights 80 years history of Turkey.

Ara's philosophy on photography is that he attaches great importance to the presence of humans in photography and considers himself as a visual historian. According to him, photography should provide people with memory of their suffering and their life. He feels that art can lie but photography only reflects the reality. He does not value art in photography so he prefers photojournalism.

He has won several awards for his work, including Turkey's Photographer of the Century, 1999; Master of Leica, 1962; France's Légion d'honneur; Lifetime Achievement Lucie Award, 2009; and Turkey's Grand Prize of Culture and Arts, 2005. In 2004, he was give honorary fellowship by Istanbul's Yıldız Technical University.


Ara also published his photographic books, such as Living in Turkey; Sinan: Architect of Süleyman the Magnificent; Ara Güler's Creative Americans; Ara Güler's Movie Directors; and Ara Güler: Photographs.

Remembering | Ara Güler (1928-2018) and Karayemiş

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On Saturday, a memorial ceremony for Ara Güler  was held at Galatasaray Square in Istanbul's European side. Later, Guler's coffin was taken to Üç Horan Ermeni Kilisesi (Yerrortutyun Armenian Church) in Beyoglu district and he was buried at the Armenian Cemetery in Sisli district after the ceremony in the church. He was buried with soil from his hometown, Şebinkarahisar and Karayemiş fruit was placed in his grave.

Mavi Boncuk |  Cartoon by Ercan Akyol / Milliyet 


I was born in Istanbul on August 16, 1928 at 4:30 p.m.,” Güler begins to tell his life story. His roots go back to Shabin-Karahisar (Şebinkarahisar in northeastern Turkey): his father, Dajad Derderian (born 1896) left the town for Istanbul at the age of six. Dajad was educated at the Tarkmanchats School in the city’s Ortaköy neighborhood and sang in the Kousan choir formed by Komitas. In 1934 a law was passed requiring citizens to Turkify their last names. Dajad Derderian became Dajad Güler. The latter means “roses” in Turkish. 

Dajad settled in Constantinople. He learned pharmacology and opened his own drugstore.


Dajad and Verjin Güler at their wedding

Güler’s mother Verjin was born into the wealthy Egyptian-Armenian Shahian family. Verjin’s father owned a ship repair business in Constantinople. The family spent winters in Egypt and summers in Constantinople. It was there that Verjin met her future husband, and Ara was the couple’s only child. A maid called Aghavni took care of young Ara.



  Ara Güler with his nanny Aghavni

“One day my father said: ‘My boy, you have traveled the entire world but have never visited our village.’ We decided to go to the village. We went all around. My father looked for the family house but never found it because it was demolished. We also went to the cemetery. They had demolished it too,” Güler remembers.

On their way back Dajad remembered something he had forgotten to revisit – the fruit [1] growing in the village. “We had traveled some 200 kilometers. If we went back, we’d have lost a day. That’s why I said, ‘We’ll go another time.’ We returned to Constantinople,” says the photographer.

But a few months later Dajad fell ill and died of a heart attack. A few hours before his funeral there was a knock on the door. The two men said they were looking for Dajad Güler. “I said: ‘He died and we’re going to the funeral. You come as well.’ They said they were from Shabin-Karahisar and that they had brought something for Dajad. It was fruit, what else? They had brought fruit from the village in a box. I put the fruit in some bags and we left for the cemetery. After the ceremony, I told the priest and he said to leave the fruit with the body. My father left this world with fruit from his village,” Güler recalls. 

“The Eye of Istanbul”

Ara Güler attended the Mkhitarist School in Istanbul and continued his education at the Getronagan High School. While there he signed up for drama courses at the Muhsin Ertuğrul Theatrical Company. “My father was friends with all the theater and film people. I grew up in the theater. I wanted to become a scriptwriter. If I became one, I would have been one today. Instead, I became one of the world’s most influential journalists,” Güler says contentedly.

At the behest of his father, after high school Ara enrolled in Istanbul University to study economics. “My father had a large pharmacy employing 15. He wanted me to work there,” Ara remembers.

While at university Güler developed an interest in photography. In 1950 he started working for the Yeni Istanbul (New Istanbul) magazine. In 1958, when the influential Time-Life magazine opened a branch in Turkey, Güler became its first Near East correspondent. He also worked for Paris Match and Der Stern. In 1953, he joined the Paris Magnum photo agency. In 1961, the annual "British Anthology of Photographers" recognized Güler as one of the world’s top seven photographers. That same year he became a member of the American Society of Photographers. 

Güler has traveled and worked on all continents. As a journalist, he photographed the Mindanao and Eritrea wars. He visited Armenia several times. “I was there also in the Soviet times. I have photographed all the churches In Armenia. It is very important,” he says.

Ara Güler’s work has been published in scores of prominent magazines and books and won multiple awards. His exhibitions have traveled the world over. Many of his books have seen several print runs. “If it weren’t for those photos, no one would recognize Istanbul. No one was photographing Istanbul except for the shots taken by one or two French and German soldiers during the occupation. But they weren’t of value,” he boasts. Now in his 90s, Güler is convinced that the real journalists are photojournalists. But he hasn’t opened a gallery because “a reporter has no time for such things.” SOURCE 

AURORA VIDEO 

[1] Karayemiş [*]| Prunus laurocerasus (Rosaceae Family) "Taflan", "Gürcü kirazı", "Laz kirazı", "Laz üzümü", "Laz yemişi", "Tanal" Giresun,"Tçkoo" Artvin, "Trabzon Kirazı".

Prunus laurocerasus, also known as cherry laurel, common laurel and sometimes English laurel in North America, is an evergreen species of cherry (Prunus), native to regions bordering the Black Sea in southwestern Asia and southeastern Europe, from Albania and Bulgaria east through Turkey to the Caucasus Mountains and northern Iran.

[*] Karayemiş ilk olarak 1546 yılında Fransız Pierre Belon (1517–1564) tarafından Trabzon'dan toplanmış ve Cerasus trapezentuna ( Trabzon Kirazı ) olarak adlandırılmıştır. Bitki aynı yıl, İstanbul üzerinden İtalya'ya; 1574'te de Clusius tarafından Viyana'ya getirilmiş, oradan da Fransa ve İngiltere'ye gönderilmiştir. Budanarak şekil verilebilmesi, dökülmeyen parlak koyu yeşil yaprakları ve kokulu beyaz çiçekleri ile taflan, 1600 yılından itibaren tüm Avrupa'da park ve bahçelerde yetiştirilmeye başlanmıştır. Günümüzde büyüme biçimi, yaprak boyut ve şekli, kışa dayanıklılık açısından farklı 20 kadar taflan kültürvarı vardır.

Pierre Belon (1517–1564) was a French traveler, naturalist, writer and diplomat. Like many others of the Renaissance period, he studied and wrote on a range of topics including ichthyology, ornithology, botany, comparative anatomy, architecture and Egyptology.

Belon studied botany at the University of Wittenberg (1540) and, under the patronage of François, Cardinal de Tournon, embarked on a tour of eastern Mediterranean countries (1546–48) in order to identify animals, plants, places, and objects described by ancient writers. He hoped to find the remains of Homer's Troy in the Levant. In the resulting work, Les Observations de plusieurs singularitez et choses mémorables . . . (1553; “Observations of Several Curiosities and Memorable Objects . . .”), he described many animals, plants, drugs, customs, arts, and ruins previously unknown to Europeans and established an itinerary followed by scientific travelers for nearly three centuries afterward.  

He is sometimes known as Pierre Belon du Mans, or, in the Latin in which his works appeared, as Petrus Bellonius Cenomanus. Ivan Pavlov called him the "prophet of comparative anatomy".

His  discussion of dolphin embryos and systematic comparisons of the skeletons of birds and humans mark the beginnings of modern embryology and comparative anatomy. Although based on the taxonomy of Aristotle, Belon’s L’histoire naturelle des éstranges poissons marins (1551; “Natural History of Unusual Marine Fishes”), much of which is devoted to a discussion of the dolphin, and L’histoire de la nature des oyseaux (1555; “Natural History of Birds”), illustrating, classifying, and describing about 200 species, include original observations and concepts that made a deep impression on contemporary and later science. 

Belon was murdered by unknown assailants in the Bois de Boulogne. 

Article | The case of Mesut Özil

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Mavi Boncuk |SOURCE

The case of Mesut Özil as part of an Established-Outsiders Figuration
by Adrian Jitschin


Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?

Shakespeare, The Merchant of Venice, Act 3, Scene 1, Page 3

Germany’s withdrawal at the World Cup followed a debate over the “guilt”. Which of the players and coaches was responsible for the fact that the team had not done better. First of all: Anyone who uses such a term as “Mannschaft” as long as he is successful, but then beginning to distance himself from each other in a setback, is not authentic. He exposes himself as superficial.

What is particularly notable in this case is the fact that the debate is focused on one player. Mesut Özil is being blamed. Anyone who has seen the games, has noticed that other players like Thomas Müller and Joshua Kimmich have also shown a poor performance. But these players are not being attacked, just as these players are now silent when their teammate Özil is attacked. To justify the attacks on Özil a photo is used, which shows him together with the Turkish President. This photo was taken before the nomination for the tournament. Officials of the association had stated that this image was no reason not to nominate Özil. Now after the tournament, the same officials attack him. An unbearable witch hunt has begun.

Özil, who was born in Gelsenkirchen, was in their eyes “not a real German“. What the sporting value of a “real German” should be, is not explained. In France, no real German played and still, the team became world champion. And in 2014, the same Özil became Germany’s world champion. He was cheered. In essence, it’s not about whether a young man is a “real German”. It’s about whether he brings success. If he brings it, he is German. If he does not bring him, then he is being attacked. One person should not feel connected to another country. “Germany Germany above everything, About Everything in the World “- with this line of text, the German army moved into two world wars. A man who likes another nation is considered unpatriotic. That the internationals Podolski and Klose attended special events at the European Championships in their native country Poland, was tolerated. That Özil took a photo opportunity with the president of the home country of his parents, is considered a sacrilege. Again said: Özil has by no means called his support for his policy, he met him only again for a photo.

But he has exceeded the limits of what he as “German-Turk” allowed. Someone who, like Özil, grew up on the football fields of the Ruhr area knows that he did not start on equal terms with his classmates who had German names. No individual grows up without an identity being anchored to his group. For Özil, who had neither in the education system nor the labour market the same opportunities as them, football was a way out. Here he was able to show what he could, where he could develop his individual qualities, where it did not matter whether he was named Özil, Maier or Burdenski. It seemed all too good – becoming a professional football player in the age of 18, an international when being 19. For a moment, it seemed as if he had escaped the prejudice of his childhood. As long as Germany was successful at international tournaments, the players were untouchable. When the right-wing politician Gauland started an attack on the dark-skinned footballer Boateng in 2016 he had no success. Again here: A player of the German national team, born in Berlin, son of a German mother. But dark skin. And Gauland said he did not want to live next to the man. He should have refrained from doing so. Boateng played a strong season, was elected the best German footballer in the end. But what if Boateng would have scored a decisive own goal? Would we have had this debate already in 2016?

The mechanisms of discrimination have been described by Norbert Elias. In 1965 he published first his studies on established and outsiders. An individual is picked out, together they take action against him. “Common to all these cases is that the more powerful group sees themselves as the ‘better’ people,” Elias wrote. Attention is drawn to the secondary aspects of figuration and subtracting it from the main aspects. The decisive factor is that power is passed on to the discriminating group.

If the German Foreign Minister declares that “the case of a millionaire living in London” would not be “the fate of millions of Germans of Turkish origin“, it is precisely this kind of group dynamic. Özil is debarred, isolated, seemingly factually done. The signal to millions of Germans whose ancestors came from Turkey is: No matter how much you reach, we Majority Germans will get you pulled down. We work in the group to put you in your place. If you are a multimillionaire, you have to be thankful. Nothing you have achieved goes back to your personal qualities.

People who did their utmost to advance to the standards of decency and respectability experience that if they do not reach the needs of everyone else by reaching these standards, they will be singled out and attacked. From the side of the attackers, even people who are generally considered to be sociable and diplomatic in their role as individuals are unfriendly, hateful and inexorable.
Such an exchange always has two sides. A page that talks badly about people and other people being talked about. People can mute the people they talk about by giving them a polluting group name. “German-Turk” is such a word. Whoever is so called cannot fight back. Slander involving such an inferiority symbol mobilizes an apparatus of the ruling, socially dominant group. What emerges as criticism of a thing soaks the debate with collective national pride that excludes certain people.

Adrian Jitschin

For further reading: Norbert Elias, John L. Scotson: The Established and the Outsiders.

Word Origin | Market, Pazar, Bonmarşe, Mağaza, Mahzen, Hazine

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Mavi Boncuk |

Market: market from EN market[1] çarşı, pazar from L mercatus ticaret, çarşı  L mercari (to sell) satmak L merx, merc- ticari mal, meta

Oldest source:  süper market [ Milliyet - gazete, 1953]
Alınan karara göre Belediye ... şehrin birçok semtlerinde Amerika'da ve Avrupa'da 'Süper market' adı verilen çok büyük mağazalar açacaktır.
marketing "pazarlama" [ Milliyet - gazete, 1957]
Ege Üniversitesi ... Marketing kürsüsü
Similar: grosmarket, hipermarket, marketing, minimarket

Pazar: fromFA bāzār بازار çarşı veya pazar, alışveriş edilen yer oldFA vāzār a.a. (= Sogdian vāçarn  ) oldFA vahā-çarāna- alışveriş-yeri

Oldest source:  pazar günü [ Meninski, Thesaurus, 1680]

bāzār güni: yevmül ahad. (...) bāzār irtesi vel ertesi: düşembe.
pazarlık [ Ahmed Vefik Paşa, Lehce-ı Osmani, 1876]
bazarlık: Müsaveme. İçten bazarlıklı.

Armenian vacaŗ վաճառ "ticaret" biçimi Eski Farsçadan alıntıdır. HUN vásár  HUN vásárnap "pazar günü".

See: bezirgân

Bonmarşe:"büyük mağaza" [ Ahmed Rasim, Şehir Mektupları, 1898] o efendiyi bonmarşeden dışarıya attıracak. Lakin yağma mı var?

Au Bon Marché [6] c. 1880' on Grand Rue de Pera, Istanbul.

Mağaza:"gemi ambarı" [ Kahane & Tietze, The Lingua Franca in the Levant, 1453] "dükkân" [ Kırlı, Sultan ve Kamuoyu, 1840]

GR magaziá μαγαζιά  GR magazí μαγαζί  ambar, gemilerde ticari eşya deposu Venetiano magazín from AR maχāzin مخازن  mahzenler AR maχzan مخزن  

IT magazzino FR magasin from Venetiano.

Mahzen:  [ Gülşehri, Mantıku't-Tayr, 1317] pâdİşâhuŋ maχzeninde yoğ-idi / bir iki gevher ki bunda çoğ-idi [ Mercimek Ahmed, Kâbusname terc., 1432] ve göŋlini sırrına maχzen itmek gerek
fromAR  maχzan مَخْزَن  hazine yeri, depo AR χazana خَزَنَ 9he stored) depoladı


Hazine: [ Kutadgu Bilig, 1069] kamuġ neŋ χazīna ülegil barın [tüm malını varını hazineni paylaştır] (...) kalın kaznak ursa bu altın kümüş [altın ve gümüşten zengin bir hazine toplasa][ Codex Cumanicus, 1303]
Ave teŋrinin kaznasi [selam sana tanrının hazinesi (Meryem)][ Ebu Hayyan, Kitabu'l-İdrak, 1312]

kazna: al-χazāna wa hiyy mutarraka [[hazine, bu sözcük Türkçeleşmiştir]]hazinedar [ Aşık Paşa, Garib-name, 1330]
kanı göŋlüm kim χazīnedār-ıdı[ Meninski, Thesaurus, 1680]
χazīne (p[ers].) pro ar[ab]. χazāne vul. 

hazna[ Şemseddin Sami, Kamus-ı Türki, 1900]
χazīne, tr. zebanzedi χazne
AR χazāna(t) خزانة  gömü, depo, kıymetli eşya veya para konulan yer ~oldFA ganz/gazn/gazīnag oldFA gaza/ganza- 

[1] market (n.) early 12c., "a meeting at a fixed time for buying and selling livestock and provisions," from Old North French market "marketplace, trade, commerce" (Old French marchiet, Modern French marché), from Latin mercatus "trading, buying and selling, trade, market" (source of Italian mercato, Spanish mercado, Dutch markt, German Markt), from past participle of mercari "to trade, deal in, buy," from merx (genitive mercis) "wares, merchandise."

This is from an Italic root *merk-, possibly from Etruscan, referring to various aspects of economics. Meaning "public building or space where markets are held" first attested mid-13c. Sense of "sales, as controlled by supply and demand" is from 1680s. Market value (1690s) first attested in writings of John Locke. Market economy is from 1948; market research is from 1921.

[2] store (v.) mid-13c., "to supply or stock," from Old French estorer "erect, construct, build; restore, repair; furnish, equip, provision," from Latin instaurare "to set up, establish; renew, restore," in Medieval Latin also "to provide, store," from in- "in" (from PIE root *en "in") + -staurare, from PIE *stau-ro-, suffixed extended form of root *sta- "to stand, make or be firm" (compare restore). The meaning "to keep in store for future use" (1550s) probably is a back-formation from store (n.). Related: Stored; storing.

store (n.) c. 1300, "supplies or provisions for a household, camp, etc.," from store (v.) or else from Old French estore "provisions; a fleet, navy, army," from estorer or from Medieval Latin staurum, instaurum"store." General sense of "sufficient supply" is attested from late 15c. The meaning "place where goods are kept for sale" is first recorded 1721 in American English (British English prefers shop (n.)), from the sense "place where supplies and provisions are kept" (1660s).
The word store is of larger signification than the word shop. It not only comprehends all that is embraced in the word shop, when that word is used to designate a place in which goods or merchandise are sold, but more, a place of deposit, a store house. In common parlance the two words have a distinct meaning. We speak of shops as places in which mechanics pursue their trades, as a carpenter's shop a blacksmith's shop a shoemaker's shop. While, if we refer to a place where goods and merchandise are bought and sold, whether by wholesale or retail, we speak of it as a store. [C.J. Brickell, opinion in Sparrenberger v. The State of Alabama, December term, 1875]
Stores "articles and equipment for an army" is from 1630s. In store "laid up for future use" (also of events, etc.) is recorded from late 14c. Store-bought is attested from 1912, American English; earlier store-boughten (1872).

[3] bazaar (n.) 1580s, from Italian bazarra, ultimately from Persian bazar (Pahlavi vacar) "a market," from Old Iranian *vaha-carana "sale, traffic," from suffixed form of PIE root *wes- (1) "to buy, sell" (see venal) + PIE *kwoleno-, suffixed form of root *kwel-(*) "revolve, move round; sojourn, dwell."

(*) kwel- also *kwelə-, Proto-Indo-European root meaning "revolve, move round; sojourn, dwell." It forms all or part of: accolade; ancillary; atelo-; bazaar; bicycle; bucolic; chakra; chukker; collar; collet; colonial; colony; cult; cultivate; culture; cyclamen; cycle; cyclo-; cyclone; cyclops; decollete; encyclical; encyclopedia; entelechy; epicycle; hauberk; hawse; inquiline; Kultur; lapidocolous; nidicolous; palimpsest; palindrome; palinode; pole (n.2) "ends of Earth's axis;" pulley; rickshaw; talisman; teleology; telic; telophase; telos; torticollis; wheel. It is the hypothetical source of/evidence for its existence is provided by: Sanskrit cakram "circle, wheel," carati "he moves, wanders;" Avestan caraiti "applies himself," c'axra "chariot, wagon;" Greek kyklos "circle, wheel, any circular body, circular motion, cycle of events,"polos "a round axis" (PIE *kw- becomes Greek p- before some vowels), polein "move around;" Latin colere "to frequent, dwell in, to cultivate, move around," cultus "tended, cultivated," hence also "polished," colonus "husbandman, tenant farmer, settler, colonist;" Lithuanian kelias "a road, a way;" Old Norse hvel, Old English hweol "wheel;" Old Church Slavonic kolo, Old Russian kolo, Polish koło, Russian koleso "a wheel."

[4] magazine (n.) 1580s, "place for storing goods, especially military ammunition," from Middle French magasin "warehouse, depot, store" (15c.), from Italian magazzino, from Arabic makhazin, plural of makhzan "storehouse" (source of Spanish almacén "warehouse, magazine"), from khazana "to store up." The original sense is almost obsolete; meaning "periodical journal" dates from the publication of the first one, "Gentleman's Magazine," in 1731, which was so called from earlier use of the word for a printed list of military stores and information, or in a figurative sense, from the publication being a "storehouse" of information.

[5] During the Second Empire in France, commercial sales premises grew to become temples of shopping for the urban middle classes. The first, and perhaps the most emblematic of these “grands magasins” or department stores, was "Le Bon Marché", which opened in 1852, to be followed thirteen years later by "Printemps" (1865), and "La Samaritaine" in 1870. 

Le Bon Marché (lit. "the good market", or "the good deal" in French) is a department store in Paris. Founded in 1838 and revamped almost completely by Aristide Boucicaut in 1852, it was the first ever modern department store. Now the property of LVMH, it sells a wide range of high-end goods, including food in an adjacent building at 38, rue de Sèvres, called La Grande Épicerie de Paris.

A novelty shop called Au Bon Marché was founded in Paris in 1838 to sell lace, ribbons, sheets, mattresses, buttons, umbrellas and other assorted goods. It originally had four departments, twelve employees, and a floor space of three hundred square meters. The entrepreneur Aristide Boucicaut became a partner in 1852, and changed the marketing plan, instituting fixed prices and guarantees that allowed exchanges and refunds, advertising, and a much wider variety of merchandise.


(pictured) Au Bon Marche ad in L'Orient : revue franco-hellénique : organe spécial des intérêts grecs / N. Nicolaïdès, directeur-fondateur. L'Orient, a weekly published in Paris by Nicolas Nicolaïdès who was considered to be (and effectively was) a Hamidian agent

L'HISTOIRE DU BON MARCHÉ

A l’image d’un Paris du 19e siècle où tout bouge, tout change, tout s’invente, la création du premier Grand magasin parisien Le Bon Marché bouscule les traditions. En 1852, Aristide Boucicaut, fils de chapeliers, monté à Paris pour être calicot, comprend vite qu’il y a une place pour un nouveau commerce, proposant plus de choix aux acheteurs… Il transforme, avec son épouse Marguerite, une simple échoppe en un "grand magasin" parisien singulier au large choix où l’on entre librement et déambule sans être importuné. Le Bon Marché est né et les innovations se multiplient : prix fixes, marges réduites, livraison à domicile, échange d’articles, vente par correspondance, mois du blanc, soldes, concerts privés, coin bibliothèque… Dans le monde entier, on s’inspire bientôt du modèle commercial inventé par ce couple précurseur et révolutionnaire. Au début de l’année 1875, une galerie de tableaux est ouverte. Cette merveilleuse installation est généreusement mise à la disposition des peintres et sculpteurs qui désirent y exposer leurs œuvres et se mettre ainsi en rapport avec la nombreuse clientèle qui afflue au Bon Marché. La maison se fait l’intermédiaire gratuit et obligeant entre les artistes et les amateurs.




 [6] Au Bon Marche was used as an important address for locating businesses nearby.

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