Cinema Turco | Giovanni Scognamillo 2001, Roberto Silvestri 2004

December 2, 2014, 11:49 am

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Storia del cinema mondiale

A cura di Gian Piero Brunetta

I. L' Europa, Miti, luoghi, divi

II*. Gli Stati Uniti

II**. Gli Stati Uniti

III. L' Europa. Le cinematografie nazionali

IV. Americhe, Asia, Oceania. Le cinematografie nazionali

Cinema Turco Giovanni Scognamillo 2001

V. Teorie, strumenti 

TURCHIA Enciclopedia del Cinema (2004) di Roberto Silvestri

Roberto Silvestri ( Lecce , August 16 1950 ) is an Italian journalist and film critic. 

Turchia
CINEMATOGRAFIA

Singolare e contraddittorio è stato lo sviluppo storico del cinema turco, pesantemente condizionato da gravi e antichi problemi sociali, economici, etnici (il genocidio degli armeni del 1915, la dura repressione dei curdi), politici (compresi tre colpi di stato militari nella seconda metà del 20° sec.) e di censura. Il cinema in T. nacque quindi tardi e si sviluppò lentamente: le prime, sporadiche attività in questo ambito risalgono agli anni Dieci. Furono solo sei i film a soggetto che vennero realizzati durante l'Impero ottomano. Il sultano assolutista ῾Abd ul-Ḥamīd II disprezzava le invenzioni e le nuove tecniche; bisognerà quindi aspettare il 1914 per trovare a Istanbul una sala cinematografica. Mentre in Macedonia, allora parte dell'Impero ottomano, i pionieri fratelli Manaki, Yanaki e Milton, giravano il documentario sulla visita del sultano Mehmet V Reşat a Monastir (odierna Bitola), nel resto dell'Impero le difficoltà per il cinema di attecchire erano enormi. Fu con alcuni reportage di guerra firmati dall'ufficiale Fuat Uzkınay durante il primo conflitto mondiale che iniziò una tradizione cinematografica del Paese, a partire, nel 1914, da Ayastefanos Abidesinin Yıkılışı (La demolizione del monumento russo Santo Stefano) di Uzkınay, primo documentario turco. A Sedat Simavi va attribuito invece, il primo lungometraggio di finzione, Pençe (L'artiglio), seguito da un altro film a soggetto, Casus (La spia), entrambi del 1917. L'attore e regista teatrale Ahmet Fehim girò tre film di ispirazione letteraria: Mürebbiye (La governante), Binnaz, entrambi del 1919, e Bican efendi vekilharç (1921, Il custode Bican). Soltanto negli anni Venti la produzione si avviò su basi industriali, grazie all'iniziativa dei fratelli Seden che fondarono la Kemal Film e dei fratelli Ipekçi che aprirono la Ipek Film.Un solo regista incarnò pienamente, dal 1922 al 1938, i valori e i miti della repubblica laica ‒ emancipazionismo femminile imposto compreso ‒ voluta da Muṣṭafa Kemāl (Atatürk): Muhsin Ertuǧrul, di provenienza teatrale, che sottomise l'immagine alla sovranità drammaturgica e letteraria. I suoi film sono remake di melodrammi americani o svedesi, oppure adattamenti da romanzi, commedie e tragedie filmate. Fu suo il merito, nel 1931, della prima coproduzione della storia turca, con Egitto e Grecia, İstanbul sokaklarında (Nelle strade di Istanbul), mentre l'ultimo film firmato da Ertuğrul è anche il primo film turco a colori, Halıcı Kız (1953, La tessitrice di tappeti). Dopo la Seconda guerra mondiale, il linguaggio cinematografico iniziò a sprovincializzarsi, migliorarono le tecniche di ripresa, si aprì al 'realismo critico' la cosiddetta generazione dei cineasti che, dal 1949 al 1960, si mise a osservare le più laceranti contraddizioni del mondo rurale e metropolitano, un percorso iniziato da Lütfi ömer Akad. La sua opera d'esordio, Vurun kahpeye (1949, Colpite la puttana), riuscì a coniugare ricerca estetica e successo commerciale. Akad, che aveva osservato a fondo i pochi 'dissidenti' del periodo di tran-sizione, Faruk Kenç e Sadan Kamil (i quali avevano studiato in Germania), fu l'esponente di punta del cinema turco. Con una filmografia abbondante (oltre cinquanta film e un finale di carriera televisivo), una scrittura semplice, mai misera né sentimentale, a cominciare dall'opera prima e dal poliziesco Kanun Namina (1952, In nome della legge) fino al suo periodo più denso e signi-ficativo, gli anni Settanta, con il capolavoro, Irmak (1972, Il fiume), e con la trilogia più personale costituita da Gelin (1973, La sposa), Düğün (1974, Le nozze) e Diyet (1975, Il debito), delineò il triplice movimento chiave della società turca dell'epoca: l'esodo rurale, lo sradicamento culturale e l'integrazione obbligata in città.

Atıf Yılmaz è stato il più longevo ed eclettico dei registi turchi, realizzando oltre cento film di tutti i generi, (da Selvi boylum al yazmalım, 1977, Mia amata dalla sciarpa rossa, a Berdel, del 1990, entrambi con la diva e regista Türkan Şoray); maestro di Yılmaz Güney, capace di costruire con intelligenza opere popolari, che si presentano con una buona dose di sperimentazione e di piacevolezza. Nel 1995 ha raggruppato in una unità produttiva indipendente, la Sinema Vakfi, dieci cineasti-produttori (tra cui Erden Kıral e Ömer Kavur) per reagire alla crisi e alla mancanza di finanziamenti pubblici.

I primi riconoscimenti internazionali li avevano conquistati però i 'drammi anatolici' di Metin Erksan, ex critico, sceneggiatore e documentarista scontratosi spesso con la censura, vincitore dell'Orso d'oro al Festival di Berlino nel 1964 con Susuz yaz (1963, Un'estate senza acqua), fautore di un cinema nazionale (il cosiddetto Ulusal) rigoroso e ossessivamente anti-occidentale, fondato sul realismo sociale, e influenzato dallo scrittore K. Tahir, dai 'romanzi del villaggio' di Mahmut Makal e del gruppo di scrittori 'naturalisti' progressisti. Nacque nello stesso anno il Festival di Antalya e, grazie ad alcune misure protezionistiche, la produzione iniziò a superare i cento film all'anno. I melodrammi populisti, i film musicali all'egiziana (arabesque) o le commedie sentimentali a basso costo e con star fisse divennero il cuore del cinema commerciale.Il vento di libertà inaugurato dalla Costituzione del 1961 aveva aperto infatti nuovi orizzonti, politici e culturali. Lo scontro avveniva tra i cineasti di destra, i nazionalisti (Milli) e il fronte progressista, moderato (Ulusal) rappresentato da Halit Refiğ (Gurbet kuşları, 1964, Gli uccelli dell'esilio), o rivoluzionario (Devrimci), che sarebbe stato represso, ma avrebbe trovato in Güney il suo massimo esponente.Figura controversa sul piano personale e politico, Güney firmò con Umut (1970, La speranza) una sorta di manifesto del nuovo cinema turco. Dal carcere dove trascorse la maggior parte degli anni Settanta, diresse (attraverso i fedeli collaboratori Zeki Ökten e Şerif Gö-ren) alcuni tra i suoi film più acclamati nei festival internazionali (Sürü, 1978, Il gregge; Düşman, 1979, Il nemico; Yol, 1982, Palma d'oro al Festival di Cannes). Nel 1980, all'indomani del colpo di stato militare, fuggì in Europa dove portò a termine il dramma carcerario Le mur (1983; La rivolta).

Ali Özgentürk (Hazal, 1980; At, 1982, Il cavallo), Kıral (Kanal, 1978, Canale; Der Spiegel, 1984; Mavì Sürgün, 1993, L'esilio blu) e Kavur (Yatik Emine, 1974, Emine la puttana; Kırık bir ask hikayesi, 1981, Una storia d'amore spezzato) fecero il loro esordio da autori impegnati proprio negli anni Settanta, nel periodo delle lotte operaie e studentesche più dure e delle grandi speranze frustrate, e durante gli anni Ottanta del liberismo e del disimpegno e, in T., anche del terzo colpo di stato militare. Questi cineasti ‒ e anche Yavuz Özkan autore di alcuni esempi radicali di cinema militante d'arte (Maden, 1978, La miniera, Demiryol, 1979, La ferrovia, Yengeç sepeti, 1994, Paniere di granchi) ‒ entreranno presto in conflitto con le esigenze dell'industria che pretendeva drammi metropolitani e borghesi o commedie 'cosmopolite' e dapprima forzeranno provocatoriamente girando film quali per es. Hazal di Özgentürk o Hakkari'de bir mevsim (1983, Una stagione nell'Hakkari) di Kıral, che piacque al pubblico e alle giurie dei festival internazionali. Poi, si rinchiuderanno sempre più nell'intimismo simbolico-calligrafico o nell'ermetismo onirico (come per es. il Kavur di Anayurt Oteli, 1987, Hotel Madrepatria) per sfuggire alla censura e alla volgarità crescente dell'immaginario exploitation. Una reazione diversa rispetto al clima consumista dilagante era costituita dal 'cinema bianco', di ispirazione islamica e violentemente anti-occidentale che si era organizzato attorno alle opere realizzate da Yücel Cakmaklı e da Mehmet Tanrısever e vicino a un movimento politico sempre più impetuoso e capillare, che nel 1995 è giunto al governo. Filoni interessanti del cinema d'autore in tempi recenti sono stati i drammi dell'emigrazione in Germania e nell'Europa del Nord, la solitudine dell'esilio e il razzismo, le tentazioni dell'assimilazione e i drammi del reinserimento in patria. Oltre a Tunç Okan, emigrato in Svezia e regista del film che ha inaugurato il genere, Otobüs, noto anche come The bus (1976), e al Kıral di Bereketli Topraklar Üzerinde, 1979, Sulle terre fertili, Tevfik Başer è stato autore emblematico con 40 QM Deutschland (1986; 40 mq di Germania), Abschied vom falschen Paradies (1988, Addio ai falsi paradisi) e con Lebewohl, Fremde (1991; Arrivederci straniera). Contro la società patriarcale si ergono i film raccontati 'in prima persona singolare femminile', da Bilge Olgaç (Kasık düsmani, 1984, La stanza del matrimonio), ispirandosi a una grande pioniera degli anni Trenta, l'ex attrice Cahide Sonku, e da Türkan Şoray. Yeşim Ustaoğlu emersa soprattutto negli anni Novanta dopo una serie di cortometraggi, con Güneşe Yolculuk (1999, Viaggio verso il Sole), sulla storia di un'amicizia tra un curdo e un turco, permio per la pace al Festival di Berlino, ha avuto il coraggio, tra l'altro, di imporre all'attenzione il problema dell'indipendenza e della dignità del popolo curdo. Insieme a quest'ultima Nuri Bilge Veylan (Mayıs sıkıntısı, 1999, Nuvole di maggio, selezionato al Festival di Berlino; Uzak, 2002, circolato in Italia con il titolo originale) e Zeki Demirkubuz (Yazgi, 2001, Destino; Itiraf, 2002, La confessione) formano il trio di punta del nuovo cinema d'autore, audace, mai ermetico, capace di esprimere spesso chiare posizioni sul piano politico-sociale. Appartengono infine alla cultura turca, di ricchezza e profondità millenaria, da centinaia e centinaia d'anni cerniera tra Oriente e Occidente, anche due cineasti 'dell'emigrazione', Ferzan Özpetek e Fatih Akın che hanno potuto esprimere, nell'ambito delle cinematografie italiana e tedesca, la loro potenza visuale, espressiva e commerciale.

BIBLIOGRAFIA

A. Özgüç, A chronological history of the Turkish cinema. 1914-1988, Istanbul 1988.
G. Scognamillo, A history of the Turkish cinema, Roma 1988.
R. Silvestri, Y. Taskin, Türk Sinemasi. Il cinema turco degli anni '80, Roma 1990.
Le cinéma turc, éd. M. Basutçu, Paris 1996.
M. Basutçu, Cinéma turc, Les annes quatre-vingt-dix, Amiens 1999.

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1913 Armenia | An American Literary Publication

December 3, 2014, 2:51 pm

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Armenia: a literary magazine by Arshag D. Mahdesian.

The New Armenia was a bi-monthly periodical published in New York City between 1904 and 1929. Its editor was Arshag D. Mahdesian. It was affiliated with the anti-socialist reformedHnchak party. Initially named Armenia, the journal best "exemplified the efforts toward the construction of an Armenian-American ideological, cultural coverage." According to the Columbia University Libraries, it "introduced the English-speaking world to Armenian history, culture and national aspirations."

Armenian Printing in Constantinople and Venice

December 3, 2014, 3:02 pm

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Celebrating the Legacy of Five Centuries of Armenian-Language Book Printing, 1512-2012

Ara Sanjian, Armenian Research Center, University of Michigan-Dearborn 

Armenian Printing in Constantinople

The constraints of Armenian history led to the initial flourishing of Armenian printing outside Historic Armenia, which was divided between the Ottoman and Persian empires during the sixteenth through the early nineteenth centuries. The first Armenian printing press in Historic Armenia was actually established in 1771, over 250 years after Hakob Meghapart. However, the sixteenth and seventeenth centuries witnessed the first, albeit shortlived and discrete, attempts by Armenians in the East to set up printing presses if not in their own historical homeland, but at least in the urban centers of the two empires which ruled over Historic Armenia. Thus, not only was Armenian – after Hebrew – only the second Western Asian language in which a complete book was printed, Armenian craftsmen and their sponsors also played a pivotal role in bringing printing to the Ottoman and Persian empires, where the rulers frowned upon this new technology until the eighteenth century. The first attempt to set up an Armenian press in Constantinople belongs to Abgar of Tokat, the second Armenian printer. With the approval of the Armenian patriarch, he printed six Armenian titles between 1567 and 1569.

A century later, Eremia Chelebi Keomiurchian established his own printing house in Constantinople and printed two works in 1677-1678. Armenian printing in Constantinople attained a more consistent character from 1698, when Grigor of Merzifon acquired the typefaces and part of Eremia’s printing equipment and established his own press. Grigor became the first Armenian layman to make printing his sole profession and his business remained active for forty years. He also trained a generation of Armenian printers, among them Astvatsatur of Constantinople, whose family eventually operated a printing house for 150 years. Indeed, since 1698, at least one Armenian title has been printed in Constantinople each year with only five interruptions — the years 1759, 1773, 1791, 1797 and 1916. For the first six decades of the eighteenth century, Constantinople was quasi-regularly the city where the largest number of Armenian titles was published every year, and its status as “the World Capital of the Armenian Book” was only challenged occasionally by Venice during this period. Up to nine titles were printed annually in Constantinople throughout the eighteenth century. This rate of publication activity remained steady during the first half of the nineteenth century as well.

The increase in Armenian titles printed by the Mkhitarist Congregation, however, made Constantinople cede the title of “the World Capital of the Armenian Book” to Venice for about nine decades, from the early 1760s to the mid-1840s. That said, it is important to mention that the Mkhitarist Congregation recruited most of its friars from Constantinople and other parts of the Ottoman Empire and also sold a large number of its books in Constantinople. The Tanzimat reforms from 1839 stimulated Armenian cultural activity in Constantinople and the port city of Smyrna [1](now, Izmir). The number of Armenian titles printed in the Ottoman capital grew exponentially throughout the next few decades. By the mid-nineteenth century Constantinople had regained its status as “the World Capital of the Armenian Book” for a new span of 40 years.

Thereafter, the fortunes of Armenian book publishing in Constantinople became hostage to political developments in the Ottoman Empire. Armenian printing stagnated during the repressive regime of Sultan Abdülhamid II, but rebounded immediately after the 1908 Revolution. It almost ground to a halt during the First World War, yet it was rejuvenated immediately after the Ottoman defeat. After Constantinople (renamed Istanbul in 1930) was integrated into the Turkish Republic established by Mustafa Kemal Atatürk, Armenian cultural freedoms were curtailed, the total number of Armenian books published declined, although the city still remains an important center of Armenian-language book printing outside Armenia.

Printing in Armeno-Turkish 

Some books were printed in foreign languages, but in the Armenian script – mostly for Armenian readers, who had ceased using Armenian as their mother tongue and adopted the languages of their neighbors or the imperial powers under which they lived. The first such example was an Armeno-Kipchak prayer book printed by the priest Hovhannes Karmatanents in Lvov, then part of Poland, in 1618. Kipchak was the language of the Tatars, and the Armenians for whom this book was printed had migrated to Poland from the neighboring Tatar khanate of Crimea. In the second half of the nineteenth century, a few books — again overwhelmingly religious in character — were printed in Armeno-Kurdish for Armenians living in their homeland, close to Kurds, in the Ottoman Empire’s eastern provinces. However, most books in this category are in Armeno-Turkish. The first such book was printed by Abbot Mkhitar in Venice in 1727. Thereafter, about 2,000 volumes were published in Armeno-Turkish in the next 260 years in about 50 different cities. Until the 1820s, Armeno-Turkish book-printing was carried out largely either in Constantinople or by the Mkhitarists in Venice, Trieste, and Vienna. Then, these centers were also joined by American missionaries, first in Malta and then in Smyrna. Indeed, up to the 1840s, most Armeno-Turkish printed books were either religious in character or were intended for language instruction. From the 1850s, during the Tanzimat era, Constantinople forged ahead to be the undisputed center of Armeno-Turkish book-publishing as well. Not only did the quantity of Armeno-Turkish books printed every year increase, their topics also became varied, including translations of French and English classics. During the Abdülhamid II era, the number of Armeno-Turkish books printed also declined, and the topics they covered were restricted due to heavy censorship. However, Constantinople’s leading position in this domain was not affected, as there was no challenge from Tiflis on this occasion – printing in Armeno-Turkish being almost exclusively an Ottoman Armenian tradition. 

After the 1915 genocide, survivors carried the habit of printing in Armeno-Turkish to their new host cities, especially Aleppo and Beirut, but also, albeit to a lesser extent, to Cairo, Jerusalem, Buenos Aires, Marseille, New York, and Los Angeles. However, with the speaking of Turkish among the Armenians gradually dying out, the last Armeno-Turkish book was printed in Buenos Aires in 1968. Between 1840 and 1947 about 100 periodicals also appeared in Armeno-Turkish. Some of these had parallel Armenian or Ottoman Turkish sections, and a few were Ottoman official provincial publications. Up to the First World War, more than half of these periodicals were issued in Constantinople, and a fewer number, in Adana, Antep, other Armenian inhabited locations in the Ottoman Empire, Varna, and Egypt. In the post-genocide Diaspora, Armeno-Turkish periodicals survived until the late 1940s in Aleppo, Beirut, Jerusalem, Cairo, Marseille and the United States. 

Armenian Printing in Venice

Venice in Italy holds a special place in Armenian printing history, and the 500th anniversary official celebrations of the first Armenian printed book were launched there in December 2011 in the presence of the President of Armenia. Hakob Meghapart printed the first five or six Armenian titles in Venice. The second and third Armenian printers, Abgar of Tokat and Hovhannes Terzntsi, were also active in Venice in the sixteenth century. Moreover, there was renewed vigor after 1675, with even some Venetian typographers publishing Armenian books. Nevertheless, Venice’s place as one of “the World Capitals of the Armenian Book” is due to the legacy of the Armenian Catholic Abbot, Mkhitar of Sebastia, who moved his congregation to the island of San Lazzaro (Surb Ghazar, in Armenian) near the city in 1717. Since then, and almost exclusively through his efforts and those of his disciples, at least one Armenian title has been published in Venice annually, with only six exceptions during the years 1718-1758. In the early 1750s, Venice challenged Constantinople as the city where most Armenian books were printed and it soon surpassed the latter, maintaining a solid lead until the mid-1840s. Thereafter, even though the number of Armenian books printed by the Mkhitarists in Venice remained steady, and at times it even grew, it could not keep pace with the increasing number of books being published in Constantinople and other emerging centers of Armenian printing.

The Mkhitarists have published original works and translated titles in Armenian in various fields: religion; grammars of Armenian and other languages; Armenian, bilingual or trilingual dictionaries; textbooks; medieval and modern histories of Armenia and other nations; histories of Armenian literature; geography; maps; bibliographies and poetry. They have also issued a number of Armenian periodicals, the most famous being Bazmavep (Polyhistory), the oldest Armenian periodical still being published today. Launched in 1843, it is now a respected academic journal in Armenian Studies. Many of these and other Mkhitarist cultural activities have been financed by Armenian merchants and philanthropists in the Diaspora. 

 Source: Celebrating the Legacy of Five Centuries of Armenian-Language Book Printing, 1512-2012

[1] The Ottoman Empire and Post-Ottoman territories In the Ottoman Empire, the port of Smyrna on the Aegean coast was the second most important center of Armenian book-printing after Constantinople. After an ephemeral attempt by Mahtesi Markos in 1759-1762, Armenian books were printed regularly in Smyrna from 1835. The third major center was the Armenian Convent of St. James in Jerusalem, where an Armenian printing press was established in 1833. About 25 Armenian titles were also printed in the monastery at Armash, near the town of Izmit, between 1863 and 1889; seven titles in Adapazari, in 1911-1914; and a few, in Bursa, Beirut, and Aleppo. As modern Armenian nationalism burgeoned and became more assertive in the late nineteenth century, it clashed with the Ottoman authorities, and, as a result, some of the Armenian printing activity of Ottoman-born Armenians was transferred to newly independent, post-Ottoman states (Greece, Romania, and Bulgaria), as well as to Cyprus and Egypt, which had been taken over by the British. In these lands, Varna, Cairo, and Alexandria were the most consistent publishing centers in the early 1900s.

Ottoman Miltary Telegraph from Gaza

December 4, 2014, 7:43 am

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Ottoman Miltary Telegraph Used from GAZA Ottoman Military Telegraph cancelled at base TELGRAFHANE-I MECDIL and TELGRAFHANE - I GAZA (middle left) negative seals, both cancels unrecorded and not mentioned in any of the literature.

 Source

1971 | Images of Turkey by Charles Samz

December 5, 2014, 7:19 am

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Images taken by Charles Samz[1] on a trip to Turkey in 1971. LINK to all images.

Henry Luce Foundation

Hasselblad 2 1/4 x 2 1/4 film              

International Center for East Asian Archaeology and Cultural History, Boston University

Permanent Link: https://open.bu.edu/handle/2144/7960

[1] Photo collection of the late ( July 2007 Charles Samz-BSEE ’43/ UNIVERSITY OF WISCONSIN-MADISON COLLEGE OF ENGINEERING) geologist Charles Samz, a native of Hilton Head, S.C. which includes hundreds of color and black and white images from the 1940s through 1990s during his travels as a petroleum geologist. He wasa friend of Robert Murowchick, a research associate professor and director of BU’s International Center for East Asian Archaeology and Cultural History. Samz also has donated several of his books on Southeast Asia to the center.

Helbig Family and the Galata-Pera Tunnel

December 5, 2014, 9:36 am

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Mavi Boncuk | Helbig (Helwig)

See also : Tunnel | Tunel

Tunnel Square 1909

Helbig Family and Apartments

Book | Commercial Buildings and Passages of Istanbul during the Westernization Period

December 5, 2014, 10:04 am

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Batililasma Dönemi Istanbul'unda hanlar ve pasajlar (ITO PDF Link)| Commercial Buildings and Passages of Istanbul during the Westernization Period.
by Dr. NURSEL GÜLENAZ.

Istanbul Ticaret Odasi Publication, Istanbul, 2012. Soft cover. 9¾ - 12" tall. Paperback.269 pgs.
In Turkish and English summary. Color and b/w illustrations.

Published by Istanbul Ticaret Odasi

ISBN 10: 9944608688  | ISBN 13: 9789944608688

Alternate PDF Link

See also: Zeyrek, Fatih İstanbul'un Tarihi Yarımadası by Nursel Gülenaz/ İnci Tüysüz (2011) 144 pgs. Published by Remzi 

Şükran Günü Geleneği ve "Hindi"nin Türkiye ile bağlantısı

December 5, 2014, 10:36 am

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Article | On the Trail of the First Architectural Offices: Karaköy, Business District of Early Republican Istanbul

December 5, 2014, 10:57 am

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On the Trail of  the First Architectural Offices: Karaköy, Business District of Early Republican Istanbul

Following the construction of the new quay and customs area, Karaköy rapidly became the core business district of Istanbul, where the first architectural offices started to appear nearby their major customers. The development of the first architectural practices of the city seems to be parallel to the rapid growth of the new high density European quarters of the Beyoğlu area. This article surveys the locations of the adresses of the offices from two lists of 1931 and 1940, prepared by contemporary architectural associations, evaluating the transformations in the district, especially after the Menderes operations of the late 50's. These offices mostly in single spaces, quite far from being prestigious, seems to have served mainly for drafting and other paper works. Some of them probably served as contracting offices. Apart from institutional adresses, Karaköy seems almost to be the only location for professional architectural offices, with a few exceptions in the tradition Ottoman commercial area Eminönü on the other side of the Golden Horn. Karaköy seemed to be the center of the building activity dominated by the European "Levantine" architects and builders, including the non muslim Greek and Armenian professionals. After the 50's architectural offices seems to have moved to upper courters around Taksim, following the apparent destruction of the dense Karaköy Square and the parallel transformation in the economical scene.

See: İlk Mimarlık Bürolarının İzinde: Erken Cumhuriyet Döneminin İş Merkezi Karaköy | Zafer Akay, Ahmet Ardıçoğlu

Constantinople | Beni Zoug-Zouge Acrobats

December 5, 2014, 11:27 am

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BENI ZOUG-ZOUG TROUPE ACROBATS CONSTANTINOPLE BOYS from an issue 1877 . THE GRAPHIC AN ILLUSTRATED NEWSPAPER Antique Print of 1881 English Boys Rescued Slavery Beni Zoug-Zouge Acrobats. 

[1] Portsmouth Evening News Hampshire, England 1 Dec 1881 THE BENI-ZOUG-ZOUG TROUPE THE BENI-ZOUG-ZOUG TROUPE. London, Thursday. Mr. Littler Q.C., has received a letter from Constantinople stating that all the boys have been recovered from the Arab who held them in slavery, and that they have embarked for England.

Turkey | Credit Rating

December 5, 2014, 11:37 am

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Mavi Boncuk |

Turkish shares rose and bond yields dipped on Friday while the lira was steady as investors expected a benign assessment of the Turkish economy from ratings agency Moody's after European markets close. 

Economy Minister Nihat Zeybekci said he did not expect the agency to make negative comments in its regular update, forecasting that it would maintain Turkey's Baa3 investment grade rating. Falling oil prices have taken some pressure off Turkey's stubbornly high inflation and current account deficit, but structural problems remain and other agencies have voiced concern about political meddling in the economy ahead of a parliamentary election next June. 

The lira stood at 2.2360 against the dollar at 09301 GMT, just off a level of 2.2350 late on Thursday. The benchmark 10-year government bond yield dipped to 7.86 percent from a spot close of 7.91 percent on Thursday.

Turkey | Credit Rating Standard & Poors credit rating for Turkey stands at BB. Moodys rating for Turkey sovereign debt is Ba1. Fitchs credit rating for Turkey is BBB-. In general, a credit rating is used by sovereign wealth funds, pension funds and other investors to gauge the credit worthiness of Turkey thus having a big impact on the country's borrowing costs.

In Memoriam | Talât Sait Halman (1931-2014)

December 6, 2014, 6:00 am

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Turkey's first culture and tourism minister, Talat Sait Halman, passed away Thursday, a statement from Ankara's Bilkent University said Friday.


Mavi Boncuk |


Talât Sait Halman, GBE[1] (July 7, 1931 – December 5, 2014) was a famous Turkish poet, translator and cultural historian. He is the first Minister of Culture of Turkey[2]. Since 1998, Professor Halman had been teaching at Bilkent University as dean of Faculty of Humanities and Letters.

Talat Sait Halman is also a well-known translator into English as well as Turkish.

Halman was born in Istanbul in 1931. He studied at Istanbul's Robert Collage and got his master's degree in political science from Columbia University.

Between 1953 and 1986, Halman taught at prestigious American universities, including the Columbia University, Princeton University and University of Pennsylvania.

He also served as Chairman of the Department of Middle Eastern Languages and Literatures at the New York University between 1986 and 1996.

He served as Turkey's culture minister, ambassador for culture, member of the United Nations Educational, Scientific and Cultural Organization's executive board, member of the executive committee of the PEN American Center and editor-in-chief of the Journal of Turkish Literature.

His books in English include two collections of his poems ("Shadows of Love", published in Canada, and "A Last Lullaby", published in the United States), Contemporary Turkish Literature, Modern Turkish Drama, Living Poets of Turkey, three books of the 13th century Anatolian mystic folk poet Yunus Emre, Rumi and the Whirling Dervishes (with Metin And), Suleiman the Magnificent - Poet, Turkish Legends and Folk poems, Tales ofNasreddin Hodja, and others. His 1984 book on Celalettin Rumi preceded and contributed to the wave of Rumi enthusiasm in the United States in the 1990s. His books on Rumi, Nasrettin Hoca, and Turkish Legends books are widely available throughout Turkey. He has also published books featuring selections from the work of Fazıl Hüsnü Dağlarca, Orhan Veli Kanık, Sait Faik Abasıyanık, and Melih Cevdet Anday. 

His renditions of three Turkish plays (Ben Anadolu | I, Anatolia by Güngör Dilmen, Eski Fotoğraflar | Old Photographs by Dinçer Sümer, and Pusuda | In Ambush by Cahit Atay) have also been published.

His books in Turkish include nine collections of his original poems, two massive anthologies of the poetry of ancient times, a book of Ancient Egyptian poems, the selected poems of Wallace Stevens and Langston Hughes, an anthology of living American poets, a book of American woman poets, his verse translations of Shakespeare's Complete Sonnets, a book of Eskimo poems, a one-actor play featuring Shakespeare, etc. He has translated Robinson Jeffers' version of "Medea"', Neal Simon's "Lost in Yonkers"', Dear Liar" (based on George Bernard Shaw-Mrs Patrick Campbell letters) and Eugene O'Neill's "The Iceman Cometh" (for the two latters plays he won Turkey's top play translation awards.) He was the first Turkish translator of William Faulkner.
In poetry Talat Sait Halman found, as he is quoted in a biographical essay listed below: "freedom of intellectual and emotional exploration; freedom in creative prospects..." (Festschrift, p. 5)

Professor Halman's Festschrift

In 2000, Professor Talat Sait Halman was honored on his 70th birthday with a Festschrift (a volume of scholarly articles complied by colleagues as a tribute to an eminent scholar). Professor Halman's Festschrift, published by Syracuse University Press and edited by Dr. Jayne Warner, is titled, Cultural Horizons: a Festschrift in honor of Talat S. Halman. Volume I runs 617 pages and includes contributions by 71 scholars. Volume II is a Curriculum Vitae, running 184 pages and accounting for all of Professor Halman's vocational, literary and artistic activities and contributions (up to 1999) under five rubrics: (1) Monographs, (2) Prose, (3) Poetry, (4) Lectures, Speeches, Poetry Readings, Conferences and Special Programs, and (5) Media Events and Productions. In 2005, Professor Halman edited and translated (with Associate Editor Jayne L. Warner) an anthology of Turkish love poems covering the entire span of Turkish poetry. Nightingales and Pleasure Gardens: Turkish Love Poems (Syracuse University Press, 2005). The first section of "Premodern poems," includes love poems, mystical love poems, classical lyrics, poems by the Ottoman Sultans and poems of wandering folk-poets. In the second part of the book, Professor Halman provides "Love Poems from the Turkish Republic." In 2006 Syracuse also published a retrospective anthology of Professor Halman's collected poems, fiction, drama, essays and other writings, editid by Jayne Warner : The Turkish Muse: Views and Reviews


[1] In 1971, during her visit to Turkey, Queen Elizabeth II conferred a Knight Grand Cross (GBE) on Professor Halman.

[2] In 1971 he served as Turkey's Minister of Culture (he was the first person ever to hold this cabinet post), and created the Ministry. While serving as Minister he coordinated the landmark first American tour in 1971 of the "Whirling Dervishes," who practice the ritual "turning" meditation of the tradition of Jelaluddin Rumi. In 1976 he oversaw the first American museum tour of historical and cultural artifacts from the Ottoman Sultans' palace. From 1980 to 1982 he was Turkey's first Ambassador for Cultural Affairs. Based in New York, he inaugurated a comprehensive program of Turkish cultural activities. From 1991 to 1995 he was a Member of UNESCO's Executive Board.

Halman Translation | Erol Güney's Cat

December 6, 2014, 6:56 am

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Mavi Boncuk |

|Mavi Boncuk

EROL GÜNEY'S [1] CAT[2]

Poem on the attitude adopted by Erol Güney's cat toward social problems in the spring:

A male cat and a slice of liver

Is all she wants out of life.

How marvelous!

Poem cencerning the pregnancy of Erol Güney's cat:

That's just what you get, see,

For slipping out into the street on a spring day.

Now you have to lie there

Thinking and worrying

Your head off.

Translation by Talat Sait Halman

[1] Erol Güney (b. Mişa(Michel) Rottenberg, 1914, Odesa - d. October 16, 2009, Tel Aviv) was a well-known Turkish translator who was one of Orhan Veli Kanık's close friends. 

Born in Odessa as Michel Rottenberg, Erol Güney was as the son of a Jewish family. In 1917 the family moved to Istanbul. Erol Guney is known in Turkey by the title of a poem by the famous poet Orhan Veli; “Erol Guney’s Cat”. His friends Orhan Veli, Melih Cevdet Anday, Aşık Veysel are famous classic poets of Turkish literature. Their girlfriends were beautiful jewish girls, Dora, Bella and Eza, who shared the joy of life in the Turkey's « roaring fourties ». 

In 1940 a translation bureau were founded, where Erol Guney worked translating Dostojevski, Goncharov, Thechov, Moliere and Platon into Turkish. 1946 Guney left the translation bureau and started working as a journalist. In 1955 he wrote an article about the Soviet Union. This was the reason he was sent to a stateless persons camp in Yozgat. He managed to go to France, worked for AFP and Le Monde. Being still a migrant without passport, he decided in 1956 to emigrate to Israel, where he worked as a journalist untill he died the 11 october 2009. 

[2] Erol Güney'in Kedisinin Bahar Mevsiminde 
Toplum Meseleleri Karşısında Takındığı Tavrı Anlatan Şiirdir

Bir erkek kediyle bir parça ciğer
Dünyadan bütün beklediği
Ne iyi!

Erol Güney'in Kedisinin Hamileliğini Anlatır Şiirdir

Çıkar mısın bahar günü sokağa
İşte böyle oturursun
Böyle yattığın yerde
Düşünür düşünür
Durursun.

Article | The Rise And Fall Of The “Turkish Model” In The Arab World by Jean-Loup Samaan

December 6, 2014, 7:05 am

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Mavi Boncuk | Article | The Rise And Fall Of The “Turkish Model” In The Arab World by Jean-Loup Samaan[1]


After the AKP gained power in 2002, Turkey’s newly assertive “zero problems with neighbors” foreign policy strategy sparked debate in the Arab Middle East. This grand strategy revealed Ankara’s ambitions as not only a regional player, but also as a democratic “model” for a liberal political system able to incorporate a strong Islamic party. Arab fascination for Turkey reached its peak between 2009 and 2010 after Prime Minister Erdoğan’s condemnation of Israel’s military operation Cast Lead in the Gaza Strip. This, along with the Mavi Marmara incident, sparked admiration across the Arab world. Over the last few months however, Arab fascination has been severely tested and now support for the “Turkish model” appears to be waning. This is the result of apprehension over Turkey’s strategic choices in different areas such as the Syrian crisis and the events in Egypt. 

Read Article

[1] Jean-Loup Samaan is a researcher at the Middle East Department of the NATO Defense College in Rome, Italy.

He is a member of the International Institute for Strategic Studies and the Project on Nuclear Issues of the Center for Strategic and International Affairs. His areas of expertise include Middle East strategic balance and Gulf security diplomacies, as well as cyber defense. He was a policy advisor at the French Ministry of Defense from 2008 to 2011 where he was responsible for several net assessment studies covering transatlantic military affairs. While working for the French Ministry of Defense (MoD), he participated in various French-American strategic foresight exercises with the National Intelligence Council as well as with the U.S. Air Force. From 2009 to 2011, he was also an adjunct lecturer in international security at the French Institute for Political Studies, Sciences Program, and gave lectures to civilian and military audiences in various countries. In 2006, he was a visiting scholar at Duke University, and from 2007 to 2008, he was a researcher at the RAND Corporation in Washington, DC. Dr. Samaan has authored three books and several academic articles for various international journals such as Survival, Orbis, Comparative Strategy, Turkish Policy Quarterly, Politique Etrangère, and Internationale Politik. He is a regular columnist for the E-magazine, Al Monitor. Dr. Samaan is a former student of Arabic at the French Institute of Oriental Languages and the French Institute for Near East in Beirut, Lebanon. He graduated from the Institute for Political Studies in Grenoble, and holds a Ph.D. in political science from the University of Paris La Sorbonne.

Oktay Rifat Translation by Halman

December 6, 2014, 7:25 am

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Mavi Boncuk |


Oktay Rifat (Horozcu) (1914 - 1988)

Born in 1914, Oktay Rifat spent much of his childhood and early youth in Ankara, where he finished the Ankara Lycée and later obtained a degree in law at Ankara University. In 1937 he went to Paris to do his doctorate on a government grant. He lived in Paris for three years and, when the War broke out, he was forced to return to Turkey without completing his degree. He worked as a lawyer at the Directorate General of Press and Information in Ankara, later for the State Railways Administration until his retirement in 1973. He died in 1998.

In a poetic career that spanned half a century until his death in April 1988, Oktay Rifat stood in the vanguard of modern Turkish poetry – first as an audacious, almost obstreperous rebel, together with his friend Orhan Veli Kanık (1914-1950) and Melih Cevdet Anday (1915-), then as an eclectic transformer of styles and language, writing from a self-enforced privacy, and finally as a reclusive elder statesman creating a unique synthesis. One could say that these stages correspond roughly to movements going on elsewhere in world literature – to the Socialist-Surrealism of the 1930s and 1940s, followed by Obscurantism in which Oktay seemed to evoke echoes of some prominent French poets, and ending with what could be called “Pure Poetry”.

Here is an English translation.

ÇOCUK

İhtiyarın yanındaki çocuk
Oyuncak bir güneşe benziyor.
Anasına uzayan dağlarda,
İnsanla balık arası, kaygan
Bulutların içine düşünce,
Kolundan yakalamış sıkıca
Sarı boncuk gizli ayısını.

Oktay Rıfat

THE CHILD

The child next to the old man
Resembles a toy sun.
On mountains reaching out to his mother.
A cross between man and fish, when
He falls into the slippery clouds,
He firmly clutches the arm
Of his bear with yellow beady eyes.

Translated By T.S.Halman


CHILD
Next to the old man a child
Like a game playing sun.
Stretching over the mountains to his mother,
Almost a human and a fish, slippery
When tumbling into a cloud,
Firmly clutching the arm
Of his hidden bear with yellow beaded eyes

April 2006 translation by MAM


Mavi Boncuk |

Here are two challenges waiting for an English translation.

KADEH

Burası dalyan kahvesi
Ortalık süt mavisi
Apostol bu ne biçim meyhane
Tabağımda bir bulut
Kadehimde gökyüzü

Oktay Rifat

BENİM YÂRİM

Benim yârim iki dirhem bir çekirdek
Hoppa mı hoppa
Rakı içer
Kadeh kırar
Benim yârim sırasında benden hovarda
Kavuniçi mendil
Markalı çanta
Benim yârim çıtkırıldım
Benim yârim alafranga

Oktay RIFAT

---

Lecture | Prof. Talat Halman "Love Poetry"

December 6, 2014, 12:26 pm

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Mavi Boncuk |  Lecture in Turkish with some poems in English translation.
Prof. Talat Halman delivering his most famous lecture theme on "Love Poetry".

Turkish Trophies | S. Anargyros Tobacco Co.

December 8, 2014, 6:10 am

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"The S. Anargyros Famous Cigarettes company was founded in 1885 and by 1900 had become a subsidiary of the giant American Tobacco. Anargyros’ brands used Egyptian-Turkish motifs, a durable theme that had enchanted the west through much of the nineteenth and early twentieth centuries. To the average American, living without the benefit of today’s media or ease of travel, Egypt and Turkey were basically the same thing–wildly exotic and very, very remote. “Anargyros” is, in fact, a Greek name and plainly unconnected to Egypt, a nuance that was probably also lost on consumers. Examples of popular Anargyros brands included Egyptian Deities, Murad, Turkey Red, Turkish Trophies." Source: Helmar Blog 

Philadelphia PA Inquirer 1905 ad for Turkish Trophies

1884 W. DUKE, SONS & COMPANY leases 2 of the imperfect Bonsack machines and brings them with the help of a mechanic from the Bonsack Machine Company finally to run. James Buchanan (Buck) Duke opens a branch of W. DUKE, SONS & COMPANY at New York. Within a few years it became the leading cigarette producer in USA. [1]

1885 Sotorios Anargyros buys THOMSON TOBACCO COMPANY and renames it to S. ANARGYROS & CO. 

1900 AMERICAN TOBACCO COMPANY acquires S. ANARGYROS & CO[2]. and R.J. REYNOLDS.
With the break up of the American Tobacco Company, Lorillard was given 15% of the market including most of the “Oriental” brand names including Murad, Helmar, Turkish Trophies, Egyptian Dieties, Mogul and the full Turkish blends. 


1889 J.B. Duke, et al., begins formation of what becomes known as the Tobacco Trust (American Tobacco Company) with intention to take over the cigarette, snuff and smoking tobacco industries, a goal at which they succeeded beyond all dreams of avarice. 

1890 Duke’s proposed merger of five makers of cigarettes was completed in January, 1890: W. Duke, Sons & Co. of Durham, NC and NYC, Allen & Ginter of Richmond, VA, Kinney Tobacco Co. of NYC, Wm. S. Kimball & Co. of Rochester, NY, and Goodwin & Co. of NYC. Later that same year the country’s largest maker of Oriental (Turkish and Egyptian) brands, S. Anargyros[1] Corp. of NYC, was absorbed into the fold. By the end of the decade American Tobacco Co. controlled 90% of U.S. cigarette production, making more than 2,500,000,000 cigarettes a year. 

1912 American Tobacco owned Anargyros, NYC maker of expensive “Oriental” cigarettes, begins distribution of Indian pattern rugs in packages of cigarettes. Continues for 3 years. Starts silks craze.[3]

Mavi Boncuk | Turkish Trophies by Stan, S. Anargyros Tobacco Co.[2]

Turkish Tobacco and Cigarettes in US
Turkishness of Tobacco
Murad The Turkish Cigarette

[1] One area of the cigarette industry which Duke had problems conquering was the network of small tobacconists who were still hand-rolling specialty brands in back-room shops of New York City. He did buy some of the larger of these firms including M. Melachrino, S, Anargyros, Monopole, and Schinasi Bros. bringing on board their expensive Melachrino, Murad, Helmar, Mogul, Natural, Egyptian Prettiest, Egyptian Straights and Egyptian Dieties all-Turkish brands. Duke also sold a line of cheaper “Turkish blend” smokes for the national market. This group included the Hassan Mecca and Fatima brands. Eventually, the trust absorbed most of the other major tobacco companies in the country including Mayo and Wright & Patterson of Richmond, Hanes & Brown of Winston, Beck of Chicago, Scotten of Detroit, Bollman of San Francisco, Finzer of Louisville and Sorg of Middletown. By 1909, The American Tobacco trust controlled 86% of the national cigarette business, 85% of plug, 76% of smoking tobacco, 97% of snuff and 14% of cigar manufacture. The numbers were impressive by any standard the size of the American Tobacco empire also drew the attention of Teddy Roosevelt’s “trust busters” but that’s a story for another day. R. Elliott, editor. (Reprinted from Brandstand Spring 2009) 

[2] The S. Anargyros Famous Cigarettes company of New York City catered to wealthy metropolitan smokers who had developed a taste for rich imported tobaccos. Turkish tobacco meant quality, and Anargyros specialized in expensive all-Turkish tobacco brands. Cigarettes blended from different varieties of tobaccos from Smyrna, Xanthi, Samsoun and the other districts might include Yaka for richness, Serres for mildness, Mahalla for coolness, Zeknia for mellowness, and Bafra for aroma. Mogul was introduced by Anargyros in 1892. Packaging was a colorful clam-shell box that pictured a rather stern looking potentate wearing a very regal turban. Advertised as being democratic in price, Moguls were actually a fairly expensive cigarette at fifteen cents a box of ten. By 1913 Mogul was being made by the P. Lorillard Company in Jersey City. Advertising targeted urban men who longed for adventure. Several colorful "Gulf to Lakes - Why?" ads were published just before the outbreak of World War One. SOURCE

Life, Volume 54 | Life Magazine, Incorporated, 1909

[3] Silks and Satins: Between the breakup of the trust in 1911 and World War One, a dazzling new insert premium took the public’s fancy. OMAR, ZIRA, NEBO, EGYPTIENNE LUXORY, TURKISH TROPHIES and other more expensive “Oriental” blends of cigarettes began offering satin inserts depicting flags, dancing girls and other designs. Oriental and Indian rugs, a very few of which were actually woven silk, came next, followed by a dazzling array of other patterns. Between the breakup of the trust in 1911 and World War One, a dazzling new insert premium took the public’s fancy. OMAR, ZIRA, NEBO, EGYPTIENNE LUXORY, TURKISH TROPHIES and other more expensive “Oriental” blends of cigarettes began offering satin inserts depicting flags, dancing girls and other designs. Oriental and Indian rugs, a very few of which were actually woven silk, came next, followed by a dazzling array of other patterns.

Murad The Turkish Cigarette

December 8, 2014, 7:20 am

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Mavi Boncuk |S. Anargyros produced many brands during the era of the Turkish Cigarette. In 1911-05-29, "Trustbusters" break up American Tobacco Co. US Supreme Court dissolves Duke's trust as a monopoly and in violation of the Sherman Anti-Trust Act (1890). The major companies to emerge are: American Tobacco Co., R.J. Reynolds, Liggett & Myers Tobacco Company (Durham, NC), Lorillard and British-American Tobacco (BAT).
P. Lorillard received 15 per cent of the nation's business:
o Helmar
o Egyptian Deities
o Turkish Trophies
o Murad
o Mogul
o and all straight Turkish brands

Mavi Boncuk |

Murad The Turkish Cigarette Everywhere why? Fifteen cents When Aladdin found the Magic Lamp and rubbed it, the Genie instantly appeared. "Bring me," said Aladdin, "the most delicious cigarette that man ever put between his lips." In a moment he was back again. "Murad!" exclaimed Aladdin as he saw the box under the Genie's arm. "I've smoked Murads for many years. They surely are THE Turkish Cigarette and Turkish tobacco is the world's most famous tobacco for cigarettes." S. Anargyros makers of the Highest Grade Turkish and Egyptian Cigarettes in the World.

In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. The New York-based Greek tobacconist Soterios Anargyros produced the hand-rolled Murad cigarettes, made of pure Turkish tobacco. P. Lorillard acquired the Murad brand in 1911 through the dissolution of the Cigarette Trust, explaining the high quality of the Murad advertisements in the following years.

Murad, along with other Turkish cigarette brands referenced the "Oriental" roots of their Turkish tobacco blends through pack art and advertising images. They also capitalized on the Eastern-inspired fashion trends of the time, which were inspired by the Ballets Russes (1909-1929) and its performance of "Scherazade." The vibrant colors, luxurious jewels, exoticism and suggestive nature of the images in these advertisements contributed greatly to their appeal.

Women drenched in pearls, jewels and feathers, wearing harem pants or flowing dresses, were paired in the ads with men in expensive suits or in exotic turbans. The Orientalism, exoticism and luxury are evoked through Eastern-inspired garb accentuated the Turkish origins of the tobacco and presented it in an alluring, modern light. Indeed, the women in these ads, in particular, is seen as less of a reflection on Victorian femininity than a fantasy of an exotic enchantress from a foreign land or a modern woman shedding the shackles of Victorian propriety.

In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. The New York-based Greek tobacconist Soterios Anargyros produced the hand-rolled Murad cigarettes, made of pure Turkish tobacco. P. Lorillard acquired the Murad brand in 1911 through the dissolution of the Cigarette Trust, explaining the high quality of the Murad advertisements in the following years.

Murad, along with other Turkish cigarette brands referenced the "Oriental" roots of their Turkish tobacco blends through pack art and advertising images. They also capitalized on the Eastern-inspired fashion trends of the time, which were inspired by the Ballets Russes (1909-1929) and its performance of "Scherazade." The vibrant colors, luxurious jewels, exoticism and suggestive nature of the images in these advertisements contributed greatly to their appeal.

Women drenched in pearls, jewels and feathers, wearing harem pants or flowing dresses, were paired in the ads with men in expensive suits or in exotic turbans. The Orientalism, exoticism and luxury are evoked through Eastern-inspired garb accentuated the Turkish origins of the tobacco and presented it in an alluring, modern light. Indeed, the women in these ads, in particular, is seen as less of a reflection on Victorian femininity than a fantasy of an exotic enchantress from a foreign land or a modern woman shedding the shackles of Victorian propriety.

In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. The New York-based Greek tobacconist Soterios Anargyros produced the hand-rolled Murad cigarettes, made of pure Turkish tobacco. P. Lorillard acquired the Murad brand in 1911 through the dissolution of the Cigarette Trust, explaining the high quality of the Murad advertisements in the following years.

Murad, along with other Turkish cigarette brands referenced the "Oriental" roots of their Turkish tobacco blends through pack art and advertising images. They also capitalized on the Eastern-inspired fashion trends of the time, which were inspired by the Ballets Russes (1909-1929) and its performance of "Scherazade." The vibrant colors, luxurious jewels, exoticism and suggestive nature of the images in these advertisements contributed greatly to their appeal.


Women drenched in pearls, jewels and feathers, wearing harem pants or flowing dresses, were paired in the ads with men in expensive suits or in exotic turbans. The Orientalism, exoticism and luxury are evoked through Eastern-inspired garb accentuated the Turkish origins of the tobacco and presented it in an alluring, modern light. Indeed, the women in these ads, in particular, is seen as less of a reflection on Victorian femininity than a fantasy of an exotic enchantress from a foreign land or a modern woman shedding the shackles of Victorian propriety.

Sotirios Anargyros | The Poseidonion Grand Hotel

December 8, 2014, 7:52 am

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Mavi Boncuk | The Poseidonion Grand Hotel has been a landmark on the Spetses skyline for the past 100 years with its exceptional architecture echoing hotels of Côte d’Azur style.

The hotel which first opened in 1914 was the brainchild of Sotirios Anargiros[1], a visionary benefactor who was responsible for much of Spetses’ development. Futhermore it represented the cosmopolitan face of the island and soon became one of its famous landmarks and, what is more, rapidly became a favourite destination for high society, royalty and the wealthy Athenians.


Even in antiquity, this island was called Pityoussa (Pine-Tree Island). Over the centuries, many of Spetses's pine trees became the masts and hulls of the island's successive fleets of fishing, commercial, and military vessels. In time, Spetses was almost as deforested as its rocky neighbor Hydra is to this day. In the early 20th century, local philanthropist Sotiris Anargyros bought up more than half the island and replanted barren slopes with pine trees. Anargyros also built himself one of the island's most ostentatious mansions, flanked by palm trees, which you can see off Spetses's main harbor, the Dapia. Amargyros also built the harborfront Hotel Poseidon to jump-start upper-class tourism. Then he built Anargyros College[2] (modeled on England's famous Eton College) to give the island a first-class prep school. Read more 

Despite a series of dreadful forest fires, Spetses's pine groves still make this the greenest of the Saronic Gulf islands. 

Regarding education, supported by the Greek prime-minister Eleftherios Venizelos, who envisioned the establishment of an educational institution that would educate the leaders for the nascent Greek society, a vision which Anargyros endorsed, he built in the 1920’s, together with another benefactor, Marinos Korgialeneios, the “Anargyreios and Korgialeneios School of Spetses – AKSS” to emulate the famous British schools Eaton and Harrow. Anargyros died in December 18, 1918, some short weeks after the establishment of the Anargyreios and Korgialeneios School of Spetses Foundation. 

[1] Sotirios Anargyros, descendant of a great 18th century Spetsiot shipping family was a Greek marine merchant. His branch of the family had fallen on hard times and he emigrated as a young man in 1868, when Spetses was declining as a maritime center. He worked hard at a tobacco-plant and due to his skills, he inherited the childless owner and his great fortune. In 1899 he returned from the USA, now a wealthy tobacco tycoon and started to transform the island of his youth. He decided to focus on two areas of development, tourism and education, which he thought would be ideal for that place and time. 

To support the first goal he built the famous The Poseidonion Grand Hotel and then bought half of the island, which had been deforested in order to support the many famous shipyards of the island, and planted it with pine-trees (Spetses, or Pityousa in ancient Greek, means the “pine-island”), in order to develop hunting tourism, which was very fashionable among the high class at the beginning of the 20th century. 

He built an impressive mansion and met with the rich Athenian hunters who visited Spetses from August to October, to hunt the turtledoves and quail migrating between Africa and Europe. 

[2] John Knowles taught here in the early 1950s and set his cult novel The Magus on Spetses.

Hanseatic League v. Ottoman Empire | EU v. Turkey

December 9, 2014, 9:54 am

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‘Now shalt thou feel the force of Turkish arms 
 Which lately made all Europe quake for fear.’ 
Christopher Marlowe’s observation in Tamburlaine (1587) 

Hanseatic League v. Ottoman Empire | EU v. Turkey. The antagonism still goes on. 

The impact of the Ottoman Turks on sixteenth-century Europe was far-reaching. This explains why Charles V regarded them as a greater threat to Christendom than Luther; why Ferdinand II devoted the best part of his life to defending the Austrian heartlands; why Spain feared for its trade and dominions in the western Mediterranean and became paranoid over suspected links with Granadan Moriscos; why Portugal was prepared to neglect its transatlantic trade and colonies in order to defend its pepper monopoly with Asia; and why Venice saw its livelihood hang by a thread as Turkish fleets threatened to cut off its sea-borne trade. It also contributed to the ‘military revolution’ as European armies and navies learned how first to defend and then to defeat superior numbers and, in so doing, forged ahead of their eastern rivals. 

Africa was Europe’s most active trading partner.
The Hanseatic League controlled trade in the Black Sea.
Asians and Europeans traded primarily by water routes.[1][2]

The League’s creation reflected the weakness of medieval governments and the divergent interests of city dwellers and the feudal overlords with whom they were often in conflict. In the middle ages, the areas now known as Germany, Poland, the Baltic States, the Netherlands, Belgium and much of Russia consisted of a multitude of territories owing allegiance to a variety of kings, margraves and dukes often from remote locations, and to chivalric orders such as the Teutonic knights. The main activities of the groups of nobles involved marrying and feuding with one another and raising taxes from their subjects. They were rarely noted for their interest in trade except as a source of taxation. 

Map 1280 - 1500

Mavi Boncuk | 

Lübeck, Hamburg, Cologne, Osnabrück, Goslar, Erfurt, Berlin, Frankfurt (Oder), Rostock, Stade, Wismar, and Bremen all have in common?
What if I add Visby, Brügge, London, and Novgorod are not just cities & towns. They were all part of an international alliance known as the Hanseatic League, or Hansa, or Hanse, as it was sometimes called.

The Hansa was the brainchild of Henry the Lion, a 12th century Saxon Duke. Although, when he organized a bunch of towns along the Baltic Sea and North Sea coasts little did he know the power the merchant guilds would hold until around the 18th century — actually going until around the mid-19th century.
Trade around the Baltic Sea wasn’t all that lucrative until the Hanseatic League got in on the sailing action. Well, between the Vikings and pirates, who could afford to do anything? This is why so many towns and cities joined in, they all made a pact to help each other with aid. They even had their own legal system.

But, trade was their ultimate be-all end-all. See? Everything has to do with money. At the height of the League’s power in the 14th century, all sorts of new and exciting goods were making their way to/from Germany. They were getting things like herring from Scandinavia; and they were exporting salt — because Hamburg was at the epicenter of the Salt Routes.

One of the greatest achievements of the Hanseatic League wasn’t a church or castle, nor was it a typical building of any kind. They were lighthouses along the coasts. As with most things, nothing lasts. By the 16th century the Hanseatic League was losing its grip, caused by things like the Protestant Reformation and the rise of the Ottoman Empire. League prospered for 300 years before the rise of the nation state led to its dissolution.

Trade Routes 13-15 Centuries

One reason for the success of the cities in the Hanseatic League and the Italian city states
was that both were:

- protected by mountains
- isolated from the rest of Europe
- accessible by water[2]
- close to a network of navigable rivers

[1] In 1509, the Portuguese defeated a fleet of Arab and Indian Muslims, and, under Alfonso de Albuquerque, established trading centers at Goa on the Malabar Coast and at Malacca in Malaya. By 1513, Portuguese trade had extended to the East Indian Spice Islands and to Canton in China. Albuquerque's attacks on Muslim shipping and markets caused a shortage of spices in Alexandria, while the conquest of Egypt in 1517 by the Ottoman Turks temporarily cut off spice supplies to Venice. 

During the second decade of the 16th century, most of the spices for Europe arrived in Portuguese vessels by way of the Cape of Good Hope, and the Venetian merchants were forced to purchase spices in Lisbon to supply their customers. Soon, however, Venice reached a trade agreement with the Turks, the spice trade of the Levant returned to normal, and the Levantine trade in spices and Mediterranean goods remained larger and more important during the 16th century than oceanic commerce. The Venetians bought goods of better quality, while the expenses of long voyages, shipwrecks, and military forces for Portugal, and lack of goods for trading raised prices in the Portuguese trade.

[2] One of the League’s most successful joint enterprises was in shipbuilding: its Baltic Cog was tailor-made for the shallow waters of the Baltic coastline, being a flat-bottomed vessel with extensive cargo capacity. The cogs were built mostly in Lübeck and Danzig and were sold throughout Europe, including in the Mediterranean. In the 14th century the cog was replaced by a larger version called the Holk (hulk) which could transport as much as 300 tons of freight. The League also produced warships, with successful campaigns being waged with English help against pirates between 1394 and 1420 . In the 16th century the largest ship in the world at the time was the Hansa’s Adler von Lübeck. 

The Turkish navy never developed the flexibility in ship design or strategy achieved by its European counterparts. As the Spanish and Portuguese adapted their ocean-going galleons to sail the Mediterranean and modified their galleys into three-masted carracks capable of both trading and fighting, so they were able to counter the Ottoman fleet and merchant shipping which was composed solely of galleys. Though the Turks almost always put more ships to sea, the Christians had a better fleet and superior cannon fire.