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Early Greek Photographers of Ottoman Era

October 8, 2014, 2:34 pm
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Mounument of Philopappos, Athens, Konstantinos Athanasiou, ca. 1875, albumen print. Gary Edwards collection of photographs of Greece, The Getty Research Institute (92.R.84) 


Mavi Boncuk |
Konstantinos Athanasiou (dates unknown) was born in Constantinople (Istanbul). From 1875 to 1905 he operated photography studios in Athens, working exclusively in the field of archaeological photography. He specialized in making bas–relief photographs and stereographs, and at some point acquired Dimitris Konstantinou's negatives. Although not well known in Greece, Athanasiou's work was known throughout the European archaeological community.

Dimitris Konstantinou (dates unknown) was one of the earliest Greek photographers. His involvement with photography began in 1854 when he assisted James Robertson and Felix Beato during their visit to Greece. Konstantinou opened his own studio in 1858, specializing in photographs of ancient monuments for the tourist trade, and was the first photographer to work with the Greek Archaeological Society. He participated in various international exhibitions, receiving a silver medal at the first Olympia Exhibition in 1859 and a bronze medal at the 1867 Paris Exposition Universelle. Konstantinou signed his work with various Latinized forms of his name including: D. Costantin, D. Constantin, and D. Constantine, as well as Demetre Constantin and Demetre Constantinidis.

Philippos Margarites (1810–1892), born in Smyrna (Izmir), Turkey, is considered the first professional Greek photographer. He studied painting in Rome, and in 1842 he became a drawing teacher at the School of Arts in Athens. Margarites learned how to make daguerreotypes from Philibert Perraud who visited Athens in 1846–1847. In 1849 Margarites opened the first photography studio in Athens. In addition to daguerreotype portraits, he made the earliest photographic studies of women in traditional Greek costumes, which he often colored by hand. Margarites went on to work in all of the early photographic processes, producing salt, calotype, wet collodion, and albumen prints. In January 1855 his photographs of the Acropolis, included in an art exhibition at the Polytechnic School, were the first photographs to be on public display in Greece. That same year he was the first Greek to show photographs in an exhibition outside the country, winning a second–class medal at the Paris Exposition Universelle. From 1862 onward Margarites traveled extensively, leaving his studio to be run by his partner Ioannis Konstantiniou. In 1878 a third partner, Ioannis Lambakis, was added to the firm.

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Early Photographers of Smyrna

October 8, 2014, 2:37 pm
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Mavi Boncuk | 

Alexander Svoboda (dates unknown), a photographer most likely of Russian origin, established a studio in Smyrna (Izmir), Turkey, in the mid–1850s, where he produced travel albums for young aristocrats such as the Duc de Chartes and the Comte de Paris as they made the "grand tour" of the eastern Mediterranean and biblical sites. Svobodas Seven Churches of Asia (1869), with text by H. B. Tristram, documented the remains of seven cities in the region of Anatolia that received epistles from John describing his visions, as recorded in the New Testament book of Revelations. Svoboda's photographs were frequently reproduced as wood engravings in periodicals such as Le Tour du Monde. 

Rubellin (dates unknown), a photographer most likely of French origin, established his studio in Smyrna (Izmir), Turkey, in 1860, advertising his business as Photographie Parisienne. Rubellin specialized in views of Smyrna and surrounding areas, focusing on ancient ruins. The firm also produced studio portaits, portrayed the types and costumes of Asia Minor, and photographed Istanbul and Athens. When at least one of Rubellins sons joined the studio it became known as Rubellin père et fils, becoming Rubellin fils in 1900.
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Félix Bonfils 1831–1885

October 8, 2014, 2:53 pm
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Mavi Boncuk |

Félix Bonfils[1] (1831–1885), a French printer turned photographer, moved to Beruit in 1867 and opened a photographic studio. He photographed the cities and sites of the eastern Mediterranean including Lebanon, Syria, Palestine, Egypt, and Greece, which he visited in 1868–1870 and again in the mid–1870s. His photographs of Greece were included in the albums Architecture Antique: égypte, Grèce, Asie Mineure. Album de photographies (1872) and Souvenirs dOrient (1878). Bonfils's wife Lydie, son Adrien, and daughter Félicie were all involved in the family business, which also employed numerous assistant photographers. Their firm became a very successful and prolific purveyor of commercial travel views, with distrubutors in Alexandria, Cairo, Jerusalem, Damascus, Port Said, Paris, and Basel. Adrien took over direction of photography expeditions in 1878, and ran the firm after his father's death until the late 1890s. Lydie then managed the firm, eventually selling it around 1909 to Abraham Guiragossian, who continued using the Bonfils name into the 1930s.


See also: The Bonfils Story from Aramco World

(Pictured)Felix Bonfils - Drogoman Guide de Voyaguers, ca 1865

[1] Bonfils was a family firm of French photographers, Félix Bonfils (1831-1886), his son Adrien Bonfils (1860-1929) and finally Lydie Bonfils née Marie Lydie Cabanis (1837-1918), wife of Félix and mother of Adrien. 
 
The Genius of Félix Bonfils Volume 54 Number 3, May/June 2001
by Andrew Szegedy-Maszak

Andrew Szegedy-Maszak is a professor of classical studies at Wesleyan University and a contributing editor to ARCHAEOLOGY.
[picture!]
Athens panorama made by Bonfils around 1870, shows the city's small size and now-vanished medieval tower on the Acropolis. (Courtesy the Princeton University Library) [LARGER IMAGE] 

Rare images of the monuments of ancient Athens by a nineteenth-century virtuoso

In 1867, Félix Bonfils left his home in the south of France and moved with his wife Lydie and their two young children to Beirut. Félix had some prior knowledge of Lebanon, having served there in the French army. He and Lydie believed that the country's hot, dry climate would be good for their boy, Adrien, who suffered from respiratory ailments. Shortly after their arrival, Félix and Lydie founded one of the best-known and most prolific commercial photographic studios of its time. 

The Maison Bonfils, as it came to be called, ultimately made several sizable albums, as well as tens of thousands of individual prints and stereo cards (paired images mounted on a card that, when viewed through a stereoscope, produce a three-dimensional effect). In 1871, a scant four years after the family's arrival in Lebanon, Félix wrote a letter to the Société Française de Photographie, in which he reported that his studio had produced 591 negatives from various sites around the eastern Mediterranean, "principally pictures of Jerusalem," but also views of Egypt, Syria, and Greece. These negatives, moreover, had yielded 15,000 individual prints and 9,000 stereo views. One modern historian of photography has noted with admiration the Bonfils'"astoundingly energetic activity." 

Thanks to the bequest of an early twentieth-century faculty member, Rudolf-Ernst Brünnow, the rare books collection of Princeton University's Firestone Library owns over 800 Bonfils photographs. Because Brünnow's scholarly specialty was the Roman province of Arabia, on which he published a massive three-volume study, most of the photographs in his archive are from the Near East. Along with numerous views of Jerusalem, Damascus, and Beirut, the collection includes 42 views of Athens. These latter were all made by Bonfils during two visits to the city, in 1868 and 1875, and they record the major monuments, particularly those on and around the Acropolis. 

Viewed objectively, the Bonfils photographs provide valuable information about the condition of the ancient monuments and the urban landscape of Athens more than 125 years ago. In addition, they illustrate the most important stations on a traveler's itinerary and the preferred points of view from which the monuments and city were to be seen. Today we can appreciate such photographs both as beautiful compositions and as documents that help to illuminate nineteenth-century cultural history. In 1877, in the preface to Souvenirs d'Orient, an album of photographs published by Bonfils, the writer Georges Charvet proclaimed, "The philosopher and the scholar will wish to stop and reflect before these old traces of vanished ages, which relate history better than does history itself." 



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Patrick Modiano | 2014 Nobel prize in Literature

October 9, 2014, 9:58 am
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Modiano's novella "Dona Bruder" influenced me very much and helped me in my search for the story of Petri the Knife, the Monster of Galata. 
MAM

French historical author Patrick Modiano[1] has won the 2014 Nobel Prize for literature. He is the 11th Nobel literature prize winner born in France. 

At a press conference in Paris, the publicity-shy Modiano expressed his surprise at the win and said he was keen to find out why he was chosen. "I wasn't expecting it at all," he said. "It was like I was a bit detached from it all, as if a doppelganger with my name had won."

The Nobel Academy described the novelist, whose work has often focused on the Nazi occupation of France, as "a Marcel Proust of our time". The academy said the award was "for the art of memory with which he has evoked the most ungraspable human destinies and uncovered the life-world of the occupation". "This is someone who has written many books that echo off each other... that are about memory, identity and aspiration," Peter Englund, the academy's permanent secretary said.

Mavi Boncuk |

French Nobel Prize in Literature winners
For most of the 20th century, French authors had more Literature Nobel Prizes than those of any other nation.

1901 – Sully Prudhomme (The first Nobel Prize in literature)
1904 – Frédéric Mistral (wrote in Occitan)
1911 – Maurice Maeterlinck (Belgian)
1915 – Romain Rolland
1921 – Anatole France
1927 – Henri Bergson
1937 – Roger Martin du Gard
1947 – André Gide
1952 – François Mauriac
1957 – Albert Camus
1960 – Saint-John Perse
1964 – Jean-Paul Sartre (declined the prize)
1969 – Samuel Beckett (Irish, wrote in English and French)
1985 – Claude Simon
2000 – Gao Xingjian (writes in Chinese)
2008 – J.M.G. Le Clézio
2014 - Patrick Modiano

[1] Patrick Modiano  was born at the end of World War II, on July 30, 1945 in the Paris suburb of Boulogne-Billancourt , several months after the official end of Nazi occupation, to a Sephardic Jewish family whose complex background set the scene for a lifelong obsession with that dark period in history. His roots originally in Italy, and his ancestors, longtime inhabitants of Thessaloniki, Greece, [*] included eminent rabbis. [**]

 His father, Alberto Modiano, was a Sephardic Italian Jew with ties to the Gestapo who did not have to wear the yellow star and who was also close to organised crime gangs. Despite his august lineage, Modiano’s father, Albert, survived the war in Paris dishonorably, as a clandestine black marketer profiting from business deals with Nazis. His mother was a Flemish actress named Louisa Colpeyn[***].

Published when he was just 22, in 1967, his first novel La place de l’etoile (The Star’s Place), was a direct reference to the mark of shame inflicted on the Jews. His meeting with Queneau, author of Zazie dans le métro, was crucial. It was Queneau who introduced Modiano to the literary world, giving him the opportunity to attend a cocktail party thrown by the publishing house Éditions Gallimard. 

In 1968 he published his first book La Place de l’Étoile, a wartime novel about a Jewish collaborator, after having read the manuscript to Queneau. The novel displeased his father so much that he tried to buy all existing copies of the book. Earlier while stranded in Paris during the Algerian war Modiano had asked his father for little financial assistance but his father called the police. 

The 2010 release of the German translation of La Place de l'Étoile won Modiano the German Preis der SWR-Bestenliste (Prize of the Southwest Radio Best-of List) from the Südwestrundfunk radio station, which hailed the book as a major Post-Holocaust work. The 42-year delay of the book's translation to German—surprising in that most of Modiano's works are translated to that language—is due to its highly controversial and at times satirically anti-semitic content. 

La Place de l'Étoile has not yet been published in English. In 1973, Modiano co-wrote the screenplay of Lacombe Lucien, a movie directed by Louis Malle which focuses on the involvement of a boy in the "French Gestapo" after being denied admission to the French Resistance. The movie caused controversy due to the lack of justification of the main character's political involvement. Modiano's novels all delve into the puzzle of identity, of how one can track evidence of one's existence through the traces of the past. Obsessed with the troubled and shameful period of the Occupation—during which his father had allegedly engaged in some shady dealings—Modiano returns to this theme in all of his novels, book after book building a remarkably homogeneous work. "After each novel, I have the impression that I have cleared it all away," he says. "But I know I'll come back over and over again to tiny details, little things that are part of what I am. In the end, we are all determined by the place and the time in which we were born." He writes constantly about the city of Paris, describing the evolution of its streets, its habits and its people.

In 1972, Modiano was awarded the French Academy’s Grand Prize for his novel Ring Roads (Grand prix du roman de l'Académie française for Les Boulevards de ceinture.), and the Goncourt Prize in 1978 for Missing Person (Rue des boutiques obscures). 

In 1996, he won the National Literature Grand Prize for his entire work.

Screenplays 
Lacombe, Lucien (with Louis Malle), 1973. Controversial about a teenager living under the Occupation who is rejected by the French resistance and falls in with pro-Nazi collaborators.

Bon Voyage (with Jean-Paul Rappeneau), 2003 

Adaptations of his novels 
Une jeunesse (from novel of same title) directed by Moshé Mizrahi, 1983 
Le parfum d’Yvonne (from novel Villa triste) directed by Patrice Leconte, 1994 

 
[*] The city of Thessaloniki (also known as Salonica) housed a major Jewish community, mostly of Sephardic origin, until the middle of the Second World War. It is the only known example of a city of this size in the Jewish diaspora that retained a Jewish majority for centuries. Sephardic Jews immigrated to the city following their expulsion from Spain by Christian rulers under the Alhambra Decree in 1492. This community influenced the Sephardic world both culturally and economically, and the city was nicknamed la madre de Israel (mother of Israel). 

The community experienced a "golden age" in the 16th century, when they developed a strong culture in the city. Like other groups in the Ottoman Empire, they continued to practice traditional culture during the time when western Europe was undergoing industrialization. In the middle of 19th century, Jewish educators and entrepreneurs came to Thessaloniki from Western Europe to develop schools and industries; they brought contemporary ideas from Europe that changed the culture of the city. With the development of industry, both Jewish and other ethnic populations became industrial workers and developed a large working class, with labor movements contributing to the intellectual mix of the city.

[**] Modiano ancestors resided in Modigliana, a township on the foothills of the Apennines northeast of Florence. The family name, originally Modigliano, then Modiano, describes one who comes from Modigliana. This small village northeast of Florence in Italy gave the Modianos their family name. Tuscany was the family’s springboard to Salonika. Research in Italy led Prof. Michele Luzzati of Pisa University to formulate a new theory about the origin of the Modillano/ Modiano family. In the 16th century members of the family migrated to Salonika which was then part of the Ottoman Empire. We find a family of Modillano rabbis in Salonika as early as the end of the 1500s. The most prominent among the Modianos were Saul Isaac Modiano, banker, real estate developer and philanthropist, was one of the richest, if not the richest man in 19th century Salonika in the Ottoman Empire; and his cousin Saul Daniel Modiano of Trieste whose playing cards as well as advertising posters for cigarette paper are still popular today. Source: Mario Modiano.
See research on Modianos

[***] Louisa Colpeyn (Louisa Colpijn) b. Antwerp 24/02/1918 began her film career in the Lowlands, in studios in Brussels, before the Second World War. With the onset of the conflict, she decided to go to France in June 1942, and worked for a time in dubbing studios of the German company Continental. She met Alberto Modiano in October 1942, and married in late 1944, having two children with him. In 1945 Patrick Modiano, the future writer, and in 1947 Rudy Modiano (who died of illness at 10 years) . After the war,  she resumes activity in theater and cinema, where she became specialized in the roles of beautiful mature women notably with Jacques Becker, Jean-Luc Godard and Claude Berri. She played mostly supporting roles in theater, film and television. Her best films as an actor include Jan Vanderheyden's comedy Janssens tegen Peeters (1939), Veel geluk, Monika (1941) and Jean-Luc Godard's comedy-thriller Bande à part (1964).

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Book | Turks in America by Frank Ahmed

October 9, 2014, 1:48 pm
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Mavi Boncuk | 
Book: Turks in America by Frank Ahmed PDF File (9 MB)
The Ottoman Turk's immigrant experience

OBITUARY
Frank Ahmed, Foreign Service officer

Monday, February 21, 2011; 

Frank Ahmed, 86, a retired Foreign Service officer with the State Department, died Jan. 21 of cardiac arrest at his home in Fairfax City.

Mr. Ahmed joined the Foreign Service in 1953 and had early overseas assignments in Iran and Iraq. In 1967, he and his family were evacuated from Jordan during the Arab-Israeli Six-Day War.

After returning from his final overseas posting to Turkey in 1971, Mr. Ahmed served as a consultant to the State Department until 2009.

Frank Ahmed was born in Salem, Mass., and was a graduate of Salem State University. He served in the Army in the Pacific theater during World War II and participated in campaigns in the Solomon Islands and at Guadalcanal, Bougainville and New Guinea.

He was president of the International Club of D.C. and a member of the University Club, where he was a founding member of its international committee.

Mr. Ahmed was a member of the Turkish-American Association and American & Turkish Veterans Association. In 1986, he wrote a book, "Turks in America," about Turkish immigration to the United States and his experiences growing up in a Turkish community in Massachusetts.

He lived in Bethesda for many years before moving to Fairfax five years ago.

Survivors include his wife of 54 years, Mary Lou Kennedy Ahmed of Fairfax; three children, Ann Marie McCauley of Wellesley, Mass., and Dr. Robert Frank Ahmed and Alison Ahmed-Regen, both of Vienna; a brother; and nine grandchildren.

- Matt Schudel
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Article | Safe haven and No-Fly Zones in Syria

October 10, 2014, 8:59 am
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Mavi Boncuk |
TURKEY CALLS FOR SAFE HAVENS AND NO-FLY ZONES IN SYRIA: FIVE THINGS YOU NEED TO KNOW

By Soner Cagaptay and Andrew Tabler

Soner Cagaptay is the Beyer Family Fellow and director of the Turkish Research Program at The Washington Institute, and author of "The Rise of Turkey: The Twenty First-Century's First Muslim Power" (http://washin.st/RiseofTurkey), published by Potomac Books. Andrew Tabler is a senior fellow at the Institute and author of "In the Lion's Den: An Eyewitness Account of Washington's Battle with Syria" (http://washin.st/1a5wAYY).

October 10, 2014

Source website: http://washin.st/1o3surW

Ankara's security and political concerns may drive it to establish buffer zones unilaterally, while Washington's hesitance could cost it a coalition.

Since the armed phase of the rebellion against Bashar al-Assad began in summer 2011, Turkey has been intent on setting up safe havens and accompanying no-fly zones in northern Syria to protect areas held by the opposition. Here are five things you need to know about Ankara's plans and motivations:

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Edward J. Erickson Lecture | Ottomans and Armenians: A Study in Counterinsurgency

October 10, 2014, 10:13 am
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Palgrave Macmillan, Nov 12, 2013 - History - 316 pages
Covering the period from 1878-1915, Ottomans and Armenians is a military history of the Ottoman army and the counterinsurgency campaigns it waged in the last days of the Ottoman empire. Although Ottomans were among the most active practitioners of counterinsurgency campaigning in the late-nineteenth and early-twentieth centuries, in the vast literature available on counterinsurgency in the early twenty-first century, there is very little scholarly analysis of how Ottomans reacted to insurgency and then went about counterinsurgency. This book presents the thesis that the Ottoman government developed an evolving, 35-year, empire-wide array of counterinsurgency practices that varied in scope and execution depending on the strategic importance of the affected provinces.

Mavi Boncuk |

Edward J. Erickson Lecture  Part 1- Part 5 | Ottomans and Armenians: A Study in Counterinsurgency

Part 1  | Part 2 | Part 3 | Part 4 | Part 5 | 
Raw videos recorded by Mavi Boncuk Archives


Ottomans and Armenians: A Study in Counterinsurgency
October 9, 2014 at 6:30pm EST
Turkish Embassy, 2525 NW Massachusetts Ave., Washington, DC
Speaker: Edward J. Erickson[1], Marine Corps University

Institute of Turkish Studies

Co-Sponsored by: American Friends of Turkey

Download PosterCovering the period from 1878-1915, Ottomans and Armenians is a military history of the Ottoman army and the counterinsurgency campaigns it waged in the last days of the Ottoman empire. Although Ottomans were among the most active practitioners of counterinsurgency campaigning in the late-nineteenth and early-twentieth centuries, in the vast literature available on counterinsurgency in the early twenty-first century, there is very little scholarly analysis of how Ottomans reacted to insurgency and then went about counterinsurgency. This book presents the thesis that the Ottoman government developed an evolving, 35-year, empire-wide array of counterinsurgency practices that varied in scope and execution depending on the strategic importance of the affected provinces.

[1] Edward J. Erickson is a Professor of Military History at the Command and Staff College, Marine Corps University, USA. He retired from the US army as a lieutenant colonel and served in artillery and general staff assignments in the United States, Europe, and the Middle East. He is widely recognized as one of the foremost experts on the Ottoman Army during the First World War. Some of his publications include Ordered To Die, A History of the Ottoman Army in the First World War; Defeat in Detail, The Ottoman Army in the Balkans, 1912-1913; Ottoman Army Effectiveness in WW1, A Comparative Study; Gallipoli and the Middle East 1914-1918; andGallipoli, The Ottoman Campaign, and A Military History of the Ottomans, from Osman to Ataturk (co-authored).
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Article | Venetian Ahidnâmes

October 10, 2014, 2:08 pm
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Mavi Boncuk | Venetian Ahd-names by Dr. H.P.A. (Hans) Theunissen[1]
An Ahdname, achtiname or ahidnâme is a type of Ottoman charter commonly referred to as a capitulation. During the early modern period, the Ottoman Empire called it an Ahidname-i-Humayun or an imperial pledge and the Ahdname functioned as an official agreement between the Empire and various European states.

List of Venetian Ahdnames
(1403), Suleyman Celebi
(1403), Suleyman Celebi
(1411), Musa Celebi
(1419), Mehmed I
(1430), Murad II
(1446), Mehmed II
(1451), Mehmed II
(1454), Mehmed II
(1479), Mehmed II
(1482), Bayezid II
(1503), Bayezid II
(1513), Selim I
(1517), Selim I
(1521), Suleyman I
(1540), Suleyman I
(1567), Selim II
(1573), Selim II
(1575), Murad III
(1576), Murad III
(1595), Mehmed III
(1604), Ahmed I
(1619), Osman II
(1625), Murad IV

(1641), Ibrahim I 

[1] Dr. H.P.A. (Hans) Theunissen

Key publications
 ‘Dutch Tiles in 18th-Century Ottoman Baroque-Rococo Interiors: Hünkâr Sofası and Hünkâr Hamamı’, Sanat Tarihi Dergisi, 18/2 (October 2009), 71-135. 

‘Dutch Tiles in 18th-Century Ottoman Baroque-Rococo Interiors: the Sabil-Kuttab of Sultan Mustafa III in Cairo’, Electronic Journal of Oriental Studies 9/3 (2006), 1-283. 

(Together with Zeynep Tiskaya), ‘The Dutch Tiles of Surp Krikor Lusavoriç Church in İstanbul’, Electronic Journal of Oriental Studies 8/11 (2005), 1-41.

See also: 

Goffman, Daniel. “Negotiating with the Renaissance State: the Ottoman Empire and the New Diplomacy.” In the Early Modern Ottomans: Remapping the Empire. Eds. Virginia Aksan 

Daniel Goffman. Cambridge: Cambridge Goffman, Daniel. The Ottoman Empire and Early Modern Europe. New York: Cambridge University Press, 2002.
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An Analysis on the Ahdname Practice of the Ottoman Unilateral Diplomacy

October 10, 2014, 2:16 pm
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Zeynep Bostan | Bsc Politics and International Relations, University of London (2008); MA International Relations and World Order, University of Leicester (2011) MA Dissertation: An Analysis on the Ahdname Practice of the Ottoman Unilateral Diplomacy

DISSERTATION PDF

Mavi Boncuk |

An Analysis on the Ahdname Practice of the Ottoman Unilateral Diplomacy

by Zeynep Bostan

The diplomatic relations of the European states and the Ottoman Empire began since the emergence of the Ottoman Empire in the 14th century and improved during the centuries. Ahdname documents were the core instruments that formed the legal basis of the commercial and diplomatic relations between them. Ahdnames referred to two types of international documents: peace treaties and the so called "capitulations". Besides political and commercial issues, both types of ahdnames included a considerable number of articles concerning the diplomatic actors such as the temporary envoys, ambassadors, consuls, their interpreters and employees. The ahdnames were the primary and most-high ranking documents that determined the rights, duties, extent of authority and personal, economical and judicial privileges of the diplomats. Besides, the application and conclusion process of the ahdnames brought an intense diplomatic interaction between the Ottomans and the Europeans. This study aims to approach the ahdname documents from the perspective of diplomatic studies. Beginning with their theoretical roots and historical survey, it focuses on the preparation process and the articles about the diplomats in the ahdnames. It is understood that, the core concept of "extra-territoriality" that ahdnames envisaged, influenced the "new" diplomatic attitude which emerged and developed in Europe at about the same period. Ahdname documents were significant for their effects and contribution over the Ottoman unilateral diplomacy and implicitly over the European diplomacy.

DISSERTATION PDF

Ottoman Diplomacy and Renaissance Diplomacy: A Comparison
The modern diplomacy has emerged in the Italian city-states and spread to Europe during the Renaissance era. Diplomacy became a permanent institution and its most significant characteristic was the resident envoys. The new style of diplomacy slowly developed through centuries along with the development of centralized, secular, territorial, nation states in Europe and an international system between these states. On the other hand, the most powerful rival of them, the Ottoman Empire, was a different political entity with its imperial nature and this was the main reason that Ottomans did not adopt the permanent diplomacy until the reforms in the end of the 18th century. This essay attempts to introduce the conditions that forced the European states to use this new style of diplomacy and the reasons of Ottoman’s persistence on unilateral diplomacy. In addition to this, a comparison is made on the approach, mechanisms, institutions, agents and traditions of diplomacy between the European States and the Ottoman Empire in the early modern era.

The Impact of the "National Character" in Diplomatic Negotiations
The diplomatic negotiation is naturally a confrontation of different nations that the diplomats of two or more culturally distinct countries come together to achieve peaceful and legitimate results on an issue of their interests. Although it seems to be a value-free process as diplomats negotiating according to rational-choice as in all human activity, negotiations are affected by the characters of nations. This essay aims to express the importance of negotiation for nations and the inevitable influence of the national culture over the negotiation.
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Lecture on the Architecture of Mihran Mesrobian

October 14, 2014, 9:47 am
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Mavi Boncuk | October 14: Lecture on the Architecture of Mihran Mesrobian[*]
by AHS on OCTOBER 8, 2014

Caroline Mesrobian Hickman, Ph.D., a local art and architectural historian and granddaughter of architect Mihran Mesrobian, will give an illustrated lecture on her grandfather’s work on Tuesday, October 14, at 7:00 p.m. at the St. Mary Armenian Apostolic Church, 4125 Fessenden Street, NW, Washington, DC.  The lecture is free and open to the public.  It will be followed by a reception.

Mihran Mesrobian was a noted and prolific architect in the Washington, DC area, including Arlington, in the early 20th century.  Of Armenian descent and emigrating from Turkey in 1921, Mesrobian started his career in the United States working for legendary local real estate developer Harry Wardman[**].  He became Wardman’s primary in-house architect and worked on such buildings as the St. Regis and Hay-Adams hotels, as well as Wardman Tower (now part of the Marriott Wardman Park Hotel) in Washington.

After Wardman’s bankruptcy, Mesrobian started his own firm in 1930 and completed fine Art Deco structures, such as the Calvert Manor apartments[1] at 1925-1927 N. Calvert Street, the Wakefield Manor apartments[2] at 1215 N. Courthouse Rd. in Arlington, Sedgwick Gardens[3] in Cleveland Park, and the DuPont Circle Building in Washington.


[*] Born in Turkey to Armenian parents, Mesrobian was educated at the Academie des Beaux Arts in Istanbul. He immigrated to the United States and settled in Washington, D.C. in 1921. He began working as a draftsman for Harry Wardman, one of Washington, D.C.’s most prolific and well-known developers. His work during this period included luxury hotels such as the Carlton (1926), the Hay-Adams (1927), and the Wardman Tower (1928). In his private practice, Mesrobian’s Washington, D.C. commissions included the Dupont Circle Building (1931), a rug store at 1214 18th Street, N.W. (1931), and Sedgwick Gardens (1931-1932). Mesrobian’s design work during this period allow him to perfect his skill in combining distinct architectural elements under a primary style; he utilized Byzantine, Medieval, and Islamic elements and united them under a Moderne scheme. In addition to Mesrobian’s residential commissions, he was also responsible for the design of several shopping centers in Arlington County and the neighboring City of Alexandria; only two of his commercial shopping centers are extant. Three of Mesrobian’s other garden-apartment complexes are intact—Wakefield Manor, Lee Gardens North, and Lee Gardens South. Also surviving is a mid-rise garden apartment building, Calvert Manor.  

image
Marriott Wardman Park

[**] Harry Wardman is responsible for developing huge swaths of northwest DC, from row houses in Columbia Heights to luxury apartment buildings in Dupont Circle. Busy throughout the first few decades of the 20th century, Wardman has arguably made a bigger impact on DC’s residential real estate scene than any other developer. Starting out with modest row houses, Wardman’s buildings grew in scope and luxury as the years went on and many iconic apartments and hotels around the city are, with the help of a variety of architects. 

Wardman didn’t want to leave hotels out of his property portfolio, and The Hay-Adams may be the most iconic lodging he designed in the city. Ornately designed and frequented by DC power brokers (the first family lived there before Obama’s inauguration), the 125-room hotel was designed by Mihran Mesrobian in 1928 in an Italian Renaissance style. On the other end of the size spectrum is Wardman’s Park Hotel, now known as Marriott Wardman Park. Located at 2600 Woodley Road NW (map), the massive complex has more than 1,316 rooms and is the largest hotel in DC. Wardman developed the hotel in 1918 after the First World War, and it has since been home to presidents and other public figures. Tragically, Wardman lost his $30 million fortune in the 1929 stock market crash. He went back to building single-family homes until his death in 1938. SOURCE



[1] Calvert Manor is a historic apartment building located at 1925-1927 North Calvert Street in Arlington, Virginia. It was designed by noted Washington, D.C. architect Mihran Mesrobian and built in 1948, in the Moderne style. Mesrobian was also the builder and owner of Calvert Manor. The three-story garden apartment building is constructed of concrete block with red brick facing, highlighted by light-colored cast stone, cement brick details, and vertical bands of glass block. On December 15, 1997, it was added to the National Register of Historic Places


[2] Wakefield Manor is one of the earliest intact examples of his work in Arlington County, and is the smallest garden-apartment complex designed by Mihran Mesrobian. It stands as the best example of his prolific skills with merging traditional- and modern-style designs into a garden-apartment complex. Wakefield Manor is a small garden-apartment complex consisting of two buildings, one with an “H” shape and one with an “I” shape. Despite the variation of massing, the buildings are very similar in form, detailing, and style, reflecting the Art Deco and Moderne styles. These modern designs were infused with traditional character-defining features of the Classical Revival style, which was more familiar to residents and promoted as the style of choice by the Federal Housing Administration (FHA). This coupling was preformed with great proficiency by renowned architect Mihran Mesrobian. The buildings, together providing 67 apartment units (originally 41 units), were built by the construction company of Parreco and Von Herbulis in 1943. 

Wakefield Manor consists of two individual buildings at the southern end of the block bounded by North Courthouse Road, North Troy Street, and North Fairfax Drive. Classically inspired elements include the narrow brick quoins, brick dentil molding, brick water table (painted white), round windows, wood cupolas, and limestone surrounds of the primary entries with fluted pilaster, wide friezes, and squared cornices complete with ogee molding. Additionally, metal and limestone panels have been placed within the brick, illustrating classical motifs. These panels are in striking contrast to the dog-tooth brickwork that lines the cornice and acts as panels between the second- and third-story openings. Glass block is used throughout the buildings as a contrast to the operational casement and double-hung sash.



[3] Sedgwick Gardens, located at 3726 Connecticut Avenue, NW, Washington, DC, is an apartment building on the southwest corner of Connecticut Avenue and Sedgwick Street in Northwest Washington D.C. It is located two blocks from the Cleveland Park Metro. It is listed in the National Register of Historic Places, and is a good example of an Art Deco porte-cochere in Washington.



[4] Lee Gardens North, Arlington County, Virginia 

Lee Gardens North Historic District in Arlington County, Virginia, is an excellent example of a garden apartment complex that illustrates the prolific design skills of architect Mihran Mesrobian and the original standards promoted by the Federal Housing Authority (FHA). Although construction of the thirty-acre garden apartment complex began in 1941 with Lee Gardens South, the second-phase construction of Lee Gardens North was completed in 1949-1950 using FHA-insured financing to serve post-war housing needs. The thirty masonry structures, consisting of seven buildings with varying plans set around landscaped courtyards, present stylistic elements and forms closely associated with the Colonial Revival style, which was favored by the FHA. The ornamental detailing of the buildings varies throughout the complex, also drawing . from the Art Deco and Moderne styles of which Mesrobian was so well versed. Mesrobian tailored his designs to the needs of the developer and setting of the surrounding neighborhood. Further, he used the 1934 construction, design, and property standards instigated by the FHA, requirements that had been changed in 1941 when the need for low-cost housing for wartime workers became essential in the suburbs of Washington, D.C. 

The Lee Gardens North complex was completed in 1949-1950. The brick buildings are in the Colonial Revival style, with some fenestration elements influenced by the Art Deco and Modern style. It was listed on the National Register of Historic Places in 2004.
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Inherent Resolve

October 15, 2014, 1:16 pm
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Mavi Boncuk |  U.S. military operations in Iraq and Syria against the Islamic State of Iraq and the Levant terrorists have been designated as Operation Inherent Resolve, U.S. Central Command officials announced today.

The operation name applies retroactively to all U.S. military actions conducted against ISIL in Iraq and Syria since airstrikes against ISIL began Aug. 8 in Iraq, officials said.

The name Inherent Resolve is intended to reflect the unwavering resolve and deep commitment of the U.S. and partner nations in the region and around the globe to eliminate the terrorist group ISIL and the threat they pose to Iraq, the region and the wider international community, Centcom officials explained.
It also symbolizes the willingness and dedication of coalition members to work closely with friends in the region and apply all available dimensions of national power necessary -- diplomatic, informational, military and economic -- to degrade and ultimately destroy ISIL, officials added.
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Awards | 51st International Antalya Golden Orange Film Festival

October 20, 2014, 5:53 am
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International Antalya Golden Orange Film Festival, which is organised by Antalya Culture and Arts Foundation, in cooperation with the Metropolitan Municipality of Antalya. The festival includes an International Competition specialised on feature films produced in Asia, Europe and Middle East countries. The Antalya Golden Orange Film Festival is one of the deepest-rooted festivals in Europe and Asia, and one of the oldest and the longest running film festivals in Turkey.


 Mavi Boncuk |

The festival ran from 10 to 18 October under the organization of the Antalya Municipality and Antalya Culture and Arts Foundation, or AKSAV.

Awards[1] | 51st International Antalya Golden Orange Film Festival

The internationally renowned Iranian auteur Abbas Kiarostami has been honored at the 2014 International Antalya Golden Orange Film Festival in Turkey.Kiarostami was awarded with Life Achievement Prize in Art at the Turkish festival. Iran’s leading filmmaker attended the year’s festival to hold advanced filmmaking workshops. 

The festival also presented a special award to world-famous action star Jean Claude Van Damme, who was the guest of the ceremony. 

Veteran actress Hülya Koçyiğit was given a painting of the festival’s poster by the director of the festival, Elif Dağdeviren. 

Kutluğ Ataman’s “Kuzu” (The Lamb) was the big winner at the 51st International Antalya Golden Orange Film Festival, picking up the best film award at the closing ceremony of Turkey’s premier film competition. This year the best director award of the festival was presented to Onur Ünlü for “İtirazım Var.” The national feature film award was shared by “Oflu Hocayı Aramak” (O.H.A) and “Sivas,” which has already attracted international plaudits.

Ataman will receive 350,000 Turkish lira along with the award and Unlu 75,000 Turkish lira. 

Nesrin Cavadzade, who plays the character Medine in the film, won the best actress award, two years after receiving another award at the Golden Orange. 

The best actor honor was shared between Serkan Keskin and Feyyaz Duman. Keskin won for his performance in “İtirazım Var” (Let’s Sin) while Duman won the award for his role in “Annemin Şarkısı” (My Mother’s Song). 

“I dedicate this award to all children of the Sinjar Mountain, who were left to die of thirst under 45-50 Celsius degrees, which is the worst way of dying in the world,” said Keskin in reference to the August attack by the Islamic State of Iraq and the Levant (ISIL) on Yazidi settlements near Sinjar (also known as Şengal), prompting tens of thousands to flee to Sinjar Mountain, where many succumbed to the elements.

The best supporting actress award went to Nursel Köse for her performance in “Kuzu,” and the best supporting actor award was given to Aziz Çapkurt for his role in “Annemin Şarkısı.” 

“Today many peoples and faiths in Kobane are struggling to build their own free future. This is why Kobane is not only a name in geography but it is, at the same time, an idea and ideas do not fall. I greet all of you as a filmmaker of the world and Turkey,” said Çapkurt. 

The Behlül Dal Special Jury Prize was given to Doğan İzci for his role in “Sivas,” as well as Sıla Lara Cantürk and Mert Taştan for their role in “Kuzu.” 

SİYAD Awards 

The Cinema Writers Association (SİYAD) National Feature Film Award was presented to Ataman’s “Kuzu” while the SİYAD International Feature Film Award went to Chaitanya Tamhane’s “Court.” [2]

Nazlı Eda Noyan and Dağhan Celayir’s “Bir Fincan Türk Kahvesi” (A Cup of Turkish Coffee) won the best short film award at the event.


Hungarian director Kornel Mundruczo’s “White God” won the international competition audience award as Ayhan Sonyürek’s “İyi Biri” (A Good Fellow) won the national competition audience award. 

Ömer Uğur won the best director award given by the Film Directors Association for his film “Guruldayan Kapler” (Rumbling Hearts). At the same time, director Ertem Göreç, who came to the stage to present the award, criticized abusive language in films. 

[1] The awards at the 51st International Antalya Golden Orange Film Festival were as follows:

    Best Film: Kuzu/Lamb (Kutlug Ataman)
    Best First Film: Annemin Sarkısı/The Song of My Mother (Erol Mintas )
    Best Director: Onur Unlu (Itirazım Var/I Have an Objection)
    Best Script: Onur Unlu (Itirazım Var/I Have an Objection)
    Best Music: Basar Under (Annemin Sarkisi/The Song of My Mother)
    Best Actress: Nesrin Cavadzade (Kuzu/Lamb)
    Best Actor: Serkan Keskin (Itirazım Var/I Have an Objection) - 
                     Feyyaz Duman (Annemin Sarkısı/The Song of My Mother)
    Best Supporting Actress: Nursel Kose (Kuzu/Lamb)
    Best Supporting Actor: Aziz Capkurt (Annemin Sarkısı/The Song of My Mother)
    Best Montage: Yorgos Mavropsaridis (Sivas/Sivas)
    Best Arts Director: Osman Ozcan (Neden Tarkovski Olamıyorum/Why Can't I Be Tarkovsky)
    Best International Feature Film: Test (Alexander Kott, Russia)
    Special Award: Jean Claude Van Damme
    Lifetime Achievement Award: Abbas Kiarostami

 
[2] Chaitanya Tamhane’s debut feature film Court won the Turkish Film Critics’ Association (SIYAD) award for the Best Film at 51st International Antalya Golden Orange Film Festival on October 18.

Court had its world premiere in the Orizzonti section of the Venice Film Festival this year, where it won two awards – “Lion of the future” award for the Best Debut Film of the festival and Best Film in Orizzonti section.

The film, that is an exploration of the Indian judiciary, had received the Hubert Bals fund for script and project development in fall 2012 and was part of NFDC Film Bazaar co-production market in 2012.


READ CHAITANYA TAMHANE’S INTERVIEW HERE

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The Armenian Orphan Rug

October 20, 2014, 6:46 am
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Mavi Boncuk |

The White House has confirmed that a controversial historical artifact known as the Armenian Orphan Rug will go on display at the newly renovated White House Visitor Center.
  An image of the Armenian Orphan Rug, 11'7" x 18'5", and comprised of 4,404,206 individual knots. It took the Armenian girls in the Ghazir[1] Orphanage of the Near East Relief Society 10 months to weave.


President Calvin Coolidge pictured standing on the rug with Near East Relief Vice-Chairman, Dr. John Finley. Source: Barton, Story of Near East Relief, 362. 

Source: "President Calvin Coolidge and the Armenian Orphan Rug," by Dr. Hagop Martin Deranian.

[1]  The name of Ghazir is derived from the Syriac language, meaning the separated area. This name is consistent with the geographical shape of the town, which appears to be separated from its neighboring regions by valleys and hills.

Edith Glanville[*] a well-known Sydney feminist Edith May Glanville in the Armenian relief movement which swept Australia in the late 19th and early 20th centuries was from Haberfield, Sydney, lost her son Leigh, from the 1st Battalion, who died in battle at Gallipoli. Thus began her extraordinary journey with the Armenian people.

Glanville was the first woman justice of the peace in NSW and founded both the Quota and Soroptimist clubs in Australia. Most notably she was honorary secretary of the Armenian Relief Fund of NSW from 1922, and became a driving force in raising more than $100,000 worth of supplies (about $19 million in today's value) within months. 

[*]READ MORE

Committee of Mercy Letter and Pamphlet 
1916 letter and pamphlet urging for financial assistance to 

help the victims of the Armenian Genocide 



Edith Glanville and Ghazir Orphanage children.



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DO & CO Qualifies for Euro 2016 with Hediard

October 23, 2014, 8:56 am
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(pictured DO & CO [1]founder Attila Dogudan[2])

Hediard currently generates about 12 million euros in turnover, but gives 4 to 5 million of operating losses. "Our goal is 100 million in revenue in three to five years, including a third in the event (sports, fashion, etc.), and a return to profitability in two years maximum," says Haig Asenbauer. In total, Do & Co plans to invest 50 million euros in France within 12 to 18 months, buying Hediard, which cost him almost 25 million euros (17 million debt), there understood. Added to this are the work of the Madeleine (7 to 10 million) and the new lab, it does not exclude to buy another caterer. 

Mavi Boncuk | 
Hediard back in the race with its new Austrian owner, Do & Co, winning the tender to become the exclusive caterer of the Euro 2016 football. For this first, delicatessen chose the multi-starred chef Joel Robuchon to provide 200,000 meals for the event next summer. Five to seven thousand people will be mobilized. "Do & Co had been the exclusive caterer of the Euro in 2004, 2008 and 2012, said Le Figaro Asenbauer Haig, 

President of the Board of Hediard. For the first time, with Hediard, we highlight a local brand, and Joël Robuchon, a great French chef. "It shows strong ambitions for the brand. Today it remains the store instead of the Madeleine, a shop in the shopping center Parly 2, production of jams and jellies near Nimes and international franchises that Do&Co wants to keep . "From now on, Hediard is the brand of the group in France. For us to transfer our know-how in this brand, "says Haig Asenbauer. He promises to create permanent jobs, noting that "there is not a single country where we have less than 500 employees." A hundred employees work at Hédiard today.

[1] DO & CO Aktiengesellschaft is an Austrian catering company, headquartered in Vienna.It is active in many catering segment, such as airline catering, train catering and international events catering. The company is also involved in providing services through its restaurants, bars, lounges, and hotels.

The company handles the catering of Austrian Airlines (since 2007) as well as of the Austrian Federal Railways (since 2012). Do & Co also provides VIP catering for most of the Formula 1 races. Do & Co was the exclusive hospitality and catering service provider for the 2012 UEFA European Football Championship final tournament in Poland and Ukraine.

Catering company based mainly in Istanbul which is owned by Do & Co and Turkish Airlines.
Since 2007, Turkish Do & Co has been operating nine gourmet kitchens all over Turkey: Istanbul (Atatürk Airport and Sabiha Gökcen), Ankara, Antalya, Izmir, Bodrum, Trabzon, Dalaman and Adana. Over 60 national and international airlines are catered from these locations. While Turkish Airlines represents 70% of the sales, British Airways, Air France, Asiana Airlines, Emirates are also among its wide range of customer portfolio.

[2] Attila Dogudan serves as the Chairman of the Management Board at DO & CO Restaurants & Catering AG and has been its Member of Management Board since June 3, 1997. Mr. Dogudan has been the Chief Executive Officer of DO & CO Restaurants & Catering AG since July 16, 2012.
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The Many Bridges on Golden Horn

October 23, 2014, 9:54 am
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Mavi Boncuk |

The first recorded bridge over the Golden Horn in Istanbul was built during the reign of Justinian the Great in the 6th century, close to the area near the Theodosian Land Walls at the western end of the city. In 1453, during the Fall of Constantinople, the Turks assembled a mobile bridge by placing their ships side by side across the water, so that their troops could move from one side of the Golden Horn to the other. Golden Horn Bridge designed by Leonardo da Vinci in 1502. In the years 1502–1503 there were plans to construct the first bridge at the current location. Sultan Bayezid II solicited a design and Leonardo da Vinci, utilizing three well-known geometrical principles, the pressed-bow, parabolic curve and keystone arch, created an unprecedented single span 240 m long and 24 m wide bridge for the Golden Horn, which would have become the longest bridge in the world of that time if it had been constructed. However, the ambitious design was not approved by the Sultan. 



In the years 1502-1503 plans to construct a permanent bridge here were discussed, and with this object a design sketch was made by Leonardo da Vinci showing a single span bridge with double pillars at either end, 350 m long and 24 m wide. However, technical drawbacks made it impossible to realize this project, and another Italian artist, Michelangelo was invited to design a bridge for Istanbul. Michelangelo rejected the proposal, and the idea of building a bridge here was shelved until the 19th century. 

In the early 19th century Mahmut II (1808-1839) had a bridge built at some distance up the waterway between Azapkapi and Unkapani. This bridge, known as the Hayratiye, was opened on 3 September 1836. 

The project was carried out by Deputy Lord High Admiral Fevzi Ahmet Pasa using the workers and facilities of the naval arsenal. According to the History of Lutfi this bridge was built on linked pontoons and was around 500 to 540 m long. 

The first Galata Bridge at the mouth of the waterway was constructed in 1845 by the mother of Sultan Abdulmecid and used for 18 years. It was known as the Cisr-i Cedid or New Bridge to distinguish it from the earlier bridge further up the Golden Horn, which became known as the Cisr-i Atik or Old Bridge. 

The New Bridge was built by Abdulmecid Han. First to pass over the bridge was Sultan Abdulmecid, and the first to pass below it was the French captain Magnan in his ship the Cygne. For the first three days crossing the bridge was free, after which a toll known as mürüriye was paid to the Naval Ministry.

Toll collecting started on November 25, 1845 and the toll was charged:
Free: military and law enforcement personnel, fire fighters on duty, clergy,
5 para: pedestrians,
10 para: backpacker people,
20 para: backpacker animals,
100 para: horse carriages,
3 para: sheep, goat or other animals


Toll was collected until May 31, 1930 by officials in white uniform standing on both ends of the bridge.

This was replaced by a second wooden bridge in 1863, built by Ethem Pertev Pasa on the orders of Sultan Abdulaziz in readiness for the visit to Istanbul of Napoleon III.

In 1870 a contract was signed with a French company, Forges et Chantiers de la Mediteranée for construction of a third bridge, but the outbreak of war between France and Germany delayed the project, which was given instead to a British firm G. Wells in 1872. This bridge completed in 1875 was 480 m long and 14 m wide and rested on 24 pontoons. It was built at a cost of 105,000 gold liras. This was used until 1912, when it was pulled upstream to replace the now genuinely old Cisr-i Atik Bridge.

The fourth Galata Bridge[1] was built in 1912 by the German MAN firm for 350,000 gold lira. This bridge was 466 m long and 25 m wide. It is the bridge still familiar to many people today that was badly damaged in a fire in 1992 and towed up the Golden Horn to make way for the modern bridge now in use.

The Galata Bridge was a symbolic link between the traditional city of Istanbul proper, site of the imperial palace and principal religious and secular institutions of the empire, and the districts of Galata, Beyoglu, Sisli and Harbiye where a large proportion of the inhabitants were non-Muslims and where foreign merchants and diplomats lived and worked. In this respect the bridge bonded these two distinctive cultures. As Peyami Safa said in his novel, Fatih-Harbiye, a person who went from Fatih to Harbiye via the bridge set foot in a different civilization and different culture. Apart from its place in fiction, the romantic appearance of the Galata Bridge made it a subject of many paintings and engravings.

Text Source

[1] 1912 Galata Bridge: as a Site of Collective Memory by Umut Şumnu

After having graduated from Bilkent University in 2000, Umut Şumnu had a master degree at the same University. In 2002, he started his PhD. study. Umut Sumnu has many articles published in journals like Theory and Event, International Studies in Philsophy He is currently working as a full-time instructor at Baskent University.

This work looks at the 1912 Galata Bridge as a case study and attempts to examine it as a dual construction in two senses: space and memory. Acknowledging that space and memory mutually construct each other, this thesis explains each term in general but also elucidates the relationship between perception and remembrance of space by reading the materiality of the 1912 Galata Bridge. In that respect, changing meanings attributed to space over time are analysed lead us to recognise two different ways of conceiving space named as 'spaceness' and 'placeness'. This dual existence is conductive to raising questions about perception of the 1912 Galata Bridge in two layers. Taken separately, its function of conveyance and the property of inhabitation lead us to read 'spaceness' and 'placeness' that also correspond to two ways of remembering it. Its 'spaceness' is perceived by the gaze and remembered through looking at its images, its 'placeness, on the other hand, is experienced by the body and recollected through reading texts that describe the actual engagement.

Paperback: 84 pages | Publisher: LAP LAMBERT Academic Publishing (January 7, 2010)
ISBN-10: 3838337085 | ISBN-13: 978-3838337081

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West Thrace and Turkish Rights

October 23, 2014, 11:51 am
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Mavi Boncuk |

Yunanistan’da (Bati Trakya’da) Ikidilli Eğitim Veren Azinlik Okullarinda Türkçe Ve Yunanca Öğrenim Gören Öğrencilerin Okuduğunu Anlama Ve Yazili Anlatim Becerilerinin Değerlendirilmesi
Doktora Tezi (PDF)
İmpraim Kelağa Achmet [1]

Ankara 2005


[1] İbrahim KELAĞA AHMET 10.11.1967 tarhinde Yunanistan'ın Batı Trakya bölgesinde Rodop ili Şapçı (Sapes) ilçesinde doğdu. Şapçı azınlık ilkokulunu bitirdi (1973-1979), orta öğrenimini Gümülcine (Komotini) Azınlık Ortaokulu (1979-1982) ve Gümülcine Azınlık Lisesinde (1982-1985) tamamladı. Üniversiteyi Türkiye'de okudu ve Ankara Üniversitesi Hukuk Fakültesinde öğrenim gördü (1985-1989). Mezuniyetinin ardından Yunanistan'a döndü ve askerlik hizmetini yerine getirdi. 1994 yılında tekrar Türkiye'ye döndü ve Ankara Üniversitesi Dil ve Tarih Coğrafya Fakültesinde Çağdaş Yunan Dili ve Edebiyatı Anabilim Dalında önce yabancı uzman ardından öğretim görevlisi olarak çalıştı. Yüksek lisans ve doktora eğitimini Ankara Üniversitesi Sosyal Bilimler Enstitüsü Dilbilim Anabilim Dalında gerçekleştirdi. Ankara Üniversitesinde 19 yıllık hizmetinin ardından nakil atamayla 2013 yılı Temmuz ayında Trakya Üniversitesi Edebiyat Fakültesi Balkan Dilleri ve Edebiyatları Bölümüne geçti ve Çağdaş Yunan Dili ve Edebiyatı Anabilim Dalında Yrd. Doç olarak göreve başladı. Evli ve 1 çocuk babasıdır.

See also: Batı Trakya Türk azınlığının sorunları / Mehmet Samsar. - Ankara: Gazi Üniversitesi, 1991. - 223 s.
Thesis (PhD) - Gazi Üniversitesi Sosyal Bilimler Enstitüsü Uluslararası İlişkiler Anabilim Dalı.


Bati Trakya Müslüman Türk Azinliği İnsan Haklari Raporu 2012
Report (PDF)

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Political Prosopagnosia

October 23, 2014, 12:03 pm
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Mavi Boncuk | RENÉ MAGRITTE, a surrealist artist, perfectly captured the idea of prosopagnosia, or face-blindness, in his painting “The Son of Man”. In the picture, an apple floats in front of a man's face, covering the features that would normally allow him to be recognised. 

Prosopagnosia (Greek: "prosopon" = "face", "agnosia" = "not knowing"), also called face blindness, is a disorder of face perception where the ability to recognize faces is impaired, while the ability to recognize other objects may be relatively intact.

In experiments, 35 years after leaving school, people are able to identify up to 90% of their classmates.
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Two Pictures Worth more than Thousand Words...

October 23, 2014, 12:05 pm
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Mavi Boncuk |

AKP 49.9% (+3.32%) winning 326 seats (-15)
CHP 25.91% (+5.03%) winning 135 seats (+23)
MHP 12.99% (-1.28%) winning 53 seas (-18)
Independents 6.65% (+1.41%) winning 36 seats (+10)
SP 1.24% (-1.11%) winning 0 seats (nc)




Yes 57.88% 
No 42.12%
Turnout 73.71% 

A constitutional referendum was held in Turkey on September 12. At stake in this referendum was the ratification by voters of 26 constitutional amendments to the 1982 Constitutions, amendments which will significantly change the balance of power in Turkey. 

These amendments include more protection for labour, including the recognition of unions and the right to strike, and also expands the right for collective bargaining to government employees. In addition, increased rights to personal privacy will be safeguarded in the constitution, and an article which prevents military coup leaders from facing trial or legal reprisal will be repealed. The power of military courts will be curtailed, removing their authority to try civilians in peacetime. Finally, the Constitutional Court will be revamped so that it has 17 (instead of 15) members, three of whom are appointed by Parliament while the President nominates the rest. The procedure to ban political parties, one of the Turkish’s judiciary’s most important power, has also been amended so that members of banned political parties remain in Parliament and aren’t kicked out as they were in the past. The background to these amendments is a long-running desire by Turkey’s (civilian) moderate Islamist government led by Prime Minister Recep Tayyip Erdoğan to curtail the Turkish military’s power over politics. The military, which sees itself as the guardian of Kemalism and Turkey’s secular constitution, has long been opposed to Erdoğan’s policies which they see as going against Turkish secularism. 

They tried to prevent Erdoğan’s nominee for President, Abdullah Gul, from being elected in 2007, to which Erdoğan responded by amending the constitution to allow for direct election of the President (the referendum passed rather easily). These amendments, which would curtail the military’s influence further and make it harder for Turkey’s Kemalist judges to ban Erdoğan’s AKP (as they tried to do in 2009), were keenly supported by the AKP. It should be no surprise, however, that the opposition, both parliamentary and military, opposed these changes. 

SOURCE
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