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Graphics for 2014 Presidential Elections

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Quick comments. Offshore voting improved RTE votes. Offshore voting turnout was low to have a meaningful analysis. Especially Canada and USA seems like an anomaly. The 76% eligibility block in Europe voted for RTE in larger percentages.

Mavi Boncuk | 

click the image to see full size


Joseph Stiglitz Considers Turkey Lucky

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Nobel laureate in economics, Joseph Stiglitz[1] said Turkey could be considered lucky in not having an abundance of natural resources, while addressing officials and economists in Istanbul on Monday.

Mavi Boncuk | 

"Turkey perhaps has good fortune of not having many natural resources, unlike many countries in Africa," said Stiglitz during his keynote address at the UN Development Program conference on "The Role of Private Sector in Poverty Reduction and Social Inclusion."

He argued that an abundance of natural resources created high revenues but low employment. This, he explained, harms the social equity needed for healthy growth.

He added that an abundance of natural resources generally caused lack of competitiveness for exports because of the high national currency. 

The Columbia University professor, once chief economist at the World Bank, also underlined the need for public investments, claiming they were "complementary" to private investment 

"We need systems of taxes (...) to generate the revenues that are necessary to finance public investment," said the renowned economist and cited Sweden as an example of a successful economy boasting shared prosperity and fair economic growth.

Stiglitz also argued for a strong legal system to protect growth and encourage investment:  "When you don't have property rights or an independent judiciary, then you don't know when you will fall out of favor and lose your investment," he said.

According to Stiglitz, the major key for sustainable growth is shared prosperity and tackling social inequalities.

www.aa.com.tr/en - Istanbul

SEE ALSO: Tapping the Brakes: Are Less Active Markets Safer and Better for the Economy?
" My views on capital market liberalization were shaped not only by the theoretical and empirical research described in this paper (see also, for instance, Hellman, Murdoch, and Stiglitz, 1998, 2000), but by my firsthand involvement in a large number of financial crises (East Asia, Argentina, Russia, Turkey), in many of which the flows of short-term capital that had resulted from capital market liberalization played a central role. See Furman and Stiglitz (1999) and Stiglitz (1999). "


[1] Joseph E. Stiglitz holds joint professorships at Columbia University’s Economics Department, School of International and Public Affairs, and its Business School. From 1997 to 2000, he served as the World Bank’s Senior Vice President for Development Economics and Chief Economist. From 1993 to 1997, Dr. Stiglitz served as a member and then as the Chairman of the President’s Council of Economic Advisers and as a member of the President’s cabinet. He was first appointed Professor of Economics at Yale University in 1969 at the age of 26. He held the Drummond Chair in Political Economy at All Souls College, Oxford, and has also taught at Princeton and Stanford Universities and been a senior fellow at the Brookings Institution.
Dr. Stiglitz earned his B.A. from Amherst College in 1964, his Ph.D. from the Massachusetts Institute of Technology (MIT) in 1967, and was a Fulbright Scholar and Tapp Junior Research Fellow at Cambridge University.
As an academic, Dr. Stiglitz helped create a new branch of economics—“The Economics of Information”—which has been widely applied throughout the economics discipline. Dr. Stiglitz helped pioneer pivotal concepts such as theories of adverse selection and moral hazard, which have now become the standard tools of policy analysts as well as economic theorists. In 2001, Dr. Stiglitz was awarded the Nobel Prize for his work in this area.  SOURCE

Europes Best, Turkish Airline 1Q Results

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Turkish Airlines, the country's national flag-carrier, started direct flights into Eritrea's capital Asmara on Tuesday, increasing its number of destinations on the African continent to 42. Turkish Airlines will begin non-stop service between San Francisco International Airport (SFO) and Istanbul on April 13, 2015, with flights operating five days per week to Istanbul using Boeing 777 aircraft with plans to increase service to daily flights on May 11, 2015. Flights between SFO and Istanbul will operate the 13-hour flight using Boeing 777-300ER aircraft seating a total of 337 passengers, made up of 28 business class and 309 economy class seats– no first class. 

Turkish Airlines flies to 260 cities and 263 airports in 108 countries. The company owns a number of 263 planes, including 200 narrow-body, 54 wide-body aircraft and 9 cargo planes. Turkish Airlines was named ‘Europe’s Best Airline Company’ for the fourth consecutive year on July 2014, according to Skytrax’s 2014 passenger evaluations. 

According to the statement, the company continues to aim in being one of the world’s leading five-star airlines, by increasing its service quality and by maintaining a healthy financial structure focused on profitable growth.


Turkish Airlines announced that its operating net income reached 495 million Turkish lira and the net income 398 million Turkish lira in the year’s second quarter more than double its profit in the same period a year earlier and beating the 260 million lira average forecast in a Reuters poll. Revenues in the period rose to 6.14 billion lira from 4.61 billion a year earlier, also beating a poll forecast of 5.93 billion.

Turkish Airlines carried 26 million passengers in the first six months of 2014, having the capacity measured in Available Seat Kilometers (ASK) rise 19 percent, and the Revenue Passenger Kilometer rise 19 percent as well. but revenues grew by only 15%. RASK was particularly weak in the domestic market, due to capacity growth (especially at Sabiha Gökçen, where it competes with LCC Pegasus[1]) and currency weakness, and was also affected by the shift of Easter into April in 2014.

The company’s passenger load factor stood at 79 percent, the airlines statement said. The number of transit passengers from abroad increased by 28 percent comparing to the same period last year, having the total number of international passengers increase to 44 percent.

THY says that booking trends indicate a positive demand outlook and yield pressure should ease in 2H2014 after further weakness in 2Q2014. Losses in the seasonally weak first quarter are not unusual and the year 2014 should certainly end with THY in the black, but it looks likely to see a lower operating profit than in 2013. Turkish Airlines’ goal is to fly 60 million passengers this year, Hamdi Topçu, the board chairman, has said. This, according to him, would represent an increase of a quarter on last year’s figure of 48.3 million. 

No company that grows at double digit rates of volume growth can guarantee an ever upward path of profitability, but CEO Temel Kotil highlighted his priorities when he told analysts and investors at a presentation in Istanbul that the most important things were "profit, profit, profit".

[1] Pegasus has one of the lowest levels of unit cost among European airlines. It has successfully used its low cost base to offer low fares, thereby stimulating strong double digit growth in passenger numbers, both in the Turkish domestic market and on international routes. An IPO in 2013 strengthened its balance sheet and provided liquidity to help fund an order book that includes 75 A320neo family aircraft.

However, after increasing its annual operating profit in 2013, a pattern of deteriorating profitability began in 4Q2013 and has continued into 1Q2014 with a significant widening of losses. The weaker TRY played a part in this and the winter quarters are seasonally weak for demand and profits, so they do not always indicate full year trends. Nevertheless, this reversal of profit trends cannot be dismissed so easily.


Rival Turkish Airlines is growing capacity in Pegasus' main hub at Sabiha Gökçen, placing significant pressure on yields, and this increases the need for Pegasus to seek further cost savings.

PKK and German Connection | Monument(al) Errors

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PKK and German Connection | Monument(al) Errors. 

German Secret Service always kept a close eye on Turkey and the activities of PKK. domestically and internationally. 

The German government faced an angry reaction from Turkey and accusations of hypocrisy from its own opposition. German weekly Der Spiegel reported on Sunday that Germany's BND | Bundesnachrichtendienst secret service[*] had spied on Turkey since 2009  after its large trading partner and NATO ally.

[*]The BND acts as an early warning system to alert the German government to threats to German interests from abroad. It depends heavily on wiretapping and electronic surveillance of international communications. It collects and evaluates information on a variety of areas such as international non-state terrorism, weapons of mass destruction proliferation and illegal transfer of technology, organized crime, weapons and drug trafficking, money laundering, illegal migration and information warfare.

Mavi Boncuk | 

 On Tuesday an armed conflict broke out between Turkish security forces and Kurdistan Workers' Party (PKK) members in Lice, near Diyarbakır. Tension over a statue of one of the first commanders of the PKK, Mahsum Korkmaz[1], which has been erected in a cemetery in Lice, turned into an armed confrontation. 

Other monuments[2] were erected before including the remains of Andrea Wolf (Kurdish nickname: Ronahî, born January 15, 1965 in Munich, died October 23, 1998 in Çatak, Van province, Turkey) was a former Baader-Meinhof terrorist and radical leftist activist[3]. She was a PKK (ARGK) militant in the Kurdish women’s army YAJK | Yekitiya Azadiya Jinen Kurdistan.

Four known German nationals who trained in PKK camps and were actively fighting in the military units of the Kurdish organizations were Eva (code name Kani) Juhnke,  Vera (code name Medya) Heesne, Ulrich (code name Cektar) Maichle, and Jorg Ulrich.




"A group of 40 PKK terrorists attacked yesterday security forces carrying out operations in Hatay province. Six PKK terrorists and two soldiers were killed in the clashes. One soldier who has wounded has been hospitalized.


At the same time, the trial of Eva Junke, a German national suspected of fighting together with the PKK terrorist organization, began yesterday in Van. Junke was caught during clashes between the Turkish Armed Forces and the PKK terrorist organization last September" Turkish Press Review, 98-03-20

See Also:Trial Statement By Eva Juhnke | Eva (code name Kani) Tatjana Ursula Juhnke (Convicted to 15 years in jail in 1998 and was released in 2004. She was returned to Germany. She sued the Turkish Government.



Through blackmail, threats, and violence, it continues to collect funds from the hundreds of thousands of Kurds in Germany, the Netherlands, and elsewhere, and it receives massive amounts of money from its drug and illegal migrant trafficking there. The PKK operations in Western Europe were led by relatively well-educated people with extensive international support from governments (Greece having been the most prominent) and groups in Western countries (Germany, Benelux, and Scandinavian states). Some local government, such as the Basques’ in Spain, openly supported the PKK, its terrorist methods notwithstanding. Prominent leftist government parties and individuals in Italy, Russia, and Greece publicly helped Ocalan during his failed attempts to find political asylum, and most of the remnants of Germany’s Marxist terrorists supported and occasionally participated in PKK combat operations.

[1]Mahsum Korkmaz b.Silvan 1956 , Turkey d. March 28, 1986 Mount Gabar. 

Mahsum Korkmaz, also known as Agit, was the first commander of the Kurdistan Workers' Party (PKK)'s military forces. He is known to have led the 15 August 1984 PKK attacks which was the start of the PKK's armed rebellion for Kurdish independence. He was killed under controversial conditions on March 28, 1986, by an assasin on the orders of PKK leadership or by Turkish forces.

The PKK's main training facility during the 1980s and early 1990s, the Mahsum Korkmaz Academy, which was located in the Lebanon's Beqaa Valley was named after him. Today, Mahsum Korkmaz is honored in the form of many commemoration days by the Kurdish Movement.

[2] A monument has been constructed in the village of Kelahêrê (Andiçen) in Wan’s Çatak district for 24 PKK (Kurdistan Worker’s Party) combatants who fighting Turkish Army units on October 23,  1998. 

[3] There was a warrant out for Andrea Wolf  in Germany, as she was accused of having participated in terrorist activities, more precisely the complete destruction of the deportation prison in Weiterstadt by a huge detonation. She was suspected of having assisted the Red Army Fraction in carrying out the attack. Destroyed prison in Weiterstadt, 1993. At this point, in 1996, she chose to go to Kurdistan in order to join the womens’ army of the so-called PKK. She took on the name “Ronahi,” trained, and lived with the womens’ army for quite a while, mostly in camps in Northern Iraq.

2014 Adana Golden Boll Film Festival | National Slate

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International Adana Golden Boll Film Festival | National Slate
Mavi Boncuk |

The line-up of titles selected for the National Feature Film Competition of the eagerly anticipated 21st Golden Boll Film Festival has been unveiled. Of the 45 submissions received, 12 have been selected to screen in the competition. The entry named Best Film by the competition jury will be awarded a cash prize worth TL 350,000.


The 21st Golden Boll Film Festival, which is to be held from 15-21 September 2014, has announced its official selection for the National Feature Film Competition. As always, the competition welcomed a high level of interest, and of the 45 submissions received, 12 titles have been selected to compete.


In a related statement the Mayor of Adana, Hüseyin Sözlü, noted the film industry’s enthusiastic response to the National Feature Film Competition, which is held as part of the Festival, and wished all the selected entries the best of luck. Mr. Sözlü added that Adana would continue to bolster its support for Turkish cinema.


Golden Boll Competition Line-up:


Balık (Fish) – Derviş Zaim

Beni Sen Anlat (You Tell About Me) – Mahur Özmen
Deniz Seviyesi (Across the Sea) – Nisan Dağ, Esra Saydam
Firak (Firak) – Halil Özer
Gittiler: Sair ve Meçhul (Gone ‘the Other and Unknown’) – Kenan Korkmaz
İçimdeki Balık (The Fish in Me) – Ertan Velimatti Alagöz 
Neden  Tarkovski Olamıyorum? (Why Can’t I Be Tarkovksy?) – Murat Düzgünoğlu 
Nergis Hanım (Mrs. Nergis) – Görkem Şarkan
Silsile (Consequences) – Ozan Açıktan
Toz Ruhu (Spirit of Dust) – Nesimi Yetik
Yağmur – Kıyamet Çiçeği (Rain; the Flower of Doom) –  Onur Aydın 
Yola Çıkmak (Setting Off) – Evren Erdem

Seven of the competition titles are debut films, while another eight will have their Turkish premieres in the course of the Festival.


FESTIVAL JURY

Chaired by Reha Erdem, the jury will be made up of the following members: Nida Karabol, a prominent producer from the new generation of Turkish women filmmakers whose 11’e 10 Kala (10 to 11’) was a Golden Boll winner 2009; young director Mahmut Fazıl Coşkun, who won Best Film at the Golden Boll last year with Yozgat Blues;Ahu Türkpençe, who picked up Best Actress award at the 20th Golden Boll Film Festival; successful actor Ayberk Pekcan, who starred in this year’s Palme d’Or winner, KışUykusu (Winter Sleep); and Tamer Çıray, a musician who has worked on numerous memorable films, among themGönül Yarası (Lovelorn) and Av Mevsimi (Hunting Season).










1920 | "Kaç Kaç" Incident

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Pictured
French Armenian Legion 
Armenian Soldiers of French Army in Cilicia
Armenian Volunteers SOURCE

Before the Y(E)zidi incident in Iraq, the Turks of Adana faced similar atrocities.


Mavi Boncuk |

"Kaç Kaç" incident (Turkish: Kaç Kaç olayı, Flee Flee! incident,Kaç literally means escape) is a popular phrase referring to the escape of 40,000[1] Turkish people from Çukurova during the French occupation. 

Çukurova (Cilicia of antiquity) is a loosely defined region in south Turkey which covers most of the modern Turkish provinces of Mersin, Adana, Osmaniye and a part of Hatay. The Ottoman Empire was defeated in World War I. Vast territories of the empire in Arabic countries were annexed by the British and the French empires according to the Sykes–Picot Agreement. The war was ended by the Armistice of Mudros on 30 November 1918; however, even after the armistice, the allies continued their advance and the most prosperous territories of Turkey were allocated to Greece, Italy, France, and Armenia. Çukurova in South Turkey was one of the first territories in Turkey to be occupied by the allies. 

The British were the first to send their forces to Cilicia after the armistice. The British thought they could hold on to Cilicia even though that was contrary to the 1916 Sykes-Picot agreement by which Britain and France had practically divided the Levant between themselves. The agreement stated that, in the event of an Allied victory, France was to acquire Syria together with Cilicia and other territories in eastern Anatolia and Mesopotamia. Towards the end of December 1918, a French civil administration with small French military contingents was installed in Cilicia. After the initial British landing in Mersin, on 17 December 1918, the whole of Çukurova was occupied by the British troops; from 1 January 1919, they were replaced by French troops. However, because of the lack of sufficient forces, the British remained for one more year.

The Allied headquarters divided the Levant into four occupational territories. Cilicia comprised the Northern Occupation Territory with the city of Adana as its administrative center. Colonel Edouard Bremond, whom the French government named administrator-in-chief of Cilicia, arrived in Adana on February 1, 1919, and assumed his duties as the head of the civil administration of the province. The cities of Marash, Aintab, Urfa, and Kilis were not incorporated within the jurisdiction of the French administration. Instead, they were assigned to a newly established fifth occupational zone and put under the command of the British Desert Mounted Corps whose administrative center was in Aleppo. During this same period, some fifty thousand Armenian deportees repatriated to their cities and villages in the Eastern Occupation Zone under the command of the British Desert Mounted Corps. 


French empire which was also ruling Syria, settled 120 000 Armenians from Syria to Çukurova and the French army in Çukurova was supported by Armenian forces as well as a British Indian brigade.[3] But soon after the occupation, hostilities between the local population and the Franco-Armenian forces began. Although the French army could maintain control on the Mediterranean coast, controlling the mountainous area which covers the northern half of the French occupation zone was immensely more difficult. After the organized struggle of Turkish nationalists French army lost the control of the railroad from the Central Anatolia to Yenice and after the battle of Karboğazı on 28 May 1920 in which the last of French troops in Toros Mountains surrendered to Turks, the French policy was reshaped as to keep only the territory at the south of Mersin-Osmaniye railroad.

In order to secure French presence at the south of the railroad, the Turkish population living at the south was forced to escape to north. On 10 July 1920, a Franco-Armenian operation was carried in the already French controlled city of Adana, against Turks. Most Turks escaped to villages and then to mountainous area. During the escape French airplanes bombed the escaping population. Another problem of the escapers was the unavailability of drinking water in the hot summer weather. It is reported that infectious diseases also contributed to deaths of the escapers and in one case, the Belemedik hospital, the only hospital of the nationalists in the Toros Mountains was also bombed.[6] The mass escape continued for four days. But it was later on became widespread in all cities of Çukurova and was called kaç kaç .

On 20 October 1921 By the Treaty of Ankara French government agreed to return Çukurova to Turkey. On 3 January 1922 Mersin, on 5 January Adana and on 7 January Osmaniye were evacuated by the French army. (For Hatay see Hatay State 


Calotypes of Istanbul | John Shaw Smith (1811-1873)

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Mavi Boncuk |


John Shaw Smith (1811-1873) 
Irish photographer. He was an Irish landowner of independent means living in County Cork. His importance in photographic history derives from his trips to Southern Europe and the Near and Middle East between 1850 and 1852, when he reached as far as Petra. During this time he took about 300 calotypes[1] of architectural sites, such as Relief on the Temple at Thebes (1851; Austin, U. TX, Human. Res. Cent., Gernsheim Col.). He gave a talk to the Dublin Photographic Society in April 1857 in which he described his photographic method for such difficult, hot climates: he used the calotype process, with an exposure time of seven minutes in sunlight. Though these were technically and artistically superior to the contemporary photographs of the same area by Maxime Du Camp, his works were unknown until 1951, when they were included in an exhibition at the Victoria and Albert Museum in London.



[1] Calotype or talbotype is an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide. The term calotype comes from the Greek καλός (kalos), "beautiful", and τύπος (tupos), "impression".


More Historic Istanbul Photos

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Mavi Boncuk |  Some early photographers of Istanbul.

Alfred-Nicolas Normand is a French architect and photographer born in Paris on January 1, 1822 and died in Paris March 9, 1909.

Ernest de Caranza was a French photographer who was born in 1837. Several works by the artist have been sold at auction, including 'Village en Turquie, 1852' sold at Sotheby's Paris 'La Photographie IV: The Collection of Marie-Thérèse and André Jammes' in 2008 for $5,705. The artist died in 1863.

Son of the architect Louis-Eleanor Norman, he attended National School tand won the Grand Prix de Rome in 1846 and became a resident at the Villa Medici in 1847-1851. 


At the end of his stay, he tried his hand at the art of photography. He meets at the same time Gustave Flaubert and Maxime Du Camp, who returned from a trip to the Orient, encouraged him to continue. It advises on techniques to implement. Norman then made ​​a series of calotypes[1] Rome Pompéi, Palermo, Athènes and Istanbul until 1852 and carries more than 200 calotypes between 1851 and 1871, 130 between 1851 and 1852, and stopped photographing in 1855.

He resumed his travels and photography in 1887 and until 1891 in France, Italy, Greece, but also from North Africa, Scandinavia and Russia, photographing monuments and vernacular architecture.

He is the father of Charles-Nicolas Normand (1858-1934) and Paul-Louis-Robert Normand (1861-1945), both architects. 

[1] Calotype or talbotype is an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide.


Calipso and Giacomo Hotels of Prinkipo


Next PM for Turkey | Ahmet Davutoğlu

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Minister of Foreign AffairsAhmet Davutoğlu is on the road to be the next PM for Turkey.

The executive committee of the Justice and Development Party (AKP) will meet in announced a successor for the recently elected President Recep Tayyip Erdogan 

Mavi Boncuk |

Ahmet Davutoğlu (b. 26 February 1959 -        ) is a Turkish diplomat who has been the Minister of Foreign Affairs of Turkey since 2009. He is also a political scientist, an academic, and an ambassador at large. He also served for a time as chief advisor to the Prime Minister.

Ahmet Davutoğlu was born in Taşkent, Konya Province, Turkey. He graduated from İstanbul Erkek Lisesi, which is a Deutsche Auslandsschule (German International school) and studied at the Department of Economics and Political Science of the Boğaziçi University, İstanbul. He holds a Master's degree in Public Administration and a PhD degree in Political Science and International Relations from Boğaziçi University. Between 1993 and 1999 he worked at Marmara University and became a full professor in 1999. He was the chairman of the Department of International Relations at Beykent University in Istanbul, Turkey. Between 1995-1999 he wrote weekly columns for Turkish daily Yeni Şafak.

He is a father of four children; his wife is a medical doctor.

Davutoğlu was granted a title of ambassador in 2003 by the joint decision of President Ahmet Necdet Sezer and Prime Minister Abdullah Gül.
His publications include Alternative Paradigms: The Impact of Islamic and Western Weltanschauungs on Political Theory, The Civilizational Transformation and The Muslim World in English, Stratejik Derinlik (Strategic Depth), and Küresel Bunalım (The Global Crisis) in Turkish. Especially his book Strategic Depth is a very influential book in Turkey's foreign policy orientation. He is very influential in the military, academic, and government triangle shaping Turkish foreign policy.

Davutoğlu was one of the leading actors on behalf of the Turkish government during the shuttle diplomacy for the settlement of 2008 Israel–Gaza conflict. He was appointed as the Foreign Minister of Turkey on 1 May 2009. He has since called for Turkey to become more than just a regional power within Europe and the Middle East and expressed a desire for Ankara to have a far more influential role in world politics. Davutoğlu is generally linked to the notion of Turkish neo-Ottomanism, which favours a commonwealth with its neighbours and old Ottoman connections. Although his foreign policies have been regarded as neo-Ottomanist by Western and especially U.S. media, Davutoğlu does not accept such a characterization. He stated in an interview with Turkish daily Sabah that "as much as we don't use this conceptualization, the fact that it is being used against us is either because of misunderstanding or lack of goodwill." He argued against the idea that Turkey is trying to establish a neo-Ottoman imperial order: "I have said that Turkey as a nation-state is equal with any other nation-state of our region whether it is small in population or area. We don't have any hegemony on anyone. Rather what we are trying to do is to contribute to the establishment of a permanent peace in our region. If by order they mean is Pax Ottomana, Pax in the meaning of order, we are trying to establish a order, it is not wrong to say such thing."

He was listed in Foreign Policy magazine as one of the "Top 100 Global Thinkers of 2010" for "being the brains behind Turkey's global reawakening."[6] In an interview, he talked about his "Zero Problems Policy" and said that "it is possible to have zero problems if the other actors respect our values. It doesn't mean that we will be silent in order to have good relations with all parties." In 2011's Foreign Policy magazine's list of "Top 100 Global Thinkers" he was listed together with Recep Tayyip Erdoğan for "imagining a new role for Turkey in the world- and making it happen.

On 30 March 2012 he met with Bechara Boutros al-Rahi of Lebanon and said that they should meet occasionally during this century. On 24 April 2014 he and Tayyip Erdogan issued a statement in nine languages where they agreed that the 1915 Armenian Genocide was inhumane. They also agreed that the crime should be studied by both Turkish, Armenian, and foreign historians.

Selected works
Alternative Paradigms: The Impact of Islamic and Western Weltanschauungs on Political Theory. University Press of America, 1993
Civilizational Transformation and the Muslim World. Quill, 1994
Stratejik derinlik: Türkiye'nin uluslararası konumu. Küre Yayınları, 2001[11]
Osmanlı Medeniyeti: Siyaset İktisat Sanat. Klasik, 2005
Küresel Bunalım. Küre, 2002.

Presidential Election | Detailed Canada and USA Voting Results

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Mavi Boncuk | click image to view full size.

ILB Helios Signs Solar Deal for Turkey

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Aug 1, 2014 - Chinese photovoltaic (PV) equipment maker Hareon Solar Technology Co Ltd (SHA:600401) said today it had clinched a deal to build 6,271 MWp of solar parks together with Swiss-based solar project developer ILB Helios. The two companies will install the PV capacity in Europe, the Middle East and Africa between 2014 and 2017. Turkey is the top destination for the partners with 3,375 MWp of planned projects there. Financing details on the schemes were not provided. This year alone, Hareon and ILB Helios will construct about 254 MWp of solar parks, including 29 MW in the UK and 225 MWp in Turkey.

Mavi Boncuk |

ILB Helios plans 3.3 GW of projects in Turkey over the next three years. The deal, with the Chinese manufacturer, has a pipeline of projects including Jordan, Kazakhstan, Macedonia, Iran and Iraq.

ILB Helios and Hareon Solar[1] to plan a 3.3 GW pipeline in the country over the next three years.wikimedia commons

The Swiss solar developer which has just signed a 6.27 GW framework agreement with Chinese manufacturer Hareon Solar to satisfy Turkey's thirst for energy is behind the decision by the two companies to develop 3.3 GW of projects in the country over the next three years.

ILB signed the ambitious three-year framework agreement with Jiangsu-based Hareon to develop schemes across Europe, the Middle East and Africa, starting with 29 MW of schemes in the UK and a 100 kW project in Jordan as well as 225 MW in Turkey, by the end of the year.

Hareon and Zug-based ILB Helios, a unit of IBL Integrierte Beschaffungslogistik, have already collaborated on the development of 150MW of solar in European countries such as Romania and Bulgaria. Hareon Solar Technology Co., Ltd., one of China's largest crystalline silicon solar cell manufacturing enterprises. 

[1] Hareon Solar Technology Co., Ltd. manufactures and markets solar photovoltaic (PV) products worldwide. It offers mono-crystalline silicon, poly-crystalline silicon, and quasi-mono-crystalline silicon solar cells and modules, as well as ONYX solar cells and AC solar modules. The company also manufactures silicon ingots, wafers, and PV systems. In addition, it designs, constructs, finance, and operates commercial and utility-scale solar power-plants. The company exports its products to various European countries, as well as to the United States, Australia, South Korea, India, Japan, and other emerging photovoltaic markets. The company was formerly known as Jiangyin Hareon Technology Co., Ltd and changed its name to Hareon Solar Technology Co., Ltd. in February 2008. Hareon Solar Technology Co., Ltd. was incorporated in 2004 and is headquartered in Jiangyin, China.

Poetry | Secret Passion by BEHÇET NECATİGİL

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Mavi Boncuk |

SECRET PASSİON | GİZLİ SEVDA  by BEHÇET NECATİGİL

You had a lover, remember
Seven eight years ago,
I came across her yesterday
She was happy to see me.

Hani bir sevgilin vardı
Yedi sekiz sene önce,
Dün yolda rastladım
Sevindi beni görünce.

Standing by the road
Talked here and there
Married, had kids
One boy, one girl.

Sokakta ayaküstü
Konuştuk ordan burdan,
Evlenmiş, çocukları olmuş
Bir kız, bir oğlan.

She asked you
Not changed at all, I said
Just as you used to know...
She understood.

Seni sordu
Hiç değişmedi, dedim,
Bildiğin gibi...
Anlıyordu.

Was happy, in love with husband
They owned their home..
Like a convict and shy,
She said hi.

Mesutmuş, kocasını seviyormuş,
Kendilerininmiş evleri..
Bir suçlu gibi ezik,
Sana selâm söyledi.

Translation: August 2014 by MAM

Poetry Challenge | Hancı (Innkeeper)

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This is the first Poetry Challenge. Translate this poem and e mail it it to mailmaviboncuk (at) gmail (dot) com no later than September 30, 20144 to begin a two week correspondence to help finalize a version for all to enjoy in English.

In Memoriam |  Bekir Sıtkı Erdoğan[1]  ( b.Karaman 1926 - d. Istanbul 2014)

Mavi Boncuk |

Hancı  | Bekir Sıtkı Erdoğan

Gurbetten gelmişim, yorgunum hancı!
Şuraya bir yatak ser yavaş yavaş...
Aman karanlığı görmesin gözüm,
Beyaz perdeleri ger yavaş yavaş...

Sıla burcu burcu ille ocağım...
Çoluk çocuk hasretinde kucağım
Sana her şeyimi anlatacağım,
Otur başucuma sor yavaş yavaş.

Güç bela bir bilet aldım gişeden,
Yolculuk başladı Haydarpaşa 'dan...
Hancı, ne olur, elindeki şişeden
Bir kaç yudum daha ver yavaş yavaş!..

Ben o gece hem ağladım hem içtim,
İki gün diyardan diyara uçtum
Kayseri yolundan Niğde'yi geçtim,
Uzaktan göründü Bor yavaş yavaş...

Garibim, her taraf bana yabancı,
Dertliyim çekinme, doldur be hancı!
İlk önce kımıldar hafif bir sancı,
Ayrılık sonradan kor yavaş yavaş...

Bende bir resmi var yarısı yırtık,
On yıldır evimin kapısı örtük...
Garip birde sarhoş oldu mu artık
Bütün sırlarını der yavaş yavaş...

İşte hancı! ben her zaman böyleyim,
Öteyi ne sen sor ne ben söyleyim?
Kaldır artık, boş kadehi neyleyim?
Şu benim hesabı gör yavaş yavaş...


[1]  Bekir Sıtkı Erdoğan[1]  ( b.Karaman 1926 - d. Istanbul August 24, 2014)
He graduated in 1948 from a military college and served as a regimental officer. Later he graduated from the Faculty of Linguistics, History and Geography and taught literature at the Turkish Naval High School, the German Deutsche Schule and Marmara College.

Erdoğan has written folk poetry in syllabic metric and aruz. He used Turkish lyrics in a number of songs. His Ruba'ic poems were published by Hisar.

He wrote the lyrics for the 50th anniversary of the Turkish Republic; "Cumhuriyetin 50. Yıl Marşı". The musical was organized by Necil Kazım Akses.

Bibliography
Bir Yağmur Başladı (1949-1957)
Dostlar Başına (1965)
Kışlada Bahar (1970)
Binbirinci Gece

Music lyrics
Kara gözlüm efkarlanma gül gayri (1963)
Ve Ben Yalnız (1968, Music by Selmi Andak)

Hancı (1977, Music by Gaston Rolland; Arrangement by Paul Mauriat - Toccata)

Word Origin | Çırak, Kalfa, Usta, Vekil, Reis, Patron

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Mavi Boncuk |

Çırak: novice[1], apprentice [2], pupil EN çérāğ etmek "(tarikat ve loncada) inisiye etmek, meratibin ilk basamağında görevlendirmek" [ TDK, Tarama Sözlüğü, 1500]
çerāğ/çirāğ "hizmetçi, uşak" [ Meninski, Thesaurus, 1680]
from Persian çarāġ/çirāġ چراغ kandil, meşale, çıra

Kalfa: foreman[2], qualified workman EN kalfa "vekil, mal sahibinin yerine iş gören" [ Meninski, Thesaurus, 1680]
from Arabic χalīfa ͭ خليفة  [#χlf faˁīlāͭ sf. f.] birinin yerine geçen, vekil, halife
→ halife

Usta: usta TR, master[3] EN [ Codex Cumanicus, 1300] from Persian ustā/ustād اوستا/اوستاد üstad. "Farisî olan üstād (...) Türkîde avam galat edüp usta derler." RMim 1614.

Vekil:  vekil TR; delegate, deputy, vice EN [ Mukaddimetü'l-Edeb, 1300], vekīl kıldı anı işge, erklig kıldı
vekilharç "[Fa wakīl-i χarc] harcama yetkilisi, evin alışveriş ve ödeme işlerini yapan görevli" [ Filippo Argenti, Regola del Parlare Turco, 1533]
from Arabic wakīl وكيل  [#wkl faˁīl sf.] temsilci, başkası adına yetki kullanan
vekâlet, vekilharç, vükela 

Reis: reis [ İrşadü'l-Mülûk ve's-Selâtîn, 1387] from Arabic raˀīs رئيس  [#rAs faˁīl sf.] baş kişi, önder, yönetici, kaptan  from Arabic raˀs رأس baş (= Aram reˀşā רˀשא a.a. = Akad rāşu . )
reisülküttap, resen, riyaset

Patron: patron TR; Patron[4] EN Borrowed from Italian as  patrona used until 19. century in Turkish. Captain of a ship. patrun/patruna "gemi kaptanı" [ Evliya Çelebi, Seyahatname, 1680]
patron TR; pattern EN "konfeksiyonda kesim kalıbı" [ Cumhuriyet - gazete, 1932] Amerikan bezinden dikilmiş kutür patronları. FR patron 1. peder, baba, ağa, pir, gemi kaptanı [esk.], işyeri sahibi, 2. kopyası alınan kitabın aslı  oldLatin patronus Latin pater baba  IndoEuropean pəter. peder 
 patrona, patronaj, patroniçe,  patern, paternalizm, patrik, patrimonial

Kaptan: kaptan kapudan [ Düsturname-i Enveri, 1465] ~ Ven capitán kumandan, özellikle gemi kumandanı [İt capitano] oldlatin capitanus/capitaneus şef, önder, kaptan Latin caput, capit- baş TR; head EN → kapital 

[1] Novice mid-14c., "probationer in a religious order," from Old French novice "beginner" (12c.), from Medieval Latin novicius, noun use of Latin novicius "newly imported, newly arrived, inexperienced" (of slaves), from novus "new" (see new). Meaning "inexperienced person" is attested from early 15c. 

[2] Apprentice : c.1300, from Old French aprentiz "someone learning" (13c., Modern French apprenti, taking the older form as a plural), also as an adjective, "unskilled, inexperienced," from aprendre (Modern French apprendre) "to learn; to teach," contracted from Latin apprehendere (see apprehend). Shortened form prentice long was more usual in English. 
Assistant: mid-15c., assistent "one who helps or aids another," from Middle French assistent, adjective and noun, properly present participle of assister. early 15c., from Middle French assister "to stand by, help, put, place, assist" (14c.), from Latin assistere "stand by, take a stand near, attend," from ad- "to" (see ad-) + sistere "stand still, take a stand; to set, place, cause to stand," from PIE *si-st-, reduplicated form of root *sta- "to stand" (see stet).

[2] Foreman: 1530s in the sense of "principal juror;" 1570s in the sense of "principal workman;" from fore- + man (n.). Earliest attested meaning (early 13c.) was "a leader." 
Caliph: late 14c., from Old French caliphe (12c., also algalife), from Medieval Latin califa, from Arabic khalifa "successor," originally Abu-Bakr, who succeeded Muhammad in the role of leader of the faithful after the prophet's death.

[3] Master: late Old English mægester "one having control or authority," from Latin magister (n.) "chief, head, director, teacher" (source of Old French maistre, French maître, Spanish and Italian maestro, Portuguese mestre, Dutch meester, German Meister), contrastive adjective ("he who is greater") from magis (adv.) "more," from PIE *mag-yos-, comparative of root *meg- "great" (see mickle). Form influenced in Middle English by Old French cognate maistre. Meaning "original of a recording" is from 1904. In academic senses (from Medieval Latin magister) it is attested from late 14c., originally a degree conveying authority to teach in the universities. As an adjective from late 12c.

Maestro: "master of music, great teacher or composer," 1797, from Italian maestro, literally "master," from Latin magisterium, accusative of magister.  Applied in Italian to eminent musical composers. Meaning "conductor, musical director" is short for maestro di cappella (1724), literally "master of the chapel" (compare German kapellmeister).

Virtuoso: 1610s, "scholar, connoisseur," from Italian virtuoso (plural virtuosi), noun use of adjective meaning "skilled, learned, of exceptional worth," from Late Latin virtuosus (see virtuous). Meaning "person with great skill, one who is a master of the mechanical part of a fine art" (as in music) is first attested 1743.early 13c., "to get the better of," from master (n.) and also from Old French maistrier, from Medieval Latin magistrare. Meaning "to reduce to subjugation" is early 15c.; that of "to acquire complete knowledge" is from 1740s. Related: Mastered; mastering.

[4] Patron 1250-1300; Middle English  Medieval Latin, Latin patrōnus legal protector, advocate ( Medieval Latin: lord, master), derivative of pater father. 
1.a person who is a customer, client, or paying guest, especially a regular one, of a store, hotel, or the like.
2.a person who supports with money, gifts, efforts, or endorsement an artist, writer, museum, cause, charity, institution, special event, or the like:
a patron of the arts; patrons of the annual Democratic dance.
3.a person whose support or protection is solicited or acknowledged by the dedication of a book or other work.
4.patron saint.
5.Roman History. the protector of a dependent or client, often the former master of a freedman still retaining certain rights over him.
6. Ecclesiastical. a person who has the right of presenting a member of the clergy to a benefice.

In Memoriam | Arda Uskan (1947 - 2014)

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In Memoriam | Arda Uskan (b. Istanbul1947 -d. Aug 27, Istanbul 2014)


From his last article'Artık biliyorsunuz, iki seksen yatmaktayım. Zihnim ise faal mi faal | You know I am all the way down. my mind being very very active..'

Mavi Boncuk | 

pictured Arda Uskan , John Lennon , Yoko Ono and Erkin Koray.



Kısa bir veda olabilir... 

... Gitsinler ki ben de rahat rahat düşüneyim, maziye dalayım, gençlik anılarımı hatırlayayım, o günkü aşklarımla kırlarda dolaşmaya çıkayım... (Bu yazımı belli ki karıma değil Dicle teyzeme yazdıracağım yoksa bizimki, 'Hala mı Seyyal Taner' diye hasta masta demez kafamı kırar.) Oysa ben tüm dostlarla paylaştığım hayatımı anmak istiyorum... Mesela18 yaşında tanıdığım devrimci ruhlu Aytunç Altındal'la birlikte aldığımız 'gelecekte mutlaka bir baltaya sap olmalıyız' kararımızı... Benim bunun üzerine orkestra kurup, Neşet Ruacan ve sonrasında Mazhar ve Fuat'ın peşine takılma cüretimi ve sonuç olarak nasıl rezil ile rüsva olduğumu ... Derken kulağımdan tutulup Milliyet'e getirildiğimi... 

Aslında bu günkü yaşamım o gün başlamış. Kader bana demiş ki, sen gitar çalma oğlum yazı yaz, bak gör daha ne güzel dostlar edineceksin? Nitekim her zaman yanımda oldular, sağ olsunlar. Başta Sezen Aksu olmak üzere hepsine teşekkür ediyorum. Erol Evgin'e, Erkin Koray'a, Hülya Avşar'a, Hıncal Uluç'a, Sinan Çetin'e, Okan Bayülgen'e, Mehmet Ali Erbil'e, Tamer Karadağlı'ya, Halil Ergün'e, Ekrem Çatay'a, Gül Oğuz'a, İzzet Çapa'ya, Kadır İnanır'a ve .... (İsim atlamayalım diye karım telefon rehberimden okuyor, 'K' harfine gelmiş 'Kurye tel' dedi, hadi bakalım onlar da az zahmetimizi çekmedi selam olsun.) Kubilay- Selçuk- Mahmut Övür- Korhan Atay - Ayda - Levent Özlü için elbette bir yerlere bakmama gerek yok şu an yanımdalar çünkü... Ve Nur Toprakoğlu, Nursuna ve Salih Memecan, Sumru Dinçel, Süleyman Turan, Seyyal Taner... Yok arkadaşlar bu böyle olmayacak, gazino kapatır gibi sayfanın tümünü ele geçirmem gerekecek ki en iyisi ben burada adını anamadığım ünlü-ünsüz tüm dostlarıma huzurlarınızda bir güzel teşekkür edeyim. Galiba en çok da evimizin oğlu Ümit Zileli'ye... 

Yarın mı? Allah Kerim... 

24 Ağustos 2014, Pazar

İçki kötülüklerin anasıdır!

Karaciğer kanserinin birinci nedeni içki, sevgili gençler... 'Hayalimdeki kızla tanıştım, içeyim bir kadeh', 'kız gitti kankama gönlünü kaptırdı içeyim iki kadeh''Çocuğum oldu şişeyi devireyim''Patron beni müdür yaptı hangi barda kutluyoruz?'İşte bendeniz de sebebin cinsine göre dozumu ayarladım ve içtim. Ve sonunda, kansere aileden teşne olan karaciğerimi mahvetmeyi başardım. Kaldı ki 'keyif içicisiydim' ve akşam 8.00'den önce kimse bana tek yudum aldıramazdı ama o bile yetip de artmış gördüğünüz gibi...

Göremediğiniz, daha doğrusu öngöremediğiniz, bu meretin size hiç bir şey yapmayacağı yönündeki salaklık hali. Artık neyinize güveniyorsanız? Belki de şöyle düşünüyorsunuz; 'Mutlulukla içiyorum, agresif olmuyorum, kavga çıkarmıyorum, tam tersi etrafa neşe saçıyorum. Böyle bir ruhun sahip olduğu bedene, içki ne kötülük yapabilir ki?' Sevgili gençler burada 70 derecelik 'alkolden' söz ediyoruz. Denemesi bedava, haftada üç kez elemanı alıp çiğ etin üstüne dökün, görün sonuç ne çıkıyor? Örnek; bakınız Arda abinizin karaciğeri. İşin kötüsü 'şu genç yaşımda' hayata veda edip gitmek de var!

Gülmeyin döverim, ne olmuş yaşıma?

Bakın Süleyman Beye, kaçına geldi bıraksanız parti kurup yeniden başbakanlığa oynayacak!
Kaldı ki benim sizlerin yaşında oğlum var ve sorsanız henüz baba kuzusu. Bu yüzden çok pişmanım. Sizler de ileride aile sahibi olacaksınız ve işte size içkiye alışmamak için en önemli neden! "Yok ben hem içerim, hem uzun yaşarım, çocuğuma da doyarım" diyorsanız; şekil 2, yine Arda abiniz ve iç organları...

Daha başka nasıl anlatayım ki? Acaba içki şişelerinin üzerine benden bir parça mı yapıştırsalar veya yanında 'artık yapamayacaklarımın hazin listesini' mi verseler? Mesela istesem de oğlumla koşuya çıkamayacağımı biliyorsunuz di mi? Denize giremeyeceğimi, hele de Bodrum - Fethiye ve yine sizin yaşınızda gittiğim rüya şehir Paris'i bir daha göremeyecek olmamı... Şöyle üzeri sarımsaklı yoğurtla bezenmiş biber kızartmasını, hadi biraz ukalalık edeyim; elim kadar koca bir ıstakozu tereyağında dereotu, yine sarımsak ve kırmızı acı biberle sote edip lüpletmeyi rüyamda bile göremeyeceğimi... Anlayacağınız mutfak tezgahının önünde uzun uzadıya dikilip birbirinden leziz menüler hazırlayamayacağımı... En sevdiğim 'kırlarda yayılıp kitap okuma' alışkanlığıma veda edeceğimi... Ve dostlarımla sohbetlerimizi çok ama çok özleyeceğimi... "Abi bunlar olmadan da yaşanır dert etme" diyorsanız, o zaman beni okumaya devam ediniz Sevgili Gençler.

Çünkü önümüzdeki günleri de anlatacağım sizlere, 'bundan böyle daha neleri yapamayacağımı' yani... 

25 Ağustos 2014




62nd Turkish Cabinet Announced

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"THE succession was seamless. On August 10th Recep Tayyip Erdogan became Turkey’s first popularly elected president after sweeping 52% of the vote. On August 27th he stepped down from the leadership of his Justice and Development (AK) party at a packed convention in Ankara. His handpicked successor (and foreign minister), Ahmet Davutoglu, was duly elected AK’s new leader. He was due to be sworn in as prime minister after we went to press. Mr Erdogan outlined his vision for “a new Turkey” in a farewell speech before thousands of party members. 

Many themes were well worn: a list of AK’s undeniable achievements and Mr Erdogan’s plans for a “new era” (he called it a “holy conquest”) that would bring Turkey more prosperity, piety and global influence. Although the role of the president is at present ceremonial, Mr Erdogan has made clear that he will continue to run the country until a general election next summer. His ambition is then to be given full executive powers. This can happen only if AK wins enough seats in parliament (two-thirds, or three-fifths with a later referendum) to rewrite the constitution by itself." The Economist

Turkey’s President Recep Tayyip Erdogan has approved the new cabinet, the Presidential Press Office said in a statement.


“The president has approved Prime Minister Ahmet Davutoglu’s formation of the 62nd Government of the Republic of Turkey,” Friday's statement said.

Mavi Boncuk | 
Turkey's new prime minister, Ahmet Davutoglu, on Friday unveiled a cabinet that sent a strong signal of policy continuity a day after his predecessor Recep Tayyip Erdogan was sworn in as president, keeping key economy management posts intact and promoting Mr. Erdogan's most loyal advisor and deputy chairman of the party.

Mr. Davutoglu confirmed that Deputy Prime Minister Ali Babacan, Turkey's economy czar and Finance Minister Mehmet Simsek will retain their posts, a relief to investors concerned by signals in recent weeks that economic policy in the new administration could veer in a more populist direction.

The new premier also named two new deputy prime ministers, Numan Kurtulmus, the deputy chairman of the ruling Justice and Development Party or AKP, and Yalcin Akdogan, an aide to Mr. Erdogan. Both men are seen as staunch loyalists of Mr. Erdogan.

Mr. Davutoglu's vacated role at the foreign ministry was taken by European Union Minister Mevlut Cavusoglu.

The announcement sent the Turkish assets slightly higher, with stocks and the lira gaining against the dollar although the currency later reversed those gains.

Prime Minister Ahmet Davutoglu

Deputy Prime Minister Bulent Arinc 

Deputy Prime Minister Ali Babacan

Deputy Prime Minister Yalcin Akdogan

Deputy Prime Minister Numan Kurtulmus

Foreign Minister Mevlut Cavusoglu 

EU Affairs Minister and Chief Negotiator Volkan Bozkir

Minister of Family and Social Policies Aysenur Islam 

Minister of Justice Bekir Bozdag

Minister of Science, Industry and Technology Fikri Isik

Minister of Customs and Trade Nurettin Canikli

Minister of Environment and Urban Planning Idris Gulluce

Minister of Economy Nihat Zeybekci

Minister of Youth and Sports Akif Cagatay Kilic

Minister of Internal Affairs Efkan Ala

Minister of Transport, Maritime and Communication Lutfi Elvan

Minister of Labour and Social Security Faruk Celik

Minister of Energy and Natural Resources Taner Yildiz

Minister of Food, Agriculture and Livestock Mehmet Mehdi Eker

Development Minister Cevdet Yilmaz

Minister of Culture and Tourism Omer Celik 

Minister of Finance Mehmet Simsek

Minister of National Education Nabi Avci

Minister of National Defence Ismet Yilmaz

Minister of Forest and Water Management Veysel Eroglu

Minister of Health Mehmet Muezzinoglu



Word Origin | Katakulli, Dalavera

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Mavi Boncuk | 

Katakulli :
isim (kataku'lli) argo Fransızca fait accompli'den
isim Yalan dolan, oyun, tuzak, düzen
"Dün geceki arkadaşın tahmini gibi meçhul adam geldi, kız onu birkaç katakulli ile kandırdı." - A. Gündüz
Fiddle, ruse, shift, trick  French fait accompli.
katakulli
katakulli "hile, fesat, hokkabazlık" [ Ahmet Vefik Paşa, Lugat-ı Osmani, 1876]
Not: 19. yy'da diplomatik bir yazışmada Fr fait accompli sözcüğünün Osmanlıca yanlış (tek noktalı fe yerine iki noktalı kaf ile) okunuşundan türediği rivayeti muhtemelen yanlıştır.
katakulli yapmak (colloquial) pull a fast one

Dalavere: Yalan dolanla gizlice görülen kötü iş, gizli oyun
"Gümrük dalaveresini bilmediğim için tüccar yanına giremedim." - P. Safa
alavere dalavere
alavera dalavera "karışıklık, kargaşalık" [ Ahmet Vefik Paşa, Lugat-ı Osmani, 1876]
dalavera "kötü niyetli oyun, dolandırıcılık" [ Mikhailov, Matériaux sur l'argot et les locutions..., 1929]
Not: Türkçe almak vermek fiillerinden veya Fr alivrer sözcüğünden veya İt dare ed avere deyiminden türetme çabaları inandırıcı değildir. Yun dalavera Türkçeden alıntıdır. Alavere dalavere Kürt Memet nöbete ifadesi, Kürtçeyi alaylı bir şekilde karakterize etmek için kullanılan wara wara (gel gel) deyimini düşündürür.

Turkish Contractors in ENR Top 250 List

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42 Turkish Contractors made the list (38 in 2013)
and increased their combined revenue by 21.4% to $ 20,400.0 million.

Mavi Boncuk |

The ENR Top 250 International Contractors had $543.97 billion in contracting revenue in 2013 from projects outside their home countries, up 6.4% from $511.05 billion in 2012. The Top 250, as a group, also had $871.50 billion in revenue from domestic projects in 2013, up 7.1% from $813.55 billion in 2012.


RANK
FIRM
2013 INTERNATIONAL
REVENUE ($ MIL.)
2014
2013
1
1
Grupo ACS, Madrid, Spain†
44,053.8
2
2
HOCHTIEF AG, Essen, Germany†
34,845.0
3
3
Bechtel, San Francisco, Calif., U.S.A.†
23,637.0
4
4
VINCI, Rueil-Malmaison, France†
20,292.6
5
5
Fluor Corp., Irving, Texas, U.S.A.†
16,784.3
6
6
STRABAG SE, Vienna, Austria†
15,392.0
7
7
BOUYGUES, Paris, France†
14,789.0
8
9
Skanska AB, Stockholm, Sweden†
14,141.1
9
10
China Communications Construction Group Ltd., Beijing, China†
13,162.5
52
79
ENKA Construction & Industry Co. Inc., Istanbul, Turkey†
2,398.8
53
64
Renaissance Construction, Ankara, Turkey†
2,391.1
101
85
Tekfen Construction and Installation Co. Inc., Istanbul, Turkey†
906.0
103
129
IC Ictas Insaat Sanayi ve Ticaret AS, Ankara, Turkey†
864.5
107
94
Ant Yapi Industry & Trade JSC, Istanbul, Turkey†
813.2
116
150
Nata Construction Tourism Trade & Industry, Ankara, Turkey†
711.4
127
159
Yapi Merkezi Insaat ve Sanayi AS, Istanbul, Turkey†
562.2
132
124
Yuksel Insaat Co. Inc., Ankara, Turkey†
540.4
138
135
Onur Taahhut Ticaret Ltd. Stl., Ankara, Turkey†
520.2
146
127
Cengiz Construction Industry & Trade Co. Inc., Istanbul, Turkey
468.8
150
200
Hazinedaroglu Construction Group, Istanbul, Turkey†
457.1
153
145
Atlas Group, Ankara, Turkey†
436.4
157
111
Calik Enerji Sanayi Ve Ticaret Anonim Sirketi, Istanbul, Turkey
413.9
162
176
Alarko Contracting Group, Gebze/Kocaeli, Turkey
376.8
163
180
Limak Insaat Sanayi ve Ticaret AS, Ankara, Turkey
368.0
169
171
Kayi Insaat San. ve Tic. AS, Istanbul, Turkey†
342.5
172
146
MAPA Insaat ve Ticaret AS, Ankara, Turkey
331.1
176
182
Eser Contracting and Industry Co.Inc., Ankara, Turkey†
322.2
179
208
Nurol Construction and Trading Co., Ankara, Turkey†
314.1
184
**
ILK Construction, Istanbul, Turkey
296.3
187
198
Summa Turizm Yatirimciligi AS, Ankara, Turkey†
289.3
191
**
Bayburt Group, Ankara, Turkey†
270.5
194
189
Aslan Yapi ve Ticaret AS, Ankara, Turkey†
266.0
195
174
Kontek Construction, Istanbul, Turkey
264.0
198
201
TACA Construction Inc., Istanbul, Turkey†
247.0
200
190
Metag Insaat Ticaret AS, Ankara, Turkey†
238.4
203
196
Rasen Insaat Ve Yatirim Ticaret AS, Istanbul, Turkey†
234.0
206
118
GAMA, Ankara, Turkey†
224.2
215
215
Lotus Muteahhitlik AS, Ankara, Turkey†
208.7
217
188
Tepe Insaat Sanayi AS, Ankara, Turkey†
200.3
219
242
Kolin Insaat Turizm Sanayi ve Ticaret AS, Ankara, Turkey
199.7
224
203
Dogus Insaat ve Ticaret AS, Istanbul, Turkey†
182.8
228
243
Gurbag Group, Ankara, Turkey†
176.5
230
240
STFA Construction Group, Istanbul, Turkey
172.5
235
237
GAP Insaat Yatirim ve Dis Ticaret AS, Istanbul, Turkey†
157.0
242
**
Zafer Taahhut Insaat ve Ticaret AS, Ankara, Turkey
136.4
245
**
AE Arma-Elektropanc, Istanbul, Turkey†
130.2
247
**
Gulermak, Ankara, Turkey
124.9
249
**
TML Construction Co., Istanbul, Turkey
118.1

Venice | The Cut Review

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http://variety.com/author/jay-weissberg/

Jay Weisberg Review

"Fatih Akin’s drama about the Armenian genocide had all the makings of a majestic adventure picture, yet falters with its pedestrian script and mise-en-scene."



Mavi Boncuk |
There have been a paltry few movies about the 1915 Armenian genocide, which has only increased expectations around Fatih Akin’s already buzzy “The Cut.” Budgeted at $21 million, this historical epic-cum-Western about a father looking across the globe for his missing twin daughters had all the makings of a majestic adventure pic, only something odd happened along the way: The script, co-written by vet Mardik Martin, is pedestrian, and the mise-en-scene, striving hard for a classic Hollywood look, lacks grandeur, notwithstanding impressive location work. Akin’s considerable body of fans will likely scratch their heads, and marketing will be problematic.

Presumably the idea of having all the Armenians speak accented English was to increase the pic’s Stateside chances, yet the lines are often so commonplace, and have been heard a thousand times before in so many historical adventures, that the arthouse crowd (Akin’s core) will question why they’re being treated like mainstream viewers. Euro play will prove more lucrative, though here, too, the director’s admirers will find themselves wondering what happened to the energy and psychological acuity of the helmer’s previous films.

Akin clearly wants “The Cut” to be informative, a fine thing considering the ridiculous contesting in some quarters of the genocide’s extent. That’s why intro titles explain the German-Ottoman Empire alliance during WWI, when minorities under the Turks became enemies overnight. But why did this happen? Without at least some hint of why minorities, and Armenians in particular, were falsely considered a threat, “The Cut” turns into an elementary-school history lesson, providing rudimentary facts without connecting any dots.

Mardin, in southeastern Turkey near the Syrian border, is home to the blacksmith Nazaret Manoogian (Tahar Rahim) — note the first name’s Christological significance, since it’ll be coming back. He, his wife Rakel (Hindi Zahra) and school-age twin daughters Lucinee (Dina Fakhoury) and Arsinee (Zein Fakhoury) form a happy family until 1915, when the Armenian round-up hits its height. Nazaret is forced into slave labor building a road in the desert; one day he and his fellow prisoners have their throats slit by Ottoman command, but Mehmet (Bartu Kucukcaglayan) deliberately only wounds his neck. Mehmet’s like the Good Thief, only he’s the one saving Nazaret/Jesus.

The two men hook up with some deserters, and then Nazaret learns that Armenian women and children have been taken to the Ras-al-Ayn camp, a three-day walk away. Curiously, Akin lenses the camp in various shades of color-corrected sand tonalities, and the shot of Nazaret moving through a field of pleading, desperate humanity is rendered so artificial as to suggest a children’s illustration made semi-monochrome to avoid overly strong images. There he finds his sister-in-law, who tells him his wife and sister are dead. Nazaret cradles the expiring woman in his lap, looking like a reverse Pieta in which Jesus holds Mary.

Off he goes with untold reserves of strength, accompanied by electric guitar strains that, combined with the desert landscape, call to mind “Jesus Christ Superstar.” He meets kindly Omar Nasreddin (Makram J. Khoury), the film’s obligatory good Muslim, who hides Nazaret in his soap-making establishment in Aleppo, where he’s joined by fellow Armenian Krikor (Simon Abkarian), one of the film’s many sketchily developed characters.

Jump to November 1918, when the British liberate the city and the remaining Armenians pelt the retreating Turks, but Nazaret casts no stones. Instead he runs into his former apprentice Levon (Shubham Saraf), who tells him his kids are alive: Rakel placed them with a Bedouin family before she died. Nazaret spends the next few years combing various orphanages in Syria and Lebanon until, in 1922, he finds where they were placed, and is told they’re married and in Cuba.

Suffice to say Nazaret goes to Cuba, looked after by kindly barber Hagob Nakashian (Kevork Malikyan); then Florida (where he’s shot at by rednecks); Minneapolis (Moritz Bleibtreu has a silent cameo as a factory owner); and finally North Dakota. Everywhere he goes, whether in the desert, the beach, or the swamps, a convenient conveyance happens along to ensure he reaches his destination, where yet another disappointment awaits.

Akin says “The Cut” forms the tail end of his “Love, Death and the Devil” trilogy, which began with “Head-On” and “The Edge of Heaven.” The earlier two films treated their subjects with nuance and a sense of psychology, getting inside their characters’ heads and making their choices — good or bad — feel like an integral part of who they were. Yet here it seems the director became overwhelmed by the historical epic format, since Nazaret is a simplistic figure with just one motivating force. It worked brilliantly in “The Searchers” and “Seven Men from Now,” but that sort of classic Hollywood structure is probably the most difficult to imitate now without feeling creaky, and “The Cut” definitely feels creaky. In addition, the “Devil” here is a mere cutout Satan, neutering any exploratory questioning of evil.

The production is unquestionably big, though there are times when a few hundred more extras, a la Cecil B. De Mille, would have exponentially increased the film’s power. Akin’s regular d.p., Rainer Klausmann, delivers visuals that are far more epic than in their earlier collaborations, with long shots handsomely reproduced on 35mm using a 40mm lens especially adapted for monumental images of Jordan’s mountainous terrain, where most of the desert scenes were done. Perhaps in keeping with a 1950s look, the lensing is curiously staid, and the matte lighting used works against a sense of depth.

Production design is a strong suit, though here, again, one feels the camera isn’t taking full advantage of the period sets, which were apparently constructed with great attention to historical detail. It’s churlish to point out that a 1918 screening of Chaplin’s “The Kid” (1921) is an impossibility, yet given the filmmakers’ pride in their period accuracy, it is a bit surprising. Aside from the choice of English dialogue, which is sure to divide critics, Alexander Hacke’s electronic score adds another level of incongruity: Western-inspired twangs call attention to the film’s oater underpinnings, yet the cacophony that accompanies Nazaret’s discovery of murdered Armenians in a well needn’t have been so forcefully underscored if the scene itself were stronger.

Venice Film Review: 'The Cut'
Reviewed at Venice Film Festival (competing), Aug. 31, 2014. Running time: 138 MIN.
Production
(Germany-France-Italy-Russia-Poland-Canada-Turkey) A Pandora Film (in Germany)/Pyramide (in France)/Bim Distribuzione (in Italy) release of a Bombero Intl., Pyramide Prods., Pandora Film, Corazon Intl., NDR, Ard Degeto, France 3 Cinema, Dorje Film, Bim Distribuzione, Mars Media Entertainment, Opus Film, Jordan Films, Anadolu Kultur, with the participation of Canal Plus, France Televisions, Cine Plus, with the assistance of the Malta Film Commission, Royal Film Commission Jordan. (International sales: the Match Factory, Cologne, Germany.) Produced by Fatih Akin, Karl Baumgartner, Reinhard Brundig, Nurhan Sekerci-Porst, Flaminio Zadra. Co-producers, Fabienne Vonier, Francis Boespflug, Alberto Fanni, Valerio de Paolis, Ruben Dishdishyan, Aram Movseyan, Laurette Bourassa, Doug Steeden, Piotr Dzieciol, Ewa Puszczynska. Co-executive producer, Stephane Parthenay.
Crew
Directed by Fatih Akin. Screenplay, Akin, Mardik Martin. Camera (color, widescreen), Rainer Klausmann; editor, Andrew Bird; music, Alexander Hacke; production designer, Allan Starski; supervising art director, Nenad Pecur; art director, Frank Bollinger; costume designer, Katrin Aschendorf; sound, Jean-Paul Mugel; sound designer, Malte Bieler; line producers, Marcus Loges, Claudia Calvino, Fuad Khalil, Joseph Formosa Randon, Graziella Decesare; associate producers, Ali Akdeniz, Ali Betil; assistant director, Ralph Remstedt; casting, Beatrice Kruger.
With
Tahar Rahim, Simon Abkarian, Makram J. Khoury, Hindi Zahra, Kevork Malikyan, Bartu Kucukcaglayan, Trine Dyrholm, Moritz Bleibtreu, Akin Gazi, George Georgiou, Arevik Martirossian, Arsinee Khanjian, Shubham Saraf, Dina Fakhoury, Zein Fakhoury, Jenia Jabaji, Numan Acar, Maja Remstedt, Anna Savva, Carlos Riveron, Carlos Calero, Lara Heller. (English, Turkish, Arabic, Spanish dialogue)

Venice Indiewire Review | The Cut

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Mavi Boncuk |

Venice Review: Fatih Akin’s ‘The Cut’ Starring Tahar Rahim

REVIEWS BY Jessica Kiang
AUGUST 31, 2014


When Turkish-German auteur Fatih Akin pulled “The Cut” from the Cannes slate citing “personal reasons,” the rumor mill went to work overtime. Certainly, Cannes would have seemed like the natural home for the filmmaker’s next opus, so if, as was suggested, he had not been guaranteed the competition slot that his profile surely demanded, what could the reason be? Politics? Pique? Some internecine beef we weren’t aware of? Within all that gossip however, there was one possible explanation that never really got much play: that the film would not be very good. Akin’s previous films, including such terrific, joltingly energetic, critically lauded and awarded titles as “Head-on” and “The Edge of Heaven” (the first two in a thematic trilogy that “The Cut” is mooted to complete), seemed to put that beyond the realm of possibility. And in truth, it’s not not very good. It’s close to a disaster.

The story (co-written by Akin and veteran screenwriter Mardik Martin) can be briefly summarized as concerning Nazaret, an Armenian husband and father of twin girls, who is drafted into World War I to perform slave labor under the authority of brutal, venal Ottoman forces. His brother is killed in front of him and Nazaret himself only spared because the man tasked to slit his throat is so reluctant to kill that he merely inflicts the titular cut, which knocks Nazaret out but doesn’t kill him, though he wakes up mute. Surviving through instinct and the odd act of kindness until the war’s end, Nazaret discovers that his daughters are still alive and sets out on an epic odyssey to find them. There are some nice shots of deserts, period-accurate design, interesting locations, excellent costuming —the window dressing is fine.

But the problems start the first time a character opens his mouth, which is in the very first scene. The first exchange in the film, between Nazaret the Armenian blacksmith (Tahar Rahim) and a pompous, wealthy client, is conducted in English. So it’s one of those films in which everyone speaks English with a different accent to indicate their point of origin? Oh wait no, everyone except the Armenians speaks their own language. It's not wholly unprecedented, but here this decision feels like a fundamental misstep from which our engagement with the film never recovered, for several reasons.

For one, it’s clear that Akin is using this device as a shorthand to elicit audience sympathy with the Armenians, in contrast to the "foreign"-language-speaking “others.” This is politically uncomfortable on a few levels, notably the tacit assumption that the intended audience for this film is an English-speaking one, even though a lot of the discourse in advance was about how the film would be received in modern-day Turkey, where in certain situations, even referring to the plight of the Armenians as a genocide can be a very dangerous thing to do. Beyond that, our own self-conscious sensitivity to issues of Western cultural imperialism created in us an oddly guilty reaction to watching a film set in the Middle East in which only the “good guys,” the victims of these atrocities, speak English.

Those are issues outside the film. The issues within go even deeper: The dialogue is awful -- stilted and dry, with the actors trying to to wrestle naturalism into a non-native tongue rendered into colloquial speech about as convincingly as Google Translate might. It can be unintentionally comic, as with the tendency for people to talk in declarative, impersonal sentences like a schoolteacher saying the latest news on the war is “Horrible carnage! Many people dying!” Or it can be over-literal, as when Nazaret is reunited with his brother’s wife and she addresses him directly as “Brother-in-law” repeatedly. Or it can be confusing, as when Nazaret comes to America and doesn't understand that English, or the fact that he writes in Armenian. Whatever else, the effect is always distracting.

Furthermore, the story is bloated and episodic (the film's 2h 18m length doesn't help the pacing), and remarkably unengaging for what should be emotionally epic —at its end, there was hardly a wet eye in house, and we're easy criers (to be fair, we did come close during a scene in which Chaplin's "The Kid" plays, because… Chaplin's "The Kid"). To date, we’ve almost exclusively raved about Rahim, but here, even when by virtue of being mute he doesn’t have to contend with the dialogue, he seems lost in a role that mistakes screen time for characterization (and however gray his hair, he does not look like the father of 18 year-old twins). Potentially interesting, knotty subplots, especially about religion, are picked up and dropped without any real comment being made, and the occasional striking image of bodies thrown into a well, or a hellish, Hieronymous Bosch-ish Armenian refugee camp, just becomes so much backdrop for Rahim to stumble through, anguished, on his way to the next setback.

Akin’s a director whose previous work we've admired enormously, and “The Cut”’s been high on our Most Anticipated lists since we first heard about it. But part of his appeal has always been a kind of rambunctious irreverence, like his iconoclastic use of music, and the highly individual, raw authenticity he brought crackling to the screen. But when it's not awkward, "The Cut" is, of all things, staid, and with a bland lead and uninspired execution it’s very very far from the “Sergio Leone meets Charlie Chaplin” vibe that Akin teased. Alexander Hacke's score at times threatens to do something interestingly anachronistic in its use of electric guitar, and Rainer Klausman's cinematography is handsome, but all else is folly: grandiose, self-serious, and dull. But worst of all, it’s an opportunity squandered: 2002's "Ararat" aside, the world has waited a long time for a major film that gets to the heart of one of the worst-reported atrocities of the 20th Century. Guess we’re going to have to wait a bit longer. [C-/D+]
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